Raffael 10-3-09 Final Images

Total Page:16

File Type:pdf, Size:1020Kb

Raffael 10-3-09 Final Images Joseph Raffael Exhibition at Nancy Hoffman Gallery November 5, 2009-January 2, 2010 On November 5th an exhibition of ten monumental watercolors by Joseph Raffael opens at Nancy Hoffman Gallery, continuing through January 2nd. This show has traveled to three museum venues: Arvada Center for the Arts and Humanities, Denver; Fort Collins Museum of Contemporary Art, Colorado and The Butler Institute of American Art, Youngstown, Ohio and will continue in January at the Polk Museum of Art in Lakeland, Florida. A catalogue accompanies the exhibition, with essays by Virginia Bonito, Marianne Lorenz and Dr. Louis A. Zona, as well as personal observations and journal entries by the artist. Since Raffael’s exhibition two years ago, an evolution has taken place in his work. For the first time in many years the new works focus on a theme, the flower. Not since the “Water Paintings” of the ‘70s, and the “Lannis in Sieste” paintings of the late ‘80s has the artist devoted himself to a single concept for an exhibition. Something has broken open in the new work, a quality that comes with arriving at a certain age, decades devoted to the practice of painting, and a state of mind that only maturity brings. Nature remains the artist’s subject and profound partner in the flower images, which he approaches with new eyes and a new hand. At times, Raffael gathers seasonal flowers from the garden and brings them into the studio. Placed in vases, the cut flowers are part of the collage of the artist’s life and visual surroundings, which include images that honor artists through art history, from Egyptian carvings to Van Gogh self- portraits to Bonnard Studio Bouquet, 2008, watercolor on paper, 54 x 84 inches interiors. While Raffael’s earlier watercolors focused on the riches of the world around his home and garden--the carp pond in his back yard, the flowers in his garden, the birds in his aviaries--the new work invites the viewer to new depths and focuses on myriad iterations; each blossom a vista into the cycles of the seasons and the cycles of life. The artist’s passion for the subject is palpable, as he breathes light, air, and perfume into his magnifications of nature’s image and scale. In watercolor, Raffael strives to penetrate the source-essence of nature, to get inside the core of a rose and be dazzled by its warmth, embrace and glow, to gaze at azaleas in refulgent bloom parading across the paper unfurling their petals in full sun. Virginia Bonito writes: “The sagacious belief that the macrocosm (the Universe) is reflected in the microcosm (our earth) is central to philosophic thought from the earliest moments of recorded history. The theme is central to Joseph’s own thought and informs his entire oeuvre.” Summer's Dream of Spring, 2008, watercolor on paper, 60 x 89 inches Like the watercolors of the past ten years, Raffael surrounds his flower images with colorful borders, an inner frame, a declaration of the sublimity of the “act of painting” echoing facets of the central field. Within the narrow border are jewel-like abstract dashes and drips of color, traces of the history of colors used in the petals themselves. Virginia Bonito writes of the border in “Blossoming”: ”The painted border, a trademark of Joseph’s oeuvre that sometimes acts as a framing device for the central subject here is given the special role of expanding the tender image, repeating in dancing, marquee fashion, the colors of the branch, garden and season, all vibrating in concert with Nature.” Blossoming, 2008, watercolor on paper, 60 x 90 inches For Raffael it is not the subject that speaks most powerfully, but the paint itself, the application of the paint, the puddling, the translucence, the startling vibrations of orange next to red next to pink next to fuchsia. As his palette enters new territories, with surprising juxtapositions, he offers the viewer a bouquet of watercolors in celebration of his 75th year. The artist writes: “What I see is only the painting, it comes before the flowers, and remains after the flowers. In fact, that’s all I see when I look, I see the painting as painting. The flower is the road map; if we follow its course, we see the unimaginable. The painting is a vehicle taking me to unknown color-and-form destinations not previously on any map I have ever