List of Exhibitions Held at the Corcoran Gallery of Art from 1897 to 2014
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CIMM Library, by Title, 6/22/2020
CIMM Library, by Title, 6/22/2020 Author Title Dewey Keywords Gudde, 1000 California place names: their Erwin 979.4 GUD Names, Geographical -- California origin and meaning Gustav Howarth, Great Britain -- History -- Norman David 1066 : the year of the conquest 942.02 HOW period,, 1066-1154, Hastings, Battle Armine of, England, 1066 Wise, James May 1975 - Gulf of Thailand - The 14-hour war 972.956 WIS E. Vietnam War Discoveries in geography -- Chinese, Voyages around the world, MENZIES, 1421: THE YEAR CHINA 910.951 MEN China -- History -- Ming dynasty, GAVIN DISCOVERED THE WORLD 1368-1644, Ontdekkingsreizen, Wereldreizen MENZIES, 1434 945.05MEN GAVIN Galleons -- Juvenile literature, Humble, Seafaring life -- History -- 16th A 16th century galleon 623.822 HUM Richard century --, Juvenile literature, Galleons, Ships -- History Great Britain -- History, Naval -- 18th century, Santa Cruz de 1797 : Nelson's year of destiny : Cape Tenerife, Battle of, Santa Cruz de, White, St. Vincent and Santa Cruz de 940.27 WHI Tenerife, Canary Islands, 1797, Colin Tenerife Cape Saint Vincent, Battle of, 1797, Nelson, Horatio Nelson, Viscount, 1758-1805 --, Military leadership 20,000 leagues under the sea. Submarines (Ships) --Fiction, Sea Verne, Jules [Fic] VER Illustrated by Don Irwin stories, Science fiction 20,000 leagues under the sea. Submarines (Ships) --Fiction, Sea Verne, Jules [Fic] VER Illustrated by Don Irwin stories, Science fiction 20,000 leagues under the sea. Submarines (Ships) --Fiction, Sea Verne, Jules [Fic] VER Illustrated by Don Irwin stories, Science fiction Goodwin, The 20-gun ship Blandford 623.8 BLA gunship, Blandford Peter Adams, Jack 21 California Missions 979.4 ADA Missions, California, Paintings L. -
Conservation of Twentieth-Century Outdoor Painted Sculpture Meeting Report June 4–5, 2012 © 2015 J
Meeting Report The Conservation of Twentieth-Century Outdoor Painted Sculpture Metropolitan Museum of Art, New York June 4-5, 2012 Tom Learner and Rachel Rivenc The Conservation of Twentieth- Century Outdoor Painted Sculpture M e e t i n g Re p o r t T h e M e t r o p o l i t a n M u s e u m o f A r t , N e w Yo r k June 4–5, 2012 Tom Learner and Rachel Rivenc THE GETTY CONSERVATION INSTITUTE LOS ANGELES The Conservation of Twentieth-Century Outdoor Painted Sculpture Meeting Report June 4–5, 2012 © 2015 J. Paul Getty Trust The Getty Conservation Institute 1200 Getty Center Drive, Suite 700 Los Angeles, CA 90049-1684 United States Telephone 310 440-7325 Fax 310 440-7711 E-mail [email protected] www.getty.edu/conservation Cover image: Roy Lichtenstein, Three Brushstrokes (1984), Getty Center, 2011 © Roy Lichtenstein Foundation Publication Coordinator: Gary Mattison The Getty Conservation Institute works to advance conservation practice in the visual arts, broadly interpreted to include objects, collections, architecture, and sites. It serves the conservation community through scientifi c research, education and training, model fi eld projects, and the broad dissemination of the results of both its own work and the work of others in the fi eld. And in all its endeavors, it focuses on the creation and dissemination of knowledge that will benefi t professionals and organizations responsible for the conservation of the world’s cultural heritage. The Conservation of Twentieth-Century Outdoor Painted Sculpture Meeting Report June 4–5, 2012 Contents -
Discovering the Contemporary
