DOCSLIB.ORG

Modern/Post-War

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Modern/Post-War MODERN/POST-WAR ABSTRACT ADDICTIONS: SONGS WITHOUT WORDS 2018 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 2 3 ABSTRACT ADDICTIONS: SONGS WITHOUT WORDS “It is a widely accepted notion among painters that it does not matter what one paints as long as it is well painted. This is the essence of academic painting. However, there is no such thing as a good painting about nothing.”…Mark Rothko It has been one year since we last published a large catalogue devoted to our vast inventories touching upon our passion for Post-War and modern works of art. When you peruse the following pages please pause a moment and realize that each work of art on each page has a backstory. When and where was it created? Where did it go after its creation and to whom? Over the years of its initial acquisition who lived with it and who viewed it? Was it loaned to exhibitions or museums? Has it traded hands only once or numerous times and eventually how did we acquire it? Well… all of the above are wonderfully curious questions one doesn’t generally think about, but in my life it is all I think about. The backstories and future of all these great works of art have finally come home to me. As times change, we continue to keep reinventing ourselves. Our growth as well as our desire to learn is paramount in keeping us current. Our focus lies mostly in Post-War art, which surprisingly comprises many more movements than one would expect. Personally, I immediately think of the Abstract Expressionists but then you realize from their movement basically everything after that is a result of those artists to this day. A short list consists of the following movements such as, Bay Area, Black Mountain College, Cobra, Color Field, Gutai Group, Pop, Conceptual Art, Minimalism, Hard Edge, Kinetic Art and Realism etc. etc. and when you really think about it, they all are somehow related intellectually. I haven’t until recently realized that my continuing interests are all connected to my love of Abstract Expressionism and its influencing echo on all of the artists after them to the present day. You will see that our current catalogue “Songs Without Words” touches upon all of these movements. The label Abstract Expressionism was established in New York City in the 1940s and 1950s of painters whose compositions were filled with abstract forms of color painted with vigorous gesture attacking their canvases with personal emotions as expressions within themselves. Their universal themes were shaped from European modernism and abstraction but translated into something purely American. Like American Jazz, the Abstract Expressionists lead the way to the future of painting and it all came out of the trauma, anxiety and realization of what they experienced as survivors of WWII. This gave them a new beginning and a chance to reinvent themselves not realizing their effect on the future of art forever. I believe that all the Post-War movements to this day were born from this group of artists. They were all exceptional craftsmen with no boundaries enabling them VINCENT VALLARINO to follow their intuitive flow taking themselves to new places intellectually and magically