seen” Inauguration, 2009, watercolor on paper, 60 x 87 inches The flower provides the artist with an opportunity to express the range of power, emotion, beauty, poignancies contained within nature’s offerings. Dr. Louis A. Zona writes: “Since the birth of modernism a century and a half ago, perhaps only Joseph Raffael has approached the floral theme with as much passion, sensitivity or intelligence as Redon. The flower is, for Raffael ”…the expression of life’s natural cycle potential, returning over and over—they unfold, they blossom, adding such beauty to our world, to our existence.” Raffael’s devotion to the flower as subject reveals as well a profound interest in the unanswerable mysteries of nature, or what Leonardo termed the “unseen forces.” Guido's Gift, 2009, watercolor on paper, 63 x 89 inches Marianne Lorenz writes: ”Raffael’s challenge, and ultimate triumph, reside in his reconciliation of the countervailing winds of the 20th century and his own innate drive to find the infinite in the intimate. Moving beyond Monet and the Symbolists, Raffael has been able to refine the observation of his motifs so that each petal, leaf and drop of water now vibrates with feeling and mystery.” Blossoms and Sky, 2008, watercolor on paper, 54 x 89 inches Joseph Raffael was born in Brooklyn, New York in 1933. He attended Cooper Union, New York and received a B.F.A. from Yale School of Fine Arts. While at Yale he studied with Josef Albers. He also received a Fulbright Fellowship to Florence and Rome. The artist’s work has been exhibited in this country at the American Academy of Arts and Letters, New York; ARCO Center for Visual Art, Los Angeles; Arkansas Art Center, Little Rock; The Art Institute of Chicago, Illinois; Art Museum of South Texas, Corpus Christi; Arts Center Galleries, Old Forge, New York; Bergstrom-Mahler Museum, Neenah, Wisconsin; The Butler Institute of American Art, Youngstown, Ohio; The Canton Museum of Art, Ohio; City University of New York, Baruch College; Columbus Museum of Art, Ohio; Davenport Museum of Art, Iowa; Delaware Art Museum, Wilmington; The Denver Art Museum, Colorado; Elvehjem Art Center, Madison, Wisconsin; Evansville Museum of Arts and Science, Indiana; Flint Institute of Arts, Michigan; Fort Wayne Museum of Art, Indiana; Gibbs Museum of Art, Charleston, South Carolina, Hunter Museum of Art, Chattanooga, Tennessee; The Jacksonville Museum, Florida; Las Vegas Museum of Art, Nevada; Minnesota Museum of Art, St. Paul; Museum of Art, Fort Lauderdale, Florida; Museum of Contemporary Religious Art, Saint Louis; Museum of Fine Arts, St. Petersburg, Florida; The Museum of Modern Art, New York; National Academy of Design, New York; Newport Art Museum, Rhode Island; Newport Harbor Art Museum, California; Oklahoma City Art Museum, Oklahoma; Pennsylvania Academy of the Fine Arts, Philadelphia; Polk Museum of Art, Lakeland, Florida; San Francisco International Airport, California; San Francisco Museum of Modern Art, California; Scottsdale Art Center, Arizona; Sioux City Art Center, Iowa; State University of New York, Stony Brook; Tucson Museum of Art, Arizona; Wichita Art Museum, Kansas; Whitney Museum of American Art, New York; Leigh Yawkey Woodson Art Museum, Wausau, Wisconsin; among other institutions. His work has also been shown at the Musee d’Art Moderne et Contemporain, Strasbourg, France; Fukui City Art Museum; Hokodate Museum of Art, Hokkaido; Iwaki City Museum; Iwate Prefectural Museum; Isetan Museum of Art, Tokyo; Kumamoto Prefectural Museum of Art; Miyagi Museum of Art, Sendai; Museum of Modern Art, Wakayama; Sogo Museum of Art; National Museum in Gdansk, Gdansk, Poland; Tochigi Prefectural Museum of Fine Arts; Tokushima Modern Art Museum; Museum of Modern Art, Shiba; and Kochi Prefectural Museum of Folk Art, all in Japan, and Kaohsiung Museum of Fine Arts, Taiwan. Raffael’s work is represented in many museum collections, among them: Allentown Art Museum, Pennsylvania; The Art Institute of Chicago, Illinois; The Butler Institute of American Art, Youngstown, Ohio; The Canton Museum of Art, Ohio; The Cleveland Museum of Art, Ohio; The Contemporary Museum, Honolulu; Crocker Art Museum, Sacramento, California; Delaware Art Museum, Wilmington; The Denver Art Museum, Colorado; Des Moines Art Center, Iowa; Everson Museum of Art, Syracuse, New York; Fort Worth Art Museum, Texas; Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C.; Jacksonville