The International Council of the Museum of Modern Art

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•y^ The Museum of Modern Art 11 west 53 Street, New York, N.Y. 10019 Tel. 245-3200 Cable: Modernart THE INTERNATIONAL COUNCIL OF THE MUSEUM OF MODERN ART 1969 SPRING MEETING SCHEDULE - LONDON, ENGLAND Sunday, May 4 5:30 p.m. Cocktails - Mrs. John Barry Ryan, 21 St. James Place, London, S. W. 1. Monday, May 5 2:30 p.m, Business Meeting at the Institute of Contemporary Art, Nash House, The Mall, 9:00 p.m, Reception given by The Arts Council of Great Britain at the Hayward Gallery. (Informal) Tuesday, May 6 12:00 noon Opening of the HELEN FRANKENTHALER exhibition at the Whitechapel Gallery, High Street, London E. 1. 8:00 p.m. Private dinner parties followed by a reception given by The Marquess and Marchioness of Dufferin and Ava. (Black tie - long or short dress) Wednesday, May 7 11:00 a.m. The British Museum - special exhibition and reception given by Viscount Eccles. Afternoon Visits to artists' studios and private collections. 8:00 p.m, Dinner given by the Trustees of the Tate Gallery where "Art of the Real: U.S.A." will be on view. (Black tie - long or short dress) Thursday, May 8 9:00 a.m. Depart by coach to visit Windsor Castle for a private tour commencing at 10:15 a.m. Lunch Eton College as guests of Lord Caccia, Provost of Eton. 7:30 p.m. Cocktails and buffet dinner given by Mr. and Mrs. Henry J. Heinz II, 43 Hays Mews, Berkeley Square, London, W. 1. (Black tie - long or short dress) Friday, May 9 9:30 a.m. Depart by coach to visit Henry Moore in Much Hadham (one and one-half hour drive). 12:00 noon Return to London. >^ THE INTERNATIONAL COUNCIL OF THE MUSEUM OF MODERN ART BATH, ENGLAND Friday, May 9 5:30 p.m. Depart from Paddington Station on "The Bristol Pullman" to Bath. 7:04 p.m. Arrive Bath Spa Station. 8:30 p.m. Depart for house of Mr. Jeremy Fry, Widcombe Manor, Bath - cocktails and dinner. Saturday, May 10 10:00 a.m. Architectural tour of Bath. 11:45 a.m. Leave for American Museum in Britain. 12:15 p.m. Cocktails and lunch to meet local artists and view their work, followed by tour of Museum. 3:30 p.m. Return to hotels. 4:30 p.m. Depart for house of Mr. and Mrs. William Scott, Bennett's Hall Farm, Coleford, Somerset. 6:15 p.m. Leave for Harvey's, Bristol. 7:45 p.m. Wine-tasting and dinner at Harvey's Restaurant. Sunday, May 11 12:30 p.m. Depart for house of Sir Sidney and Lady Barrett, Crowe Hall, Widcombe Hill, Bath, for lunch. 3:00 p.m. Leave Bath. 4:00 p.m. Arrive house of Mr. and Mrs. Lynn Chadwick, Lypiatt Park, Nr. Stroud, Gloucestershire. 5:30 p.m. Leave Lypiatt Park. 6:52 p.m. Entrain at Swindon, Wiltshire. 8:10 p.m. Arrive Paddington Station, London. .

