Llyn Foulkes Between a Rock and a Hard Place
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Pat Adams Selected Solo Exhibitions
PAT ADAMS Born: Stockton, California, July 8, 1928 Resides: Bennington, Vermont Education: 1949 University of California, Berkeley, BA, Painting, Phi Beta Kappa, Delta Epsilon 1945 California College of Arts and Crafts, summer session (Otis Oldfield and Lewis Miljarik) 1946 College of Pacific, summer session (Chiura Obata) 1948 Art Institute of Chicago, summer session (John Fabian and Elizabeth McKinnon) 1950 Brooklyn Museum Art School, summer session (Max Beckmann, Reuben Tam, John Ferren) SELECTED SOLO EXHIBITIONS 2017 Bennington Museum, Bennington, Vermont 2011 National Association of Women Artists, New York 2008 Zabriskie Gallery, New York 2005 Zabriskie Gallery, New York, 50th Anniversary Exhibition: 1954-2004 2004 Bennington Museum, Bennington, Vermont 2003 Zabriskie Gallery, New York, exhibited biennially since 1956 2001 Zabriskie Gallery, New York, Monotypes, exhibited in 1999, 1994, 1993 1999 Amy E. Tarrant Gallery, Flyn Performing Arts Center, Burlington, Vermont 1994 Jaffe/Friede/Strauss Gallery, Dartmouth College, Hanover, New Hampshire 1989 Anne Weber Gallery, Georgetown, Maine 1988 Berkshire Museum, Pittsfield, Massachusetts, Retrospective: 1968-1988 1988 Addison/Ripley Gallery, Washington, D.C. 1988 New York Academy of Sciences, New York 1988 American Association for the Advancement of Science, Washington, D.C. 1986 Haggin Museum, Stockton, California 1986 University of Virginia, Charlottesville, Virginia 1983 Image Gallery, Stockbridge, Massachusetts 1982 Columbia Museum of Art, University of South Carolina, Columbia, -
Download Lot Listing
IMPRESSIONIST & MODERN ART POST-WAR & CONTEMPORARY ART Wednesday, May 10, 2017 NEW YORK IMPRESSIONIST & MODERN ART EUROPEAN & AMERICAN ART POST-WAR & CONTEMPORARY ART AUCTION Wednesday, May 10, 2017 at 11am EXHIBITION Saturday, May 6, 10am – 5pm Sunday, May 7, Noon – 5pm Monday, May 8, 10am – 6pm Tuesday, May 9, 9am – Noon LOCATION Doyle New York 175 East 87th Street New York City 212-427-2730 www.Doyle.com Catalogue: $40 INCLUDING PROPERTY CONTENTS FROM THE ESTATES OF IMPRESSIONIST & MODERN ART 1-118 Elsie Adler European 1-66 The Eileen & Herbert C. Bernard Collection American 67-118 Charles Austin Buck Roberta K. Cohn & Richard A. Cohn, Ltd. POST-WAR & CONTEMPORARY ART 119-235 A Connecticut Collector Post-War 119-199 Claudia Cosla, New York Contemporary 200-235 Ronnie Cutrone EUROPEAN ART Mildred and Jack Feinblatt Glossary I Dr. Paul Hershenson Conditions of Sale II Myrtle Barnes Jones Terms of Guarantee IV Mary Kettaneh Information on Sales & Use Tax V The Collection of Willa Kim and William Pène du Bois Buying at Doyle VI Carol Mercer Selling at Doyle VIII A New Jersey Estate Auction Schedule IX A New York and Connecticut Estate Company Directory X A New York Estate Absentee Bid Form XII Miriam and Howard Rand, Beverly Hills, California Dorothy Wassyng INCLUDING PROPERTY FROM A Private Beverly Hills Collector The Collection of Mr. and Mrs. Raymond J. Horowitz sold for the benefit of the Bard Graduate Center A New England Collection A New York Collector The Jessye Norman ‘White Gates’ Collection A Pennsylvania Collection A Private -
Gagosian Gallery
Artforum January, 2000 GAGOSIAN 1999 Carnegie International Carnegie Museum of Art Katy Siegel When you walk into the lobby of the Carnegie Museum, the program of this year’s International announces itself in microcosm. There in front of you is atmospheric video projection (Diana Thater), a deadpan disquisition on the nature of representation (Gregor Schneider’s replication of his home), a labor-intensive, intricate installation (Suchan Kinoshita), a bluntly phenomenological sculpture (Olafur Eliasson), and flat, icy painting (Alex Katz). Undoubtedly the best part of the show, the lobby is also an archi-tectural site of hesitation, a threshold. Here the installation encapsulates the exhi-bition’s sense of historical suspen-sion, another kind of