DOCSLIB.ORG

JERROLD BURCHMAN BORN 1939 New

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
JERROLD BURCHMAN BORN 1939 New JERROLD BURCHMAN BORN 1939 New York, NY EDUCATION 1963 M.F.A. Painting & Drawing, University of California, Los Angeles, CA 1961 B.A. Painting & Drawing, University of California, Los Angeles, CA FELLOWSHIPS AND AWARDS 1993-94 Santa Barbara Museum of Art, Artist in Residence 1991 Artist in Residence, Summer Kunst and Complex, Rotterdam, The Netherlands 1963-65 Fullbright Fellowship in Painting to Italy 1962-63 Louis Comfort Tiffany Award in Painting 1961-63 Graduate Fellowships in Art, UCLA TEACHING EXPERIENCE 1994 Santa Monica College, Santa Monica, CA 1990 University of California, Santa Cruz, CA 1989-91 University of Southern California, Los Angeles, CA 1988-89 California State University, Long Beach, CA 1981-88 University of California, Los Angeles, CA 1977-81 Otis/Parsons School of Design, Los Angeles, CA 1972-74 Art Center College of Design, Pasadena, CA 1970-72 University of California, Irvine, CA 1970 California State University, Los Angeles, CA 1969-83 Santa Monica College, Santa Monica, CA 1968-72 East Los Angeles College, Los Angeles, CA 1968-69 Los Angeles Valley College, Los Angeles, CA 1967-68 University of California, San Diego, Extension, San Diego, CA 1966-67 University of California, Los Angeles, Extension, Los Angeles, CA SOLO EXHIBITIONS 2013 Gremillion & Co. Fine Art, Houston TX Jerrold Burchman- Recent Paintings & Collages, Toomey/Tourell Fine Art, San Francisco, CA 2012 Gremillion & Co. Fine Arts, Dallas, TX 2011 David Richard Contemporary, Santa Fe, NM 2010 Gremillion & Co. Fine Art, Houston, TX Toomey/Tourell Gallery, San Francisco, CA 2008 Gremillion & Co. Fine Art, Houston, TX 2006 Toomey/Tourell Gallery, San Francisco, CA Gremillion & Co. Fine Art, Houston, TX 2003 The New West Coast Abstraction, Recent Paintings by Jerrold Burchman and Marie Thibeault, Gremillion & Co. Fine Art, Houston, TX 2001 Toomey/Tourell Gallery, San Francisco, CA 1999 Jerrold Burchman/Audrey Welch, Toomey/Tourell Gallery, San Francisco, CA 1998 Reunion, Jerrold Burchman/Emilio Cruz, Molly Barnes Gallery, Santa Monica, CA Frameworks Gallery, Santa Barbara, CA 1996 Contradictions, Big Gallery, Santa Barbara, CA 1994 1945-1965-1985, Santa Barbara Museum of Art at McCormick House, Santa Barbara, CA 1991 Jack Glenn Gallery, Los Angeles, CA 1989 Elaine Sternberg Gallery, Highland Park, IL 1988 Diane Nelson Gallery, Laguna Beach, CA 1987 Simard & Halm Gallery, Los Angeles, CA The Works Gallery, Long Beach, CA 1986 Diane Nelson Gallery, Laguna Beach, CA 1985 Vorpal Gallery, San Francisco, CA 1983 Lelia Ivy Gallery, Los Angeles, CA 1982 Hunsaker/ Schlesinger Gallery, Los Angeles, CA 1981 Joyce Hunsaker Gallery, Los Angeles, CA 1979 Baum/ Silverman Gallery, Los Angeles, CA 1978 Baum/ Silverman Gallery, Los Angeles, CA 1977 Humboldt State University, Arcata, CA Ruth Schaffner Gallery, Los Angeles, CA 1976 Grapestake Gallery, San Francisco, CA Tortue Gallery, Los Angeles, CA 1974 Ellie Blankfort Gallery, Los Angeles, CA 1973 Newport Harbor Museum, Newport Beach, CA 1972 David Stuart Gallery, Los Angeles, CA 1970 Jack Glenn Gallery, Corona Del Mar, CA University of Southern California, Los Angeles, CA 1968 Occidental College, Los Angeles, CA 1965 Felix Landau Gallery, Los Angeles, CA Galleria Del Levante, Milan, Italy 1964 Galleria Alpha, Venice, Italy Obelisco Gallery, Rome, Italy GROUP EXHIBITIONS 2012 Persistence, Atkinson Gallery, Santa Barbara City College, Santa Barbara, CA 