of formalist distance upon which modernists had relied for understanding the world. Critics increasingly pointed to a correspondence between the formal properties of 1960s art and the nature of the radically changing world that sur- rounded them. In fact formalism, the commitment to prior- itizing formal qualities of a work of art over its content, was being transformed in these years into a means of discovering content. Leo Steinberg described Rauschenberg’s work as “flat- bed painting,” one of the lasting critical metaphors invented 1 in response to the art of the immediate post-World War II Discovering the Contemporary period.5 The collisions across the surface of Rosenquist’s painting and the collection of materials on Rauschenberg’s surfaces were being viewed as models for a new form of realism, one that captured the relationships between people and things in the world outside the studio. The lesson that formal analysis could lead back into, rather than away from, content, often with very specific social significance, would be central to the creation and reception of late-twentieth- century art. 1.2 Roy Lichtenstein, Golf Ball, 1962. Oil on canvas, 32 32" (81.3 1.1 James Rosenquist, F-111, 1964–65. Oil on canvas with aluminum, 10 86' (3.04 26.21 m). The Museum of Modern Art, New York. 81.3 cm). Courtesy The Estate of Roy Lichtenstein. New Movements and New Metaphors Purchase Gift of Mr. and Mrs. Alex L. Hillman and Lillie P. Bliss Bequest (both by exchange). Acc. n.: 473.1996.a-w. Artists all over the world shared U.S. -
Ali Banisadr / MATRIX 185 at the Wadsworth Marks Artist's First Solo
FOR IMMEDIATE RELEASE Media Contact: Kim Hugo, (860) 838-4082 [email protected] Image files to accompany publicity of this exhibition will be available for download at http://press.thewadsworth.org. Email to request login credentials. Ali Banisadr / MATRIX 185 at the Wadsworth Marks Artist’s First Solo Museum Exhibition in the U.S. Hartford, Conn. (September 15, 2020)—Ali Banisadr draws freely from an encyclopedic knowledge of the history of painting to create a distinctive visual language, resulting in works that explore a “between space,” like those of hallucinations and dreams. Ali Banisadr / MATRIX 185 at the Wadsworth Atheneum Museum of Art is the artist’s first solo museum exhibition in the U.S. Ten paintings and two prints by Banisadr join a selection of works from the Wadsworth collection chosen by the artist, as well as a video collage that Banisadr created to show additional inspiration works from the museum’s collection. The exhibition opens October 22, 2020 and will be on view through February 14, 2021. “Banisadr’s depictions of abstracted masses feel especially relevant right now,” says Patricia Hickson, Emily Hall Tremaine Curator of Contemporary Art at the Wadsworth. “His compositions echo the disquiet we are witnessing across the world today, including political rallies, protest marches, and street riots. And yet, as timely as they are, they are equally timeless.” Banisadr’s process has been related to synesthesia as sounds instruct the energy and rhythm in his painterly compositions. His perception of sound as inextricably linked to color and form began in his native Tehran, Iran during the Iran-Iraq War (1980–1988)— the artist recalls drawing while sheltering at home. -
Completeandleft
MEN WOMEN 1. Adam Ant=English musician who gained popularity as the Amy Adams=Actress, singer=134,576=68 AA lead singer of New Wave/post-punk group Adam and the Amy Acuff=Athletics (sport) competitor=34,965=270 Ants=70,455=40 Allison Adler=Television producer=151,413=58 Aljur Abrenica=Actor, singer, guitarist=65,045=46 Anouk Aimée=Actress=36,527=261 Atif Aslam=Pakistani pop singer and film actor=35,066=80 Azra Akin=Model and actress=67,136=143 Andre Agassi=American tennis player=26,880=103 Asa Akira=Pornographic act ress=66,356=144 Anthony Andrews=Actor=10,472=233 Aleisha Allen=American actress=55,110=171 Aaron Ashmore=Actor=10,483=232 Absolutely Amber=American, Model=32,149=287 Armand Assante=Actor=14,175=170 Alessandra Ambrosio=Brazilian model=447,340=15 Alan Autry=American, Actor=26,187=104 Alexis