discovering places PRINCIPAL, [email protected] they never dreamed of arriving at. They were becoming their own teachers and to this day their influence is a MASHA STROGANOVA paradigm that will never fade. DIRECTOR, [email protected] For me art is the purist addiction that exists and over time have realized that its eclectic relationship with color, JORDAN HUTTON form and space connect everything in mysterious ways. Mendelssohn’s, “Songs Without Words” is a series STUDIO MANAGER, of compositions for piano consisting of eight volumes containing six songs each written over his lifetime. Even [email protected] though they were written over a lifetime they all relate, much like the various art movements that were born from ETHAN VALLARINO Abstract Expressionism. Once again we have put our heart and soul into what we believe to be a complete CONSULTANT, [email protected] statement for you to appreciate. Hopefully our passion and enthusiasm will fuel your quest to absorb new ideas as the mystery of art unfolds around you. VANESSA VALLARINO ASSOCIATE, I continue to believe that the future is all about the past. [email protected] Vincent Vallarino, VFA Millbrook Studio located on the Vallarino Millbrook property Millbrook, New York 2018 4 5 WILLEM DE KOONING DUTCH/AMERICAN, 1904–1997 UNTITLED, C. 1971 OIL ON PAPER (2 JOINED SHEETS OF PAPER) 441/2 X 411/2 INCHES PROVENANCE: THE ESTATE OF THE ARTIST (DE KOONING STUDIO LABEL VERSO) MITCHELL-INNES & NASH, NEW YORK ACQUIRED FROM THE ABOVE BY THE PRESENT OWNER EXHIBITED: NEW YORK, MITCHELL-INNES & NASH, MASTER DRAWINGS OF THE TWENTIETH CENTURY, MAY-JUNE 1998, PP. 56-57, NO. 23 (ILLUSTRATED). 6 7 HANS HOFMANN AMERICAN, 1880–1966 COMPOSITION NO. 43, C. 1942 OIL ON PANEL 35 1/2 X 41 1/2 INCHES SIGNED BOTTOM RIGHT PROVENANCE: THE ARTIST. THE COLLECTION OF CLEMENT GREENBERG. NOAH GOLDOWSKY GALLERY, NEW YORK, NEW YORK. PRIVATE COLLECTION, DAYTON, OHIO. SOTHEBY’S, NEW YORK, “CONTEMPORARY PAINTINGS, DRAWINGS AND SCULPTURE,” NOVEMBER 9, 1983, LOT 43. PRIVATE COLLECTION. CHRISTIE’S, NEW YORK, “CONTEMPORARY ART,” FEBRUARY 8, 1986, LOT 101. THE ESTATE OF LEE & GILBERT BACHMAN, ATLANTA, GEORGIA & BOCA RATON, FLORIDA (ACQUIRED DIRECTLY FROM THE ABOVE SALE). LITERATURE: SUZI VILLIGER, HANS HOFMANN CATALOGUE RAISONNÉ OF PAINTINGS, VOLUME II: CATALOGUE ENTRIES P1-P846 (1901–1951), BURLINGTON: LUND HUMPHRIES, 2014, CATALOGUE NO. P436 (ILLUSTRATED). 8 CHARLES GREEN SHAW AMERICAN, 1892–1974 ABSTRACTED STILL LIFE, 1936–37 OIL ON CANVAS 30 X 36 INCHES SIGNED LOWER LEFT PROVENANCE: RICHARD YORK GALLERY, NEW YORK 11 ROBERT MOTHERWELL AMERICAN, 1915–1991 UNTITLED (STILL LIFE), C. 1930–33 CABARET #4, 1974 ARSHILE GORKY OIL AND STRING ON COLLAGED CANVAS COLLAGE WITH GERMAN SHEET MUSIC, AMERICAN–ARMENIAN, 1904–1948 11 X 14 1/2 INCHES TORN PAPER, PENCIL AND ACRYLIC SIGNED UPPER LEFT 22 X 10 1/2 INCHES PROVENANCE: MARNY GEORGE, NEW YORK INITIALED RM AND DATED LOWER RIGHT (GIFT OF THE ARTIST) PROVENANCE: THE (HANNELORE) THENCE BY DESCENT TO THE PRESENT OWNER SCHULHOF COLLECTION THIS WORK IS CATALOGUED IN THE ARSHILE GORKY FOUNDATION ARCHIVES AS NUMBER ‘P375’. 