DOCSLIB.ORG

Contemporary American Painting and Sculpture

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

jLLINGiS LIBRARY AT URBAI-JA-CHAf'iSPAlGN ARCHITECTURE RIOHER LWHARY AW;HITKTU«t UNIVERSITY OF ILUNOS MlnlnHim Fee lor NOnce: Return or renew all Ubrary Meterieltl The each Lost Book Is $50.00. The person charging this material is responsible for withdrawn its return to the library from which it was on or before the Latest Date stamped below. reasons for discipli- Theft, mutilation, and underlining ol books are University. nary action and may result in dismissal from the To renew call Telephone Center, 333-8400 UNIVERSITY OF ILLINOIS LIBRARY AT URBANA-CHAMPAIGN OCT f f f\UGZ jy^ 33? University of Illinois 7f'-^S^C^i^^t^ SECOND ALLEGORY -ri:'HC&IK/Cx,^*,' CONTEMPORARY University of Illinois, Urbana Sunday, March 1, through Sunday, April 12, 1953 Galleries, Architecture Building College of Fine and Applied Arts THE LiSrARY OF THE RltAtfi 1,\mA.J AhChllLCTURE MAR ^ 1953 uiiiVERSiTY OF ;m;;;c!3 Copyright 1 953 by the University of Illinois Manufactured in the United States of America RICHER LIBRARY ARCHITECTURE umvERSin OF iuinois CONTEMPORARY AMERICAN PAINTING AND SCULPTURE GEORGE D. STODDARD President of the University REXFORD NEWCOMB Dean, College of Fine and Applied Arts Chairman, Festival of Contemporary Arts N. Britsky E. C. Rac OPERATING COMMITTEE C. A. Dietemann A. S. Weller W. F. Doolittle L. M. Woodroofe J. D. Hogan C. V. Donovan, Chairman L. F. Bailey J. \V. Kennedy E. H. Betts J. H. G. Lynch A. A. Boatright M. B. Martin STAFF COMMITTEE MEMBERS C. E. Bradbury R. Perlman G. R. Bradshaw J. W. Raushenberger C. \V. Briggs F. J. Roos L. R. Chesney H. A. Schultz J.W.Crist J. R. Shiplev R. Diebeiikorn M. A. Sprague G. N. Foster L. W. Zamiska D.E. Frith N. V. Ziroli R. A. Ginstrom H. F,. Jordan, Secretary R. E. Hult JOHN HELLER GALLERY, INC. EDWIN HEWITT GALLERY MR. JOSEPH H. HIRSHHORN HUGO GALLERY ALEXANDRE lOLAS GALLERY SIDNEY JANIS GALLERY PAUL KANTOR GAIXERY KLEEMANN GALLERIES M. KNOEDLER AND CO., INC. MRS. SAMUEL M. KOOTZ ACKNOWLEDGMENT SAMUEL M. KOOTZ GALLERY KRAUSHAAR GALLERIES LUCIEN LABAUDT ART GALLERY The College of Fine and Applied Arts LANDAU GALLERY is grateful to those who have made loans MORTIMER LEVITT GALLERY of paintings and sculpture to this institu- MR. AND MRS. ALBERT LEWIN tion and acknowledges the cooperation of LOS ANGELES ART ASSOCIATION the follo^ving collectors, niuseimis, and MR. MICHAEL LOWE MRS. galleries: MR. AND EARLE LUDGIN PIERRE MATISSE GALLERY ACA GALLERY BETTY MCLEAN GALLERY THE ARTISTS GALLERY MIDTOWN GALLERIES ASSOCIATED AMERICAN ARTISTS, INC. BORIS MIRSKI ART GALLERY BABCOCK GALLERIES, INC. NEW ART CIRCLE GRACE BORGENICHT GALLERY THE NEW GALLERY MARGARET BROWN GALI.ER^ PALMER HOUSE GALLERIES MRS. W. WHITFIEI.I) CARHART. JR. BEITY PARSONS GALLERY CONTEMPORARY ARTS, INC. PASSEDOIT GALLERY THE CORCORAN GALLERY OF ART PERIDOT GALLERY DALLAS MUSEUM OF FINE ARIS FRANK PERLS GALLERY THE DOWNTOWN GALLERY PERLS GALLERIES, INC. DURLACHER BROTHERS PITTSBURGH ARTS AND CRAFTS CENTER WARD EGGLESTON GALLERY FRANK K. M. REHN, INC. LA FONDA ART GALLERY A. P. ROSENBERG AND CO., INC. ALLAN FRUMKIN GALLERY HARRY SALPETER GALLERY, INC. LA GALERLA. ESCONDIDA BERTHA SCHAEFER GALLERY MR. AND MRS. ROBERT GARDNER SCULPTURE CT.NTER GRAND CENTRAL MODERNS CURT VALENTIN GALLERY, INC. MR. AND MRS. JEROME W. GRATENSIEIN VAN DIEMEN-LILIENFELD GALLERIES GUMP'S GALLERY CATHERINE VIVIANO GALLERY HACKER GALLERY WEVHE GALLERY DALZELL HATFIELD GALLERIES WILLARD GALLERY C. V. DONOVAN D. HOGAN JURY OF SELECTION J. A. S. WELLER 948 1949 LEONARD BECK CLAUDE BENTLEV EUGENE BERMAN LOUIS BOSA RAYMOND BREININ FRED CONWAY JOSEPH DE MARTINI JOHN HELIKER CARL HOLTV.' WILLIAM J. GORDON PHILIP GUSTON RICO LEBRUN KARL KNATHS ARTHUR OSVER JULIAN E. LEVI FELIX RUVOLO AWARDS LESTER O. SCH\VARTZ YVES TANGUY HAZEL JANICKI BRADLEY WALKER TOMLIN 1950 1951 1952 MAX BECKMANN WILLIAM BAZIOTES SAMUEL ADLER DEAN ELLIS BYRON BROWNE TOM BENRIMO FREDERICK S. FRANCK ADOLPH GOTTLIEB CAROL BLANCHARD ROBERT GWATHMEY CLEVE GRAY CARLYLE BROWN HANS HOFMANN MORRIS KANTOR WILLIAM CONGDON CHARLES RAIN LEO MANSO WALTER MURCH ABRAHAM RATTNER MATTA RUFINO TAMAYO HEDDA STERNE GREGORIO PRESTOPINO ANTHONY TONEY KURT SELIGMANN JEAN XCERON Many of the works of art in this exhibition are for sale. Visitors are cordially invited to secure in- SALES formation from the attendant at the desk in the West Gallery. The University of Illinois charges no commission on any sale. Introduction Each year as a part ot its general educational program, the University of Illinois conducts a Festival of Contemporary Arts during which time, by means of exhibits, lectures, concerts, demonstrations, and symposia, surveys are made of current developments in Art, Architecture, Land- scape Architecture, City Planning, Music, the Theatre, the Motion Pic- ture, Literature, Design for Communications, Radio, and the Dance. This year the Festival