Amore=American pornographic actress=42,795=228 Andrea Anders=American, Actress=61,421=155 Alison Angel=American, Pornstar=642,060=6 COMPLETEandLEFT Aracely Arámbula=Mexican, Actress=73,760=136 Anne Archer=Film, television actress=50,785=182 AA,Abigail Adams AA,Adam Arkin Asia Argento=Actress, film director=85,193=110 AA,Alan Alda Alison Armitage=English, Swimming=31,118=299 AA,Alan Arkin Ariadne Artiles=Spanish, Model=31,652=291 AA,Alan Autry Anara Atanes=English, Model=55,112=170 AA,Alvin Ailey ……………. AA,Amedeo Avogadro ACTION ACTION AA,Amy Adams AA,Andre Agasi ALY & AJ AA,Andre Agassi ANDREW ALLEN AA,Anouk Aimée ANGELA AMMONS AA,Ansel Adams ASAF AVIDAN AA,Army Archerd ASKING ALEXANDRIA AA,Art Alexakis AA,Arthur Ashe ATTACK ATTACK! AA,Ashley -
Untroubled Irving Penn Works from the Pinault
Untroubled Irving Penn Works from the Pinault Collection 17 January - 28 April 2019 opening on January 16, 5 - 9 PM Curated by Matthieu Humery At Mina Image Centre In collaboration with the Pinault Collection Sponsored by: Banque Libano-Française On January 16, 2019 Mina Image centre will be launching its first exhibition “Untroubled” curated by Matthieu Humery and dedicated to one of the major photographers in the 20th century, Irving Penn, whose work will show for the first time in the Arab World. The exhibition will run till April 28, 2019. A press conference will be held at Mina Image Centre on Tuesday, January 15th at 11:00 a.m. The Curator of the exhibition Matthieu Humery and Mina's director Manal Khader will be available to answer all your questions. “Untroubled” draws from “Resonance”, an exhibition organized by the Pinault Collection at Palazzo Grassi in Venice in 2014, and includes 50 images combining platinum prints, gelatin silver prints, dye transfer prints. The show is not a retrospective and does not follow a chronological order, but aims to underline the development of styles, interests and techniques used by Irving Penn by focusing on the main themes tackled by the artist during his entire career: Small Trades, Corner Portraits, Still Life, Hands of Miles Davis, Icons, Decomposition, Vanities/ Memento Mori, Cranium Architecture, World Societies, thereby revealing the diversity in Irving Penn’s work, which is in itself an invaluable legacy to the world of photography. Penn subjects appear at first glance to be quite disparate: celebrities (Pablo Picasso, Alfred Hitchcock, Salvador Dali, Georgia O’Keeffe…), skulls, and cigarette butts… But to Penn, “It is all one thing”. -
Press Release
DON DUDLEY : RECENT WORK 17 September - 29 October, 2017 Opening Reception: Sunday, 17 September, 6-8pm Magenta Plains is pleased to present Don Dudley: Recent Work, an exhibition of eight new panel paintings and eight works on paper made during the past two years by the New York-based painter. Born in Los Angeles, California in 1930, Dudley lived and worked on the West Coast for thirty-eight years before relocating to New York City in 1969. Dudley is a crucial, historical link between the optical and surface oriented “Cool School” or “Finish Fetish” generation of California artists who came into prominence in the 1960s (largely revolving around the Ferus Gallery scene) and the more cerebral, Hard-edged Minimalist artists such as Frank Stella, Brice Marden and Ellsworth Kelly. Since the early 1960s, Dudley’s practice has embraced drawing and painting by way of sculpture and installation— creating subtle and sophisticated wall works that stand out for both their elegance and formal intelligence. Like many of his peers and friends, including Robert Irwin, John Altoon and Ken Price, Dudley’s early, sprayed-lacquer Prism paintings channelled the industrial sublime promised by seemingly limitless corporate innovation, car culture and the youthful optimism of an endless summer. In 1969, Dudley gave up his Venice Beach studio and teaching position at CalArts, packed his belongings into a station wagon and drove from Los Angeles to New York City. Settling first into a loft on Broome Street in SoHo, he later became one of the early pioneers in TriBeCa—where his studio remains to this day. -
