100823 Broad Collection Location Architect Announcement
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National Gallery of Art
National Gallery of Art FOR IMMEDIATE RELEASE Deborah Ziska, Information Officer March 19, 1999 PRESS CONTACT: Patricia O'Connell, Publicist (202) 842-6353 NATIONAL GALLERY OF ART SCULPTURE GARDEN TO OPEN MAY 23 New Acquisitions in Dynamic Space Will Offer Year-Round Enjoyment on the National Mall Washington, D.C. -- On May 23, the National Gallery of Art will open a dynamic outdoor sculpture garden designed to offer year-round enjoyment to the public in one of the preeminent locations on the National Mall. The National Gallery of Art Sculpture Garden is given to the nation by The Morris and Gwendolyn Cafritz Foundation. The landscaping of the 6.1-acre space provides a distinctive setting for nearly twenty major works, including important new acquisitions of post-World War II sculpture by such internationally renowned artists as Louise Bourgeois, Mark di Suvero, Roy Lichtenstein, Claes Oldenburg and Coosje van Bruggen, and Tony Smith. The Sculpture Garden is located at Seventh Street and Constitution Avenue, N.W., in the block adjacent to the West Building. "We are proud to bring to the nation these significant works of sculpture in one of the few outdoor settings of this magnitude in the country," said Earl A. Powell III, director, National Gallery of Art. "The opening of the Sculpture Garden brings to fruition part of a master plan to revitalize the National Mall that has been in development for more than thirty years. The National Gallery is extremely grateful to the Cafritz Foundation for making this historic event possible." - more - Fourth Street at Constitution Avenue. -
“Print by Print: Series from Dürer to Lichtenstein” Exhibition at the Baltimore Museum of Art
A behind the scenes look: the making of the “Print by Print: Series from Dürer to Lichtenstein” exhibition at The Baltimore Museum of Art One of our recent projects was to make frames for The Baltimore Museum of Art’s “Print by Print: Series from Dürer to Lichtenstein” exhibition. In doing research on the exhibition I noticed the funding came because of the collaboration the museum did with the students from The Johns Hopkins University (JHU) and the Maryland Institute College of Art (MICA). Since funding has become much more of an issue in these days of reduced budgets, this caught my attention and I wanted to find out more about the collaboration. I was also interested in sharing with our readers a behind the scenes view of the making of an exhibition. On Friday November 18, 2011 I met with Rena Hoisington, BMA Curator & Department Head of the Department of Prints, Drawings, & Photographs, Alexandra Good, an art history major at JHU, and Micah Cash, BMA Conservation Technician for Paper. Karen Desnick, Metropolitan Picture Framing I was especially intrigued about the funding of this exhibition and the collaborative aspects with the students of The Johns Hopkins University and the Maryland Institute College of Art. Can you elaborate on the funding source and how the collaboration worked? Rena Hoisington, BMA I submitted a proposal for organizing an exhibition of prints in series a couple of years ago. Dr. Elizabeth Rodini, Senior Lecturer in the History of Art Department at The Johns Hopkins University and the Associate Director of the interdisciplinary, undergraduate Program for Museums in Society, then approached the Museum about working on a collaborative project that would result in an exhibition. -
Project Windows 2018 John Singer Sargent and Chicago's Gilded
February 14, 2018 Project Windows 2018 John Singer Sargent and Chicago’s Gilded Age The Art Institute of Chicago “Art is not what you see, but what you make others see.” Edgar Degas Magritte transformed Marc Jacobs ART INSTITUTE OF CHICAGO AWARD, 2014 Magritte, The Human Condition Lichtenstein reimagined Roy Lichtenstein, Brushstroke with Spatter Macy’s BEST OVER-ALL DESIGN 2015 Vincent brought to life Vincent van Gogh, Self-Portrait AT&T PEOPLE’S CHOICE AWARDS, 2016 2017 Gauguin: Artist as Alchemist Neiman Marcus Paul Gauguin, Mahana no atua (Day of the God), 1894 ART INSTITUTE OF CHICAGO AWARD, 2017 Sargent Inspiration - Experiential Sargent Inspiration - Visual Sargent Inspiration - Tactile Benefits Part of a citywide cultural Public Voting Drives traffic and builds celebration awareness Judges Showcase your designers Awards Celebration talent Resources michiganavemag.com/Project-Windows Images + developed merchandise PR + Social Media Advertising Annelise K. Madsen, Ph.D. Gilda and Henry Buchbinder Assistant Curator of American Art John Singer Sargent (American, 1856–1925) John Singer Sargent and Chicago’s Gilded Age The Fountain, Villa Torlonia, Frascati, Italy (detail), 1907 Oil on canvas 71.4 x 56.5 cm (28 1/8 x 22 1/4 in.) July 1–September 30, 2018 | Regenstein Hall East Friends of American Art Collection, 1914.57 The Art Institute of Chicago Gilded Age Painter of International Renown John Singer Sargent (1856–1925) The Art Institute of Chicago Inspiration Sargent’s art is both old and new, traditional and avant-garde.6 John Singer -