2011 Southern California Painting, the 1970’s, David Richard Contemporary, Santa Fe, NM 2010 Colorscope: Abstract Painting 1960 – 79, Santa Barbara Museum of Art, Santa Barbara, CA 2003 Forty, Gremillion & Co. Fine Art, Houston, TX 1997 Multiplicities, Contemporary Arts Forum, Santa Barbara, CA 1994 Charity, Contemporary Arts Forum, Santa Barbara, CA 1993 Collage, Deborah Hadl, Los Angeles, CA 1992 Works on Paper, Ro Snell Gallery, Santa Barbara, CA 1990 Gallery Artists, Wade Gallery, Los Angeles, CA 1987 Los Angeles Artists/Modern Masters, Ruthven Gallery, Lancaster, OH Artists/Works Two, Long Beach, CA 1986 Teaching Artists, University of California, Los Angeles, CA Monotypes from Garner Tullis Workshop, Kass-Meridian Gallery, Chicago, IL Garner Tullis Workshop, Gallery Au Poisson Rouge, Praz, Switzerland 1984 A Broad Spectrum, Contemporary L.A. Painters & Sculptors, L.A. Design Center, L.A., CA 1981 Los Angeles Painting: The Decade, Art Center College of Design, Pasadena, CA 1980 Seven Los Angeles Artists, Aaron Berman Gallery, New York, NY 1979 Abstract Painting from Southern California, Univ. of New Mexico, Albuquerque, NM Abstract Painting from Southern California, Univ. of California, Riverside, CA Approaches to Xerography, Municipal Art Gallery, Los Angeles, CA L.A. Drawings, University of New Mexico, Albuquerque, NM 1977 The Early Sixties at UCLA, University of California, Los Angeles, CA Unstretched Surfaces, L.A. Institute of Contemporary Art, L.A., CA Southern California Abstract Painting, University of Akron, Akron, OH Twelve American Artists, University of Iowa Museum, Iowa City, IA 1976 Works on Paper, Ruth Schaffner gallery, Los Angeles, CA Nancy Lurie Gallery, Chicago, IL Artworks, Milwaukee, WI Big Prints, Little Paintings, Tortue Gallery, Los Angeles, CA 1975 Fourteen Abstract Painters, Frederick Wight Gallery, UCLA, L.A., CA 1973 Drawings, Margo Leavin Gallery, Los Angeles, CA 1972 Three Americans, Darthea Spayer Gallery, Paris, France 1971 Off the Stretcher Bar, Oakland Museum, Oakland, CA Thirteen Los Angeles Artists, Friends of Contemporary Art, Denver, CO 1970 Looking West ’70, Joslyn Art Museum, Omaha, NE 1968 Small Images, California State College Gallery,” Los Angeles, CA LeVa/Burchman/DeFrance, California State College Gallery, L.A., CA 1967 Dimensions of the Real, Museum of Modern Art, Belgrade, Yugoslavia 1965 Group Show, International Exhibition, Auila, Itlaly 1963 Group Show, Felix Landau Gallery, Los Angeles, CA PRIVATE COLLECTIONS PUBLIC COLLECTIONS Mr. and Mrs. John Bishop Portland Museum of Art Mr. and Mrs. William Brice Los Angeles County Museum of Art Mr. and Mrs. Donald Chadwick La Jolla Museum of Art Dr. and Mrs. Steven Cooperman Santa Barbara Museum of Art Mr. and Mrs. Richard Dorso Denver Museum Mr. and Mrs. Clifford Einstein Joseph Hirschorn Museum and Sculpture Mr. Ralph Falk II Garden Mr. James Fisher Bordeaux Museum, France Mr. and Mrs. George Folsey Museum of Modern Art, Belgrade Mr. and Mrs. C. Garabedian Capitol Records Mr. and Mrs. Bruce Graham Kemper Insurance Company Mr. and Mrs. Arthur Greenburg Prudential Insurance Company Mr. and Mrs. Murray Gribin John Portman and Associates Mr. and Mrs. Stanley Grinstein Pepperdine University Dr. and Mrs. C. Hendrickson Continental Airlines Mr. and Mrs. Steven Lebowitz Cedars-Sinai Medical Center, Los Mr. and Mrs. Sidney Lewis Angeles Mr. and Mrs. Alan Livingston Harcourt Brace Ms. Maggie Murray Aerojet-General Corporation Mrs. Barbara Poe Atlantic Richfield Company Ms. Lois Powers Security Pacific Bank Mr. and Mrs. John Rex Dresdner Bank Mr. and Mrs. C. Schneider First National Bank of California Ms. Lora Schlesinger Paramont Studios Mr. and Mrs. Sidney Sheinberg James Talcott Inc. Mr. and Mrs. Herb Simon Ms. Darthea Speyer Mr. and Mrs. Ray Stark Mr. John Lloyd Taylor Ms. Tamara Thomas Mr. and Mrs. Yale Udoff Mr. Dewain Valentine Claudia Sole and Michael Warshaw Mr. Henry Winkler Dr. and Mrs. Edward Wortz .
