Paintings and Sculpture from the Collection of Phillip Johnson
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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, -
The Museum of Modern Art
The Museum of Modern Art For Immediate Release May 1995 ARTIST'S CHOICE: ELIZABETH MURRAY June 20 - August 22, 1995 An exhibition conceived and installed by American artist Elizabeth Murray is the fifth in The Museum of Modern Art's series of ARTIST'S CHOICE exhibitions. On view from June 20 to August 22, 1995, ARTIST'S CHOICE: ELIZABETH MURRAY presents more than 100 drawings, paintings, prints, and sculptures by approximately seventy women artists. The exhibition involves works created between 1914 and 1973, including those ranging from early modernists Frida Kahlo and Liubov Popova to contemporary artists Nancy Graves and Dorothea Rockburne. Murray focuses particular attention on artists who made their reputations during the 1950s and 1960s, such as Lee Bontecou, Agnes Martin, Joan Mitchell, when Murray herself was studying and forming her style. This exhibition and the accompanying video and panel discussion are made possible by a generous grant from The Charles A. Dana Foundation. Organized in collaboration with Kirk Varnedoe, Chief Curator, Department of Painting and Sculpture, the ARTIST'S CHOICE series invites artists to create an exhibition from the Museum's collection according to a personally chosen theme or principle. "I wanted, for myself, to explore what being a woman in the art world has meant," Murray writes in the exhibition brochure. "I wanted to weave together a sense of the genuine and profound contribution women's work has made to the art of our time." - more - 11 West 53 Street, New York, N.Y. 10019-5498 Tel: 212-708-9400 Fax: 212-708-9889 2 Installed in the Museum's third-floor contemporary painting and sculpture galleries, the exhibition is arranged in thematic groupings. -
Introduction and Will Be Subject to Additions and Corrections the Early History of El Museo Del Barrio Is Complex
This timeline and exhibition chronology is in process INTRODUCTION and will be subject to additions and corrections The early history of El Museo del Barrio is complex. as more information comes to light. All artists’ It is intertwined with popular struggles in New York names have been input directly from brochures, City over access to, and control of, educational and catalogues, or other existing archival documentation. cultural resources. Part and parcel of the national We apologize for any oversights, misspellings, or Civil Rights movement, public demonstrations, inconsistencies. A careful reader will note names strikes, boycotts, and sit-ins were held in New York that shift between the Spanish and the Anglicized City between 1966 and 1969. African American and versions. Names have been kept, for the most part, Puerto Rican parents, teachers and community as they are in the original documents. However, these activists in Central and East Harlem demanded variations, in themselves, reveal much about identity that their children— who, by 1967, composed the and cultural awareness during these decades. majority of the public school population—receive an education that acknowledged and addressed their We are grateful for any documentation that can diverse cultural heritages. In 1969, these community- be brought to our attention by the public at large. based groups attained their goal of decentralizing This timeline focuses on the defining institutional the Board of Education. They began to participate landmarks, as well as the major visual arts in structuring school curricula, and directed financial exhibitions. There are numerous events that still resources towards ethnic-specific didactic programs need to be documented and included, such as public that enriched their children’s education. -
JANUARY 2018 Having Been Included In
JANUARY 2018 Having been included in William C. Seitz’s Museum of Modern Art exhibition “The Art of Assemblage” in 1961, and with a solo debut at the Leo Castelli Gallery the following year, Robert Moskowitz has maintained a quiet but persistent presence on the New York scene for more than half a century. Quiet persistence has been a characteristic quality of his art as much as of his career. That tenacity pays off was demonstrated by his recent exhibition of six paintings, some of which were probably among his best, and, for that matter, are among the best anyone is making today. Observers have always struggled to pigeonhole Moskowitz’s work or to sort out its affinities and affiliations. Early on, he was seen