12 13 FRIEDEL DZUBAS GERMAN/AMERICAN, 1915–1994 WAYCROSS, 1962 OIL ON CANVAS 72 7/8 X 65 7/8 INCHES SIGNED, TITLED, AND DATED VERSO PROVENANCE: AMERINGER & HOWARD FINE ART, BOCA RATON, FLORIDA EXHIBITED: FRIEDEL DZUBAS: A RETROSPECTIVE EXHIBITION, MUSEUM OF FINE ARTS, HOUSTON, OCTOBER–NOVEMBER 1974, CAT. NO. 9, P. 26 (ILLUSTRATED) FRIEDEL DZUBAS: PAINTINGS OF THE 1960S, AMERINGER/HOWARD FINE ART, NEW YORK, MARCH–APRIL 2001 14 15 ESTEBAN VICENTE SPANISH/AMERICAN, 1903–2001 COLLAGE, 1969 PRINTER PAPER COLLAGE ON PAPER MOUNTED TO FOAMCORE 51 7/8 X 40 INCHES SIGNED, TITLED, AND DATED VERSO PROVENANCE: ANDRÉ EMMERICH GALLERY, INC., NEW YORK ACQUIRED FROM THE ABOVE BY THE PRESENT OWNER EXHIBITED: NEW YORK, ANDRÉ EMMERICH GALLERY, INC., ‘COLLAGES,’ SEPTEMBER – OCTOBER 1969, ILLUSTRATED IN COLOR ON THE EXHIBITION POSTER 16 LANDSCAPE NO. 130, 1934 PINK PETUNIA, 1968 HANS OIL ON PANEL 25 X 30 INCHES ALEX KATZ ACRYLIC ON PANEL HOFMANN SIGNED AND DATED LOWER RIGHT AMERICAN, B.1927 14 7/8 X 10 5/8 INCHES AMERICAN, 1880–1966 PROVENANCE: THE ARTIST; ESTATE OF THE ABOVE, 1966–88; SIGNED AND DATED UPPER LEFT ANDRÉ EMMERICH GALLERY, NEW YORK, 1988 (LABEL VERSO); PROVENANCE: ROBERT MILLER GALLERY, NEW YORK [WITH]WILLIAM H. LANE FOUNDATION, LEOMINSTER, PRIVATE COLLECTION, GREENSBORO, NORTH CAROLINA MASSACHUSETTS (LABEL VERSO); ACQUIRED FROM THE ABOVE BY THE PRESENT OWNER, MARIANNE FRIEDLAND GALLERY, TORONTO, CANADA, 1988 (LABEL VERSO); CIRCA 1983–1987 PRIVATE COLLECTION, ACQUIRED IN 1988. EXHIBITED: HEATH GALLERY, ATLANTA, GEORGIA, 1983; THOMAS BABEOR GALLERY, LA JOLLA, CALIFORNIA, FEBRUARY 8–APRIL 6, 1985; MARIANNE FRIEDLAND GALLERY, TORONTO, CANADA, 1986. LITERATURE: S. VILLIGER, ED., HANS HOFMANN: CATALOGUE RAISONNÉ OF PAINTINGS, VOLUME II, BURLINGTON, VERMONT, 2014 NO. P24, P. 22, ILLUSTRATED. 18 19 NORMAN BLUHM AMERICAN, 1921–1999 UNKNOWN NATURE, 1956 OIL ON CANVAS 51 X 76 1/2 INCHES SIGNED, TITLED AND DATED VERSO PROVENANCE: IRVING GALLERIES, PALM BEACH ACQUIRED FROM THE ABOVE BY THE PRESENT OWNER 21 PAYSAGE HUMAINE, 1959 KAREL APPEL PASTEL AND ACRYLIC ON PAPER DUTCH, 1921–2006 22 X 30 INCHES SIGNED AND DATED LOWER LEFT PROVENANCE: PRIVATE COLLECTION ACQUIRED FROM THE ABOVE BY THE PRESENT OWNER IN NOVEMBER 1973 EXHIBITED: SÃO PAULO MUSEUM OF MODERN ART, ‘5TH BIENNIAL OF SÃO PAULO,’ SEPTEMBER – DECEMBER 1959, CAT NO. 12 UNTITLED, 1947 HANS WATERCOLOR ON PAPER 23 3/4 X 18 3/4 INCHES HOFMANN INITIALED AT LOWER RIGHT, ESTATE STAMPED VERSO AND NUMBERED 506/3 AMERICAN, 1880–1966 PROVENANCE: ESTATE OF THE ARTIST ANDRÉ EMMERICH GALLERY, NEW YORK MANNY SILVERMAN GALLERY, LOS ANGELES PRIVATE COLLECTION, NEW YORK (1999) 22 23 JAMES BROOKS AMERICAN, 1906–1992 XENOPHON, 1970 ACRYLIC ON CANVAS 60 X 72 INCHES SIGNED LOWER RIGHT; SIGNED, DATED AND TITLED VERSO PROVENANCE: MARTHA JACKSON GALLERY, NEW YORK GRUENEBAUM GALLERY, LTD., NEW YORK EXHIBITED: JAMES BROOKS, MAY – JUN. 1972, DALLAS MUSEUM OF FINE ARTS, DALLAS 24 TONY ROSENTHAL AMERICAN, 1914–2009 MOTHER AND CHILD, 1953 PAINTING–1963 (II), 1963 CUT AND WELDED BRONZE CHARLES OIL ON CANVAS 99 X 14 X 18 1/4 INCHES 33 X 45 3/4 INCHES INCISED SIGNATURE NEAR BASE HOUGHTON SIGNED WITH INITIALS AND DATED ‘CH/63’ EXHIBITED: “TONY ROSENTHAL,” PROVENANCE: MCROBERTS & TUNNARD LIMITED, LONDON. CATHERINE VIVIANO GALLERY, HOWARD PROPERTY FROM THE COLLECTION OF ELIZABETH BROOKE BLAKE NEW YORK, NOVEMBER 1953 AMERICAN, 1899–1978 ILLUSTRATED: ARTS & ARCHITECTURE.
