Summer Homework AP Studio Art: 3-D DESIGN

Total Page:16

File Type:pdf, Size:1020Kb

Summer Homework AP Studio Art: 3-D DESIGN Summer Homework AP Studio Art: 3-D DESIGN *The following 3 boxes should be “checked off” and complete by the first day of school!! You will bring in your projects by the end of the first week. ❏ Get a Sketchbook and start collecting!! Clippings from magazines/catalogs/internet, sketches, notes, interesting found objects/textures/colors, etc. ❏ Create 2 projects over the summer!! These will hopefully fit in your BREADTH section of the portfolio. Experiment with materials and new ideas and processes. See attached pages for ideas! ❏ Find 3 artists you admire! Record the names of 3 artists whose work is interesting to you - may or MAY NOT be a ceramic artist! May or MAY NOT be alive. May or MAY NOT come from the list attached. Project Ideas Clay Projects Morphed Figure: Think of the two different objects/items and morph them together somehow. They should be made to be ONE sculpture, and not two. Medium is your choice. Example: human arm/wrist turning into a dragon. Create a 3-sectioned cylindrical vase. Add texture to the main body by using burlap, texture stamps, etc. Incorporate negative space by cutting out a section in a geometric or organic shape that complement the form of your vase. Using the coil method, build a bottle that is either clearly organic or geometric in form. You may smooth the coils entirely or you may use a combination of visible coils and blended coils. Think about incorporating a slab section into your project. Research ceramic vessels that are a combination of hand-built and wheel-thrown sections. Build a textured pocket vessel that incorporates wheel thrown spouts. Use incised decoration or textured impressions to form an interesting surface. Build a slab vessel that incorporates a face. Think of a container that would hold secrets and incorporate a face into the vessel design. This should be a symbolic piece. References: Raul Acero, Kathy Triplett Figure in Clay: Create a person or figurative sculpture. It might be realistic or abstracted, whimsical or symbolic. References: Mark Kostabi Create a face casting project that represents two sides of your personality. Texture drape slap pot. Work with the draping qualities of clay and create an organic shape. Incorporate texture as well. Using any debris from your life (clothes, paper, food, containers, cosmetics, reading material) assemble the materials into a life-size self portrait bust, actual or metaphorical, in relieve or in the round. You can use any means available to attach materials. Evolving Form: Create three objects whose forms are related yet different from each other. Each object must be at least 8 inches high. Can be vessels, figures, or abstract form. Using clay, sculpt a 3 dimensional self-portrait bust, or a portrait of a family member or friend. Enlargement Project: Select a subject that is typically small, such as a paper lcip, nail clipper, wrist watch, corkscrew, bugs, etc. and recreate the subject on a giant scale. Make a soft sculpture by cutting fabrics and flexible materials, which are then sewn, stuffed, stitched, and decorated. or create a large rigid structure by using cardboard. Reference: Claus Oldenberg Creature Skulls: Select a mythological character or legendary beast (i.e. Big Foot, Lochness Monster, Cyclops, etc). Using clay, create the skull, skeleton, or anatomical fragment of the beast. Surreal Prize Winner: Make up an imaginary event that would rival a performance in the Guiness Book of Records (or choose an actual record from the book itself). Create a trophy, monument, or shrine that recognizes and pays tribute to the achievement. Cups, bowls, plates thrown on the wheel emphasizing inventive form Hand-built ceramic cessels, coil and slap emphasizing inventive form Ceramic bird house. Or some other animal’s house - be CREATIVE! Figures and animals from clay or other materials (welded metal, found objects, natural materials) Organic sculptures inspired by the work of Hepworth, Moore, or Noguchi. Create a Totem Pole. It could be in the traditional Native American style or inspired by the Bauhaus or the Art Deco style. Make it about you, like a biography. Metamorphosis: Create a sculpture of an organic form evolving into a geometric form Seeds: Create forms that evolve from seedpods or legumes. Caricature: distort proportions or enlarge parts of the human figure/face and create a sculpture. Non-Clay Projects Trash to