Art Museum, Florida; Joslyn Art Museum, Omaha, Nebraska; Krannert Art Museum, Champaign, Illinois; Library of Congress, Washington, D.C.; Long Beach Museum, California; Los Angeles County Museum of Art, California; The Metropolitan Museum of Art, New York; Mint Museum, Charlotte, North Carolina; Museum of Contemporary Art, Chicago; Museum of Fine Arts, St. Petersburg, Florida; Museum of Outdoor Art, Englewood, Colorado; National Collection of Fine Arts of the Smithsonian Institution, Washington, D.C.; The Oakland Museum, California; Philadelphia Museum of Art, Pennsylvania; Rahr West Art Museum, Manitowoc, Wisconsin; San Francisco Museum of Modern Art, California; Santa Barbara Museum of Art, California; J.B. Speed Art Museum, Louisville, Kentucky; The Toledo Museum of Art, Ohio; Utah Museum of Fine Arts, Salt Lake City; Virginia Museum of Fine Arts, Richmond; Walker Art Center, Minneapolis; Washington County Museum of Fine Arts, Maryland; Whitney Museum of American Art, New York. The artist resides in France. For information and/or photographs, please call the gallery at 212-966-6676 or e-mail at [email protected].
Recommended publications
  • Oral History Interview with Ann Wilson, 2009 April 19-2010 July 12
    Oral history interview with Ann Wilson, 2009 April 19-2010 July 12 Funding for this interview was provided by the Terra Foundation for American Art. Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. 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 Ann Wilson on 2009 April 19-2010 July 12. The interview took place at Wilson's home in Valatie, New York, and was conducted by Jonathan Katz for the Archives of American Art, Smithsonian Institution. 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 ANN WILSON: [In progress] "—happened as if it didn't come out of himself and his fixation but merged. It came to itself and is for this moment without him or her, not brought about by him or her but is itself and in this sudden seeing of itself, we make the final choice. What if it has come to be without external to us and what we read it to be then and heighten it toward that reading? If we were to leave it alone at this point of itself, our eyes aging would no longer be able to see it. External and forget the internal ordering that brought it about and without the final decision of what that ordering was about and our emphasis of it, other eyes would miss the chosen point and feel the lack of emphasis.
    [Show full text]
  • CONTEMPORARY AMERICAN PAINTING and SCULPTURE 1969 University of Illinois at Urbana-Champaign Js'i----».--:R'f--=
    Arch, :'>f^- *."r7| M'i'^ •'^^ .'it'/^''^.:^*" ^' ;'.'>•'- c^. CONTEMPORARY AMERICAN PAINTING AND SCULPTURE 1969 University of Illinois at Urbana-Champaign jS'i----».--:r'f--= 'ik':J^^^^ Contemporary American Painting and Sculpture 1969 Contemporary American Painting and Sculpture DAVID DODD5 HENRY President of the University JACK W. PELTASON Chancellor of the University of Illinois, Urbano-Champaign ALLEN S. WELLER Dean of the College of Fine and Applied Arts Director of Krannert Art Museum JURY OF SELECTION Allen S. Weller, Chairman Frank E. Gunter James R. Shipley MUSEUM STAFF Allen S. Weller, Director Muriel B. Christlson, Associate Director Lois S. Frazee, Registrar Marie M. Cenkner, Graduate Assistant Kenneth C. Garber, Graduate Assistant Deborah A. Jones, Graduate Assistant Suzanne S. Stromberg, Graduate Assistant James O. Sowers, Preparator James L. Ducey, Assistant Preparator Mary B. DeLong, Secretary Tamasine L. Wiley, Secretary Catalogue and cover design: Raymond Perlman © 1969 by tha Board of Trustees of the University of Illinois Library of Congress Catalog Card No. A48-340 Cloth: 252 00000 5 Paper: 252 00001 3 Acknowledgments h.r\ ^. f -r^Xo The College of Fine and Applied Arts and Esther-Robles Gallery, Los Angeles, Royal Marks Gallery, New York, New York California the Krannert Art Museum are grateful to Marlborough-Gerson Gallery, Inc., New those who have lent paintings and sculp- Fairweother Hardin Gallery, Chicago, York, New York ture to this exhibition and acknowledge Illinois Dr. Thomas A. Mathews, Washington, the of the artists, Richard Gallery, Illinois cooperation following Feigen Chicago, D.C. collectors, museums, and galleries: Richard Feigen Gallery, New York, Midtown Galleries, New York, New York New York ACA Golleries, New York, New York Mr.