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AM-CONTEXT Closing Day Releasepc Final
MIAMI ART WEEK 2012 BRINGS RECORD-BREAKING SALES FOR ART MIAMI AND CONTEXT ART MIAMI STRONGEST SALES & ATTENDANCE IN THE FAIR’S 23 YEAR HISTORY MIAMI, Fla. – (Dec. 12, 2012) – In its 23rd year as the anchor fair to the city of Miami, Art Miami, the premiere international contemporary and modern art fair and its new sister fair CONTEXT Art Miami closed with record breaking attendance and sales in excess of $50 million with many galleries selling important works to major museums, private foundations and international collectors. Within hours of the opening, gallery owners were reporting extraordinary, unprecedented six & seven figure dollar sales with a number selling out their booths before fair's end. Over 60,000 international collectors, museum professionals, art world luminaries and enthusiasts visited Art Miami and CONTEXT Art Miami throughout the week with over 11,000 patrons attending the exclusive VIP Preview that took place on Tuesday Dec 4 which benefited the Miami Art Museum. New on the scene, Art Miami's sister fair, CONTEXT Art Miami in its inaugural edition proved to be one of the strongest markets to acquire emerging and cutting-edge art with several galleries selling out their booths. "We have been at every Art Miami and this was probably the best of all. We met a number of new collectors, sold to two museums and generally had a very positive experience. We were regularly told by collectors how much they enjoy the buzz at Art Miami and certainly it would seem the galleries did good business. We do several prestigious fairs around the world and for the second year, Art Miami was the best," Peter Osborne, Gallery Director.
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The Philip I. and Muriel M. Berman Papers: Collection I
² ² ² The Philip I. and Muriel M. Berman Papers: Collection I Held by Special Collections, Linderman Library Lehigh University, Bethlehem, Pennsylvania 18015 Call No.: SC MS 095 Berman Papers Page 1 of 154 rev. 05/24/2006 Biographical Sketch Philip Isaac Berman and Muriel Mallin Berman, husband and wife – the “amazing Bermans” as they were often called – worked together as a team throughout the fifty-five years of their marriage, in raising their family, managing their businesses, making frequent trips abroad, collecting art, and planning philanthropy. This biographical sketch is therefore an account, not of one person alone, but of two together, who devoted a great deal of their astonishing energy and considerable fortune to philanthropy and public service, in their home city of Allentown, their home state of Pennsylvania, and around the world, especially in Israel. Philip Berman was born on June 28, 1915, in Pennsburg, Pennsylvania, son of Joseph and Dora (Feingold) Berman. In 1932 he enrolled at Ursinus College in Collegeville, Pennsylvania, but in 1933 returned home to join the family trucking business, from which he built his fortune. On September 23, 1942, he married Muriel Mallin. In the same week, however, he also joined the U.S. Marine Corps, with which he served in the South Pacific during World War II. Muriel Mallin Berman was born on June 21 1914, in Pittsburgh, Pennsylvania, daughter of Solomon and Dora (Cooperman) Mallin. From The Pennsylvania State College of Optometry in Philadelphia she earned her doctorate in 1938 and maintained her license in optometry until 1984. In 1945 Philip Berman was relieved of active duty with the Marine Corps.
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Lynn Chadwick
Lynn Chadwick 1914-2003 Born in London, UK Lived and worked in the UK SELECTED SOLO & TWO-MAN EXHIBITIONS 2019 Sculpture at RHS Wisley, Surrey, UK (forthcoming) Alberto Giacometti: A Line Through Time, Vancouver Art Gallery, CA (forthcoming) Beast of the Times, The Georg Kolbe Museum, Berlin, DE (forthcoming) 2018 GIACOMETTI-CHADWICK: FACING FEAR, Museum de Fundatie, Zwolle, NL Lynn Chadwick at Le Bristol, Le Bristol, Paris, FR Beasts, Sainsbury Centre for Visual Arts, Norwich, UK Lynn Chadwick at Cliveden, The National Trust’s Cliveden, Buckinghamshire, UK 2017 Lynn Chadwick, Ashmolean Museum, Oxford, UK (ongoing) 2016 Lynn Chadwick, The Rotunda, One Exchange Square, Hong Kong, HK (organised by McNamara Art Projects) 2015 Conjunction: Lynn Chadwick and Geoffrey Clarke, Pangolin London, London, UK Lynn Chadwick, Skulturenpark Wuppertal, Wuppertal, DE Lynn Chadwick -Draughtsman, Gallery Pangolin, Chalford, UK Lynn Chadwick, Retrospective for Two Gardens, Bardini Gardens and Boboli Gardens, Florence, IT Lynn Chadwick, Tremenheere Sculpture Gardens, Penzance, UK 2014 The Maker’s Studio, Museum in the Park, Gloucestershire, UK Lynn Chadwick a Centenary Exhibition, Osborne Samuel, London, UK Lynn Chadwick, Blain|Southern, London, UK Lynn Chadwick, Blain|Southern, Berlin, DE Lynn Chadwick, Blain|Di Donna, New York, US Lynn Chadwick RA, Royal Academy of Arts Courtyard, London, UK 2013 Lynn Chadwick. Evolution in Sculpture, Abbott Hall and Blackwell Arts and Crafts House, Cumbria, UK 2012 Lynn Chadwick. The Complete Candelabra 1959-1996, Willer, London, UK Lynn Chadwick, Beaux Arts, London, UK 2011 Lynn Chadwick: The Couple 1954-1990, Pangolin London, London, UK Lynn Chadwick (with David Farrell photographs), Osborne Samuel, London, UK Lynn Chadwick.