Load more

Recommended publications
  • Gallery-Guide-Off-Kilter For-Web.Pdf
    Dave Yust, Circular Composition (#11 Round), 1969 UNIVERSITY CENTER FOR THE ARTS 1400 Remington Street, Fort Collins, CO artmuseum.colostate.edu [email protected] | (970) 491-1989 TUES - SAT | 10 A.M.- 6 P.M. THURSDAY OPEN UNTIL 7:30 P.M. ALWAYS FREE OFF KILTER, ON POINT ART OF THE 1960s FROM THE PERMANENT COLLECTION ABOUT THE COLLECTION Drawing on the museum’s longstanding strength in 20th-century art of the United States and Europe and including long-time visitor favorites and recent acquisitions, Off Kilter, On Point: Art of the 1960s from the Permanent Collection highlights the depth and breadth of artworks in the museum permanent collection. The exhibition showcases a wide range of media and styles, from abstraction to pop, presenting novel juxtapositions that reflect the tumult and innovations of their time. The 1960s marked a time of undeniable turbulence and strife, but also a period of remarkable cultural and societal change. The decade saw the civil rights movement and the Civil Rights Act, the Cuban missile crisis, the Vietnam conflict, political assassinations, the moon landing, the first televised presidential debate, “The Pill,” and, arguably, a more rapid rate of technological advancement and cultural change than ever before. The accelerated pace of change was well reflected in the art of the time, where styles and movements were almost constantly established, often in reaction to one another. This exhibition presents most of the major stylistic trends of art of the 1960s in the United States and Europe, drawn from the museum’s permanent collection. An art collection began taking shape at CSU long before there was an art museum, and art of the 1960s was an early focus.
    [Show full text]
  • THE AMERICAN ART-1 Corregido
    THE AMERICAN ART: AN INTRODUCTION Compiled by Antoni Gelonch-Viladegut For the Gelonch Viladegut Collection Paris-Boston, April 2011 SOMMARY INTRODUCTION 3 18th CENTURY 5 19th CENTURY 6 20th CENTURY 8 AMERICAN REALISM 8 ASHCAN SCHOOL 9 AMERICAN MODERNISM 9 MODERNIST PAINTING 13 THE AMERICAN SOUTHWEST 14 HARLEM RENAISSANCE 14 NEW DEAL ART 14 ABSTRACT EXPRESSIONISM 15 ACTION PAINTING 18 COLOR FIELD 19 POLLOCK AND ABSTRACT INFLUENCES 20 ART CRITICS OF THE POST-WORLD WAR II ERA 21 AFTER ABSTRACT EXPRESSIONISM 23 OTHER MODERN AMERICAN MOVEMENTS 24 THE GELONCH VILADEGUT COLLECTION 2 http://www.gelonchviladegut.com The vitality and the international presence of a big country can also be measured in the field of culture. This is why Statesmen, and more generally the leaders, always have the objective and concern to leave for posterity or to strengthen big cultural institutions. As proof of this we can quote, as examples, the Bibliothèque Nationale de France, the British Museum, the Monastery of Escorial or the many American Presidential Libraries which honor the memory of the various Presidents of the United States. Since the Holy Roman Empire and, notably, in Europe during the Renaissance times cultural sponsorship has been increasingly active for the sake of art or for the sense of splendor. Nowadays, if there is a country where sponsors have a constant and decisive presence in the world of the art, this is certainly the United States. Names given to museum rooms in memory of devoted sponsors, as well as labels next to the paintings noting the donor’s name, are a very visible aspect of cultural sponsorship, especially in America.