Treasure: Find an interesting object from the garage, attic, flea market, or second-hand store. Transform the object by covering its entire surface with textural materials: mosaic, pebbles, glass, yarn, paper, sand, photos, rope, coins, marble, small objects, etc. Assemblages of found materials Using only natural materials (twigs, grasses, pods, stones, leaves) and twine or string, create a container for an object that has special meaning fo you. The container must be at least 10 inches in one of it’s dimensions. Using either popsicle sticks, wooden matches, toothpicks, dowel rods, mat board, cardboard, or any combination of the above, create an architectural model for a house, city skyscraper, or a museum of modern art to be built in the year 2075. References: Frank Gehry, Robert Centuri, Frank Lloyd Wright Phillip Johnson Create a 3-dimensional sculpture from found objects. References: Pablo Picasso, Julio Gonzalez, Richard Chamberlain, Robert Rauschenberg Transform an ordinary shoe into a symbolic monument. Get an old shoe or boot from the basement, attic, or local flea market. Select a theme from the following list or make up uour own subject: Ode to Albert Einstein, Ode to Marilyn Monroe, Ode to Pablo Picasso. Embellish the shoe with the elements to portray the theme (i.e. add papier-mache wings, minature toys, coins, lights, coins, etc.). Morphed Figure: Think of the two different objects/items and morph them together somehow. They should be made to be ONE sculpture, and not two. Medium is your choice. Example: human arm/wrist turning into a dragon. Create a wind driven sculpture Rhythm Study: Construct a sculpture that uses at least 500 pieces of the same small common object, emphasizing movement. AP Artist List Magdalena Abakanowicz Marilyn Levine Carl Andre Sol LeWitt Robert Arneson Maya Lin Gian Lorenzo Bernini Richard Long Chakaia Booker Marisol Louise Bourgeois Ana Mendieta Kendall Buster Lazlo Maholy-Nagy Debra Butterfield Henry Moore Alexander Calder Juan Munoz Anthony Caro Isama Noguchi Elizabeth Catlett Bruce Nauman John Chamberlain Louise Nevelson Dale Chihuly Claes Oldenberg Eduardo Chillida Coosje can Bruggen Christo & Jeanne- Claude Judy Pffaf Joseph Cornell Adrian Piper Tony Cragg Gio’ Pomodoro Stephen DeStaebler Marin Puryear Mark di Suvero Robert Rauschenberg Tara Donovan George Rickey Marcel Duchamp Ursula Von Rydingavard Dan Flavin Betty Saar Lucio Fontana Kurt Schwitters Viola Frey George Segal Frank Gehry Richard Serra Andy Goldsworthy Joel Shapiro Nancy Graves Sandy Skoglund Red Grooms David Smith Ann Hamilton Kiki Smith David Hammons Renee Stout Joseph Havel James Surls Barbara Hepworth Lenore Tawney Eva Hesse Robert Terrell Alan Houser Anne Truitt Luis Jimenez Peter Coulkos Donald Judd Minako Watanabe Jan Kaneko Patti Warashina Edward Kienholz Rachel Whiteread Jeff Koons Jackie Windsor Henri Laurens Frank Lloyd Wright .
Recommended publications
  • Press Release Frank Gehry First Major European
    1st August 2014 PRESS RELEASE communications and partnerships department 75191 Paris cedex 04 FRANK GEHRY director Benoît Parayre telephone FIRST MAJOR EUROPEAN 00 33 (0)1 44 78 12 87 e-mail [email protected] RETROSPECTIVE press officer 8 OCTOBER 2014 - 26 JANUARY 2015 Anne-Marie Pereira telephone GALERIE SUD, LEVEL 1 00 33 (0)1 44 78 40 69 e-mail [email protected] www.centrepompidou.fr For the first time in Europe, the Centre Pompidou is to present a comprehensive retrospective of the work of Frank Gehry, one of the great figures of contemporary architecture. Known all over the world for his buildings, many of which have attained iconic status, Frank Gehry has revolutionised architecture’s aesthetics, its social and cultural role, and its relationship to the city. It was in Los Angeles, in the early 1960s, that Gehry opened his own office as an architect. There he engaged with the California art scene, becoming friends with artists such as Ed Ruscha, Richard Serra, Claes Oldenburg, Larry Bell, and Ron Davis. His encounter with the works of Robert Rauschenberg and Jasper Johns would open the way to a transformation of his practice as an architect, for which his own, now world-famous, house at Santa Monica would serve as a manifesto. Frank Gehry’s work has since then been based on the interrogation of architecture’s means of expression, a process that has brought with it new methods of design and a new approach to materials, with for example the use of such “poor” materials as cardboard, sheet steel and industrial wire mesh.