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. -
Dick Polich in Art History
ww 12 DICK POLICH THE CONDUCTOR: DICK POLICH IN ART HISTORY BY DANIEL BELASCO > Louise Bourgeois’ 25 x 35 x 17 foot bronze Fountain at Polich Art Works, in collaboration with Bob Spring and Modern Art Foundry, 1999, Courtesy Dick Polich © Louise Bourgeois Estate / Licensed by VAGA, New York (cat. 40) ww TRANSFORMING METAL INTO ART 13 THE CONDUCTOR: DICK POLICH IN ART HISTORY 14 DICK POLICH Art foundry owner and metallurgist Dick Polich is one of those rare skeleton keys that unlocks the doors of modern and contemporary art. Since opening his first art foundry in the late 1960s, Polich has worked closely with the most significant artists of the late 20th and early 21st centuries. His foundries—Tallix (1970–2006), Polich of Polich’s energy and invention, Art Works (1995–2006), and Polich dedication to craft, and Tallix (2006–present)—have produced entrepreneurial acumen on the renowned artworks like Jeff Koons’ work of artists. As an art fabricator, gleaming stainless steel Rabbit (1986) and Polich remains behind the scenes, Louise Bourgeois’ imposing 30-foot tall his work subsumed into the careers spider Maman (2003), to name just two. of the artists. In recent years, They have also produced major public however, postmodernist artistic monuments, like the Korean War practices have discredited the myth Veterans Memorial in Washington, DC of the artist as solitary creator, and (1995), and the Leonardo da Vinci horse the public is increasingly curious in Milan (1999). His current business, to know how elaborately crafted Polich Tallix, is one of the largest and works of art are made.2 The best-regarded art foundries in the following essay, which corresponds world, a leader in the integration to the exhibition, interweaves a of technological and metallurgical history of Polich’s foundry know-how with the highest quality leadership with analysis of craftsmanship. -
Quick Facts from the Modern Docent Newsletter
Quick Facts from the Modern Docent Newsletter Summer 2008 In Andy Warhol’s Twenty-Five Colored Marilyns, 1962, the colors were hand-painted with the aid of stencils before the black areas were silk-screened on top. Roy Lichtenstein used a homemade stencil to achieve the effect of Ben-day dots in his paintings. The Museum Ludwig in Cologne, Germany, owns Gerhard Richter’s painting Ema (Nude on a Staircase), 1966. Twenty-six years later, in 1992, the artist created an edition of 12 photographs of that painting, including the one in our permanent collection. Fall 2008 The stone used by Ulrich Rückriem in his untitled work from 1980 is Texas red granite from a quarry in Fredericksburg, TX. In 1981, this institution (then known as the Fort Worth Art Museum) hosted his first one-man museum exhibition in America, and when his work proved too costly to ship from Germany, he created new work in Texas using native stone. The figures and their bases in Stephan Balkenhol’s 4 Figures, 2000 are not separate pieces, but each a single continuous form. Also, Balkenhol’s major professor at the Hockschule für Bildende Künst in Hamburg, Germany, was Ulrich Rückriem. January 2009 Here are some interesting connections between some of the artists whose works are currently exhibited on the first floor: Ellsworth Kelly lived in the same building as Agnes Martin in Lower Manhattan in the late 1950s. They had breakfast together every day for a year and a half. Carl Andre and Frank Stella shared a studio space in New York from 1958–1960, the years Stella developed his black stripe paintings. -
Eli and Edythe Broad Foundation and the Broad Art Founda- Tion, Have Assets of $2.7 Billion