opens on February 27 and closes on April 12. An important event of the Festival is the annual exhibition of con- temporary art of which this volume is the official record. With the opening of this Sixth Exhibition of Contemporary Amer- ican Painting and Sculpture, the University again undertakes an ap- praisal of current art movements in the United States. For nearly a year, our Jury of Selection has traveled extensively seeking out works of art which, for variety of subject matter, technical excellence, or an interest- ing emotional approach, are entitled to a place in such a showing. Many studios, galleries, and dealers have been visited and hundreds of works have been critically examined. What you see in this show, we confidently [ 2 ] believe, represents a faithful cross section of current American art. It is impossible, of course, to cover every variant of oin- national expression but the significant trends are here illustrated. During the past five years, the Illinois show has achieved a national reputation and has been visited by thousands of people from this and neighboring states. We have been pleased at the response of the young people visiting oin* exhibits, particularly that of students in universities, colleges, and high schools. These young people seem to respond readily to what contemporary painters and sculptors are trying to do. Perhaps they are not hampered by the art concepts of yesterday. They have less to forget in evaluating contemporary expressions. In viewing a contemporary art exhibit, perhaps we should emulate these youth, garnering every resource of beauty that we may. It is wrong to close one's eyes to beauty in whatever guise it may appear, and it is foolish to be ashamed of the tenderness which it awakens. These are not necessarily childish things; art for any age requires no apology. All of us, youths and adults, need to achieve a taste for that which most en- riches and to be carried by a contemplation of order and beauty to a vivid faith in the ideal. Such goals, among others, constitute the mission of this exhibition. Each year purchases are made from this show for the University's permanent art collection. Many of these works of art have been exhibited about the state and, during the past year, forty paintings from the col- lection were circulated to galleries in cities as far away as Fort Worth, San Francisco, and Seattle. Selections for the 1953 purchase awards will be an- noimced following the close of the exhibition. The illustrated catalogues of past exhibits have been widely sought, both in this country and abroad. In several universities they have served as important reference texts in courses in modern art. This year's cata- logue fully matches the achievements of past issues. Copies may be secured from the University of Illinois Press, Urbana, Illinois. REXFORD NEWCOMB, Dean College of Fine and Applied Arts Talking About Art Every one ^vho has occasion to ^vrite or talk about contemporary art is likely to be beset by doubts and self-questionings. The historian has a perfectly definite function; so does the philosopher who applies himself to the study of art. But a great deal of writing and talking about con- temporary art is done by people ^vho are not historians (at least in this field) and who are certainly not philosophers. Usually they are called critics. Often the artist may doubt the value and significance of their activity, and would like to have people look at, rather than talk, urite, or read about, works of art. But the unfortunate fact remains that many people still do not know how to look at contemporary works of art. This is not because of any [4] lack of opportunity, because exhibitions are more and more numerous, and excellent reproductions are easily available. It is one of the great ironies of our period that it is at one and the same time more engulfed in visual experiences than ever before (picture magazines, comic books, movies, television) and less able to make qualitative judgments in the field of the fine arts than in many earlier periods. I am sure that critics would agree that looking at works of art is the best way of coming to an understanding of them, but should we simply let the work of art speak for itself, or should we speak too? My own feeling is that talking about works of art (I do not consider that this activity is necessarily criticism or philosophy) is ^vorth while, and that it should have as its aim the increasing and sharpening of our visual powers. Talking about art should never be a monologue, but rather should be a conversation, with plenty of give and take, not always between two people, but also between the person who is doing the talking and the work of art itself. It should be based upon respect and affection, and it should result in greater understanding of the work of art and of ourselves.
Recommended publications
  • Oral History Interview with Frederick A. Sweet, 1976 February 13-14