    [Show full text]
  • A Finding Aid to the Fendrick Gallery Records, 1952-2001, in the Archives of American Art
    A Finding Aid to the Fendrick Gallery Records, 1952-2001, in the Archives of American Art Patricia K. Craig January, 2003 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 Historical Note.................................................................................................................. 2 Scope and Content Note................................................................................................. 2 Arrangement..................................................................................................................... 4 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 6 Series 1: Artists Files, 1962-2001, undated............................................................. 6 Series 2: Albert Paley, 1970-2001, undated.......................................................... 28 Series 3: Commissioned Works and Projects, 1972-2000, undated...................... 36 Series 4: Exhibition Files, 1961, 1970-1996, undated...........................................
    [Show full text]
  • Winter 2014-2015
    WINTER 2014-15 @CantonMuseum News & Events from YOUR Canton Museum of Art THE LEGACY OF FERDINAND A. BRADER 19th Century Drawings of the Ohio and Pennsylvania Landscape Art and History Come Alive in Stunning Detail! December 4, 2014 — March 15, 2015 Coming This Spring ... By the Water SPECIAL Class Section ... Allied Artists of America See pg. 18 Meditations from New Winter / Spring Session The Permanent Collection with Creative Selections Beyond Craft: Decorative Arts from for Adults & Children! See pg. 8 the Eagle Collection See pg. 18 2 WINTER 2014-15 CONTENTS Winter 2014-15 DEPARTMENTS 4 Director’s Spotlight 5 Heard in the Galleries 6 News @CantonMuseum 8 Education in Action New Art Classes & More! 18 Explore & Enjoy More! Coming Events to Your Canton Museum of Art 19 News from The Permanent Collection 20 Museum Membership FEATURED IN THE GALLERIES 22 December 4, 2014 – March 15, 2015 Get Involved! CMA Volunteer & Museum Groups 12 23 The Legacy of Ferdinand A. Brader 19th Century Drawings of the Ohio About Your Museum and Pennsylvania Landscape 17 By the Water Meditations from The Permanent Collection (Cover, Main) George Dilger’s Brewery and Residence (detail), 1885. Ferdinand A. Brader (Swiss, 1833-1901). Graphite on wove paper, 28 ½" x 48." Canton Museum of Art Permanent Collection. Exhibition catalog no. 21. UPCOMING EXHIBITIONS & EVENTS (Cover, Bottom Left) Between Tides, Saint Ives, 1980. Don Stone (American, 1929 - ). 18 Watercolor on paper, 21" x 29." Allied Artists of America Gift from family, friends, and the Stark Country Academy of Coming April 24, 2015 Trial Lawyers in Memory of Mr.