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Lynn Chadwick out of the Shadows Unseen Sculpture of the 1960S
LYNN CHADWICK OUT OF THE SHADOWS UNSEEN SCULPTURE OF THE 1960S 1 INTRODUCTION ince my childhood in Africa I have been fascinated and stimulated by Lynn SChadwick’s work. I was drawn both by the imagery and the tangible making process which for the first time enabled my child’s mind to respond to and connect with modern sculpture in a spontaneous way. I was moved by the strange animalistic figures and intrigued by the lines fanning across their surfaces. I could see that the lines were structural but also loved the way they appeared to energise the forms they described. I remember scrutinising photographs of Lynn’s sculptures in books and catalogues. Sometimes the same piece appeared in two books but illustrated from different angles which gave me a better understanding of how it was constructed. The connection in my mind was simple. I loved skeletons and bones of all kinds and morbidly collected dead animals that had dried out in the sun, the skin shrinking tightly over the bones beneath. These mummified remains were somehow more redolent of their struggle for life than if they were alive, furred and feathered and to me, Lynn’s sculpture was animated by an equal vivacity. His structures seemed a natural and logical way to make an object. Around me I could see other structures that had a similar economy of means; my grandmother’s wire egg basket, the tissue paper and bamboo kites I built and the pole and mud constructions of the African houses and granaries. This fascination gave me a deep empathy with Lynn’s working method and may eventually have contributed to the success of my relationship with him, casting his work for over twenty years.
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'Reforming Academicians', Sculptors of the Royal Academy of Arts, C
‘Reforming Academicians’, Sculptors of the Royal Academy of Arts, c.1948-1959 by Melanie Veasey Doctoral Thesis submitted in partial fulfilment of the requirements for the award of Doctor of Philosophy of Loughborough University, September 2018. © Melanie Veasey 2018. For Martin The virtue of the Royal Academy today is that it is a body of men freer than many from the insidious pressures of fashion, who stand somewhat apart from the new and already too powerful ‘establishment’.1 John Rothenstein (1966) 1 Rothenstein, John. Brave Day Hideous Night. London: Hamish Hamilton Ltd., 1966, 216. Abstract Page 7 Abstract Post-war sculpture created by members of the Royal Academy of Arts was seemingly marginalised by Keynesian state patronage which privileged a new generation of avant-garde sculptors. This thesis considers whether selected Academicians (Siegfried Charoux, Frank Dobson, Maurice Lambert, Alfred Machin, John Skeaping and Charles Wheeler) variously engaged with pedagogy, community, exhibition practice and sculpture for the state, to access ascendant state patronage. Chapter One, ‘The Post-war Expansion of State Patronage’, investigates the existing and shifting parameters of patronage of the visual arts and specifically analyses how this was manifest through innovative temporary sculpture exhibitions. Chapter Two, ‘The Royal Academy Sculpture School’, examines the reasons why the Academicians maintained a conventional fine arts programme of study, in contrast to that of industrial design imposed by Government upon state art institutions for reasons of economic contribution. This chapter also analyses the role of the art-Master including the influence of émigré teachers, prospects for women sculpture students and the post-war scarcity of resources which inspired the use of new materials and techniques.