    Oral History Interview with Frederick A. Sweet, 1976 February 13-14

    Oral history interview with Frederick A. Sweet, 1976 February 13-14 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 tape-recorded interview with Frederick Sweet on February 13 & 14, 1976. The interview took place in Sargentville, Maine, and was conducted by Robert Brown for the Archives of American Art, Smithsonian Institution. Interview February 13, 1976. ROBERT BROWN: Could you begin, perhaps, by just sketching out a bit of your childhood, and we can pick up from there. FREDERICK SWEET: I spent most of my early childhood in this house. My father, a doctor and tenth generation Rhode Islander, went out to Bisbee, Arizona, a wild-west copper-mining town, as the chief surgeon under the aegis of the Company. My mother always came East at pregnancy and was in New York visiting relatives when my father died very suddenly of cerebral hemorrhage. My mother was seven months pregnant with me. Since I was to be a summer baby, she ended up by coming to this house and being a cook and being a cook and a nurse with her there. The local doctor came and said nothing was going to happen for quite a long time and went off in his horse and buggy. I was promptly delivered by the cook and a nurse.
  • Teaching to Transgress: Education As the Practice of Freedom Would Be a Book of Essays Mostly Directed to Teachers

    Teaching to Transgress: Education As the Practice of Freedom Would Be a Book of Essays Mostly Directed to Teachers