    [Show full text]
  • Andy Warhol Who Later Became the Most
    Jill Crotty FSEM Warhol: The Businessman and the Artist At the start of the 1960s Roy Lichtenstein, Claes Oldenburg and Robert Rauschenberg were the kings of the emerging Pop Art era. These artists transformed ordinary items of American culture into famous pieces of art. Despite their significant contributions to this time period, it was Andy Warhol who later became the most recognizable icon of the Pop Art Era. By the mid sixties Lichtenstein, Oldenburg and Rauschenberg each had their own niche in the Pop Art market, unlike Warhol who was still struggling to make sales. At one point it was up to Ivan Karp, his dealer, to “keep moving things moving forward until the artist found representation whether with Castelli or another gallery.” 1Meanwhile Lichtenstein became known for his painted comics, Oldenburg made sculptures of mass produced food and Rauschenberg did combines (mixtures of everyday three dimensional objects) and gestural paintings. 2 These pieces were marketable because of consumer desire, public recognition and aesthetic value. In later years Warhol’s most well known works such as Turquoise Marilyn (1964) contained all of these aspects. Some marketable factors were his silk screening technique, his choice of known subjects, his willingness to adapt his work, his self promotion, and his connection to art dealers. However, which factor of Warhol’s was the most marketable is heavily debated. I believe Warhol’s use of silk screening, well known subjects, and self 1 Polsky, R. (2011). The Art Prophets. (p. 15). New York: Other Press New York. 2 Schwendener, Martha. (2012) "Reinventing Venus And a Lying Puppet." New York Times, April 15.
    [Show full text]
  • Office of Staff Secretary; Series: Presidential Files; Folder: 6/14/77 [2]; Container 25
    6/14/77 [2] Folder Citation: Collection: Office of Staff Secretary; Series: Presidential Files; Folder: 6/14/77 [2]; Container 25 To See Complete Finding Aid: http://www.jimmycarterlibrary.gov/library/findingaids/Staff_Secretary.pdf THE PRESIDENT'S SCHEDULE Tuesday - June 14, 1977 8:15 Dr. Zbigniew Brzezinski - The Oval Office. 8:45 Mr. Frank Moore The Oval Office. 9:30 Mr. Jody Powell The Oval Office. .i:45 Drop-By Meeting of Leaders of Veteran/ (10 min.) Military Groups. (Ms. Midge Costanza). The Roosevelt Room. 10:00 Budget Revie\'1 Meeting. (Mr. Bert Lance) . (2 hrs.) The Cabinet Room. 1:30 Budget Review Meeting. (Mr. Bert Lance). (90 min.) The Cabinet Room. 3:15 Secretary Harold Brown ....... ,The· Office. :oval. (15 min.) ~ :00 Meeting with Senator Joseph R. Biden, Jr. (15 min.) and the Delaware Delegation. (Mr. Frank Moore) - The Cabinet Room. 4:20 Drop-By White House Conference on HIRE. (15 min.) . .. ~he East Room. Lo Reception for the Inaugural Portfolio (10 min.) Artists The Rose Garden. .l' THE WHITE HOUSE WASHINGTON June 14, 1977 < / Gretchen Poston The attached was returned in the President's outbox. It is forwarded to you for appropriate handling. Rick Hutcheson cc: Z. Brzezinski Frank Moore THE WHITE HOUSE WASHINGTON z 0 H 8 H C) :>I ,::C Iii MONDALE COSTANZA EIZENSTAT JORDAN EXECUTIVE ORDER LIPSHUTZ Comments due to I")( MOORE Carp/Euron within POWELL 48 hours; due to WATSON Staff Secretary next day FOR STAFFING FOR INFORMATION ~ FROM PRESIDENT'S OUTBOX LOG IN/TO PRESIDENT TODAY IMMEDIATE TURNAROUND ARAGON BOURNE HOYT HUTCHESON JAGODA WEL S KING VOORDE < • MEMORAND UM THE WHITE HO U SE W AS HIN G T O N June 13, 1977 MEMORANDUM FOR: THE PRESIDENT FROM: GRETCHEN POSTON RE: GUEST LIST FOR PM FRASER LUNCHEON 12:30 p.m.
