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Betsy Siersma Or Regina Coppola the University Gallery Is Pleased to Begin the Spring Semester Of
UNIVERSITY OF MASSACHUSETTS AT AMHERST AMHERST. MASSACHUSETTS 01003 (4131545·3670 FOR IMMEDIATE RELEASE contact: Betsy Siersma or Regina Coppola The University Gallery is pleased to begin the spring semester of 1993 with three exhibitions which comment on the beauty of the routine and the vernacular. All three exhibitions are on view at the Gallery from January 30 through March 12, and have an opening reception on Friday, January 29 from 5 to 7 p.m. AID Editions: Assorted Objects for the Home and Garden features a selection of work by 14 artists who were commissioned by AID, New York to create functional objects for domestic use. The artists worked closely with professional fabricators in realizing the objects which display a divergence of materials and functions, and reflect the concerns and aesthetic of the individual artist. Joe Andoe's birdbath was cast in iron in an edition of 20 with differently-sized cymbals providing the original pattern for the basin and base; the artist's Christmas tree from the year before served as the template for the pedestal. Andoe, who is a painter, regards this piece as his first sculpture. A serenely simple bowl by John Duff made in an edition of 10 reflects the nature of his fiberglass sculptures based on vessel forms. Georgia Marsh's fabric decorated with entwined bittersweet vines, and Joan Nelson's elaborately rendered botanical wallpaper both succeed in transporting the fresh delicacy of nature to an indoor setting. Among other work included in AID: Editions are a candelabrum by Arman, an outdoor standing desk by David Deutsch, a sundial by the team of McDermott and McGough, a chaise by Gary Stephan, and a chair and table suite by Richard Tuttle. -
American Academy of Arts and Letters NEWS RELEASE
American Academy of Arts and Letters NEWS RELEASE 633 WEST 155 STREET, NEW YORK, NY 10032 Contact: Souhad Rafey (212) 368-5900 [email protected] www.artsandletters.org EXHIBITION THE AMERICAN ACADEMY OF ARTS AND LETTERS ANNOUNCES ARTISTS 2011 INVITATIONAL EXHIBITION OF VISUAL ARTS Rosaire Appel MARCH 10 – APRIL 10 Amy Bennett Willard Boepple February 17, 2011 – Over 110 paintings, photographs, sculptures, and works on paper by 35 con- temporary artists will be exhibited at the galleries of the American Academy of Arts and Letters John Bradford on historic Audubon Terrace (Broadway between 155 and 156 Streets) from Thursday, March 10 Katherine Bradford through Sunday, April 10, 2011. Exhibiting artists were chosen from a pool of nearly 200 nominees Troy Brauntuch submitted by the 250 members of the Academy, America’s most prestigious honorary society of Nathan Carter architects, artists, writers, and composers. Robert Chambers Willie Cole ART AWARDS AND PURCHASE PROGRAM The Academy’s art awards and purchase programs serve to acknowledge artists at various stages of Adam Cvijanovic their careers, from helping to establish younger artists to rewarding older artists for their accumu- Donna Dennis lated body of work. Paintings and works on paper are eligible for purchase and placement in mu- Bryan Drury seum collections nationwide through the Hassam, Speicher, Betts and Symons Funds. Works by Jim John Duff Nutt (The Morgan Library & Museum, New York, NY), Chris Martin (Museum of Contemporary Angela Dufresne Art, Chicago, IL), Judy Linn (Dallas Museum of Art, Dallas, TX), and Charles Gaines (Minneapo- lis Institute of Arts, Minneapolis, MN) are among the twelve works purchased last year. -
Jack Tworkov: Becoming Himself
Jack Tworkov: Becoming Himself By Carter Ratcliff, May 2017 Jack Tworkov developed an acclaimed Abstract Expressionist style and then left it behind, seeking to transcend style and achieve true selfexpression through painting. In 1958, the Museum of Modern Art in New York launched one of its most influential exhibitions. Titled “The New American Painting,” it sent works by leading Abstract Expressionists on a tour of eight European cities. Responses were varied. Some Old World critics saw canvases by Jackson Pollock, Barnett Newman, and their colleagues as unnecessarily large and aesthetically naïve. Others acknowledged, with differing degrees of reluctance, that the unfamiliar imagery confronting them was genuinely innovative. A critic in Berlin praised Jack Jack Tworkov, X on Circle in the Square (Q4-81 #2), Tworkov for dispensing 1981, acrylic on canvas, 49 x 45 in.; Courtesy Alexander with ready-made premises Gray Associates, New York © Estate of Jack Tworkov / and assumptions, seeing the Licensed by VAGA, New York, NY world afresh, and painting what is “real.” “The New American Painting” advanced an ambitious hypothesis: the Abstract Expressionists now formed the modernist vanguard. Convinced that they were no less significant than Impressionists or Cubists, the painters themselves had come to this conclusion a decade earlier. No longer American provincials, they had merged personal ambition with historical destiny. with historical destiny. Understandably, then, when an Abstract Expressionist achieved a mature style he—or she, in the cases of Lee Krasner and Joan Mitchell—tended to stay with it. Of course, signature styles evolved over the years. Mark Rothko’s imagery grew darker. -
