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C100 Trip to Houston
Presented in partnership with: Trip Participants Doris and Alan Burgess Tad Freese and Brook Hartzell Bruce and Cheryl Kiddoo Wanda Kownacki Ann Marie Mix Evelyn Neely Yvonne and Mike Nevens Alyce and Mike Parsons Your Hosts San Jose Museum of Art: S. Sayre Batton, deputy director for curatorial affairs Susan Krane, Oshman Executive Director Kristin Bertrand, major gifts officer Art Horizons International: Leo Costello, art historian Lisa Hahn, president Hotel St. Regis Houston Hotel 1919 Briar Oaks Lane Houston, Texas, 77027 Phone: 713.840.7600 Houston Weather Forecast (as of 10.31.16) Wednesday, 11/2 Isolated Thunderstorms 85˚ high/72˚ low, 30% chance of rain, 71% humidity Thursday, 11/3 Partly Cloudy 86˚ high/69˚ low, 20% chance of rain, 70% humidity Friday, 11/4 Mostly Sunny 84˚ high/63 ˚ low, 10% chance of rain, 60% humidity Saturday, 11/5 Mostly Sunny 81˚ high/61˚ low, 0% chance of rain, 42% humidity Sunday, 11/6 Partly Cloudy 80˚ high/65˚ low, 10% chance of rain, 52% humidity Day One: Wednesday, November 2, 2016 Dress: Casual Independent arrival into George Bush Intercontinental/Houston Airport. Here in “Bayou City,” as the city is known, Houstonians take their art very seriously. The city boasts a large and exciting collection of public art that includes works by Alexander Calder, Jean Dubuffet, Michael Heizer, Joan Miró, Henry Moore, Louise Nevelson, Barnett Newman, Claes Oldenburg, Albert Paley, and Tony Rosenthal. Airport to hotel transportation: The St. Regis Houston Hotel offers a contracted town car service for airport pickup for $120 that would be billed directly to your hotel room. -
ARTIST - DENNIS OPPENHEIM Born in Electric City, WA, USA, in 1938 Died in New York, NY, USA, in 2011
ARTIST - DENNIS OPPENHEIM Born in Electric City, WA, USA, in 1938 Died in New York, NY, USA, in 2011 EDUCATION - 1964 : Beaux Arts of California College of Arts and Crafts, Oakland, CA, USA 1967 : Beaux Arts of Stantford University, Palo Alto, CA, US SOLO SHOWS (SELECTION) - 2020 Dennis Oppenheim, Galerie Mitterrand, Paris, France 2019 Dennis Oppenheim, Le dessin hors papier, Musée des Beaux-Arts, Caen, FR 2018 Broken Record Blues, Peder Lund, Oslo NO Violations, Marlborough Contemporary, New York US Straight Red Trees. Alternative Landscape Components, Guild Hall, East Hampton, NY, US 2016 Terrestrial Studio, Storm King Art Center, New Windsor US Three Projections, Art Institute of Chicago, Chicago, US 2015 Collection, MAMCO, Geneva, CH Launching Structure #3. An Armature for Projections, Halle-Nord, Geneva CH Dennis Oppenheim, Wooson Gallery, Daegu, KR 2014 Dennis Oppenheim, MOT International, London, UK 2013 Thought Collision Factories, Henry Moore Institute, Leeds, UK Sculpture 1979/2006, Galleria Fumagalli & Spazio Borgogno, Milano, IT Alternative Landscape Components, Yorkshire Sculpture Park, West Bretton, UK 2012 Electric City, Kunst Merano Arte, Merano, IT 1968: Earthworks and Ground Systems, Haines Gallery, San Francisco US HaBeer, Beersheba, ISR Selected Works, Palacio Almudi, Murcia, ES 2011 Dennis Oppenheim, Musee d'Art Moderne et Contemporain, Saint-Etienne, FR Eaton Fine Arts, West Palm Beach, Florida, US Galerie Samuel Lallouz, Montreal, CA Salutations to the Sky, Museo Fundacion Gabarron, New York, US 79 RUE DU TEMPLE -
The Menil Collection Celebrates Return of Byzantine Frescoes with Public Events Honoring Sacred Works