    [Show full text]
  • The Inflation of Abstraction | the New Yorker
    6/10/2019 The Inflation of Abstraction | The New Yorker The Art World The Inflation of Abstraction The Met’s show of Abstract Expressionism wants to remake the canon. By Peter Schjeldahl December 31, 2018 https://www.newyorker.com/magazine/2019/01/07/the-inflation-of-abstraction 1/8 6/10/2019 The Inflation of Abstraction | The New Yorker Mark Rothko’s “No. 3,” from 1953, his peak year of miracles. © 1998 Kate Rothko Prizel & Christopher Rothko / Courtesy ARS he rst room of “Epic Abstraction: Pollock to Herrera,” a wishfully canon- T expanding show of painting and sculpture from the past eight decades, at the Metropolitan Museum, affects like a mighty organ chord. It contains the museum’s two best paintings by Jackson Pollock: “Pasiphaë” (1943), a quaking compaction of https://www.newyorker.com/magazine/2019/01/07/the-inflation-of-abstraction 2/8 6/10/2019 The Inflation of Abstraction | The New Yorker mythological elements named for the accursed mother of the Minotaur, and “Autumn Rhythm (Number 30)” (1950), a singing orchestration of drips in black, white, brown, and teal enamel—bluntly material and, inextricably, sublime. There are six Pollock drawings, too, and “Number 7” (1952), one of his late, return-to- guration paintings in mostly black on white, of an indistinct but hieratic head. The adjective “epic” does little enough to honor Pollock’s mid-century glory, which anchors the standard art-historical saga of Abstract Expressionism—“The Triumph of American Painting,” per the title of a 1976 book on the subject by Irving Sandler —as a revolution that stole the former thunder of Paris and set a stratospheric benchmark for subsequent artists.
    [Show full text]
  • 2013 Issue #5
    Flint Institute of Arts fiamagazineNOV–DEC 2013 Website www.flintarts.org Mailing Address 1120 E. Kearsley St. contents Flint, MI 48503 Telephone 810.234.1695 from the director 2 Fax 810.234.1692 Office Hours Mon–Fri, 9a–5p exhibitions 3–4 Gallery Hours Mon–Wed & Fri, 12p–5p Thu, 12p–9p video gallery 5 Sat, 10a–5p Sun, 1p–5p art on loan 6 Closed on major holidays Theater Hours Fri & Sat, 7:30p featured acquisition 7 Sun, 2p acquisitions 8 Museum Shop 810.234.1695 Mon–Wed, Fri & Sat, 10a–5p Thu, 10a–9p films 9–10 Sun, 1p–5p calendar 11 The Palette 810.249.0593 Mon–Wed & Fri, 9a–5p Thu, 9a–9p news & programs 12–17 Sat, 10a–5p Sun, 1p–5p art school 18–19 The Museum Shop and education 20–23 The Palette are open late for select special events. membership 24–27 Founders Art Sales 810.237.7321 & Rental Gallery Tue–Sat, 10a–5p contributions 28–30 Sun, 1p–5p or by appointment art sales & rental gallery 31 Admission to FIA members .............FREE founders travel 32 Temporary Adults .........................$7.00 Exhibitions 12 & under .................FREE museum shop 33 Students w/ ID ...........$5.00 Senior citizens 62+ ....$5.00 cover image From the exhibition Beatrice Wood: Mama of Dada Beatrice Wood American, 1893–1998 I Eat Only Soy Bean Products pencil, color pencil on paper, 1933 12.0625 x 9 inches Gift of Francis M. Naumann Fine Art, LLC, 2011.370 FROM THE DIRECTOR 2 I never tire of walking through the sacred or profane, that further FIA’s permanent collection galleries enhances the action in each scene.