The Pennsylvania State University the Graduate School College Of
The Pennsylvania State University The Graduate School College of Arts and Architecture CUT AND PASTE ABSTRACTION: POLITICS, FORM, AND IDENTITY IN ABSTRACT EXPRESSIONIST COLLAGE A Dissertation in Art History by Daniel Louis Haxall © 2009 Daniel Louis Haxall Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy August 2009 The dissertation of Daniel Haxall has been reviewed and approved* by the following: Sarah K. Rich Associate Professor of Art History Dissertation Advisor Chair of Committee Leo G. Mazow Curator of American Art, Palmer Museum of Art Affiliate Associate Professor of Art History Joyce Henri Robinson Curator, Palmer Museum of Art Affiliate Associate Professor of Art History Adam Rome Associate Professor of History Craig Zabel Associate Professor of Art History Head of the Department of Art History * Signatures are on file in the Graduate School ii ABSTRACT In 1943, Peggy Guggenheim‘s Art of This Century gallery staged the first large-scale exhibition of collage in the United States. This show was notable for acquainting the New York School with the medium as its artists would go on to embrace collage, creating objects that ranged from small compositions of handmade paper to mural-sized works of torn and reassembled canvas. Despite the significance of this development, art historians consistently overlook collage during the era of Abstract Expressionism. This project examines four artists who based significant portions of their oeuvre on papier collé during this period (i.e. the late 1940s and early 1950s): Lee Krasner, Robert Motherwell, Anne Ryan, and Esteban Vicente. Working primarily with fine art materials in an abstract manner, these artists challenged many of the characteristics that supposedly typified collage: its appropriative tactics, disjointed aesthetics, and abandonment of ―high‖ culture. -
Jennifer Bartlett
P A U L A C O O P E R G A L L E R Y JENNIFER BARTLETT Born: Long Beach, California, 1941 Lives and works in New York, NY Education: Mills College, Oakland, California, BA, 1963 Yale School of Art and Architecture, BFA, 1964 Yale School of Art and Architecture, MFA, 1965 Awards: Fellowship, CAPS (Creative Artists Public Services), 1974 Harris Prize, Art Institute of Chicago, 1976 Lucas Visiting Lecture Award, Carlton College, Northfield, Minnesota, 1979 Brandeis University Creative Arts Award, Waltham, Massachusetts, 1983 American Academy and Institute of Arts and Letters, New York, 1983 Harris Prize and the M.V. Kohnstamm Award, Art Institute of Chicago, 1986 American Institute of Architects Award, New York, 1987 Cultural Laureate, Historic Landmarks Preservation Center, 1999 Lotus club Medal of Merit, 2001 Mary Buckley Endowment Scholarship Honoree, Pratt Institute, 2002 Lifetime Achievement Award, Palm Springs Fine Art Fair, 2014 Instructor: School of Visual Arts, New York, 1972-77 One-Person Exhibitions 1963 Mills College, Oakland, California 1970 119 Spring Street, New York 1971 Jacob's Ladder, Washington, D.C. (with Jack Tworkov) 1972 Reese Paley Gallery, New York 1974 Paula Cooper Gallery, New York Saman Gallery, Genoa, Italy 1975 The Garage, London (with Joel Shapiro) John Doyle Gallery, Chicago Dartmouth College, Hanover, New Hampshire Contemporary Art Center, Cincinnati 1976 Paula Cooper Gallery, New York 1977 Wadsworth Atheneum, Hartford, Connecticut Paula Cooper Gallery, New York 1978 Saman Gallery, Genoa, Italy University -
Works from the Estate and the Harvey and Phyllis Lichtenstein Collection
Biala: Works from the Estate and the Harvey and Phyllis Lichtenstein Collection January 6 – February 11, 2018 15 Rivington Street Opening Reception: Saturday, January 6 from 4-6pm New York, NY, December 21, 2017 —Tibor de Nagy presents its fifth exhibition of paintings by Biala (1903 – 2000), featuring over twenty works from the 1960s through the 1990s including selected works from the Harvey and Phyllis Lichtenstein Collection. Harvey Lichtenstein was a preeminent supporter of new talent and the President of the Brooklyn Academy of Music from 1967-1999. B IALA, Horse and Carriage, c.1983, oil and collage on canvas, 45 x 58 inches Biala’s contribution to modernism has been noted by critics who championed her assimilation of the School of Paris and the New York School of Abstract Expressionism. Her eight decade career began in the early 1920s when she hitch-hiked with her brother Jack Tworkov to study art in Provincetown. A fateful Paris encounter with English novelist Ford Madox Ford led to a ten-year relationship with the writer and life-long relationship with France. Upon her return to New York in 1939 following Ford’s death, Biala was in the thick of a milieu of the New York School, befriending painter Willem de Kooning, and critic Harold Rosenberg among many others. Biala thrived on her transatlantic life maintaining a studio in America while returning time after time to her beloved Paris. Biala’s approach was a synthesis which danced on the lines between representation and abstraction materializing in a uniquely personal style. Intimate interiors, subtle still-lifes, portraits, and long views of the many landscapes of her various travels acted as her creative point of departure. -