    [Show full text]
  • FIRST MAJOR US RETROSPECTIVE of the WORK of PAUL THEK to OPEN at the WHITNEY October 21, 2010-January 9, 2011
    FIRST MAJOR US RETROSPECTIVE OF THE WORK OF PAUL THEK TO OPEN AT THE WHITNEY October 21, 2010-January 9, 2011 Peter Hujar, Thek in the Palermo Catacombs , 1963 (reproduced from the original negative, 2010). © 1987 The Peter Hujar Archive LLC; courtesy Matthew Marks Gallery, New York NEW YORK, October 20, 2010 – An artist who defies classification, Paul Thek (1933-1988), the sculptor, painter, and creator of radical installations who was hailed for his work in the 1960s and early 70s, then nearly eclipsed within his own short lifetime, is the subject of an upcoming retrospective co-organized by the Whitney Museum of American Art and Carnegie Museum of Art. Paul Thek: Diver, A Retrospective , the first major exhibition in the United States to explore more… Paul Thek: Diver, A Retrospective , 2 the work of the legendary American artist, debuts in the Whitney’s fourth-floor Emily Fisher Landau Galleries, from October 21, 2010 to January 9, 2011; it travels to Carnegie Museum of Art, from February 5 to May 1, 2011, and then to the Hammer Museum, Los Angeles, from May 22 to September 4, 2011. Co-curators Elisabeth Sussman, curator and Sondra Gilman Curator of Photography at the Whitney, and Lynn Zelevansky, the Henry J. Heinz II Director of Carnegie Museum of Art, write in their catalogue introduction, “If today his art appears more relevant than ever, it may be because so many in the art world have hearkened to Thek’s tune and moved closer to the art he made: an art directly about the body; an art of moods, mysteries, and communal ideas; an art that was ephemeral, disrespectful of the conditions of museums, and that essentially ceased to exist once an exhibition closed.” The title of the exhibition, “Diver,” refers to paintings that Thek made in 1969-70 on the island of Ponza, off the coast of southern Italy, possibly inspired by the cover slab from the Tomb of the Diver , an ancient fresco unearthed in Paestum in 1968.
    [Show full text]
  • Joseph Raffael, However, Is a Surprising Departure
    BOARD OF DIRECTORS PRESIDENT SECRETARY Joseph Zerbey Brett Seymour VICE PRESIDENT LEGAL COUNSEL John Fedderke Justice G. Johnson, Jr M a n a g e r's Message TREASURER DIRECTORS Aaron Swiggum Jackie Barnes Miguel R. Cueto, General Manager ASSISTANT Maureen Brown TREASURER Richard Hylant Kirk Mizerek David Quinn 419-254-2977 • [email protected] Gregory H. Wagoner TOLEDO CLUB STAFF ADMINISTRATION Miguel R. Cueto, General Manager 419-254-2977 Nathalie Helm, Member Relations and Event Coodinator 419-254-2980 FOOD & BEVERAGE SERVICE The season for reflecting on beautiful where the bottles will rest and wait for the Jenni Maher, Catering Manager sunsets is upon us. right occasion to be served. These wine 419-254-2981 storage units will be hand-crafted by master Tina Orosz, Catering Assistant Manager Single malts and cigars, The President’s 419-254-2981 Dinner, Armed Services Dinner Dance, carpenters and be located in the third floor Michael Rosendaul, Executive Chef lobby on both sides of the fireplace. The 419-243-2200 ext. 2149 Turkey Buffet, Thanksgiving, Friday nights Nicholas Pinski, Dining Room Manager with Charlotte and Sunday brunch, followed design of these unique wine storage units 419-243-2200 ext. 2964 by football in the Sports Grill & Tavern, are will blend in with the existing Corinthian Charlotte Hall Concierge and Member Relations Manager all part of a wide variety of club events columns and contemporary décor that 419-243-2200 ext. 2161 lined up to delight, amuse, and entertain typifies that elegant lobby. Judith Harruff, Dining Room Hostess 419-243-2200 ext. 2134 the most chic membership around.