THE MENIL COLLECTION CELEBRATES RETURN OF BYZANTINE FRESCOES WITH PUBLIC EVENTS HONORING SACRED WORKS Byzantine Fresco Chapel, Home to the Frescoes, Will Close Sunday, March 4, 2012 Bidding farewell to the frescoes, the Menil presents special programs on consecutive Sundays: a musical tribute on February 12th and a panel discussion February 19th Final Divine Liturgy with His Eminence Archbishop Demetrios of America: Saturday, March 3, 2012 Houston, TX – January 30, 2012 – The Menil Collection announced that March 4, 2012 will be the final day to see the Byzantine frescoes currently housed on its campus in the Byzantine Fresco Chapel, after which time they will be returned to the Orthodox Church of Cyprus. In celebration of the frescoes, their time in Houston, and the purpose-built Chapel that has been their home for fifteen years; the Menil will present special public events commemorating the return of this sacred art. The works, the largest intact Byzantine frescoes in the Western hemisphere, have been on long-term loan to the Menil from the Orthodox Church of Cyprus following their rescue by the Menil Foundation twenty-eight years ago. They are being returned to Cyprus following the conclusion of the loan agreement between the two parties. At the heart of the Menil’s mission is the belief that art and spirituality are powerful forces in contemporary society and central to a shared human experience—and that institutions have a responsibility to preserve and present objects as stewards, safeguarding their future. “We are honored to have been entrusted as stewards of these extraordinary frescoes and to have exhibited them for the people of Houston and the world in a remarkable building,” said Menil Director Josef Helfenstein. -
RICHMOND BURTON I AM Paintings (The Return) March 30 – May 8, 2016
ART 3 109 INGRAHAM ST. BROOKLYN NY 11237 art-3gallery.com For immediate release: RICHMOND BURTON I AM paintings (the return) March 30 – May 8, 2016 Opening: Wednesday, March 30, 6-9 PM Richmond Burton, I AM (SWEET SPOT), 2001, Oil on linen, 63 x 99 in. Photo: courtesy of the artist and ART 3 gallery Brooklyn, NY – ART 3 gallery is pleased to represent works and projects by Richmond Burton as well as his Solo Exhibition RICHMOND BURTON: I AM paintings (the return) featuring works from the artist’s groundbreaking I AM series of paintings. This exhibition will mark a 15-year anniversary and return to the seminal works, originally shown in 2001 at Cheim & Read, New York, NY. Richmond Burton’s works are known for their kaleidoscopic color, undulating patterns, and lyrical handling of expressionistic mark making. The I AM paintings manage to simultaneously hold two truths without becoming one or the other. They exist both as geometric, structured, formal, while concurrently being relaxed, visceral, seductive, and organic compositions. The works play with decorative patterning without compromising a conceptual backbone. Their intensity of vision allows for transcendent thought, experience, and connection while challenging any preconceived norms or rules defining abstract painting. The paintings hold a tension between ruptured grids and naturalistic, diffused light with jolts of intense jewel-like color. Metallic colors are used—gold, silver, and copper thread through the work and coalesce into details, concentrated inlay or patterned punctuation. Abstracted forms break and congeal, with imagery reminiscent of swirling sperm, egg yolks, rocks, petals, leaves, and shells. -
Summer SAMPLER VOLUME 13 • NUMBER 3 • SUMMER 2016
Summer SAMPLER VOLUME 13 • NUMBER 3 • SUMMER 2016 CENTER FOR PUBLIC HISTORY Published by Welcome Wilson Houston History Collaborative Last LETTER FROM EDITOR JOE PRATT Ringing the History Bell fter forty years of university In memory of my Grandma Pratt I keep her dinner bell, Ateaching, with thirty years at which she rang to call the “men folks” home from the University of Houston, I will re- fields for supper. After ringing the bell long enough to tire at the end of this summer. make us wish we had a field to retreat to, Felix, my For about half my years at six-year old grandson, asked me what it was like to UH, I have run