    [Show full text]
  • Murray Ave School Art Appreciation Presentation: Robert Rauschenberg
    Murray Ave School Art Appreciation Presentation: Robert Rauschenberg Lesson Plan Biography: (show picture 1, photo of him in his studio) Considered by many to be one of the most influential American artists due to his radical blending of materials and methods, Robert Rauschenberg was one of the key Neo-Dada movement artists in the 1950s and 60s. He would pick up trash he found on the street, use pages ripped from the phone book, photographs, and even 3 dimensional objects like spoons. He would then affix these objects to his canvas, and paint over them to create a layered effect. He was quoted as saying "I really feel sorry for people who think things like soap dishes or mirrors or Coke bottles are ugly because they're surrounded by things like that all day long, and it must make them miserable.” Robert Rauschenberg was born in the small town of Port Arthur, Texas. His father, was a strict and serious man and his mother was a very frugal woman. She made the family's clothes from scraps. That embarrassed little Robert, but possibly influenced his artwork later in life with his collages. He asked for a store-bought shirt for his high school graduation present, the very first in his young life!! During WWII, Robert was drafted into the Navy. While stationed in San Diego, he was assigned the job as a medical technician to care for wounded soldiers. On a break one day, he walked into an art gallery and saw oil paintings in person for the first time, and became instantly fascinated by art.
    [Show full text]
  • Postmodernism
    Black POSTMODERNISM STYLE AND SUBVERSION, 1970–1990 TJ254-3-2011 IMUK VLX0270 Postmodernism W:247mmXH:287mm 175L 130 Stora Enso M/A Magenta(V) 130 Stora Enso M/A 175L IMUK VLX0270 Postmodernism W:247mmXH:287mm TJ254-3-2011 1 Black Black POSTMODERNISM STYLE AND SUBVERSION, 1970–1990 TJ254-3-2011 IMUK VLX0270 Postmodernism W:247mmXH:287mm 175L 130 Stora Enso M/A Magenta(V) 130 Stora Enso M/A 175L IMUK VLX0270 Postmodernism W:247mmXH:287mm TJ254-3-2011 Edited by Glenn Adamson and Jane Pavitt V&A Publishing TJ254-3-2011 IMUK VLX0270 Postmodernism W:247mmXH:287mm 175L 130 Stora Enso M/A Magenta(V) 130 Stora Enso M/A 175L IMUK VLX0270 Postmodernism W:247mmXH:287mm TJ254-3-2011 2 3 Black Black Exhibition supporters Published to accompany the exhibition Postmodernism: Style and Subversion, 1970 –1990 Founded in 1976, the Friends of the V&A encourage, foster, at the Victoria and Albert Museum, London assist and promote the charitable work and activities of 24 September 2011 – 15 January 2012 the Victoria and Albert Museum. Our constantly growing membership now numbers 27,000, and we are delighted that the success of the Friends has enabled us to support First published by V&A Publishing, 2011 Postmodernism: Style and Subversion, 1970–1990. Victoria and Albert Museum South Kensington Lady Vaizey of Greenwich CBE London SW7 2RL Chairman of the Friends of the V&A www.vandabooks.com Distributed in North America by Harry N. Abrams Inc., New York The exhibition is also supported by © The Board of Trustees of the Victoria and Albert Museum, 2011 The moral right of the authors has been asserted.