Abstract Expressionism
Abstract Expressionism COURTHOUSE GALLERY FINE ART Abstract Expressionism THREE MAINE ARTISTS Harold Garde Stephen Pace George Wardlaw Although it was soon to be superseded by an accelerating succession of artistic movements, Abstract Expressionism, to which these artists were initially drawn, was a watershed in 20th century art in that it broke down previous constraints, put a premium on individual expression, and set in motion the “no holds barred” trajectory of recent art. –Maritca Sawin HAROLD GARDE Winter Evening, Urban 1968 acrylic on board 48 x 48 inches NEXT PAGE GEORGE WARDLAW Color in the Hills 1960 oil on canvas 48 x 60 inches Abstract Expressionism THREE MAINE ARTISTS Harold Garde Stephen Pace George Wardlaw Essay by Martica Sawin AUGUST 29 - SEPTEMBER 25, 2010 court street ellsworth maine 04605 courthousegallery.com 207 667 6611 Abstract Expressionism by Martica Sawin The three artists whose abstract works are shown in this exhibition, were a part of the fabric of American society, had established Harold Garde, Stephen Pace, and George Wardlaw, are representative the Federal Art Project to provide employment for artists. This of a generation that grew up in the Great Depression, served in enabled thousands of artists all over the country to continue their the armed forces in World War II, and, thanks to the veterans work and resulted in a new solidarity in the artists’ community as educational benefits provided by the G.I. Bill of Rights, were able they worked together on public projects and formed organizations to attend art school and make art their lifetime profession. to negotiate with the Works Progress Administration. -
Jack Tworkov: Rhythm, 1955-1970 February 20, 2007 – March 30, 2007
Jack Tworkov: Rhythm, 1955-1970 February 20, 2007 – March 30, 2007 NEW YORK -- Mitchell-Innes & Nash announces an upcoming exhibition of paintings by Jack Tworkov from February 20 through March 30, 2007. Jack Tworkov: Rhythm, 1955-1970 will feature works inspired by the evolving New York jazz and music scene of the 1950s and 60s. The first exhibition to illuminate the connection between music and Tworkov’s rhythmic brushstroke, paintings on view will include those named for musical styles and venues including the jazz club Five Spot and the legendary music label Blue Note. In a 1979 interview with Marcia Tucker the artist states: “I remember that in the early Fifties I was attracted to certain types of jazz. I listened to Ornette Coleman and John Coltrane. I used to go to the Five Spot a great deal. There’s something of that freedom and strength that some of the musicians exhibited in their music that had some influence on me.” With the burgeoning group of Beat writers, Abstract Expressionist painters and jazz scene musicians, the 1950s and early 1960s were an explosive time period for Tworkov and his New York School colleagues. As a co-founder of "The Club," the artist collective whose members included Willem de Kooning and Franz Kline, Tworkov was an influential participant in the art world revolution that heralded gestural, non-figurative work. Tworkov went on to be included in Leo Castelli's inaugural exhibition, the landmark "Ninth Street Show" of 1951, and by 1960, Tworkov was represented by the Leo Castelli Gallery. Jack Tworkov (1900-1982) was born in Poland and immigrated to the United States when he was 13. -
Jack Tworkov: Against Extremes, Five Decades of Paintings" at the UBS Art Gallery
TheNew Criterion Art SEPTEMBER 2009 Gallery chronicle by James Panero On "Jack Tworkov: Against Extremes, Five Decades of Paintings" at the UBS Art Gallery. Jack Tworkov, Thursday (1960), courtesy Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC / Joseph H. Hirshhorn Purchase Fund We think of painting as a window, but for Jack Tworkov painting was a home. “My striving is not for the far-off or far-out landscape,” he once wrote, “but for the identification and naturalization of a home ground.” So he became the master contractor of Abstract Expressionism. In color and gesture he rarely dazzled. In the construction of work, however, he could be flawless. Rather than seek affection, he commanded admiration. His paintings do not seduce, they secure. They dig a foundation, erect four square walls, and put a roof over your head that is built to last. In 1960 Tworkov complained that “I’ve been second-rated by every critic, large or small.” Two first-rate productions now allow us to reconsider this estimation. At no other moment, including 1964’s Whitney survey and 1987’s Pennsylvania retrospective, could this artist be so fully examined. At the UBS Art Gallery in midtown Manhattan, the curator Jason Andrew has assembled a must-see show called “Jack Tworkov: Against Extremes, Five Decades of Paintings.”[1] The exhibition presents numerous Tworkov drawings and twenty-nine major paintings, from Untitled (Still Life with Peaches and Magazine) (1929) to the large Compression and Expansion of the Square, completed just before the artist’s death in 1982. At the same time, Yale University Press has published the definitive collection of Tworkov’s writing in a book called The Extreme of the Middle, edited by Mira Schor.[2] This 480-page volume brings together Tworkov’s artist statements, published reviews, and correspondence, but most notably it unearths extensive selections from Tworkov’s diaries. -