as a fellow traveler of Pop; later, as the godfather of the New Image painting of the late 1970s (Susan Rothenberg, Lois Lane, Joe Zucker et al.). Today, I’d think of Ellsworth Kelly as a close relation. But mainly Moskowitz just seems to have gone his own way, somehow imbibing various influences and influencing others in turn while following his own path. Among the first works he showed were collages made of window shades; since then, while eventually eschewing the use of found objects, he has continued to be fascinated by the visual form of quotidian things—and particularly things that are part of the built environment. At the same time, he has usually depicted those things—if depicted is even the right word—with the eye of an abstractionist, even a kind of small-m minimalist, a parer-down rather than an elaborator. -
The Wandering Eye Works on Paper from the 60S and 70S Lee
The Wandering Eye Works on Paper From the 60s and 70s Lee Bontecou, Jasper Johns, Yayoi Kusama, Roy Lichtenstein, Robert Morris, Robert Rauschenberg, Larry Rivers, James Rosenquist April 10 – May 19, 2007 This exhibition of works represents the moment in post-war art when figuration begins to return after a long period of Abstract Expressionism. Works on paper seem to represent the starting point; the beginning of an idea, and similarly, collage, even as a finished work, has the feeling of a ‘scrapbook’ or record of different ideas coalescing. In some of the earliest drawings in the show, Stones Sketch for Us, 1957 by Larry Rivers and Sketch for ‘The Critic Smiles’, 1959 by Jasper Johns, the viewer is confronted with images that are physical and intimate. The figures in Stones Sketch for Us are dissected in a way that makes one aware of the body: sketches of hands with no arms, faces and necks with no bodies, and figures melding into one another forming one ‘self’. In Johns’s Sketch for ‘The Critic Smiles’, a toothbrush that replaces bristles with human teeth is represented, once again bringing to mind the physicality of the body and the intimate act of grooming one’s self. Lee Bontecou’s Untitled, 1972-73 confronts the viewer directly with eyes peering out of a machine-like face. The segmented composition is unsettling; the main components of a human face and neck are present, but the figure itself is not entirely ‘human’. In collages by Robert Rauschenberg, Untitled (Self-Portrait for Dwan Gallery poster), 1965, and Larry Rivers, Untitled, 1963, the figure is prominent, yet, the works incorporate many other elements, particularly through the artists use of disparate and multilayered materials. -
Selected New York Seens
SELECTED NEW YORK SEENS 1979 opened with a whoop, holler, and focus on the "New" sound/slides/improvisation in "Homerunrnuse" by Carolee and "Old": "New Image Painting" at the Whitney Museum Schneemam. An informal documentation slide showing of centered on ten painters using isolated images in new con- Fandango's history was screened, dong with original broad- texts, simplifying recognizable objects placed on non-associ- side issues of their earliest editions. ative grounds, transforming scale and color to yield "new" "New" style spectacles of "old" favorites were presented meanings. Artists included Nicholas Africano, Jennifer Bart- at the newly-refurbi~hedEntermedia Theatre in the Nova lett, Denise Greene (also showing drawings and paintings at Convention, a gathering of artists, writers, fhmakers, thin- Max Protetch), Michael Hurson, Neil Jenney, Lois Lane, kers, and the like, dedicated to the writings and ideas of Robert Moskowitz, Susan Rothenberg, David True, Joe Zuc- William ~~~o~ghs:readings and performances by Allen ker. Other museum and gallery exhibitions of new works Ginsberg, JO~Cage, Merce Cunningham, Anne WaIdman, Ed included two by Robert Rauschenberg (Sonnabend), wall Sanders, Tim teary, Les Levine, theatrical events with Bel- works by Rosemary Mayer (55 Mercer), metal reliefs by gium's Le Plan K, Frank Zappa reading Burroughs, and Frank Stella (Leo Castelli), photoworks by Al Souza (O.K. Laurie Anderson and Julia Heyward presenting a new audio- Harris), acrylicjskrim paintings by Chris Darton (Mary distortion story. A second event celebrated the New Year in Boone), "new Wave" collage by Henry Benvenuti (Monson), a benefit for the recently burnt-out St. -
Oral History Interview with Lee Bontecou, 2009 January 10