    [Show full text]
  • UC Riverside Electronic Theses and Dissertations
    UC Riverside UC Riverside Electronic Theses and Dissertations Title Anarchic Intimacies: Queer Friendship and Erotic Bonds Permalink https://escholarship.org/uc/item/76510324 Author Dumortier, Laurence Publication Date 2016 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE Anarchic Intimacies: Queer Friendship and Erotic Bonds A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English by Laurence Hilary Dumortier March 2017 Dissertation Committee: Dr. Jennifer Doyle, Chairperson Dr. Steven Gould Axelrod Dr. George E. Haggerty Copyright by Laurence Hilary Dumortier 2017 The Dissertation of Laurence Hilary Dumortier is approved: Committee Chairperson University of California, Riverside Acknowledgments I would like to acknowledge the tremendous support and guidance of my dissertation committee, Jennifer Doyle, Steven Gould Axelrod and George E. Haggerty. Their advice, suggestions and encouragement have been invaluable. I also want to recognize how inspiring they have been to me as examples of brilliant scholarship, dedicated teaching, and personal integrity. I’m also grateful to Stephen Koch who granted me several lengthy personal interviews about his recollections of Peter Hujar and David Wojnarowicz, and who allowed me to study previously unpublished photographs and contact sheets from the Peter Hujar Archive. iv ABSTRACT OF THE DISSERTATION Anarchic Intimacies: Queer Friendship and Erotic Bonds by Laurence Hilary Dumortier Doctor of Philosophy, Graduate Program in English University of California, Riverside, March 2017 Dr. Jennifer Doyle, Chairperson What makes a friendship “queer”? The queerness of the friendships I will explore in this project is, in part related to, but not co-extensive with, the sexual orientation of its participants.
    [Show full text]
  • Joseph Raffael in the South of France
    MASTER LESSON: Stephen Cephalo on Drawing the Figure the GOLD LEAF TODAY p.10 magazine NIGHT SCENES Plein Air in the Dark p.22 LIVING QUEER IN THE BRITISH ART 1861-1967 at the Tate NOW Britain Joseph Raffael p.7 ONE in the South ARTIST’S JOURNEY of France From Representation to Abstraction p.40 Margaret Bowland’s “Uncomfortable” Pictures P LUS Social Star: Vincent Giarrano Around the World From Biochemistry City Scenes in Watercolor, Pen & Ink to Art SEPTEMBER 2017 artistsmagazine.com Fathers & Sons Dawn Rose by Joseph Raffael is part of his series focusing on the by Way of Japan beauty of single blossoms. JOSEPH RAFFAEL IN THE NOW Three years ago two friends began a conversation that continues today across continents and seas. INTERVIEW BY BETSY DILLARD STROUD LEFT: Promise (watercolor on paper, 18½x17¼) Luminous white sparkles against a blue background containing muted circles of color, and transparent grays emphasize form and shadow. ABOVE: The Promise of a New Day (watercolor on paper 18½x17¼) The sensuality of the flower in full regalia is expressed in the soft nuance of voluptuous shapes and variegated colors. 30 artistsmagazine.com SEPTEMBER 2017 31 n his light-filled studio overlooking the Mediterranean sea in Cap d’Antibes, France, Joseph Raffael is hard at work on his new series of small paintings. Tese paintings, coined “jewels” by his cherished friend, Nancy Hoffman, are usu- ally square in shape (about 19x19 inches.) Tey possess an almost indescribable luminous, diaphanous quality. Tey’re palpable, they breathe and their transparency, accentuated in the smallness of the work, perhaps could get lost in a bigger piece.
    [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]
  • Cantonmuseumof Art
    CantonMuseumof Art WINTER 2020-21 Virtual Comm-UNITY Art for Health and Healing is a community program that was inspired by an exhibit called “Three Voices.” The show inspired staff members at CMA to ask the question “How can we help the community express themselves through art?” It was from that idea that started the program almost four years ago. Art for Health and Healing is an interactive program for groups to gain a better understanding of visual arts and how art can create awareness in their own lives. Since the program has started, we have been able to connect with people all over Stark and Wayne county. Some of the feedback we have received includes “Looking at things from a different perspective makes me all around happy, I feel important, and I am somebody special,” and “makes me feel better about myself.” The program is led by Amy Hope who has been an Art Therapist for almost 10 years. CMA is one of the few museums in the country to have an Art Therapist on staff. Art therapy is a mental health professional who is trained to use active art-making and creative process within a psychotherapeutic relationship. RESPONDING TO A COMM-UNITY A MESSAGE FROM AMY HOPE: COVID-19 has made us all stop and think about what comm-unity means. For me, comm- unity means feeling connected and having a role in supporting one another. It takes many people and different types of care in the community. We all need to play a role and care for one another.