Modernism 1 Modernism
Modernism 1 Modernism Modernism, in its broadest definition, is modern thought, character, or practice. More specifically, the term describes the modernist movement, its set of cultural tendencies and array of associated cultural movements, originally arising from wide-scale and far-reaching changes to Western society in the late 19th and early 20th centuries. Modernism was a revolt against the conservative values of realism.[2] [3] [4] Arguably the most paradigmatic motive of modernism is the rejection of tradition and its reprise, incorporation, rewriting, recapitulation, revision and parody in new forms.[5] [6] [7] Modernism rejected the lingering certainty of Enlightenment thinking and also rejected the existence of a compassionate, all-powerful Creator God.[8] [9] In general, the term modernism encompasses the activities and output of those who felt the "traditional" forms of art, architecture, literature, religious faith, social organization and daily life were becoming outdated in the new economic, social, and political conditions of an Hans Hofmann, "The Gate", 1959–1960, emerging fully industrialized world. The poet Ezra Pound's 1934 collection: Solomon R. Guggenheim Museum. injunction to "Make it new!" was paradigmatic of the movement's Hofmann was renowned not only as an artist but approach towards the obsolete. Another paradigmatic exhortation was also as a teacher of art, and a modernist theorist articulated by philosopher and composer Theodor Adorno, who, in the both in his native Germany and later in the U.S. During the 1930s in New York and California he 1940s, challenged conventional surface coherence and appearance of introduced modernism and modernist theories to [10] harmony typical of the rationality of Enlightenment thinking. -
RICHMOND BURTON I AM Paintings (The Return) March 30 – May 8, 2016
ART 3 109 INGRAHAM ST. BROOKLYN NY 11237 art-3gallery.com For immediate release: RICHMOND BURTON I AM paintings (the return) March 30 – May 8, 2016 Opening: Wednesday, March 30, 6-9 PM Richmond Burton, I AM (SWEET SPOT), 2001, Oil on linen, 63 x 99 in. Photo: courtesy of the artist and ART 3 gallery Brooklyn, NY – ART 3 gallery is pleased to represent works and projects by Richmond Burton as well as his Solo Exhibition RICHMOND BURTON: I AM paintings (the return) featuring works from the artist’s groundbreaking I AM series of paintings. This exhibition will mark a 15-year anniversary and return to the seminal works, originally shown in 2001 at Cheim & Read, New York, NY. Richmond Burton’s works are known for their kaleidoscopic color, undulating patterns, and lyrical handling of expressionistic mark making. The I AM paintings manage to simultaneously hold two truths without becoming one or the other. They exist both as geometric, structured, formal, while concurrently being relaxed, visceral, seductive, and organic compositions. The works play with decorative patterning without compromising a conceptual backbone. Their intensity of vision allows for transcendent thought, experience, and connection while challenging any preconceived norms or rules defining abstract painting. The paintings hold a tension between ruptured grids and naturalistic, diffused light with jolts of intense jewel-like color. Metallic colors are used—gold, silver, and copper thread through the work and coalesce into details, concentrated inlay or patterned punctuation. Abstracted forms break and congeal, with imagery reminiscent of swirling sperm, egg yolks, rocks, petals, leaves, and shells. -
Robert Morris, Minimalism, and the 1960S