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ROBERT ADAMS (British, 1917-1984)
ROBERT ADAMS (British, 1917-1984) “I am concerned with energy, a physical property inherent in metal, [and] in contrasts between linear forces and masses, between solid and open areas … the aim is stability and movement in one form.” (R. Adams, 1966, quoted in A. Grieve, 1992, pp. 109-111) Robert Adams was born in Northampton, England, in October 1917. He has been called “the neglected genius of post-war British sculpture” by critics. In 1937, Adams began attending evening classes in life drawing and painting at the Northampton School of Art. Some of Adam’s first-ever sculptures were also exhibited in London between 1942 and 1944 as part of a series of art shows for artists working in the Civil Defence, which Adams joined during the Second World War. He followed this with his first one-man exhibition at Gimpel Fils Gallery, London, in 1947, before starting a 10-year teaching career in 1949 at the Central School of Art and Design in London. It was during this time that Adams connected with a group of abstract painters – importantly Victor Pasmore, Adrian Heath and Kenneth and Mary Martin – finding a mutual interest in Constructivist aesthetics and in capturing movement. In 1948, Adams’ stylistic move towards abstraction was further developed when he visited Paris and seeing the sculpture of Pablo Picasso, Julio Gonzales, Constantine Brancusi and Henry Laurens. As such, Adams’ affiliation with his fellow English carvers, such as Henry Moore and Barbara Hepworth, extended only as far as an initial desire to carve in stone and wood. Unlike his contemporaries, Adams did not appear to show much interest in the exploration of the human form or its relationship to the landscape.
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NATIONAL LIFE STORIES ARTISTS' LIVES Lynn Chadwick
NATIONAL LIFE STORIES ARTISTS’ LIVES Lynn Chadwick Interviewed by Cathy Courtney C466/28 This transcript is copyright of the British Library Board. Please refer to the Oral History curators at the British Library prior to any publication or broadcast from this document. Oral History The British Library 96 Euston Road London NW1 2DB 020 7412 7404 [email protected] This transcript is accessible via the British Library’s Archival Sound Recordings website. Visit http://sounds.bl.uk for further information about the interview. © The British Library Board http://sounds.bl.uk IMPORTANT Access to this interview and transcript is for private research only. Please refer to the Oral History curators at the British Library prior to any publication or broadcast from this document. Oral History The British Library 96 Euston Road London NW1 2DB 020 7412 7404 [email protected] Every effort is made to ensure the accuracy of this transcript, however no transcript is an exact translation of the spoken word, and this document is intended to be a guide to the original recording, not replace it. Should you find any errors please inform the Oral History curators ( [email protected] ) © The British Library Board http://sounds.bl.uk The British Library National Life Stories Interview Summary Sheet Title Page Ref no: C466/28/01-11 Digitised from cassette originals Collection title: Artists’ Lives Interviewee’s surname: Chadwick Title: Interviewee’s forename: Lynn Sex: male Occupation: Artist Dates: 1914 – 2003 Dates of recording: 1995.04.04, 1995.04.20, 1995.05.16 Location of interview: Lyppiatt Park Name of interviewer: Cathy Courtney Type of recorder: Marantz CP430 Recording format: D60 Cassette F numbers of playback cassettes: F4555 – F4565 Total no.
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Lynn Chadwick - Biography
Lynn Chadwick - Biography Born in London in 1914, Chadwick studied architecture and worked as a designer before emerging in the 1950’s, after his war service as a pilot, as a sculptor with a distinctive and dramatic style. He began to make constructions and mobiles of metal and glass in 1945. Though he came to sculpture late, he was selected to show two major works at the Festival of Britain in London in 1951 and was thereby launched onto the international stage as one of a new generation of British sculptors shown at the Venice Biennale in 1952. He had one man shows early in his career at Gimplel Fils, London in 1950 and 1952 and in, 1956, cemented his prominence when he was awarded the principal prize, ahead of Giacometti, at the Venice Biennale, where a retrospective exhibition of his work was shown. By this time, his work was being bought by numerous major public and private collections both in America and Europe, and exhibited at major galleries regularly. His work unmistakably caught the post-war mood, along with contemporaries such as Eduardo Paolozzi. Throughout the 1950’s Chadwick, whose work was largely abstract but with suggestions of the human figure, was prominent amongst that group of metal sculptors who followed in the steps of Henry Moore. During the 1960’s his work became more block-like and monumental, much of it designed to be seen in the open. For much of his life, the work seemed to have been more highly regarded abroad than in his native Britain, and from the early 1960s onwards he received a steady flow of public commissions and private sales in America and Europe, particularly in Italy.