Load more

Recommended publications
  • A Finding Aid to the Bob Thompson Papers, 1949-2005, in the Archives of American Art
    A Finding Aid to the Bob Thompson Papers, 1949-2005, in the Archives of American Art Kimberley Henze and Rihoko Ueno Funding for the digitization of this collection was provided by The Walton Family Foundation and the Terra Foundation for American Art. 2015 June 15 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Scope and Contents........................................................................................................ 2 Biographical / Historical.................................................................................................... 2 Arrangement..................................................................................................................... 3 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 5 Series 1: Biographical Material, 1953-2003............................................................. 5 Series 2: Carol Thompson's Correspondence, 1971-2000...................................... 6 Series 3: Writings, 1949-1998.................................................................................
    [Show full text]
  • PAUL STAITI Resume.Pdf
    PAUL STAITI Professor of Fine Arts on the Alumnae Foundation Art History and Architectural Studies Mount Holyoke College South Hadley, Massachusetts 01075 Web www.paulstaiti.com Telephone: At Mount Holyoke At Home Fax 413 – 538 – 2244 413 – 534-5145 413 -538 - 2167 I. EDUCATION Ph.D. University of Pennsylvania M.A. UniVersity of Massachusetts B.A. UniVersity of Michigan II. PUBLICATIONS “A Surprising Influence on Obama’s Portrait,” op-ed, The Washington Post, February 12, 2018 “The Americans,” Visitors to Versailles: From Louis XIV to the French Revolution, exhibition catalog, The Metropolitan Museum of Art; New HaVen, Yale UniVersity Press, 2018. French edition: “Les Américains à Versailles” and “Benjamin Franklin, ‘L’Ambassadeur Électrique,” Visiteurs de Versailles: Voyageurs, Princes, Ambassadeurs, 1682-1789, exhibition catalog, Château de Versailles; Paris, Gallimard, 2017, pp. 206-217 “How Presidents Use their Portraits to Shape their Legacy,” op-ed, The Washington Post, January 17, 2017 “Portrait of a ReVolution,” Military History Quarterly, winter, 2017, pp. 60-65 Of Arms and Artists: The American Revolution through Painters’ Eyes; New York, Bloomsbury, 2016, iii + 400 pages. Paperback edition, New York, Bloomsbury, 2017 Chinese edition, Beijing, Gold Star Press, 2018 Awarded: Colonial Dames of America Book of the Year, 2018 Nominated: Andrew Carnegie Medal for Excellence in Non-Fiction, 2017 ReViews: Kathleen DuVal, The Wall Street Journal, October 15, 2016 Michael Upchurch, The Washington Post, October 18, 2016 Virginia DeJohn Anderson, The New York Times Book Review, December 4, 2016 Amy Henderson, The Weekly Standard, December 5, 2016 William Anthony Hay, The Claremont Review of Books, Spring, 2017 Starred reViews in: Kirkus, Booklist, Publishers Weekly “The Capitalist Portrait,” in Picturing Power: The New York Chamber of Commerce, Portraiture, and its Uses, ed.