    Teaching to Transgress This page intentionally left blank Teaching to Transgress Education as the Practice of Freedom bell hooks Routledge New York London Published in 1994 by Published in Great Britain by Routledge Routledge Taylor & Francis Group Taylor & Francis Group 711 Third Avenue 2 Park Square New York, NY 10017 Milton Park, Abingdon Oxon OX14 4RN Copyright © 1994 Gloria Watkins All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical or other means, now known or hereafter invented, including photocopying and recording or in any information storage or retrieval system, without permission in writing from the publishers. Library of Congress Cataloging-in-Publication Data hooks, bell. Teaching to transgress : education as the practice of freedom / bell hooks p. cm. Includes index ISBN 0-415-90807-8 — ISBN 0-415-90808-6 (pbk.) 1. Critical pedagogy. 2. Critical thinking—Study and teaching. 3. Feminism and education. 4. Teaching. I. Title. LC196.H66 1994 370.11 '5—dc20 94-26248 CIP to all my students, especially to LaRon who dances with angels in gratitude for all the times we start over—begin again— renew our joy in learning. “. to begin always anew, to make, to reconstruct, and to not spoil, to refuse to bureaucratize the mind, to understand and to live life as a process—live to become ...” —Paulo Freire This page intentionally left blank Contents Introduction I Teaching to Transgress 1 Engaged Pedagogy 13 2 A Revolution of Values 23 The Promise of Multicultural
  • Hamilton Easter Fiel

    Hamilton Easter Fiel

    INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1.The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation.
  • Judaism and Its Effects on Moses Soyer's Paintings and Drawings

    Judaism and Its Effects on Moses Soyer's Paintings and Drawings

    Cleveland State University EngagedScholarship@CSU ETD Archive 2017 A Cultural Approach: Judaism and Its Effects on Moses Soyer’s Paintings and Drawings Rachel Arzuaga Cleveland State University Follow this and additional works at: https://engagedscholarship.csuohio.edu/etdarchive Part of the History Commons, and the History of Art, Architecture, and Archaeology Commons How does access to this work benefit ou?y Let us know! Recommended Citation Arzuaga, Rachel, "A Cultural Approach: Judaism and Its Effects on Moses Soyer’s Paintings and Drawings" (2017). ETD Archive. 965. https://engagedscholarship.csuohio.edu/etdarchive/965 This Thesis is brought to you for free and open access by EngagedScholarship@CSU. It has been accepted for inclusion in ETD Archive by an authorized administrator of EngagedScholarship@CSU. For more information, please contact [email protected]. A CULTURAL APPROACH: JUDAISM AND ITS EFFECTS ON MOSES SOYER’S PAINTINGS AND DRAWINGS RACHEL ARZUAGA Bachelor of Arts in Art History Cleveland State University December 2013 Submitted in partial fulfillment of requirements for the degree MASTER OF ARTS IN HISTORY at the CLEVELAND STATE UNIVERSITY August 2017 We hereby approve this thesis for Rachel Arzuaga Candidate for the Master of Arts in History degree for the Department of History and the Department of Art and the CLEVELAND STATE UNIVERSITY College of Graduate Studies _________________________________________________________________ Thesis Chairperson, Dr. Samantha Baskind _____________________________________________
  • The American Federation of Arts Nov 171954 NEW YOHK HEADQUARTERS: 1083 Fifth Avenue, New York 28, N

    The American Federation of Arts Nov 171954 NEW YOHK HEADQUARTERS: 1083 Fifth Avenue, New York 28, N