the Houston live on a farm in the old days. We talked at bed- History magazine, serving as a time for almost an hour about my grandparent’s combination of editor, moneyman, life on an East Texas farm that for decades lacked both manager, and sometimes writer. In the electricity and running water. I relived for him my memo- Joseph A. Pratt first issue of the magazine, I wrote: ries of regular trips to their farm: moving the outhouse to “Our goal…is to make our region more aware of its history virgin land with my cousins, “helping” my dad and grandpa and more respectful of its past.” We have since published slaughter cows and hogs and hanging up their meat in the thirty-four issues of our “popular history magazine” devot- smoke house, draw- ed to capturing and publicizing the history of the Houston ing water from a well region, broadly defined. -
The Thessaloniki Biennale: the Agendas and Alternative Potential(S) of a Newly-Founded Biennial in the Context of Greek Governance
City Research Online City, University of London Institutional Repository Citation: Karavida, Aikaterini (2014). The Thessaloniki Biennale: The agendas and alternative potential(s) of a newly-founded biennial in the context of Greek governance. (Unpublished Doctoral thesis, City University London) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/13704/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] The Thessaloniki Biennale: The agendas and alternative potential(s) of a newly-founded biennial in the context of Greek governance Volume 2 Aikaterini Karavida This thesis is submitted as part of the requirements for the award of the PhD in ARTS POLICY AND MANAGEMENT CITY UNIVERSITY DEPARTMENT OF CULTURE AND CREATIVE INDUSTRIES July 2014 1 Table of Contents -
CIES E-Working Paper N.º 167/2013 Andy Warhol Com Leonardo: De
CIES e-Working Paper N.º 167/2013 Andy Warhol com Leonardo: de Monalisa a Cristo (3.ª parte) Idalina Conde CIES e-Working Papers (ISSN 1647-0893) Av. das Forças Armadas, Edifício ISCTE, 1649-026 LISBOA, PORTUGAL, [email protected] Idalina Conde é docente na Escola de Sociologia e Políticas Públicas do ISCTE-IUL Instituto Universitário de Lisboa e investigadora no CIES. Leciona no Mestrado em Comunicação, Cultura e Tecnologias da Informação do ISCTE-IUL. Anteriormente, também no curso de pós-graduação em Gestão Cultural nas Cidades do INDEG/ISCTE, a par de várias formações noutras instituições. Paralelamente ao CIES, colaborou em projetos do ERICARTS, The European Institute for Comparative Cultural Research no OAC – Observatório das Atividades Culturais. É autora de numerosas publicações no domínio da sociologia da arte e da cultura, bem como sobre abordagens biográficas. Tem realizado diversos cursos e workshops nessas áreas, nomeadamente sobre criatividade, receção cultural e relações da arte contemporânea com a memória e o património europeu. E-mail: [email protected] Resumo No arco de 20-25 anos, Andy Warhol usou em diferentes momentos imagens de três obras de Leonardo da Vinci: Monalisa, Anunciação e A Última Ceia. Baseando-se nelas fez Thirty Are Better Than One, em 1963, uma versão da Anunciação na série Details of Renaissance Paintings, em 1984 (juntamente com obras de Sandro Botticelli, Piero della Francesca, Paolo Uccello), e The Last Supper, em 1986, com muitas variações, incluindo a maior, The Last Supper (Christ 112 Times) (1986). O texto reflete sobre essa trajetória procurando o sentido dos encontros de Warhol com Leonardo, entre outras obras-primas da Renascença que também incluíram (em 1985) a Madonna Sistina de Rafael Sanzio. -
The Menil Collection Houston, Texas