    [Show full text]
  • Paul Robeson Galleries
    Paul Robeson Galleries Exhibitions 1979 Green Magic April 9 – June 29, 1979 An exhibition consisting of two parts: Green Magic I and Green Magic II. Green Magic I displayed useful plants of northern New Jersey, including history, properties, and myths. Green Magic II displayed plant forms in art of the ‘70’s. Includes the work of Carolyn Brady, Brad Davis, Jim Dine, Tina Girouard, George Green, Hanna Kay, Bob Kushner, Ree Morton, Joseph Raffael, Ned Smyth, Pat Steir, George Sugarman, Fumio Yoshimura, and Barbara Zucker. Senior Thesis Exhibition May 7 – June 1, 1979 An annual exhibition of work by graduating Fine Arts seniors from Rutgers – Newark. Includes the work of Hugo Bastidas, Connie Bower, K. Stacey Clarke, Joseph Clarke, Stephen Delceg, Rose Mary Gonnella, Jean Hom, John Johnstone, Mathilda Munier, Susan Rothauser, Michael Rizzo, Ulana Salewycz, Carol Somers Kathryn M. Walsh. Jazz Images June 19 – September 14, 1979 An exhibition displaying the work of black photographers photographing jazz. The show focused on the Institute of Jazz Studies of Rutgers University and contemporary black photographers who use jazz musicians and their environment as subject matter. The aim of the exhibition was to emphasize the importance of jazz as a serious art form and to familiarize the general public with the Jazz Institute. The black photographers whose work was exhibited were chosen because their compositions specifically reflect personal interpretations of the jazz idiom. Includes the work of Anthony Barboza, Rahman Batin, Leroy Henderson, Milt Hinton, and Chuck Stewart. Paul Robeson Campus Center Rutgers – The State University of New Jersey 350 Dr. Martin Luther King, Jr.
    [Show full text]
  • A Finding Aid to the Emilio Cruz Papers, 1961-2008, in the Archives of American Art
    A Finding Aid to the Emilio Cruz papers, 1961-2008, in the Archives of American Art Rayna Andrews Funding for the processing of this collection was provided by the Henry Luce Foundation. 2018/02/08 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 3 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 2 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Biographical Material, 1988, 2001-2005, undated.................................... 4 Series 2: Correspondence, 1965-2008.................................................................... 5 Series 3: Writings, 1969-2004.................................................................................
    [Show full text]
  • National Endowment for the Arts Annual Report 1993
    L T 1 TO THE CONGRESS OF THE UNITED STATES: It is my special pleasure to transmit herewith the Annual Report of the National Endowment for the Arts for the fiscal year 1993. The National Endowment for the Arts has awarded over 100,000 grants since 1965 for arts projects that touch every community in the Nation. Through its grants to individual artists, the agency has helped to launch and sustain the voice and grace of a generation--such as the brilliance of Rita Dove, now the U.S. Poet Laureate, or the daring of dancer Arthur Mitchell. Through its grants to art organizations, it has helped invigorate community arts centers and museums, preserve our folk heritage, and advance the perform­ ing, literary, and visual arts. Since its inception, the Arts Endowment has believed that all children should have an education in the arts. Over the past few years, the agency has worked hard to include the arts in our national education reform movement. Today, the arts are helping to lead the way in renewing American schools. I have seen first-hand the success story of this small agency. In my home State of Arkansas, the National Endowment for the Arts worked in partnership with the State arts agency and the private sector to bring artists into our schools, to help cities revive downtown centers, and to support opera and jazz, literature and music. All across the United States, the Endowment invests in our cultural institutions and artists. People in communities small and large in every State have greater opportunities to participate and enjoy the arts.