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 1988 The Politics of Experience: Robert Morris, Minimalism, and the 1960s Maurice Berger Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1646 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] INFORMATION TO USERS The most advanced technology has been used to photograph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. -
Cras-38.1.-009 165..190
Shooting the Movement: Black Panther Party Photography and African American Protest Tr a di ti o n s T.N. P h u Abstract: Although the failure of the Black Panther Party has often been attributed to the violence which consumed it, the photographic record suggests otherwise. This paper argues that the movement in fact developed a striking and self-aware protest aesthetic. Moreover, this still influential self-referential visuality emphasized the spectacular forms of defiance, contributing, in doing so, to African American traditions of protest conventionally rooted in the oral tradition. A focus on Black Panther Party photography helps account for how the rhetorical violence which focused the BPP’s protest aesthetic became complexly indistinguishable from violent realization. Keywords: African American photography, American studies, cultural studies, visual culture, race Re´sume´ : Bien que l’e´chec du parti des Panthe`res Noires ait souvent e´te´ attribue´ a` la violence qui l’embrasait, les dossiers photographiques laissent penser le contraire. Selon le pre´sent article, le mouvement a en fait de´veloppe´ un caracte`re d’autoprotestation frappant en matie`re d’esthe´tique. En outre, ce phe´nome`ne de perception autore´fe´rentiel qui conserve toujours son influence a mis l’accent sur des formes spectaculaires de de´fi et a ainsi contribue´ aux traditionnelles protestations afro-ame´ricaines classiquement enracine´es dans la tradition orale. L’accent mis sur la photographie du parti des Panthe`res Noires permet de constater comment la rhe´torique violente sur laquelle s’est polarise´ ce parti est devenue complexe et impossible a` distinguer de la re´alisation violente. -
Papers/Records /Collection
A Guide to the Papers/Records /Collection Collection Summary Collection Title: World War I Poster and Graphic Collection Call Number: HW 81-20 Creator: Cuyler Reynolds (1866-1934) Inclusive Dates: 1914-1918 Bulk Dates: Abstract: Quantity: 774 Administrative Information Custodial History: Preferred Citation: Gift of Cuyler Reynolds, Albany Institute of History & Art, HW 81-20. Acquisition Information: Accession #: Accession Date: Processing Information: Processed by Vicary Thomas and Linda Simkin, January 2016 Restrictions Restrictions on Access: 1 Restrictions on Use: Permission to publish material must be obtained in writing prior to publication from the Chief Librarian & Archivist, Albany Institute of History & Art, 125 Washington Avenue, Albany, NY 12210. Index Term Artists and illustrators Anderson, Karl Forkum, R.L. & E. D. Anderson, Victor C. Funk, Wilhelm Armstrong, Rolf Gaul, Gilbert Aylward, W. J. Giles, Howard Baldridge, C. LeRoy Gotsdanker, Cozzy Baldridge, C. LeRoy Grant, Gordon Baldwin, Pvt. E.E. Greenleaf, Ray Beckman, Rienecke Gribble, Bernard Benda, W.T. Halsted, Frances Adams Beneker, Gerritt A. Harris, Laurence Blushfield, E.H. Harrison, Lloyd Bracker, M. Leone Hazleton, I.B. Brett, Harold Hedrick, L.H. Brown, Clinton Henry, E.L. Brunner, F.S. Herter, Albert Buck, G.V. Hoskin, Gayle Porter Bull, Charles Livingston Hukari, Pvt. George Buyck, Ed Hull, Arthur Cady, Harrison Irving, Rea Chapin, Hubert Jack. Richard Chapman, Charles Jaynes, W. Christy, Howard Chandler Keller, Arthur I. Coffin, Haskell Kidder Copplestone, Bennett King, W.B. Cushing, Capt. Otho Kline, Hibberd V.B Daughterty, James Leftwich-Dodge, William DeLand, Clyde O. Lewis, M. Dick, Albert Lipscombe, Guy Dickey, Robert L. Low, Will H. Dodoe, William de L.