ELI BROAD is a renowned business Eli and leader who built two Fortune 500 companies Edythe from the ground up over a five-decade Broad career in business. He is the founder-chairman Founders of of both SunAmerica Inc. and KB Home (formerly Kaufman and Broad Home The Broad Foundations Corporation). Founding partners Today, Eli Broad and his wife, Edythe, are devoted to philanthropy as founders of the Broad Institute of The Broad Foundations, which they established to advance entrepreneurship of MIT and Harvard for the public good in education, science, and the arts. The Broad Foundations, which include The Eli and Edythe Broad Foundation and The Broad Art Founda- tion, have assets of $2.7 billion. The Broads’ investments in scientific and medical research are focused on three areas: human genomics, stem cell research, and inflammatory bowel disease. In an unprecedented partnership with the Massachusetts Institute of Technol- ogy, Harvard University, and the Whitehead Institute, the Broads in June 2003 announced the $100 million founding gift to create The Eli and Edythe Broad Institute for biomedical research. The institute’s aim is to realize the promise of the human genome to revolutionize clinical medicine and to make knowledge freely available to scientists around the world. They gave a second $100 million gift to the Broad Institute in 2005, and in 2008, with the Broad Institute firmly established as the world’s leading genomics and biomedical research institute, they gave $400 million to create an endowment that will make the institute permanent. In 2013, they gave another $100 million, bringing their total investment in the Broad Institute to $800 million. -
Roy Lichtenstein: History in the Making, 1948–1960
Roy Lichtenstein: History in the Making, 1948–1960 Parrish Art Museum August 1–October 24, 2021 Roy Lichtenstein (American, 1923–1997), Self-Portrait at an Easel, ca. 1951–52. Oil on canvas, 34 1/16 x 30 1/8 inches. Private collection. Premiering at the Parrish Art Museum and traveling to the Nasher Museum of Art at Duke University and the Colby College Museum of Art, Roy Lichtenstein: History in the Making, 1948–1960 will be the first major museum exhibition to investigate the early work of one of the most celebrated American artists of the 20th century. “The Parrish is thrilled to be hosting this extraordinary survey of work from the artist’s fruitful formative years and privileged to be the premier public venue for the exhibition. Roy Lichtenstein’s long history with the East End of Long Roy Lichtenstein, Pilot, ca. 1948. Pastel, graphite pencil on colored paper, 10 Island and his deep affection for the 1/2 x 13 3/4 inches. Collection of the Whitney Museum of American Art, New York. The Roy Lichtenstein Study Collection; gift of the Roy Lichtenstein region make this a singular occasion Foundation, 2019.43. to celebrate his legacy as we welcome visitors from far and wide.” —Alicia G. Longwell, Ph.D., Lewis B. and Dorothy Cullman Chief Curator, Art and Education Landmark Exhibition of Formative Work Providing an illuminating prologue to the artist’s well-known comics- inspired imagery, History in the Making tells the largely overlooked story of Lichtenstein’s early career, when formal experimentation and a keen eye for irony irrevocably defined his art. -
MAY 15 and 17, 2017
PRESS RELEASE | NEW YORK | 2 3 FEBRUARY 2017 | FOR IMMEDIATE RELEASE INCLUDING WORKS BY CHAGALL, DUBUFFET, LICHTENSTEIN AND PICASSO TO BE OFFERED IN NEW YORK ALL PROCEEDS TO BENEFIT CLEVELAND CLINIC HEART & VASCULAR INSTITUTE MAY 15 and 17, 2017 LEFT: Pablo Picasso, Femme assise dans un fauteuil, Painted in Montrouge and Paris, 1917-1920 ($20,000,000-30,000,000) CENTER: Roy Lichtenstein, Expressionist Head, Executed in 1980 (estimate: $2,500,000-3,500,000) RIGHT: Marc Chagall, Les trois cierges, Painted in 1939 (estimate on request) New York – Christie’s presents Property from Cleveland Clinic generously donated by Mrs. Sydell Miller, which will be offered in Christie’s 20th Century Week of Impressionist and Modern Art and Post-War & Contemporary Art, May 15 and 17. All eight works — by Louise Bourgeois, Marc Chagall, Jean Dubuffet, Max Ernst, Alberto Giacometti, Roy Lichtenstein, Marino Marini and Pablo Picasso — were donated to Cleveland Clinic by Mrs. Sydell Miller, who has a long association with the hospital. All proceeds will benefit Cleveland Clinic Heart & Vascular Institute. A global tour* of highlights will commence at Christie’s London. Laura Paulson, Christie’s Chairman, remarked: “Christie’s is honored to have been entrusted with eight remarkable works that Mrs. Sydell Miller so kindly gave to Cleveland Clinic. The collection is a sweeping representation of 20th century art, which bears a figurative thread of sumptuous materiality and color. The degree of quality and cohesion possessed by this selection are the direct results -
Bcam at Lacma