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Blain|Southern and Blain|Di Donna Galleries to Represent the Estate of Lynn Chadwick
981 Madison Avenue, New York NY 10075 T: +1 (212) 259-0444 | [email protected] BLAIN|SOUTHERN AND BLAIN|DI DONNA GALLERIES TO REPRESENT THE ESTATE OF LYNN CHADWICK The directors of Blain|Southern and Blain|Di Donna are delighted to announce that the galleries will be exclusively representing the estate of Lynn Chadwick. The artist’s widow, Eva Chadwick, said: “After nearly fifty years of working with my husband Lynn Chadwick’s sculptures, I feel the time has come to hand over to Blain/Southern and Blain/Di Donna, international galleries that will be better able to further his reputation in Europe and in the USA.” Sarah Chadwick, the artist’s daughter, will continue to assist Blain|Southern and Blain|Di Donna, while his other children Simon, Daniel, and Sophie Chadwick will also contribute to the family enterprise. Photo:James Meigh Photo:James Meigh Eva Chadwick added, “We all feel confident that the estate of Lynn Lynn Chadwick, Three Elektras, 1969, Bronze Chadwick will be managed and enhanced with the Blain/Southern (polished face and torso), 226 x 223 x 219 cm and Blain/Di Donna partnership, and wish them all the best.” Blain|Southern was founded in 2010 by Harry Blain and Graham Southern. Its London gallery is based in Hanover Square, and a further space is located in Berlin. It works with many leading contemporary artists, including Jonas Burgert, Francesco Clemente, Mat Collishaw, Jannis Kounellis, Tim Noble and Sue Webster, Bill Viola and Lawrence Weiner. Blain|Di Donna has been operational since November 2010, and is based at 981 Madison Avenue on the second floor of the Carlyle Hotel.
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Lynn Chadwick – Beasts of the Times Lynn Chadwick, Katja Strunz, Hans Uhlmann
PRESS RELEASE Lynn Chadwick – Beasts of the Times Lynn Chadwick, Katja Strunz, Hans Uhlmann Georg Kolbe Museum: 18 May - 15 September 2019 Haus am Waldsee: 18 May - 25 August 2019 Press preview: 16 May 2019, 11 am at Georg Kolbe Museum, 12.30 pm at Haus am Wald- see Curated by: Dr. Julia Wallner with Dr. Elisa Tamaschke (Georg Kolbe Museum), Dr. Katja Blomberg with Natalie Weiland M.A. (Haus am Waldsee) Haus am Waldsee and Georg Kolbe Museum have prepared an exhibition in two parts. It will be on view from May to September 2019 in both of the former residential buildings and gardens. Lynn Chadwick – Beasts of the Times will reintroduce the British sculptor Lynn Chadwick (1914 – 2003) as one of the leading artists of the post-war period by way of a retrospective and in a charged relationship with two German positions in sculpture. This first museum exhibition of Chadwick in Germany gathers around sixty sculptures, a range of drawings and graphic works as well as an extensive amount of archive materials. Georg Kolbe Museum presents the œuvre of Lynn Chadwick, which has won numerous awards since the 1950, in a broad, chronological spectrum with thematic focuses. In relation to this, Haus am Waldsee traces a motif-oriented arc offering works by Hans Uhlmann (1900 – 1975) and Katja Strunz (*1970) as interlocutors in a dialogue with the British sculptor. While the show at Georg Kolbe Museum is an in-depth retrospective, the counterpart at Haus am Waldsee addresses the aspect of folding and fragmentation that defines Chadwick’s work from a present-day perspective.