    [Show full text]
  • Oral History Interview with Jack Whitten, 2009 December 1-3
    Oral history interview with Jack Whitten, 2009 December 1-3 Funding for this interview was provided by the Terra Foundation for American Art. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a recorded interview with Jack Whitten on 2013 December 1 and 3. The interview took place in Woodside, N.Y., and was conducted by Judith Olch Richards for the Archives of American Art, Smithsonian Institution. Jack Whitten and Judith Olch Richards have reviewed the transcript. Jack Whitten's corrections and emendations appear below in brackets. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview JUDITH RICHARDS: This is Judith Richards interviewing Jack Whitten on December 1, 2009, at his studio in Woodside, Queens, New York, for the Archives of American Art, Smithsonian Institution, disc one. Jack, I'd like to start with your family, as far back as you want to go– it could be even your grandparents, if you have information about them, and then going on to your parents and yourself and your siblings. And then we'll focus on you again. JACK WHITTEN: Yes. My mom [as] Annie B. Whitten and my father was Mose Whitten. MS. RICHARDS: Annie – A-N-N-I-E? MR. WHITTEN: A-N-N-I-E. MS. RICHARDS: And B is – MR. WHITTEN: Belle. Annie Belle.
    [Show full text]
  • Widening Circles | Photographs by Reginald Eldridge, Jr
    JOAN MITCHELL FOUNDATION MITCHELL JOAN WIDENING CIRCLES CIRCLES WIDENING | PHOTOGRAPHS REGINALD BY ELDRIDGE, JR. Widening Circles Portraits from the Joan Mitchell Foundation Artist Community at 25 Years PHOTOGRAPHS BY REGINALD ELDRIDGE, JR. Sonya Kelliher-Combs Shervone Neckles Widening Circles Portraits from the Joan Mitchell Foundation Artist Community at 25 Years PHOTOGRAPHS BY REGINALD ELDRIDGE, JR. Widening Circles: Portraits from the Joan Mitchell Foundation Artist Community at 25 Years © 2018 Joan Mitchell Foundation Cover image: Joan Mitchell, Faded Air II, 1985 Oil on canvas, 102 x 102 in. (259.08 x 259.08 cm) Private collection, © Estate of Joan Mitchell Published on the occasion of the exhibition of the same name at the Joan Mitchell Foundation in New York, December 6, 2018–May 31, 2019 Catalog designed by Melissa Dean, edited by Jenny Gill, with production support by Janice Teran All photos © 2018 Reginald Eldridge, Jr., excluding pages 5 and 7 All artwork pictured is © of the artist Andrea Chung I live my life in widening circles that reach out across the world. I may not complete this last one but I give myself to it. – RAINER MARIA RILKE Throughout her life, poetry was an important source of inspiration and solace to Joan Mitchell. Her mother was a poet, as were many close friends. We know from well-worn books in Mitchell’s library that Rilke was a favorite. Looking at the artist portraits and stories that follow in this book, we at the Foundation also turned to Rilke, a poet known for his letters of advice to a young artist.