    [Show full text]
  • The National Arts Awards Chair
    1 Edye and Eli Broad salute Americans for the Arts and 2 tonight’s honorees for their commitment ensuring broad access to the arts 2014 Americans for the Arts National Arts Awards Monday, October 20, 2014 Welcome from Robert L. Lynch Performance by YoungArts Alumni President and CEO of Americans for the Arts Outstanding Contributions to the Arts Award Legacy Award American Legion Auxiliary Madeleine H. Berman Presented by Nolen V. Bivens, Presented by Anne Parsons Brigadier General, U.S. Army, (Ret) Accepted by Janet Jefford Lifetime Achievement Award Richard Serra Eli and Edythe Broad Award for 3 Presented by Jennifer Russell Philanthropy in the Arts Vicki and Roger Sant Arts Education Award Presented by The Honorable Christopher J. Dodd P.S. ARTS Presented by Ben Stiller Bell Family Foundation Young Artist Award Accepted by Joshua B. Tanzer David Hallberg Presented by RoseLee Goldberg Dinner Closing Remarks Robert L. Lynch introduction of Maria Bell Abel Lopez, Chair, Americans for the Arts Vice Chairman, Americans for the Arts Board of Board of Directors Directors and Chair, National Arts Awards and Robert L. Lynch Greetings from the Board Chair and President It is our pleasure to welcome you to our annual Americans for the Arts National Arts Awards. Tonight we again celebrate a select group of cultural leaders— groundbreaking artists, visionary philanthropists, and two outstanding nonprofit organizations—who help ensure that every American has access to the transformative power of the arts. We gratefully acknowledge the contributions of all of our honorees. In this time of increasing challenges to our nation’s security and the sacrifices made by our servicemen and women and their families, we are especially pleased to recognize the American Legion Auxiliary, one of our many partners in the work we do with the military and veterans on the role of the arts & healing.
    [Show full text]
  • NEA Chronology Final
    THE NATIONAL ENDOWMENT FOR THE ARTS 1965 2000 A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS President Johnson signs the National Foundation on the Arts and the Humanities Act, establishing the National Endowment for the Arts and the National Endowment for the Humanities, on September 29, 1965. Foreword he National Foundation on the Arts and the Humanities Act The thirty-five year public investment in the arts has paid tremen­ Twas passed by Congress and signed into law by President dous dividends. Since 1965, the Endowment has awarded more Johnson in 1965. It states, “While no government can call a great than 111,000 grants to arts organizations and artists in all 50 states artist or scholar into existence, it is necessary and appropriate for and the six U.S. jurisdictions. The number of state and jurisdic­ the Federal Government to help create and sustain not only a tional arts agencies has grown from 5 to 56. Local arts agencies climate encouraging freedom of thought, imagination, and now number over 4,000 – up from 400. Nonprofit theaters have inquiry, but also the material conditions facilitating the release of grown from 56 to 340, symphony orchestras have nearly doubled this creative talent.” On September 29 of that year, the National in number from 980 to 1,800, opera companies have multiplied Endowment for the Arts – a new public agency dedicated to from 27 to 113, and now there are 18 times as many dance com­ strengthening the artistic life of this country – was created. panies as there were in 1965.