hesitation. Ours is a time not of endings but of pause. My favorite work, viewed through the museum’s huge glass wall, was the Eliasson, a fountain of steam wafting vertically from an expanse of water on a platform through which trees also rise up. It’s a heart-throbbing romantic landscape. Romantic, but not naive: The work plays on the tradition of the courtyard fountain, and the steam is piped from the museum’s heating system. Combining the natural and the industrial in a way peculiarly appro-priate to Pittsburgh on a quiet Sunday morning in early autumn, it echoed two billows of steam (or, more queasily, smoke?) off in the distance. When blunt physical fact achieves this kind of lyricism, it is something to see. Upstairs in the galleries, Ernesto Neto’s Nude Plasmic, 1999, relies as well on the phenomenology of simple form, but the Brazilian artist avoids Eliasson’s picturesque imagery. -
Felix Gonzalez-Torres American, B
This document was updated November 27, 2020. For reference only and not for purposes of publication. For more information, please contact the gallery. Felix Gonzalez-Torres American, b. Guáimaro, Cuba 1957, d. Miami, Florida 1996. EDUCATION 1987 M.F.A., International Center of Photography, New York University 1983 Independent Study Program, Whitney Museum of American Art, New York 1983 B.F.A., Pratt Institute, Brooklyn, New York 1981 Independent Study Program, Whitney Museum of American Art, New York SELECTED SOLO EXHIBITIONS 2021 Felix Gonzalez-Torres: The Politics of Relation. Museu d'Art Contemporani de Barcelona (MACBA), Barcelona, Spain. Mar. – Sep. 2021. Cur. Tanya Barson. 2020 Felix Gonzalez-Torres, “Untitled” (Fortune Cookie Corner), 1990. Fortune cookies, endless supply. Overall dimensions vary with installation. Original installation: approximately 10,000 fortune cookies. Various venues. 25 May – 5 Jul. 2020. Cur. Andrea Rosen. 2017 Felix Gonzalez-Torres. David Zwirner, New York. 27 Apr.– 24 Jun. 2017. 2016 Felix Gonzalez-Torres. Rockbund Art Museum, Shanghai, China. 30 Sept. – 25 Dec. 2016. Cur. Larys Frogier and Li Qi. Felix Gonzalez-Torres. Andrea Rosen Gallery, New York. 3 May – 18 Jun. 2016. Cur. Julie Ault and Roni Horn. Felix Gonzalez-Torres. Massimo De Carlo, Milan. 21 May – 20 Jul. 2016. Cur. Julie Ault and Roni Horn. Felix Gonzalez-Torres. Hauser & Wirth, London. 27 May – 30 Jul. 2016. Cur. Julie Ault and Roni Horn. 2015 Felix Gonzalez-Torres: This Place. Metropolitan Arts Centre, Belfast, Northern Ireland. 30 Oct. 2015 – 24 Jan. 2016. Cur. Eoin Dara. 2012 Felix Gonzalez-Torres, Double. PLATEAU and Leeum, Samsung Museum of Art, Seoul, South Korea. -
^ Exhibition Advisory
^ Exhibition advisory Exhibition: Los Angeles to New York: Dwan Gallery, 1959–1971 On View: March 19–September 10, 2017 Location: Resnick Pavilion (Image credits on page 6) (Los Angeles—March 6, 2017) The Los Angeles County Museum of Art (LACMA) presents Los Angeles to New York: Dwan Gallery, 1959–1971, an examination of the storied history of Dwan Gallery, one of the most important galleries of the postwar period in the United States. Virginia Dwan (b. 1931), gallery owner, art patron, and collector, was one of the greatest champions of avant-garde art and artists of the mid-20th century. During her more than 11 years as a gallerist, Dwan’s Los Angeles and New York galleries were among the first bicoastal spaces dedicated to showcasing contemporary art in America. As an arts patron, Dwan was a pivotal figure in the Los Angeles art scene, often providing artists with stipends, studio space, and housing, in addition to giving many artists their first solo shows. At the time, the exhibitions presented at Dwan Gallery were at the forefront of postwar avant-garde art. Dwan organized one of the first Pop art exhibitions in the United States, My Country ’Tis of Thee (1962), and she was one of the earliest and most ardent supporters of Minimal Art and Earthworks. Founded in 1959, Dwan Gallery first opened in a storefront in Westwood, Los Angeles. The gallery presented groundbreaking exhibitions of New York artists such as Philip Guston, Franz Kline, Claes Oldenburg, Robert Rauschenberg, Ad Reinhardt, and Larry Rivers as well as the Los Angeles-based artist Edward Kienholz. -