    [Show full text]
  • Performance Kazuo Shiraga
    PERFORMANCE kazuo shiraga Mud, Sweat, and Oil Paint KAZUO SHIRAGA’S ALTERNATE MODERNIsm. TAMSEN GREENEwords What does rolling around in the mud have to do with painting? Everything, according to the late Japanese artist Kazuo Shiraga, who was a prominent member of the legendary Gutai Art Association. Although the bulk of his output was on canvas, in Challenging Mud, 1955, Shiraga wrestled with a formless mixture of wall plaster and cement that bruised his body. To him, this and such other perfor- mance pieces as Sanbaso-Super Modern, 1957— in which he swayed on stage clad in a red costume with a pointed hat and elongated arms that made sweeping motions against the dark background—were alternate methods of painting. “There exists my action, regardless of whether or not it is secured,” Shiraga wrote in his 1955 essay “Action Only.” Defining painting as a gesture rather than a medium was revolutionary in the 1950s. Chizensei Kirenji, 1961. OIL ON CANVAS, 51¼ X 63¾ IN. Despite his innovative thinking, Shiraga has not been well known in the United States. This is perhaps because when his work debuted in New York, in a 1958 Gutai group show at Martha Jackson Gallery, it was panned as multiply derivative. “As records, they are interesting enough, but as paintings they are ineffectual,” the critic Dore Ashton wrote in the New York Times. “They resemble paintings in Paris, Amsterdam, London, and Mexico City that resemble paintings that resemble paintings by FROM TOP: THREE IMAGES, AMAGASAKI CULTURAL CENTER; VERVOORDT FOUNDATION COLLECTION. OPPOSITE: BOTH IMAGES, AMAGASAKI CULTURAL CENTER 32 MODERN PAINTERS APRIL 2010 ARTINFO.COM Performance stills from Challenging Mud, third execution.
    [Show full text]
  • San Francisco Art Institute Presents Gutai Historical Survey and Contemporary Response
    FOR IMMEDIATE RELEASE MEDIA CONTACT: Janette Andrawes 415.749.4515 [email protected] San Francisco Art Institute Presents Gutai Historical Survey and Contemporary Response First West Coast Survey Exhibition of Avant-Garde, Postwar Japanese Art Movement Features Site-Specific Contemporary Responses to Classic Gutai Performative Works Exhibition: Experimental Exhibition of Modern Art to Challenge the Mid-Winter Burning Sun: Gutai Historical Survey and Contemporary Response Curators: John Held, Jr. and Andrew McClintock Venue: Walter and McBean Galleries San Francisco Art Institute 800 Chestnut Street, San Francisco, CA Dates: February 8–March 30, 2013 Media Preview: Friday, February 8, 5:00–6:00 pm Cost: Free and Open to the Public San Francisco, CA (January 9, 2013) — The San Francisco Art Institute (SFAI) is proud to announce the first West Coast survey exhibition of Gutai (1954-1972)—a significant avant-garde artist collective in postwar Japan whose overriding directive was: "Do something no one's ever done before." Rejecting the figurative and abstract art of the era, and in an effort to transform the Japanese psyche from wartime regimentation to independence of thought, Gutai artists fulfilled their commitment to innovative practices by producing art through concrete, performative actions. With a diverse assembly of historical and contemporary art, including several site- specific performances commissioned exclusively for SFAI, Experimental Exhibition of Modern Art to Challenge the Mid-Winter Burning Sun: Gutai Historical Survey and Contemporary Response creates a dialogue with classic Gutai works while demonstrating the lasting significance and radical energy of this movement. This exhibition showcases North American, neo-conceptualist artists' responses to groundbreaking Gutai performances; dozens of original paintings, video, photographs, and ephemera from private collections; and an expansive collection of Mail Art from more than 30 countries.
    [Show full text]
  • Ernest Briggs' Three Decades of Abstract Expressionist Painting
    Ernest Briggs' Three Decades its help in allowing artists of the period to go to school. They were set of Abstract Expressionist Painting free economically, and were allowed to live comfortably with tuition and supplies paid for. The Fine Arts School would last about 3 years Ernest Briggs, a second generation Abstract Expressionist painter under McAgy. The program took off due to the presence of Clyfford known for his strong, lyrical, expressive brushstrokes, use of color and Still, Ad Reinhardt, along with David Park, Richard Diebenkorn, Elmer sometimes geometric composition, first came to New York in late 1953. Bischoff and others. Most of the students at the school, about 40-50 He had been a student of Clyfford Still at the California School of Fine taking painting, such luminaries as Dugmore, Hultberg, Schueler and Arts. Frank O’Hara first experienced the mystery in the way Ernest Crehan, had had some exposure to art through university or art school. Briggs’ splendid paintings transform, and the inability to see the shape But there had been no exposure to what was going on in New York or in as a shape apart from interpretation. Early in 1954, viewing Briggs’ first Europe in the art world, and Briggs and the others were little prepared one man show at the Stable Gallery in New York, O’Hara said in Art for the onslaught that was to come. in America “From the contrast between the surface bravura and the half-seen abstract shapes, a surprising intimacy arises which is like The California Years seeing a public statue, thinking itself unobserved, move.” With the entry of Still, the art program would “blow apart”.