    The American Federation of Arts Nov 171954 NEW YOHK HEADQUARTERS: 1083 Fifth Avenue, New York 28, N. Y. • SAcramento 2-2452 DIBEffiTPR MEMORANDUM November 15, 195^ TO; Officers and Trustees of The American Federation of Arts FROMs Wynn Povers In order to file our registration statement as a charitable organization which is now required by the State of New York, it is necessary to receive the consent of each person whose name appears on our letterhead and other promotion material for the use of his name. This is merely a technicality, but we are required to have these "consent forms" in our files. For your information the following is the text of Section k&3 of the Soc­ ial Welfare Lav. "S U83. Unauthorized use of names when soliciting or collecting contrib­ utions . 1. No nerson, vho is required to register, pursuant to sections four hun­ dred eighty-two, four hundred eighty-tvo-f or four hundred eighty-tvo-h of this article, shall use the name of any other person for the purpose of soliciting contributions from persons in this state, vithout the written consent of such other person. 2. A person shall be deemed to have used the name of another person for the purpose of soliciting contributions if such latter person's name is listed on any stationery, advertisement, brochure or correspondence of the charitable organization or his name is listed or referred to as one vho has contributed to, sponsored, or endorsed the charitable organization or its activities. 3. A violation of this section shall be a misdemeanor." Will you please complete this form at your earliest convenience and return f<S it to us In the enclosed envelope.
  • The Pertelote

    The Pertelote

    HHHHH9HHHMHHBP IH^Hi perfefofe '64 it provides a deeper insight." ". the bounds- of learning have not been exhausted." revard, n.c. VV: • nter as individuals contents introduction 1 faculty 12 students 28 activities 76 athletics 102 features 124 soph, direct. 140 ". our regret should not discourage us . advertising 144 "Our romantic view . is shadowed by the realism of our presence." student 154 index Richard Jones Editor Jane Hoke Business Manager Mrs. C. E. Roy Adviser _ BREVARD COLLEGE A NEW REALITY Any college — old or young, large or small, must have a living personality separate and distinct from all others. This identity is what makes it worthy of its name. This personality, this individuality, should be deeply rooted in its philosophy and objectives, and revealed through its actions. Brevard College, living through its name and ideals, has maintained this distinct identity. Thus we, the students, come to Brevard College, realizing that there is another influence in life by which we may become transformed. Here we know we will continue our developing years of discovery — discovery of ourselves and our talents, of knowledge and of faith. We are so hesitant to approach this venture, so awed at first by the challenge. Our romantic view of college is shadowed by the realism of our presence. Thrown suddenly into a new encounter with life and individuals, we find that we are alone in a crowd, and that our first task is to make ourselves a part of this enterprise. We seem to be veterans after so little experience; but can we bear a close examination? Experience does not provide infallible knowledge each time, but accumu- lated, it provides a deeper insight.
  • Ivan Albright's Ida and the "Object Congealed Around a Soul"

    Ivan Albright's Ida and the "Object Congealed Around a Soul"

    Dickinson College Dickinson Scholar Faculty and Staff Publications By Year Faculty and Staff Publications Fall 2015 Ivan Albright's Ida and the "Object Congealed Around a Soul" Elizabeth Lee Dickinson College Follow this and additional works at: https://scholar.dickinson.edu/faculty_publications Part of the American Art and Architecture Commons Recommended Citation Lee, Elizabeth. "Ivan Albright's Ida and the "Object Congealed Around a Soul."' American Art 29, no. 3 (2015): 104-117. https://www.journals.uchicago.edu/doi/abs/10.1086/684922# This article is brought to you for free and open access by Dickinson Scholar. It has been accepted for inclusion by an authorized administrator. For more information, please contact [email protected]. Ivan Albright’s Ida and the “Object Congealed around a Soul” Elizabeth Lee For some time now I haven’t painted pictures, per se. I make statements, ask questions, search for principles. The paint and brushes are but mere extensions of myself or scalpels if you wish. —Ivan Albright1 From the start of his career in the late 1920s, the Chicago-born painter Ivan Albright was praised by critics for his precise, meticulous forms and yet also reviled for his off- putting approach to the human figure. The Lineman(fig. 1), for example, which won the John C. Shaffer Prize for portraiture at the Art Institute of Chicago in 1928, sparked concern when it appeared on the cover of the trade magazine Electric Light and Power. A. B. Gates, a manager from the Edison Company, protested the lineman’s appearance as a “stoop-shouldered individual exuding an atmosphere of hopelessness and dejection,” explaining that the image failed to capture the strong, youthful stature of the typical modern American workman.2 Subsequent paintings from this period were not merely offensive; they were utterly revolting, as the artist approached his subjects with increasingly clinical detail.
  • Contemporary American Painting and Sculpture