The Menil Collection Houston, Texas Kristina Van Dyke Downloaded from http://direct.mit.edu/afar/article-pdf/40/3/36/1816098/afar.2007.40.3.36.pdf by guest on 28 September 2021 hen asked in 1982 about the collection she and her late husband, John, had formed, Dominique de Menil stated, “What characterizes my collection? Maybe a passionate curiosity for the past and also a vulnerability to poetry … poetry of images revealing the beauty and mystery of the world … W[I] am very moved by … art that … expresses the tragedy of man’s ephemeral condition” (de Menil 1983:50). At the time, Dominique de Menil was working with Renzo Piano on plans for The Menil Collection, the museum that would house the couple’s collection and manifest its poetry (Fig. 1). Thoughtful and meticulous, Dom- inique de Menil labored over every detail of the design and, when construction was complete in 1987, the installation of the collec- tion as well (Fig. 2). Her goals were clear: “I would like my collec- tion to be displayed in such a way that it opens new vistas, that it reveals ‘Terra Incognita’—islands beyond” (ibid.). The Menil Collection, with its 16,000 objects, is but one out- come of this French couple’s vision and philosophy. Intertwining art, social activism, and a profound spirituality, the de Menils left an indelible mark on their adopted city of Houston, both in the campus that houses their museum and related galleries and cha- pels, and in the effect their philanthropic projects had on various institutions in the city. -
Retrospective Is Curated by Toby Kamps with Dr
Wols: Retrospective is curated by Toby Kamps with Dr. Ewald Rathke. This exhibition is generously supported by the National Endowment for the Arts; Anne and Bill Stewart; Louisa Stude Sarofim; Michael Born Alfred Otto Wolfgang Schulze to a prominent Berlin family Zilkha; Skadden, Arps; and the City of Houston. on May 27, 1913, the artist spent his childhood in Dresden. Despite obvious intelligence, Wols failed to complete school, and in 1932, not long after the death of his father, with whom he had a contentious relationship, he moved to Paris in an attempt to break away from his bourgeois roots. Except for a brief stint in Spain, he remained in France until his untimely death in 1951. The story of Wols’s dramatic trans- PUBLIC PROGRAMS formation from sensitive, musically gifted German youth to eccentric, Panel Discussion near-homeless Parisian artist is legendary. So too are accounts of his Thursday, September 12, 2013, 6:00 p.m. many adventures and misadventures during the tumult of wartime Following introductory remarks by Frankfurt-based scholar Dr. Ewald Europe: his marriage to the fiercely protective Romanian hat maker Rathke, Curator of Modern and Contemporary Art Toby Kamps is joined Gréty Dabija; his grueling incarceration as an expatriate at the outset by art historians Patrycja de Bieberstein Ilgner, Archivist at the Karin and of the war and subsequent moves across rural France; his late-night Uwe Hollweg Foundation, Bremen, Germany; and Katy Siegel, Professor perambulations in liberated Paris; and his ever-worsening alcoholism, of Art History at Hunter College, New York, and Chief Curator of the Wols, Selbstporträt (Self-Portrait), 1937 or 1938, modern print. -
The Greek Sale
athens nicosia The Greek Sale thursday 8 november 2018 The Greek Sale nicosia thursday 8 november, 2018 athens nicosia AUCTION Thursday 8 November 2018, at 7.30 pm HILTON CYPRUS, 98 Arch. Makarios III Avenue managing partner Marinos Vrachimis partner Dimitris Karakassis london representative Makis Peppas viewing - ATHENS athens representative Marinos Vrachimis KING GEORGE HOTEL, Syntagma Square for bids and enquiries mob. +357 99582770 mob. +30 6944382236 monday 22 to wednesday 24 october 2018, 10 am to 9 pm email: [email protected] to register and leave an on-line bid www.fineartblue.com viewing - NICOSIA catalogue design Miranda Violari HILTON CYPRUS, 98 Arch. Makarios III Avenue photography Vahanidis Studio, Athens tuesday 