    [Show full text]
  • Gettysburgcollegecapst
    Josiah B. Adlon Preston G. Hartwick Hannah C. Knowles Erin McInerney Tara M. Mitchell Gabriella M. Schiro Francesco B. Siciliano Christine L. Walker GETTYSBURGCOLLEGECAPSTONE2012 Art and Art History Senior Projects Marielle K. Bianchi Francesca S. DeBiaso Logan D. Hanley Dana C. Forkner Briana E. Hartgers Sarah H. Moses Kristen E. Rivoli GETTYSBURGCOLLEGECAPSTONE2012 Art and Art History Senior Projects t gives us great pleasure to introduce the Gettysburg College Art and Art History senior Capstone projects for 2012. These projects serve as the culmination of the Studio Art and Art History major. They are as rich and varied as the students themselves and exemplify the commitment the Department of Art and Art History places on creativity and scholarship in a liberal arts education. The Art History research projects present an unusually rich array of artistic and historical issues, bringing together bold ideas and unearthing hidden gems. Some students investigated iconic works by well-known artists, like Picasso, Renoir and Hannah Höch, and brought to bear pressing issues of gender, Art Senior Projects prostitution, politics, colonialism and the effects of the Industrial Revolution. Some looked at lesser-known works by famed artists—The Rauschenberg Overseas 4 Josiah B. Adlon 12 Tara M. Mitchell Cultural Interchange and Judy Chicago’s Birth Project, a portion of which is owned by Gettysburg College. Other projects explored engaging social and cultural issues, 6 Preston G. Hartwick 14 Gabriella M. Schiro from the impact of the corset on 19th century visual culture and social life to the brash, Wagnerian expressions of gender ambiguities in the contemporary video art 8 Hannah C.
    [Show full text]
  • Louise Bourgeois / Biography
    LOUISE BOURGEOIS • BIOGRAPHY 1911 Born in Paris, France 1938 Moved to New York 1921-1927 Lycée Fénelon and Collège Sévigné 1932 Lycée Fénelon (received Baccalauréat after private study) 1932 -1935 Sorbonne 1934 Paul Colin 1936-1937 Atelier Roger Bissière dell’Académie Ranson 1936-1937 Académie of D’Espagnat 1936-1937 École du Louvre 1936-1938 École Nationale Supérieure des Beaux-Arts (studying with André De vambez) 1936-1938 Académie de la Grande-Chaumière, as an assistant or massière to Yves Brayer 1937-1938 École Municipale de Dessin & d'Art, 1937-1938 Académie de la Grande-Chaumière, studying painting with Othon Friesz and sculpture with Robert Wlérick 1937-1938 Docent at the Musée du Louvre 1937 Académie Julian 1938 Académie Scandinavie with Charles Despiau 1938 Studied with Fernand Léger 1938 Marcel Gromaire and André Lhote 1938-1939 L’Académie Ranson 1939-1940 Vaclav Vytlacil 1938 Louise Bourgeois moves to New York City. 1946 Art Student’s League of New York 1955 On October 5th, Louise Bourgeois becomes an American citizen. INDIVIDUAL EXHIBITIONS 1945 Bertha Schaefer Gallery, New York, NY “Paintings by Louise Bourgeois” (opened 6/4/45) 1947 Norlyst Gallery, New York, NY “Louise Bourgeois: Paintings” (10/28/47-11/8/47) 1949 Peridot Gallery, New York, NY “Louise Bourgeois, Recent Work 1947-1949: Seventeen Standing Figures in Wood” (10/3/49-10/29/49) 1950 Peridot Gallery, New York, NY “Louise Bourgeois: Sculptures” (10/2/50- 10/28/50) 1953 Peridot Gallery, New York, NY “Louise Bourgeois: Drawings for Sculpture and Sculpture” (3/30/53-4/25/53) 1 1959 Andrew D.
    [Show full text]
  • Frank Gehry's Self-Twisting Uninterrupted Line: Gesture-Drawings As Indexes
    arts Article Frank Gehry’s Self-Twisting Uninterrupted Line: Gesture-Drawings as Indexes Marianna Charitonidou 1,2,3 1 Chair of the History and Theory of Urban Design, Institute for the History and Theory of Architecture (gta), Department of Architecture, ETH Zurich, Stefano-Franscini-Platz 5, CH 8093 Zürich, Switzerland; [email protected] or [email protected] 2 School of Architecture, National Technical University of Athens, 42 Patission Street, 106 82 Athens, Greece 3 Faculty of Art History and Theory, Athens School of Fine Arts, 42 Patission Street, 106 82 Athens, Greece Abstract: The article analyses Frank Gehry’s insistence on the use of self-twisting uninterrupted line in his sketches. Its main objectives are first, to render explicit how this tendency of Gehry is related to how the architect conceives form-making, and second, to explain how Gehry reinvents the tension between graphic composition and the translation of spatial relations into built form. A key reference for the article is Marco Frascari’s ‘Lines as Architectural Thinking’ and, more specifically, his conceptualisation of Leon Battista Alberti’s term lineamenta in order to illuminate in which sense architectural drawings should be understood as essential architectural factures and not merely as visualisations. Frascari, in Eleven Exercises in the Art of Architectural Drawing: Slow Food for the Architects’s Imagination, after having drawn a distinction between what he calls ‘trivial’ and ‘non- trivial’ drawings—that is to say between communication drawings and conceptual drawings, or drawings serving to transmit ideas and drawings serving to their own designer to grasp ideas during the process of their genesis—unfolds his thoughts regarding the latter.