    [Show full text]
  • Ancestral Additions: the Legacy Grows
    Ancestral Additions: The Legacy Grows by Paul Von Blum, J.D. Senior Lecturer, African American Studies and Communication Studies University of California, Los Angeles [email protected] Even at the end of the first decade of the 21 st century, African American art continues to struggle for mainstream legitimacy and critical recognition. Many black artists still face major barriers in obtaining venues for exhibition and substantial notice in mainstream publications and institutions about their creative efforts. African American art history, in some academic quarters, is still regarded as a quaint subfield of folklore and popular culture. Collectors of African American art are still primarily people within that community, making sales more problematic because of persistent disparities of income and wealth between African Americans and the majority population in the United States. The overall situation, however, has improved in the post civil rights era. A growing scholarly and popular literature about the historical and contemporary tradition of African American visual art has provided critical validation for the thousands of artists whose works have made profound contributions to American art history for the past two centuries. Exhibitions of African American art are more commonplace, even in mainstream museums and galleries throughout the country. Younger black artists are finding somewhat more encouragement in art schools and other settings where their talents can be nurtured and rewarded. This is the backdrop for the sad news of the departure in the past five years of some of the most iconic figures of contemporary African American art. These talented men and women were giants in both African American art and in American art generally.
    [Show full text]
  • Jean-Noel Archive.Qxp.Qxp
    THE JEAN-NOËL HERLIN ARCHIVE PROJECT Jean-Noël Herlin New York City 2005 Table of Contents Introduction i Individual artists and performers, collaborators, and groups 1 Individual artists and performers, collaborators, and groups. Selections A-D 77 Group events and clippings by title 109 Group events without title / Organizations 129 Periodicals 149 Introduction In the context of my activity as an antiquarian bookseller I began in 1973 to acquire exhibition invitations/announcements and poster/mailers on painting, sculpture, drawing and prints, performance, and video. I was motivated by the quasi-neglect in which these ephemeral primary sources in art history were held by American commercial channels, and the project to create a database towards the bibliographic recording of largely ignored material. Documentary value and thinness were my only criteria of inclusion. Sources of material were random. Material was acquired as funds could be diverted from my bookshop. With the rapid increase in number and diversity of sources, my initial concept evolved from a documentary to a study archive project on international visual and performing arts, reflecting the appearance of new media and art making/producing practices, globalization, the blurring of lines between high and low, and the challenges to originality and quality as authoritative criteria of classification and appreciation. In addition to painting, sculpture, drawing and prints, performance and video, the Jean-Noël Herlin Archive Project includes material on architecture, design, caricature, comics, animation, mail art, music, dance, theater, photography, film, textiles and the arts of fire. It also contains material on galleries, collectors, museums, foundations, alternative spaces, and clubs.
    [Show full text]
  • Guide to the Papers of African American Artists and Related
    Guide to the Papers of January 2020 African American Artists and Related Resources 2 What We do Above: Titus Kaphar in his 11th Avenue Studio, New York City, 2008. Photograph by Jerry L. Thompson. Jerry L. Thompson papers. Cover: Chakaia Booker installing Foci (2010) at Storm King Art Center, Mountainville, New York, 2010. Photograph by Jerry L. Thompson. Jerry L. Thompson papers. 3 TABLE OF CONTENTS 05 Our History 06 What We Do 10 A Culture of Access 11 Archives in the World 12 Why the Archives of American Art? 15 Recent Acquisition Highlights 17 Guide to African American Collections 48 Additional Papers of African American Artists 56 Oral History Interviews 60 Related Resources 72 Administration and Staf 4 HISTORY AND ABOUT The Smithsonian’s Archives of American Art enlivens the extraordinary human stories behind the United States’ most signifcant art and artists. It is the world’s preeminent resource dedicated to collecting and preserving the papers and primary records of the visual arts in the United States. Constantly growing in range and depth, and ever increasing in its accessibility, it is a vibrant, unparalleled, and essential resource for the appreciation, enjoyment, and understanding of art in America. 5 Our History In a 1954 letter from then director of the Detroit Institute of Arts Edgar P. Richardson to Lawrence A. Fleischman, Richardson poses a question: “Do you realize what a big thing you have done in starting the Archives [of American Art]? I know you do. But do you? It is enormous in its implications; enormous!” Richardson and Fleischman, a Detroit businessman and an active young collector, had founded the Archives earlier that year.