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HENRY MOORE in the Arts Council Collection
HENRY MOORE In the Arts Council Collection Henry Moore (1898-1986) is a key figure for the Works on paper Arts Council Collection. He was an important Drawing from life was an essential and ongoing advisor to the acquisitions committee during the aspect of Moore’s creative process, as many early 1950s, shaping the sculpture collection by drawings in this exhibition demonstrate. Seated advocating the acquisition of a significant group Figure (1934), shows Moore’s exploration of of post-war British sculpture by artists including the human form, while Ideas for Sculpture: Kenneth Armitage, Lynn Chadwick and Barbara Transformation of Bones (1932) and Studies of Hepworth. Moore’s representation within the Bone, Shell and Mushroom (1932) demonstrate collection is also very strong with sculptures the inspiration that Moore drew from tactile and works on paper spanning five decades. This natural forms. Over time, Moore became display celebrates the work of Henry Moore in increasingly interested in the transformative the Collection, bringing together our complete qualities of such objects, gradually accentuating holdings of eleven sculptures and fifteen works their abstract and organic properties; these on paper. Seen together, the works provide drawings became known as the ‘transformation a succinct history of Henry Moore’s practice drawings’. Moore’s keen observation of the between 1929 and 1962, with key creative human form found a different voice during his developments and themes visible in both two time as an official war artist during the Second and three dimensions. World War. Sleeping Mother and Child (1942) is a key example of the ‘Shelter Drawings’ series About our holdings from this period.
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Lynn Chadwick
LYNN CHADWICK 1997 Fondation Veranneman, Kruishoutem, Belgium 1996 Yeh Gallery, Seoul, South Korea 1995 Cleveland Gallery, Middlesborough, UK 1914-2003 Né / Born – Londres / London, UK 1994 Lillian Heidenberg Gallery, New York, US Vécu et travailla / Lived and worked - UK 1993 Court Gallery, Copenhagen, DK 1992 Ann Jaffe Gallery, Bay Harbor Islands, Florida, EXPOSITIONS INDIVIDUELLES SÉLECTIONNÉES USA SELECTED SOLO EXHIBITIONS : 1991 The Museum of Modern Art, Toyama, Japan 1990 Museo de Arte Contemporáneo Sofia Imber, 2017 I AM HERE Portable art, wearable objects, jewellery since Caracas, Venezuela the 1970s, Crafts Council, London, UK 1989 Marlborough Gallery, London, UK Rosenberg & Co., British Modern Masters, New York 1988 Waddington and Shiell, Toronto, ON City, NY, USA 1987 Erika Meyerovich Gallery, San Francisco, USA Sculpture Show, Galerie de Bellefeuille, Montreal, QC, 1986 Dennis Hotz Fine Art, Johannesburg, South Canada Africa Summer Exhibition 2017, Connaught Brown, London, 1985 Harmony Hall, Ocho Rios, Jamaica UK 1984 Theo Waddington, Montreal, QC Sculpture in the Sixties, Pangolin, London, UK 1983 Mercury Gallery, Edinburgh, UK Pangolin London Spring Show, Pangolin, London, UK 1982 Christie’s Contemporary Art (with Victor 2016 Lynn Chadwick, organised by McNamara Art Projects, Pasmore), New York, USA The Rotunda, One Exchange Square, Hong Kong, 1981 Theo Waddington, Montreal, Quebec China 1980 Galerie Regards, Paris, France 2015 Lynn Chadwick - Draughtsman, Gallery Pangolin, 1979 Galerie Ninety-Nine, Bay Harbor Islands, Chalford, UK Florida, USA 2014 Lynn Chadwick RA, Royal Academy of Arts 1978 Court Gallery, Copenhagen, Denmark Courtyard, London, UK 1977 Arte Contacto, Galeria de Arte, Caracas, 2013 Lynn Chadwick. Evolution in Sculpture, Abbott Hall and Venezuela Blackwell Arts and Crafts House, Cumbria, UK 1976 Galerie Farber (with Victor Pasmore), Brussels, 2012 Lynn Chadwick.
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