A Catalogue of the Collection of American Paintings in the Corcoran Gallery of Art
This page intentionally left blank This page intentionally left blank A Catalogue of the Collection of American Paintings in The Corcoran Gallery of Art Volume 2 Painters born from 1850 to 1910 This page intentionally left blank A Catalogue of the Collection of American Paintings in The Corcoran Gallery of Art Volume 2 Painters born from 1850 to 1910 by Dorothy W. Phillips Curator of Collections The Corcoran Gallery of Art, Washington D.G. 1973 Library of Congress Catalogue Card Number N 850. A 617 Designed by Graham Johnson/Lund Humphries Printed in Great Britain by Lund Humphries Contents Foreword by Roy Slade, Director vi Introduction by Hermann Warner Williams, Jr., Director Emeritus vii Acknowledgments ix Notes on the Catalogue x Catalogue i Index of titles and artists 199 This page intentionally left blank Foreword As Director of the Corcoran Gallery of Art, I am pleased that Volume II of the Catalogue of the American Paintings in the Corcoran Gallery of Art, which has been in preparation for some five years, has come to fruition in my tenure. The second volume deals with the paintings of artists born between 1850 and 1910. The documented catalogue of the Corcoran's American paintings carries forward the project, initiated by former Director Hermann Warner Williams, Jr., of providing a series of defini• tive publications of the Gallery's considerable collection of American art. The Gallery intends to continue with other volumes devoted to contemporary American painting, sculpture, drawings, watercolors and prints. In recent years the growing interest in and concern for American paint• ing has become apparent. -
Jean-Noel Archive.Qxp.Qxp
THE JEAN-NOËL HERLIN ARCHIVE PROJECT Jean-Noël Herlin New York City 2005 Table of Contents Introduction i Individual artists and performers, collaborators, and groups 1 Individual artists and performers, collaborators, and groups. Selections A-D 77 Group events and clippings by title 109 Group events without title / Organizations 129 Periodicals 149 Introduction In the context of my activity as an antiquarian bookseller I began in 1973 to acquire exhibition invitations/announcements and poster/mailers on painting, sculpture, drawing and prints, performance, and video. I was motivated by the quasi-neglect in which these ephemeral primary sources in art history were held by American commercial channels, and the project to create a database towards the bibliographic recording of largely ignored material. Documentary value and thinness were my only criteria of inclusion. Sources of material were random. Material was acquired as funds could be diverted from my bookshop. With the rapid increase in number and diversity of sources, my initial concept evolved from a documentary to a study archive project on international visual and performing arts, reflecting the appearance of new media and art making/producing practices, globalization, the blurring of lines between high and low, and the challenges to originality and quality as authoritative criteria of classification and appreciation. In addition to painting, sculpture, drawing and prints, performance and video, the Jean-Noël Herlin Archive Project includes material on architecture, design, caricature, comics, animation, mail art, music, dance, theater, photography, film, textiles and the arts of fire. It also contains material on galleries, collectors, museums, foundations, alternative spaces, and clubs. -
A Finding Aid to the Howard Wise Gallery Records, 1943-1989, in the Archives of American Art
A Finding Aid to the Howard Wise Gallery Records, 1943-1989, in the Archives of American Art Catherine S. Gaines 2006 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Historical Note.................................................................................................................. 2 Scope and Content Note................................................................................................. 2 Arrangement..................................................................................................................... 3 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 5 Series 1: Correspondence, 1943-1984.................................................................... 5 Series 2: Artist Files, 1950-1984............................................................................ 25 Series 3: Exhibition Files, 1957-1968.................................................................... 38 Series 4: Business Records, 1957-1989...............................................................