Oral history interview with Lee Bontecou, 2009 January 10 Funding for this interview provided by the Terra Foundation for American Art. Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a digitally recorded interview with Lee Bontecou on January 10, 2009. The interview took place at Knoedler and Company in New York, N.Y, and was conducted by Dore Ashton for the Archives of American Art, Smithsonian Institution. Funding for this interview was provided by a grant from the Terra Foundation for American Art. Lee Bontecou and Dore Ashton have reviewed the transcript and have made corrections and emendations. The reader should bear in mind that he or she is reading a transcript of spoken, rather than written, prose. Interview DORE ASHTON: Let's start at the beginning, and get the documentary stuff out of the way, is that okay? LEE BONTECOU: Yes. MS. ASHTON: For instance, you were born where? MS. BONTECOU: In Rhode Island [January 15, 1931]. MS. ASHTON: And you grew up there – MS. BONTECOU: Providence, Rhode Island. MS. ASHTON: Providence? MS. BONTECOU: Yes. MS. ASHTON: And did you go to grammar school there? MS. BONTECOU: No. MS. ASHTON: No? MS. BONTECOU: I was a kid. I was a baby. So – MS. ASHTON: Where did they take you? MS. BONTECOU: I have to think. -
Moma HOSTS FINAL U.S. PRESENTATION of LEE BONTECOU RETROSPECTIVE, FEATURING RECENT WORKS EXHIBITED for FIRST TIME
MoMA HOSTS FINAL U.S. PRESENTATION OF LEE BONTECOU RETROSPECTIVE, FEATURING RECENT WORKS EXHIBITED FOR FIRST TIME Last Exhibition at MoMA QNS Presents Four Decades of Sculptures and Drawings by Lee Bontecou Lee Bontecou: A Retrospective July 30—September 27, 2004 MoMA QNS, The Museum of Modern Art, Queens NEW YORK, July 2004—The Museum of Modern Art presents Lee Bontecou: A Retrospective, the most comprehensive exhibition ever assembled of the work of Lee Bontecou (American, b. 1931). The artist received early acclaim for her meticulously handcrafted wall reliefs of welded steel and canvas, which blurred the distinctions between painting and sculpture. These celebrated early works are shown alongside her more recent porcelain and wire sculptures. Evocative of celestial and natural forms, these later works are exhibited for the first time in this retrospective. The exhibition is organized by Elizabeth A. T. Smith, James W. Alsdorf Chief Curator, Museum of Contemporary Art, Chicago, in association with Ann Philbin, Director, UCLA Hammer Museum, Los Angeles, and is coordinated for The Museum of Modern Art by Lilian Tone, Assistant Curator, Department of Painting and Sculpture. It will be on view at MoMA QNS, its final venue, from July 30 to September 27, 2004, after its showing at the organizing institutions in Los Angeles and Chicago. The exhibition features 53 sculptures and 52 drawings from private and public collections as well as from the artist’s own holdings. It documents the complexity and scope of Bontecou’s art from the late 1950s through 2000, and includes many works from the past 30 years that have rarely or never before been publicly shown. -
Selected Bibliography Cabanne, Pierre
selected bibliography Cabanne, Pierre. Dialogues with Marcel Gigerenzer, Gerd, et al. The Empire of Duchamp. Trans. Ron Padgett. New York: Chance: How Probability Changed Science Da Capo Press, 1987. and Everyday Life. Cambridge: Cambridge University Press, 1989. Cage, John. Silence. Middletown, CT: Wesleyan University Press, 1961. Hacking, Ian. The Taming of Chance. Cambridge: Cambridge University Caillois, Roger. Man, Play, and Games Press, 1990. (1958). Trans. Meyer Barash. New York: Free Press of Glencoe, 1961. Hamilton, Ross. Accident: A Philosophical and Literary History. Chicago: University Caws, Mary Ann, ed. Surrealist Painters BOOKS Bourriaud, Nicolas, François Bon, and of Chicago Press, 2007. and Poets: An Anthology. Cambridge, MA: Kaira Marie Cabanas. Villeglé: Jacques Vil- Ades, Dawn, ed. The Dada Reader: A MIT Press, 2001. Henderson, Linda Dalrymple. Duchamp leglé. Paris: Flammarion, 2007. Critical Anthology. Chicago: University of in Context: Science and Technology in the Dalí, Salvador. Conquest of the Irrational. Chicago Press, 2006. Brecht, George. Chance-Imagery. New Large Glass and Related Works. Princeton, Trans. David Gascoyne. New York: Julien York: Great Bear Pamphlet / Something NJ: Princeton University Press, 1998. Andreotti, Libero, and Xavier Costa, Levy Gallery, 1935. Else Press, 1966. eds. Theory of the Dérive and other Situation- Hendricks, Jon. Fluxus Codex. Detroit: Diaz, Eva. “Chance and Design: Experi- ist Writings on the City. Barcelona: Museu Breton, André. Conversations: The Gilbert and Lila Silverman Fluxus Collec- mentation at Black Mountain College.” d’Art Contemporani de Barcelona, 1996. Autobiography of Surrealism. Trans. Mark tion; New York: Harry N. Abrams, 1988. PhD diss., Princeton University, 2008. Polizzotti. New York: Paragon House, Arp, Jean (Hans). -