BCAM AT LACMA The Broad Contemporary Art Museum (BCAM), opening February 16, 2008, is the centerpiece of the Los Angeles County Museum of Art’s (LACMA) Transformation—an ambitious program of expansion and renovation. Designed by Renzo Piano, founder, Renzo Piano Building Workshop, BCAM has been made possible thanks to a $60 million donation from Eli and Edythe Broad, including $50 million to the museum’s capital campaign and a pledge to cover the cost of the building over $50 million. The remaining $10 million was donated to fund acquisitions and was used in part in 2007 to purchase Richard Serra’s monumental sculpture Band (2006). Mr. Broad is a longtime LACMA Trustee, and he and Mrs. Broad are among the world’s most generous philanthropists, with interests that include the arts, education, and science. The three-story BCAM includes 60,000 square feet of exhibition space—one of the largest column-free art spaces in the United States— designed specifically for The Broad Contemporary Art Museum at LACMA the display of contemporary art. Included in the initial installation are some 160 works from the renowned collection of The Broad Art Foundation and the Broads’ personal collection, as well as forty works from LACMA’s own holdings in contemporary art and from other lenders. LACMA Director Michael Govan states, “The creation of BCAM greatly expands LACMA’s contemporary art program, both enriching the experience of its historical collections and placing LACMA in a position of prominence in the area of contemporary art among encyclopedic museums. We are additionally pleased that BCAM will enable us to show the work of several key artists in great depth, providing an exceptionally rewarding experience for visitors. -
On the Scene at Coachella 2016 ICONIC ART (Clockwise from Top
ICONIC ART (Clockwise from top) You’ll find Yayoi Kusama’s “Infinity Mirrored Room - The Souls of Millions of Light Years Away,” Roy Lichtenstein’s “I...I’m Sorry!,” Jeff Koons’ “Rabbit” and Andy Warhold’s “Small Torn Campbell’s Soup Can (Pepper Pot) at The Broad. Mark On the scene at Coachella 2016 98 Making a THESE FOUR GREAT SHAPERS EXPLAIN HOW THEY ARE PROGRESSING THE ART SCENE IN LOS ANGELES, THE CITY OF CONTINUOUS YOUTH AND ADAPTATION MaBY MARINE TANGUY rk There is no question that the current art world is evolving. From the rise of startups challenging the existing gallery model to a possible regulation of the market, we are entering a new era in the field. As always, with change, there are those who embrace it and those who fear it. But while the renowned art scenes of London and New York struggle to break their tradition and pre-establishment, L.A. is stepping up and becoming a lab for innovation and experimentation. Here’s to the bold and the visionaries—we have a lot to learn from them. PHOTOS COURTESY OF YAYOI KUSAMA/DAVID ZWIRNER, ROY LICHTENSTEIN/ ZWIRNER, ROY KUSAMA/DAVID OF YAYOI COURTESY PHOTOS STUDIO AND M. PARKER JEFF KOONS/DOUGLAS STUDIO, DOUGLAS M. PARKER INC./ ARTS, THE VISUAL FOR FOUNDATION WARHOL ANDY WARHOL/THE ANDY CAMPBELL TRADEMARKS USED WITH PERMISSION OF ARIST RIGHTS SOCIETY, CAMPBELL SOUP COMPANY 99 THE LOS ANGELES ART COLLECTORS ing ones, Edythe responds, “We have a long cessible to the public, so we decided to build ELI AND EDYTHE BROAD history of supporting public museums—Eli The Broad, endow it, fill it with our collection The Broads have about 2,000 works in was the founding chairman of MOCA and a and offer free general admission as a gift to their collection, one of the most prominent life trustee of MOCA, LACMA, MOMA. -
Oral History Interview with Eli Broad, 2012 Jan. 30-April 16
Oral history interview with Eli Broad, 2012 Jan. 30-April 16 Funding for this interview was provided by Barbara Fleischman. 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 Eli Broad on 2012 January 30 and April 16. The interview took place at the Frick Collection and at the Broad's home in New York, NY, and was conducted by Avis Berman for the Archives of American Art and the Center for the History of Collecting in America at the Frick Art Reference Library of The Frick Collection. Avis Berman reviewed the transcript in 2012. Swati Pandey, Director of Communications for the Eli and Edith Broad Foundation, reviewed the transcript in 2019. Their corrections and emendations appear below in brackets with initials (Pandey's appear under –EB). 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 AVIS BERMAN: This is Avis Berman, interviewing Eli Broad for the Frick Collection Library, New York, NY, and the Archives of American Art Oral History Program, Washington, DC, on January 30, 2012, at the Frick Collection. Mr. Broad, I start this way with everyone. Would you please state your full name and date of birth? ELI BROAD: Eli Broad; June 6, 1933. AVIS BERMAN: I want to start briefly with Detroit. And I know you were not collecting there, but I wondered, in your family, what the interest in culture was, or if you had any mentors in that regard, or in music.