ABSTRACT Title of Document: from the BELLY of the HUAC: the RED PROBES of HOLLYWOOD, 1947-1952 Jack D. Meeks, Doctor of Philos
ABSTRACT Title of Document: FROM THE BELLY OF THE HUAC: THE RED PROBES OF HOLLYWOOD, 1947-1952 Jack D. Meeks, Doctor of Philosophy, 2009 Directed By: Dr. Maurine Beasley, Journalism The House Un-American Activities Committee, popularly known as the HUAC, conducted two investigations of the movie industry, in 1947 and again in 1951-1952. The goal was to determine the extent of communist infiltration in Hollywood and whether communist propaganda had made it into American movies. The spotlight that the HUAC shone on Tinsel Town led to the blacklisting of approximately 300 Hollywood professionals. This, along with the HUAC’s insistence that witnesses testifying under oath identify others that they knew to be communists, contributed to the Committee’s notoriety. Until now, historians have concentrated on offering accounts of the HUAC’s practice of naming names, its scrutiny of movies for propaganda, and its intervention in Hollywood union disputes. The HUAC’s sealed files were first opened to scholars in 2001. This study is the first to draw extensively on these newly available documents in an effort to reevaluate the HUAC’s Hollywood probes. This study assesses four areas in which the new evidence indicates significant, fresh findings. First, a detailed analysis of the Committee’s investigatory methods reveals that most of the HUAC’s information came from a careful, on-going analysis of the communist press, rather than techniques such as surveillance, wiretaps and other cloak and dagger activities. Second, the evidence shows the crucial role played by two brothers, both German communists living as refugees in America during World War II, in motivating the Committee to launch its first Hollywood probe. -
A M I R Z a K I [email protected]
Amir Zaki is a practicing artist living in Southern California. He received his MFA from UCLA in 1999 and has been regularly and actively exhibiting nationally and internationally since. Zaki has had solo shows at the Mak Center Schindler House in West Hollywood, LAXART in Los An- geles, Perry Rubenstein Gallery in New York, James Harris Gallery in Seattle, and Roberts and Tilton in Los Angeles. He has been included in many group exhibitions including The California Biennial: 2006 at the Orange County museum of Art, the Whitney Museum of American Art in New York, Andreas Grimm Gallery in Munich, Germany, Harris Lieberman Gallery in New York, Shane Campbell Gallery in Chicago, the California Museum of Photography, and the San Jose Museum of Art. Zaki’s work is part of numerous public and private collections across the country including the Whitney Museum of American Art, New York New Museum of Contemporary Art, the Henry Art Gallery in Seattle, Washington, the Orange County museum of Art, and the Santa Barbara Museum of Art. He has been included in the Phaidon Press anthology of contemporary photography, Vitamin Ph, and contributed to LACMA’s Words Without Pictures. Zaki recently completed his second monograph, a large format, limited edition fold-out book entitled Eleven Minus One, which was co-published by LAXART and Eighth Veil on the occasion of a solo exhi- bition at LAXART. Zaki has an ongoing interest in the rhetoric of authenticity, as it is associated with photogra- phy as an indexical media. Simultaneously, he is deeply invested in exploring digital technolo- gy’s transformative potential to disrupt that assumed authenticity. -
P H O T O N E W S L E T T