    [Show full text]
  • Qurrat Ann Kadwani: Still Calling Her Q!
    1 More Next Blog» Create Blog Sign In InfiniteBody art and creative consciousness by Eva Yaa Asantewaa Tuesday, May 6, 2014 Your Host Qurrat Ann Kadwani: Still calling her Q! Eva Yaa Asantewaa Follow View my complete profile My Pages Home About Eva Yaa Asantewaa Getting to know Eva (interview) Qurrat Ann Kadwani Eva's Tarot site (photo Bolti Studios) Interview on Tarot Talk Contact Eva Name Email * Message * Send Contribute to InfiniteBody Subscribe to IB's feed Click to subscribe to InfiniteBody RSS Get InfiniteBody by Email Talented and personable Qurrat Ann Kadwani (whose solo show, They Call Me Q!, I wrote about Email address... Submit here) is back and, I hope, every bit as "wicked smart and genuinely funny" as I observed back in September. Now she's bringing the show to the Off Broadway St. Luke's Theatre , May 19-June 4, Mondays at 7pm and Wednesdays at 8pm. THEY CALL ME Q is the story of an Indian girl growing up in the Boogie Down Bronx who gracefully seeks balance between the cultural pressures brought forth by her traditional InfiniteBody Archive parents and wanting acceptance into her new culture. Along the journey, Qurrat Ann Kadwani transforms into 13 characters that have shaped her life including her parents, ► 2015 (222) Caucasian teachers, Puerto Rican classmates, and African-American friends. Laden with ▼ 2014 (648) heart and abundant humor, THEY CALL ME Q speaks to the universal search for identity ► December (55) experienced by immigrants of all nationalities. ► November (55) Program, schedule and ticket information ► October (56) ► September (42) St.
    [Show full text]
  • Jack Roth (1927-2004) for Immediate Release: June 28, 2012
    237 East Palace Avenue Santa Fe, NM 87501 800 879-8898 505 989-9888 505 989-9889 Fax [email protected] Jack Roth (1927-2004) For immediate release: June 28, 2012 Peyton Wright Gallery is pleased to announce “Jack Roth: Color Equations” The exhibition commences with an opening reception on Friday, August 3rd, 2012 from 5:00 to 8:00 p.m., and continues through September 12th, 2012. Although he was fully two decades younger than some of the elder statesmen of the Abstract Expressionist movement, Jack Roth exhibited alongside Jackson Pollock, Willem de Kooning, Franz Kline, Philip Guston, William Baziotes and others while still in his twenties. Roth was a true polymath, pursuing interests in chemistry, literature, music, mathematics and Zen Buddhism in addition to painting. Despite the rarified company he kept and his many accomplishments, Jack Roth’s contributions to 20th century modernist painting have been largely overlooked until fairly recently. Rachel Roth, his wife of fifty years, remembered him this way: “Jack was the hardest working person I’ve ever known. I’ve never said this before, but I think he was a genius, and I don’t say that lightly!” to Big Sur where he began to explore his interests in painting and sculpture and played chess with his friend Henry Miller. Roth moved to San Francisco in 1949 and enrolled in the California School of Fine Arts where he studied under Mark Rothko, Clyfford Still, and Richard Diebenkorn. He re- enrolled at Penn State in 1951 and earned his Bachelor’s in chemistry, an achievement later followed by a Master of Fine Arts from the State University of Iowa in 1952, and a PhD in La Gaîté oil on canvas 1958 72” x 60” mathematics from Duke University in 1962.