Arman Arman Les Poubelles Des Artistes New York (1970-1973) Preface
ARMAN ARMAN LES POUBELLES DES ARTISTES NEW YORK (1970-1973) PREFACE Marrying the exigencies of Dadaist drives, a performative aesthetics of shock, and assemblage techniques, Arman (né Arman Fernandez, Nice, France, 1928), is considered one of the leading figures of the French postwar Nouveaux Realistes, a group which also included Yves Klein and Jean Tinguely, whose work is marked by an aesthetic foregrounding of the ‘real’ in terms of the world of raw objects, materials, and physical processes. The body of work presented here gives the viewer one of Arman’s most celebrated artistic strategies, the creation of artist Poubelles, or large Plexiglas containers loaned to artists between 1970 and 1973, in New York, and filled by them with refuse from their studios—including that of Bernar Venet, Sol LeWitt, Robert Rauschenberg, Peter Hutchinson, and Joseph Kosuth, amongst others. What Peter Schjelddahl called upon the occasion of their first exhibition at John Gibson Gallery in 1973, “tantalizing form[s] of self- portrait”, with the aid of history, each of these works can be seen as well as commentary on detritus and production in material, late-capitalist existence: archives as portraits, witnesses to an era. Brooke L McGowan Herzog Curatorial Director June 2017 Archival photograph of Bernar Venet collaborating in the creation of La Poubelle de Bernar Venet, 1971 ARMAN Sol Lewitt’s Refuse, 1970 Accumulation of studio refuse in Plexiglas box 48 x 24 x 24 in. (122 x 61 x 61 cm) Unique and original This work is recorded in the Arman Studio Archives New York under number: APA# 8017.70.004 ARMAN Robert Rauschenberg’s Refuse, 1970 Accumulation of studio refuse in Plexiglas box 48 x 24 x 24 in. -
A Finding Aid to the Jan Van Der Marck Papers, 1942-2010, in the Archives of American Art
A Finding Aid to the Jan Van der Marck Papers, 1942-2010, in the Archives of American Art Erin Kinhart 2012 July 17 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 Scope and Contents........................................................................................................ 2 Biographical / Historical.................................................................................................... 2 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Biographical Material, 1946-2009............................................................. 4 Series 2: Files on Artists and Art Historians, 1942-2010......................................... 5 Series 3: Museum Administration Records, 1963-2009......................................... 10 Series 4: Professional Records, 1958.................................................................... 11 Series 5: Papers Concerning Bookbinding, circa 1962-2009................................. 13 Jan Van -
Harold Stevenson
Harold Stevenson Harold Moncreau Stevenson Jr. (March 11, 1929 – October 21, 2018) was an Harold Stevenson American painter known for his paintings of the male nude.[1] He was a friend, a mentor, and an associate of Andy Warhol, and appeared in the Warhol film, Heat Born March 11, 1929 (credited as "Harold Childe").[2] Idabel, Oklahoma, U.S. Died October 21, 2018 Biography (aged 89) Idabel, Oklahoma, U.S. [3] Stevenson was born in Idabel, Oklahoma in 1929 and attended the University Nationality American of Oklahoma before moving to New York City in 1949.[3] He moved to Paris in Known for Painting 1952 and exhibited at European galleries for the next 20 years. Movement Pop art Stevenson's most well-known works were painted in the 1960s, including his Patron(s) Peggy Guggenheim, most famous works, Eye of Lightning Billy and The New Adam. Eye of Lightning Iris Clert, Andy Warhol, Billy was exhibited at the Sidney Janis Gallery in 1962 as part of the "New Alexander Iolas Realists" exhibit, which included works by Warhol (including his 200 Campbell’s Soup Cans), Claes Oldenburg, Roy Lichtenstein, Robert Moskowitz, Robert Indiana, George Segal, Jim Dine, Peter Agostini, James Rosenquist, Wayne Thiebaud and Tom Wesselmann. The Eye of Lightning Billy was acquired by the Museum of Modern Art in 2008.[2] In 1963, Stevenson's massive mural, The New Adam, was displayed at the Iris Clert Gallery in Paris. The mural is an 8-foot by 39-foot reclining nude man. The model was young actor Sal Mineo, and the painting was dedicated to Stevenson's lover at the time, Lord Timothy Willoughby de Eresby, the heir to the Earl of Ancaster.