    [Show full text]
  • MARION GREENSTONE Pop Art 1960 / 1970
    (1954 - 1956), Venezuela (1957), Los Angeles (1959 -1960) and Canada (1958 - 1962). She MARION GREENSTONE traveled widely and many of her works on paper are impressions of the places she visited. From the facts of her biography it is clear that her existence was dedicated entirely to art and Pop Art 1960 / 1970 everything revolved around that. Marion Isaacson Greenstone was born in Brooklyn in 1925. The family lived in Beacon, New York during the 1930s but then returned to New York City where, during World War II, Marion attended high school and college. Cora was born in 1929 and, since Marion’s death in New York in 2005, has been actively involved with her work and the principal source of information Preface about the artist. Although there are many outstanding women artists in the contemporary art world who are At the age of 21, after earning a degree in English and experience in teaching, Marion realized widely acclaimed to be on a par with men, we should not forget that this was not always so and that her true aspiration had always been another one, to be an artist. She called it “my secret that it is the result of a long, arduous journey. Until just a few decades ago, women artists were desire.” Given her educational and family background, it was a difficult and courageous choice. relegated to the margins of official art history and only recently, in certain cases, has the central Art represented an area of freedom for her, but it was hard to conquer on both the exterior point of their lives and work been recognized.
    [Show full text]
  • JULIAN STANCZAK Born
    JULIAN STANCZAK Born: 1928, Borownica, Poland Died: Seven Hills, Ohio, March 25, 2017 EDUCATION 1948-50 Borough Polytechnic Institute, London, England. 1954 BFA, Cleveland Institute of Art. 1956 MFA, Yale University, studying with Josef Albers and Conrad Marca-Relli. SOLO EXHIBITIONS 1948 Stanley Hotel, Nairobi, Kenya 1963 Edgecliff Academy of Fine Arts, Cincinnati, Ohio 1964 Dayton Art Institute, Dayton, Ohio Martha Jackson Gallery, New York, NY 1965 Miami University, Oxford, Ohio University of Wisconsin, Madison, Wisconsin Martha Jackson Gallery, New York, NY 1966 Feingarten Gallery, Los Angeles, California 1968 Dartmouth College, Hanover, New Hampshire Martha Jackson Gallery, New York, NY Kent State University, Kent, Ohio 1969 Akron Art Institute, Akron, Ohio London Arts Gallery, Detroit, Michigan Ray Packard Gallery, Akron, Ohio Mackler Gallery, Philadelphia, Pennsylvania 1971 London Arts Gallery, London, England Martha Jackson Gallery, New York, NY Images Gallery, Toledo, Ohio Cleveland Institute of Art, Cleveland, Ohio 1972 Corcoran Gallery of Art, Washington, D.C. Cincinnati Art Museum, Cincinnati, Ohio London Arts Gallery, Detroit, Michigan Images Gallery, Toledo, Ohio Lantern Gallery, Ann Arbor, Michigan Martha Jackson Gallery, New York, NY Carl Solway Gallery, Cincinnati, Ohio 1973 Van Straaten Gallery, Chicago, Illinois The New Gallery, Cleveland, Ohio Martha Jackson Gallery, New York, NY 1974 Canton Art Institute, Canton, Ohio Alamo Gallery, Alamo, California Phoenix Gallery, San Francisco, California Jane Haslem Gallery, Washington, D.C. 1975 Alice Simsar Gallery, Ann Arbor, Michigan Martha Jackson Gallery, New York, NY Lakeland Community College, Mentor, Ohio Packard Gallery, Toronto, Ontario Canada 1976 Ohio State University, Columbus, Ohio Kingpitcher Gallery, Pittsburgh, Pennsylvania Marjorie Kauffman Gallery, Los Angeles, California 1978 International Monetary Fund and Care Medico, Washington, D.C.
    [Show full text]