    [Show full text]
  • Dick Polich in Art History
    ww 12 DICK POLICH THE CONDUCTOR: DICK POLICH IN ART HISTORY BY DANIEL BELASCO > Louise Bourgeois’ 25 x 35 x 17 foot bronze Fountain at Polich Art Works, in collaboration with Bob Spring and Modern Art Foundry, 1999, Courtesy Dick Polich © Louise Bourgeois Estate / Licensed by VAGA, New York (cat. 40) ww TRANSFORMING METAL INTO ART 13 THE CONDUCTOR: DICK POLICH IN ART HISTORY 14 DICK POLICH Art foundry owner and metallurgist Dick Polich is one of those rare skeleton keys that unlocks the doors of modern and contemporary art. Since opening his first art foundry in the late 1960s, Polich has worked closely with the most significant artists of the late 20th and early 21st centuries. His foundries—Tallix (1970–2006), Polich of Polich’s energy and invention, Art Works (1995–2006), and Polich dedication to craft, and Tallix (2006–present)—have produced entrepreneurial acumen on the renowned artworks like Jeff Koons’ work of artists. As an art fabricator, gleaming stainless steel Rabbit (1986) and Polich remains behind the scenes, Louise Bourgeois’ imposing 30-foot tall his work subsumed into the careers spider Maman (2003), to name just two. of the artists. In recent years, They have also produced major public however, postmodernist artistic monuments, like the Korean War practices have discredited the myth Veterans Memorial in Washington, DC of the artist as solitary creator, and (1995), and the Leonardo da Vinci horse the public is increasingly curious in Milan (1999). His current business, to know how elaborately crafted Polich Tallix, is one of the largest and works of art are made.2 The best-regarded art foundries in the following essay, which corresponds world, a leader in the integration to the exhibition, interweaves a of technological and metallurgical history of Polich’s foundry know-how with the highest quality leadership with analysis of craftsmanship.
    [Show full text]
  • CONTEMPORARY AMERICAN PAINTING and SCULPTURE 1969 University of Illinois at Urbana-Champaign Js'i----».--:R'f--=
    Arch, :'>f^- *."r7| M'i'^ •'^^ .'it'/^''^.:^*" ^' ;'.'>•'- c^. CONTEMPORARY AMERICAN PAINTING AND SCULPTURE 1969 University of Illinois at Urbana-Champaign jS'i----».--:r'f--= 'ik':J^^^^ Contemporary American Painting and Sculpture 1969 Contemporary American Painting and Sculpture DAVID DODD5 HENRY President of the University JACK W. PELTASON Chancellor of the University of Illinois, Urbano-Champaign ALLEN S. WELLER Dean of the College of Fine and Applied Arts Director of Krannert Art Museum JURY OF SELECTION Allen S. Weller, Chairman Frank E. Gunter James R. Shipley MUSEUM STAFF Allen S. Weller, Director Muriel B. Christlson, Associate Director Lois S. Frazee, Registrar Marie M. Cenkner, Graduate Assistant Kenneth C. Garber, Graduate Assistant Deborah A. Jones, Graduate Assistant Suzanne S. Stromberg, Graduate Assistant James O. Sowers, Preparator James L. Ducey, Assistant Preparator Mary B. DeLong, Secretary Tamasine L. Wiley, Secretary Catalogue and cover design: Raymond Perlman © 1969 by tha Board of Trustees of the University of Illinois Library of Congress Catalog Card No. A48-340 Cloth: 252 00000 5 Paper: 252 00001 3 Acknowledgments h.r\ ^. f -r^Xo The College of Fine and Applied Arts and Esther-Robles Gallery, Los Angeles, Royal Marks Gallery, New York, New York California the Krannert Art Museum are grateful to Marlborough-Gerson Gallery, Inc., New those who have lent paintings and sculp- Fairweother Hardin Gallery, Chicago, York, New York ture to this exhibition and acknowledge Illinois Dr. Thomas A. Mathews, Washington, the of the artists, Richard Gallery, Illinois cooperation following Feigen Chicago, D.C. collectors, museums, and galleries: Richard Feigen Gallery, New York, Midtown Galleries, New York, New York New York ACA Golleries, New York, New York Mr.
    [Show full text]
  • 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.
    [Show full text]