The PHOTO REVIEW NEWSLETTER July / August 2017 Michael Nichols Charger, Bandhavgarh National Park, India, 1996, inkjet print mounted on Dibond (© Michael Nichols/National Geographic) From “Wild” at the Philadelphia Museum of Art Exhibitions PHILADELPHIA AREA T. R. Ericsson The Print Center, 1614 Latimer St., Philadel- phia, PA 19103, 215/735-6090, www.printcenter.org, T–Sat 11–6, Annual Alumni Exhibition The Galleries at Moore, Moore through August 6. College of Art and Design, 20th St. & the Parkway, Philadelphia, PA 19103, 215/965-4027, www.moore.edu, M–Sat 11–5, through Judy Gelles “Fourth Grade Project in Yakima, Washington,” August 19. The Center for Emerging Visual Artists, Bebe Benoliel Gallery at the Barclay, 237 S. 18th St., Suite 3A, Philadelphia, PA 19103, Another Way of Telling: Women Photographers from the Col- 215/546-7775, www.cfeva.org, M–F 11–4, through July 28. lection The Philadelphia Museum of Art, Perelman Building, Julien Levy Gallery, 2525 Pennsylvania Ave., Philadelphia, PA Christopher Kennedy “Re-Imagined,” The Studio Gallery, 19130, 215/684-7695, www.philamuseum.org, T–Sun 10–5, W & 19 W. Mechanic St., New Hope, PA 18930, 215/738-1005, thestu- F 10–8:45, through July 16. dionewhope.com, W–Sun 11–6, through July 30. A Romantic Youth: Advanced Teen Photo Philadelphia Photo Arts Center, 1400 N. American St., Ste. 103, Philadelphia, PA 19122, 215/232-5678, www.philaphotoarts.org, T–Sat 10–6, through July 8. Christopher Kennedy: A Vision of Cubicity, from Impalpable Light at the Bazemore Gallery, Manayunk, PA Christopher Kennedy “Impalpable Light,” The Bazmore Gal- lery, 4339 Main St., Manayunk, PA 19127, 215/482-1119, www. -
Lita Albuquerque
Lita Albuquerque Lives and Works in Santa Monica, California EDUCATION 1968 University of California, Los Angeles; B.F.A. in Art History 1971 – 1972 Otis Art Institute, Los Angeles, CA SOLO EXHIBITIONS 2020 Desert X Alula 2020, NAJMA (She Placed One Thousand Suns Over the Transparent Overlays of Space), Alula, Saudi Arabia 2019 20/20: Accelerando, Mona Bismarck American Center for Art and Culture, Paris, France. 2018 Exploded, Peter Blake Gallery, Laguna, CA 2016 Embodiment, Kohn Gallery, Los Angeles, CA. 20/20: Accelerando, Fisher Art Museum, University of Southern California, Los Angeles, CA 2015 Mount Vesuvius, Naples, Italy Fisher Art Museum, University of Southern California, Los Angeles, California Lita Albuquerque, Kohn Gallery, Los Angeles, CA Experience 19: TOUCH, El Segundo Museum of Art, El Segundo, CA. 2014 Center for Art + Environment, Nevada Museum of Art, Reno, Nevada Laguna Museum of Art, Laguna Beach, California UCLA Art|Sci Center + Lab, Los Angeles, California The Mothership, Diletantte, Los Angeles, CA. Time, Space and Matter, Pasadena Museum of California Art, Pasadena, CA. Landscape abstraction, Orange County Museum of Art, Newport Beach, CA. 2012 Craig Krull Gallery, Santa Monica, California Pacific Standard Time, Getty Museum Performance Festival, Los Angeles, CA. Pacific Standard Time, Breaking In Two, Los Angeles, CA. 2011 Stellar Axis-Antarctica, A. Gallerie, Paris, France Laguna Museum of Art, Laguna, California 2010 Design Loves Art Exhibit at the Pacific Design Center, Los Angeles, California 2008 Peter Blake -
Lita Albuquerque
Lita Albuquerque Lives and Works in Santa Monica, California EDUCATION 1968 University of California, Los Angeles; B.F.A. in Art History 1971 - 1972 Otis Art Institute, Los Angeles, CA SOLO EXHIBITIONS 2020 Desert X Alula 2020, NAJMA (She Placed One Thousand Suns Over the Transparent Overlays of Space), Alula, Saudi Arabia 2015 Mount Vesuvius, Naples, Italy Fisher Art Museum, University of Southern California, Los Angeles, California 2014 Center for Art + Environment, Nevada Museum of Art, Reno, Nevada Laguna Museum of Art, Laguna Beach, California UCLA Art|Sci Center + Lab, Los Angeles, California 2012 Craig Krull Gallery, Santa Monica, California 2011 Stellar Axis-Antarctica, A. Gallerie, Paris, France Laguna Museum of Art, Laguna, California 2010 Design Loves Art Exhibit at the Pacific Design Center, Los Angeles, California 2008 Peter Blake Gallery, California 2007 Fresno Museum of Art, Fresno, California Hentschell Gallery, Des Moines, Iowa Peter Blake Gallery, Laguna Beach, California 2006 Fred Weisman Museum of Art, Pepperdine University, Malibu, California Large Pods, Nye + Brown, Los Angeles, California Patricia Faure Gallery, Santa Monica, California 2002 Peter Blake Gallery, Laguna Beach, California 2000 Mary Ryan Gallery, New-York, New-York 1998 Sunshine and Noir, Louis Stern Gallery in conjunction with the Armand Hammer Museum’s LA, Los Angeles, California Sunshine and Noir, William Turner Gallery in conjunction with the Armand Hammer Museum’s, Venice, California 1996 Akhenaton Galleries, Cairo, Egypt 1995 Particle Memory, -