6 to wednesday 7 november 2018, 10 am to 9 pm Christos Panayides, Nicosia thursday 8 november 2018, 10 am to 6 pm exhibition instalation / art transportation Move Art insurance Lloyds, Karavias Art Insurance printing Cassoulides MasterPrinters ISBN 978-9963-2497-2-5 01 Yiannis TSAROUCHIS Greek, 1910-1989 The young butcher signed and dated ‘68 lower right gouache on paper 16.5 x 8.5 cm PROVENANCE private collection, Athens 1 800 / 3 000 € Yiannis Tsarouchis was born in 1910 in Piraeus, Athens. In 1928 he enrolled at the School of Fine Art, Athens to study painting under Constantinos Parthenis, Spyros Vikatos, Georgios Iakovides and Dimitris Biskinis, graduating in 1933. Between 1930 and 1934, he also studied with Fotis Kondoglou who introduced him to Byzantine painting. In 1935, Tsarouchis spend a year in Paris, where he studied etching at Hayterre studio; his fellow students included Max Ernest and Giacometti. -
Mark Rothko Paintings, the Menil Collection and the Rothko Chapel, Houston, TX
! cablegram art, Dispatches, Houston, painting, Rothko Chapel, The Menil Collection | Dispatches #20 | Mark Rothko Paintings, The Menil Collection and The Rothko Chapel, Houston, TX In art, criticism, Dispatches on 06/09/2011 at 9:35 am I was initially hesitant to write that I was moved by a series of paintings by Mark Rothko, recently installed at The Menil Collection (http://www.menil.org/). While I have certainly encountered art that is touching, disturbing, engulfing, or otherwise impressionable, to have these experiences in front of large abstract paintings by a master of Abstract Expressionism, seems somewhat old fashioned and, well, distressingly earnest. Yet I’d wager my response was completely appropriate, the six paintings I saw were originally created for the Rothko Chapel (http://www.rothkochapel.org/), the ecumenical structure commissioned by Dominique and John de Menil and designed by Philip Johnson. Completed in 1966, Rothko did not include these works in the last selection of 14 paintings that he’d chosen for the chapel prior to his death. The artist killed himself before the building was completed and the works were installed in 1970. The current installation at the Menil was created as a tribute to the Chapel’s 40th anniversary. Each of the over 14-feet-tall canvases features a black rectangle that takes up about two-thirds of the composition and floats on a deep maroon background. At the Menil, they are situated in their own room, which has two parallel entrances to walk through so you see three paintings to your right, each on its own wall, and the same on your left. -
Themenilcollection
To S. Shepherd 1.5 miles West Alabama west Parking n o t s u o MENIL BISTRO H A John & Dominique , MENIL TH E COLLECTION n BOOKS TORE o s t r de Menil e Sul Ros s b o R - e y e e MENIL y k l s The story of the Menil c Rothko i r l D E F n Guide H o r e Chapel : r o e G d m Universi ty of t Collection begins in France o B C p b t n t n l o u a St. Thomas b o u THE MENI L Y with the 1931 marriage of o s t i r M M M p COL LECTI ON a o P H t , John de Menil (190 4–73 ), , P s h G p A a r Branard D a young banker from a g A o / t o k k h CY TWOMBLY r P o r mili tary family, and Y a GALLERY w John and Dominique de Menil, 1967 t BYZANTINE n e o s t N Dominique Schlumberger s FRESCO , u u ) o S a R CHAPEL H West Mai n r , A (1908–97), daughter of Conrad Schlum berger, one of the ( n o y G s o t t e t r Parking i e c t founders of the oil services company Schlumberger, Ltd. b o S e o R s r t Max Ernst, - y h o The de Menils left France during World War II, making e g i k R c L Le surreálisme et i Col quitt s H t s : Col quitt i their way to Houston, where John would eventually direct la peinture (Surrealism t h r p A a and Painting ), 1942 r 5 g 1 Schlumberger’s worldwide operations.