    [Show full text]
  • Gerald Van De Wiele: Variations Seven Decades of Painting, Drawing and Sculpture
    Gerald van de Wiele: Variations Seven Decades of Painting, Drawing and Sculpture curated by Jason Andrew January 19-May 19, 2018 This historic retrospective captures seven-decades of art by Gerald van de Wiele; an exhibition that highlights the artist’s distinctive calibration of color and line while tapping the pulse-rhythm of the natural world. Gerald van de Wiele: Ever the Dreamer by Jason Andrew Black Mountain College has a rich and complex narrative. It’s a story full of many colorful characters, suspenseful chapters, and historic scenes. One such narrative that hasn’t been told, until now of course, is the story of Gerald van de Wiele. “By the time I was in my early teens, I knew I wanted to be a painter. There was no question about it,” van de Wiele told author and historian Martin Duberman in 1968, “I didn’t know what it meant and everything, but I knew a lot about art at a very early age, maybe even 13 or 14 years old—maybe even earlier. And the path ahead seemed very clear. I knew that’s what I’d be, a painter.”1 Gerald van de Wiele was born in 1932 and raised in Detroit. He attended Cass Technical High School from 1947-1950. One day, a recent grad of the school by the name of Ray Gerald van de Wiele Johnson visited his class “singing the praises of a place called Untitled (Black Mountain College) (1956) Black Mountain College. That was the first time I heard of Oil on canvas, 20 x 16 in.
    [Show full text]
  • Selections from the Archives of American Art Oral History Collection
    1958 –2008 Archives of American Art, Smithsonian Institution | Winterhouse Editions, 2008 Published with the support of the Dedalus Foundation, Inc. 6 Introduction 8 Abraham Walkowitz 14 Charles Burchfield 20 Isamu Noguchi 24 Stuart Davis 32 Burgoyne Diller 38 Dorothea Lange 44 A. Hyatt Mayor 50 Edith Gregor Halpert 56 Jacob Lawrence 62 Emmy Lou Packard 70 Lee Krasner 76 Robert Motherwell 82 Leo Castelli 88 Robert Rauschenberg 92 Al Held 96 Katharine Kuh 102 Tom Wesselmann 106 Agnes Martin 112 Sheila Hicks 120 Jay DeFeo 126 Robert C. Scull 134 Chuck Close 142 Ken Shores 146 Maya Lin 152 Guerrilla Girls Perhaps no experience is as profoundly visceral for the historian than the Mark Rothko Foundation, and the Pasadena Art Alliance. Today to read and listen to individuals recount the stories of their lives and this project remains remarkably vigorous, thanks to support from the careers in an interview. Although the written document can provide Terra Foundation for American Art, the Brown Foundation of Houston, extraordinary insight, the intimacy of the one-on-one interview offers the Widgeon Point Charitable Foundation, the Art Dealers Association of a candor and immediacy rarely encountered on the page. America, and in particular Nanette L. Laitman, who has recently funded nearly 150 interviews with American craft artists. Intro- I am deeply grateful to the many people who have worked so hard to make this publication a success. At the Archives, I wish to thank ductionIn 1958, with great prescience, the Archives of American Art our oral history program assistant Emily Hauck, interns Jessica Davis initiated an oral history program that quickly became a cornerstone of and Lindsey Kempton, and in particular our Curator of Manuscripts, our mission.
    [Show full text]