B. Wurtz Born 1948, California, USA Lives and Works in New York, USA Education 1980 MFA California Institute of the Arts
B. Wurtz Born 1948, California, USA Lives and works in New York, USA Education 1980 MFA California Institute of the Arts, Valencia, CA, USA 1970 BFA University of California at Berkeley, Berkeley, CA, USA Selected Solo Exhibitions 2018 Institute of Contemporary Art, Los Angeles, USA (forthcoming) Kitchen Trees, City Hall Park, New York, USA (forthcoming) B. Wurtz and Paul P., Cooper Cole, Toronto, Canada The First Twenty Years, Galerija Gregor Podnar, Berlin, Germany 2017 Lulu, Mexico City, Mexico 2016 Metro Pictures at 83 Pitt Street, New York, USA Selected Works, 1970-2016, La Casa Encendida, Madrid, Spain Office Baroque, Belgium 2015 Selected Works, 1970-2016, Baltic Centre for Contemporary Art, Gateshead, United Kingdom FOUR A.M., New York, USA Daily LiFe, Continued, Kunstverein Freiburg, Germany Four Collections, The Aldrich Contemporary Art Museum, Ridgefield, Connecticut, USA Works in Handmade Paper 2013 – 2015, Dieu Donné, New York, USA World Food Books, Melbourne, Australia 2014 Maisterravalbuena, Madrid, Spain B. Wurtz and Jim Isermann, Mary Boone Gallery, New York, USA Richard Telles Fine Art, Los Angeles, USA The Apartment, Vancouver, Canada 2013 Galerija Gregor Podnar, Berlin, Germany Kate MacGarry, London, United Kingdom Recent Works, Metro Pictures, New York, USA 2012 White Flag Projects, Saint Louis, USA 2011 B. Wurtz: Works 1970-2011, Metro Pictures, New York, USA 2010 The Apartment, Vancouver, Canada 2007 Richard Telles Fine Art, Los Angeles B. Wurtz : Photo/Objects, 871 Fine Arts, San Francisco 2006 The Suburban, Oak Park, Illinois, USA Feature Inc., New York, USA 2003 Feature Inc., New York, USA 2001 Feature Inc., New York, USA 2000 B. -
OTIS Ben Maltz Gallery WB Exhibition Checklist 1 | Page of 58 (2012 Jan 23)
OTIS Ben Maltz Gallery WB Exhibition Checklist 1 | Page of 58 (2012_Jan_23) GUIDE TO THE EXHIBITION Doin’ It in Public: Feminism and Art at the Woman’s Building October 1, 2011–January 28, 2012 Ben Maltz Gallery, Otis College of Art and Design Introduction “Doin’ It in Public” documents a radical and fruitful period of art made by women at the Woman’s Building—a place described by Sondra Hale as “the first independent feminist cultural institution in the world.” The exhibition, two‐volume publication, website, video herstories, timeline, bibliography, performances, and educational programming offer accounts of the collaborations, performances, and courses conceived and conducted at the Woman’s Building (WB) and reflect on the nonprofit organization’s significant impact on the development of art and literature in Los Angeles between 1973 and 1991. The WB was founded in downtown Los Angeles in fall 1973 by artist Judy Chicago, art historian Arlene Raven, and designer Sheila Levrant de Bretteville as a public center for women’s culture with art galleries, classrooms, workshops, performance spaces, bookstore, travel agency, and café. At the time, it was described in promotional materials as “a special place where women can learn, work, explore, develop their own point of view and share it with everyone. Women of every age, race, economic group, lifestyle and sexuality are welcome. Women are invited to express themselves freely both verbally and visually to other women and the whole community.” When we first conceived of “Doin’ It in Public,” we wanted to incorporate the principles of feminist art education into our process.