    [Show full text]
  • Inventing Downtown
    ARTIST-RUN GALLERIES IN NEW YORK CITY Inventing 1952–1965 Downtown JANUARY 10–APRIL 1, 2017 Grey Gazette, Vol. 16, No. 1 · Winter 2017 · Grey Art Gallery New York University 100 Washington Square East, NYC InventingDT_Gazette_9_625x13_12_09_2016_UG.indd 1 12/13/16 2:15 PM Danny Lyon, 79 Park Place, from the series The Destruction of Lower Manhattan, 1967. Courtesy the photographer and Magnum Photos Aldo Tambellini, We Are the Primitives of a New Era, from the Manifesto series, c. 1961. JOIN THE CONVERSATION @NYUGrey InventingDowntown # Aldo Tambellini Archive, Salem, Massachusetts This issue of the Grey Gazette is funded by the Oded Halahmy Endowment for the Arts; the Boris Lurie Art Foundation; the Foundation for the Arts. Inventing Downtown: Artist-Run Helen Frankenthaler Foundation; the Art Dealers Association Galleries in New York City, 1952–1965 is organized by the Grey Foundation; Ann Hatch; Arne and Milly Glimcher; The Cowles Art Gallery, New York University, and curated by Melissa Charitable Trust; and the Japan Foundation. The publication Rachleff. Its presentation is made possible in part by the is supported by a grant from Furthermore: a program of the generous support of the Terra Foundation for American Art; the J.M. Kaplan Fund. Additional support is provided by the Henry Luce Foundation; The Andy Warhol Foundation for the Grey Art Gallery’s Director’s Circle, Inter/National Council, and Visual Arts; the S. & J. Lurje Memorial Foundation; the National Friends; and the Abby Weed Grey Trust. GREY GAZETTE, VOL. 16, NO. 1, WINTER 2017 · PUBLISHED BY THE GREY ART GALLERY, NYU · 100 WASHINGTON SQUARE EAST, NYC 10003 · TEL.
    [Show full text]
  • Visual Arts Center of New Jersey Exhibition Timeline
    VISUAL ARTS CENTER OF NEW JERSEY EXHIBITION TIMELINE 1935 Exhibition Committee Chairperson: Junius Allen (Fall 1935 – Spring 1936) Oil and Watercolor Paintings by Carl Sprinchorn October 27 – November 9, 1935 3rd Annual Exhibition and Auction December 2 – 14, 1935 1936 Exhibition Committee Chairperson: Junius Allen (Fall 1935 – Spring 1936) Unknown (Fall 1936 – Spring 1937) Paintings by New York Artists: George Elmer Browne, John F. Carlson, George Pearse Ennis, Andrew Winter, Ernest Roth, and Ferdinand E. Warren January 20 – February 1, 1936 Offsite Exhibition: Summit Artists at the Summit Public Library February 16 – 29, 1936 Contemporary Prints October 18 – unknown date, 1936 Recent Paintings by Junius Allen November 8 – unknown date, 1936 1937 Paintings by Modern Artists of New Jersey January 3 – unknown date, 1937 Paintings, Drawings, and Prints by Fiske Boyd January 24 – unknown date, 1937 Antique Pictures and Early American Art from Private Collections March 14 – unknown date, 1937 Contemporary Prints October 18 – unknown date, 1937 Etchings and Dry Point Prints from Collections of Summit Residents November 7 – 24, 1937 1938 Oil and Pastel Paintings by Mary Bayne Bugbird January 9 – 26, 1938 Paintings from the Collection of the Whitney Museum of American Art January 30 – February 16, 1938 Photography by Summit Residents February 20 – March 9, 1938 Oil and Watercolor Paintings by Lesley Crawford March 13 – 30, 1938 Work of the Life Class April 24 – May 11, 1938 1939 Martha Berry, Art Director at Summit Public Schools Unknown date, 1939 Claire Boyd, Art Instructor at Kent Place School Unknown date, 1939 Collection of Bound Books Unknown date, 1939 New Jersey Painters: Junius Allen, T.
    [Show full text]