    Contemporary American Painting and Sculpture

    AT UR8ANA-GHAMPAIGN ARCHITECTURE The person charging this material is responsible for .ts return to the library from which it was withdrawn on or before the Latest Date stamped below '"" """"""'"9 "< "ooks are reason, ™racTo?,'l,°;'nary action and tor di,elpl(- may result in dismissal from To renew the ""'*'e™«y-University call Telephone Center, 333-8400 UNIVERSITY OF ILLINOIS LIBRARY AT URBANA-CHAMPAIGN I emp^rary American Painting and Sculpture University of Illinois Press, Urbana, 1959 Contemporary American Painting and Scuipttfre ^ University of Illinois, Urbana March 1, through April 5, 195 9 Galleries, Architecture Building College of Fine and Applied Arts (c) 1959 by the Board of Trustees of the University of Illinois Library of Congress Catalog Card No. A4 8-34 i 75?. A^'-^ PDCEIMtBieiiRr C_>o/"T ^ APCMi.'rri'Ht CONTEMPORARY AMERICAN PAINTING AND SCULPTURE DAVID D. HENRY President of the University ALLEN S. WELLER Dean, College of Fine and Applied Arts Chairman, Festival of Contemporary Arts N. Britsky E. C. Rae W. F. Doolittlc H. A. Schultz EXHIBITION COMMITTEE D. E. Frith J. R. Shipley \'. Donovan, Chairman J. D. Hogan C. E. H. Bctts M. B. Martin P. W. Bornarth N. McFarland G. R. Bradshaw D. C. Miller C. W. Briggs R. Perlman L. R. Chesney L. H. Price STAFF COMMITTEE MEMBERS E. F. DeSoto J. W. Raushenbergcr C. A. Dietemann D. C. Robertson G. \. Foster F. J. Roos C. R. Heldt C. W. Sanders R. Huggins M. A. Sprague R. E. Huh R. A. von Neumann B. M. Jarkson L. M. Woodroofe R. Youngman J.
  • Heart Land Damian Elwes Damian Elwes Heart Land

    Heart Land Damian Elwes Damian Elwes Heart Land

    Cover: Blue Wind (detail), 2011 mixed media on canvas 107 x 168 cm First published in 2011 by Agent Morton Ltd www.agentmorton.com All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electrical, mechanical or otherwise, without first seeking the permission of the copyright owners and the publishers. All images in this catalogue are protected by copyright and should not be reproduced without permission of the copyright holder. Details of the copyright holder to be obtained from Agent Morton Ltd. Tel: +44 207 409 1395 Copyright 2011 Agent Morton Ltd 32 Dover Street, W1S 4NE Designed and produced in the UK by Footprint. www.fpiltd.com www.agentmorton.com HEART LAND DAMIAN ELWES DAMIAN ELWES HEART LAND 20 June - 29 July 2011 Tel: +44 207 409 1395 32 Dover Street, W1S 4NE www.agentmorton.com HEART LAND Unlike Gauguin, when Damian Elwes left ‘civilization’ to find his personal Garden of Eden and live in tropical, colour-saturated, visceral nature, he took his wife with him. At their home on a little coffee farm on the edge of the Colombian rainforest, Elwes painted dioramas of the forest in an attempt to express our deep connection to the natural world. He also made endless nude drawings of his wife. It was a response to seeing Lewanne so profoundly immersed in her environment, he says, a desire to record the naturalness and sense of freedom she exhibited by walking around naked. It began to occur to him that women are so fundamentally connected to nature, through their physiological and mythical relationship to the moon and in motherhood, that they more perfectly embody this connectivity than a tree or a mountain.
  • Art-Related Archival Materials in the Chicago Area

    Art-Related Archival Materials in the Chicago Area

    ART-RELATED ARCHIVAL MATERIALS IN THE CHICAGO AREA Betty Blum Archives of American Art American Art-Portrait Gallery Building Smithsonian Institution 8th and G Streets, N.W. Washington, D.C. 20560 1991 TRUSTEES Chairman Emeritus Richard A. Manoogian Mrs. Otto L. Spaeth Mrs. Meyer P. Potamkin Mrs. Richard Roob President Mrs. John N. Rosekrans, Jr. Richard J. Schwartz Alan E. Schwartz A. Alfred Taubman Vice-Presidents John Wilmerding Mrs. Keith S. Wellin R. Frederick Woolworth Mrs. Robert F. Shapiro Max N. Berry HONORARY TRUSTEES Dr. Irving R. Burton Treasurer Howard W. Lipman Mrs. Abbott K. Schlain Russell Lynes Mrs. William L. Richards Secretary to the Board Mrs. Dana M. Raymond FOUNDING TRUSTEES Lawrence A. Fleischman honorary Officers Edgar P. Richardson (deceased) Mrs. Francis de Marneffe Mrs. Edsel B. Ford (deceased) Miss Julienne M. Michel EX-OFFICIO TRUSTEES Members Robert McCormick Adams Tom L. Freudenheim Charles Blitzer Marc J. Pachter Eli Broad Gerald E. Buck ARCHIVES STAFF Ms. Gabriella de Ferrari Gilbert S. Edelson Richard J. Wattenmaker, Director Mrs. Ahmet M. Ertegun Susan Hamilton, Deputy Director Mrs. Arthur A. Feder James B. Byers, Assistant Director for Miles Q. Fiterman Archival Programs Mrs. Daniel Fraad Elizabeth S. Kirwin, Southeast Regional Mrs. Eugenio Garza Laguera Collector Hugh Halff, Jr. Arthur J. Breton, Curator of Manuscripts John K. Howat Judith E. Throm, Reference Archivist Dr. Helen Jessup Robert F. Brown, New England Regional Mrs. Dwight M. Kendall Center Gilbert H. Kinney Judith A. Gustafson, Midwest
  • A Finding Aid to the Peter Blume Papers, 1870-2001, in the Archives of American Art

    A Finding Aid to the Peter Blume Papers, 1870-2001, in the Archives of American Art

    A Finding Aid to the Peter Blume Papers, 1870-2001, in the Archives of American Art Jayna M. Josefson Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art 2014 January 08 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 3 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 2 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 5 Series 1: Biographical Material, circa 1950-1992..................................................... 5 Series 2: Correspondence, 1926-1992.................................................................... 6 Series 3: Writings and Notes, 1929-1986.............................................................
  • Abstract Addictions

    Abstract Addictions

    VALLARINO FINE ART 222 EAST 49TH STREET NEW YORK, NY 10017 FINE ART VALLARINO VALLARINOFINEART.COM ABSTRACT ADDICTIONS: .. .WHAT’S NEXT ....WHO KNOWS?.... .WHAT’S MODERN/POST-WAR ABSTRACT ADDICTIONS: 2020 WHAT’S NEXT.... WHO KNOWS?.... 2020 MODERN/POST-WAR 222 EAST 49TH STREET, NEW YORK, NY 10017 212.628.0722 66 ROUTE 343, MILLBROOK, NEW YORK 12545 [email protected] VALLARINOFINEART.COM ABSTRACT ADDICTIONS: WHAT’S NEXT....WHO KNOWS?.... What’s Next…..Who Knows?? Is a very fitting subtitle for our annual catalogue. What has happened in the past four-five months seems unimaginable, then again, it could be a blessing in disguise, a kind of wake-up call for all of us. Our global treatment of humanity, our planet’s environment, economic collapse, civil rights and politics have caused a boiling point in our society and then add the Covid-19 Pandemic to top things off and there you have “What’s Next…..Who Knows? One thing I know is art and the art market has literally been around forever and has weathered centuries of wars, economic crashes and many other global disasters and will continue to prevail perhaps in new ways to which it will need to reinvent itself. I believe a correction is taking place as has happened in every market throughout history when strained by historic events. The brick & mortar gallery model is becoming a thing of the past and the existence of art fairs in the near future is questionable regarding the current health situations for the dealers and the collectors who attend. I believe that a large group of galleries are going to close as their business models aren’t strong enough to survive these extreme times.