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The Museum of Modern Art for Immediate Release July 1993
The Museum of Modern Art For Immediate Release July 1993 A PRINT PROJECT BY CHUCK CLOSE July 24 - September 28, 1993 An exhibition presenting American artist Chuck Close's most recent print project, Alex/Reduction Block, opens at The Museum of Modern Art on July 24, 1993. Organized by Andrea Feldman, curatorial assistant, Department of Prints and Illustrated Books, A PRINT PROJECT BY CHUCK CLOSE comprises fifteen large- scale screenprints that depict Close's friend and fellow artist Alex Katz. The screenprints replicate all stages of what was originally a reduction linoleum-cut print. The exhibition, on view through September 28, examines the complex process of printmaking and offers an in-depth view of Close's artistic conception. The reduction linoleum-cut technique requires the artist to use a single block for the entire printing process, in contrast to the conventional method of cutting separate blocks for each color in the print. Close became intrigued by the process after studying prints made by Picasso in the late 1950s. When Close anticipated problems with the paper he had chosen for his reduction linoleum-cut project, he printed a set of the states of the work on mylar, which he later used as templates for the screenprints on view in the exhibition. Ms. Feldman states, "Over the two year period that it took to complete this impressive project, Close ran into many technical problems that he transformed into artistic challenges. Without a flaw, Close maneuvered through the obstacle course that the project presented and created an image of enormous power and intensity. -
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 -
Matters of Life and Death, Museum of Fine Arts, Boston Hyman Bloo
HYMAN BLOOM Born Brunoviski, Latvia, 1913 Died 2009 SELECTED SOLO EXHIBITIONS 2019 Hyman Bloom: Matters of Life and Death, Museum of Fine Arts, Boston Hyman Bloom American Master, Alexandre Gallery, New York 2013 Alpha Gallery, Boston Massachusetts Hyman Bloom Paintings: 1940 – 2005, White Box, New York 2006 Hyman Bloom: A Spiritual Embrace, The Danforth Museum, Framingham, Massachusetts. Travels to Yeshiva University, New York in 2009. 2002 Color & Ecstasy: The Art of Hyman Bloom, The National Academy of Design, New York 2001 Hyman Bloom: The Lubec Woods, Bates College, Museum of Art. Traveled to Olin Arts Center, Lewiston Maine. 1996 The Spirits of Hyman Bloom: Sixty Years of Painting and Drawing, Fuller Museum, Brockton, Massachusetts 1992 Hyman Bloom: Paintings and Drawings, The Art Gallery, University of New Hampshire, Durham 1990 Hyman Bloom: “Overview” 1940-1990, Terry Dintenfass Gallery, New York 1989 Hyman Bloom Paintings, St. Botolph Club, Boston 1983 Hyman Bloom: Recent Paintings, Terry Dintenfass Gallery, New York 1975 Hyman Bloom: Recent Paintings, Terry Dintenfass Gallery, New York 1972 Hyman Bloom Drawings, Terry Dintenfass Gallery, New York 1971 Hyman Bloom Drawings, Terry Dintenfass Gallery, New York 1968 The Drawings of Hyman Bloom, University of Connecticut of Museum of Art, Storrs. Travels to the San Francisco Museum of Art, San Francisco; the Whitney Museum of American Art, New York; and the Boston University School of Fine and Applied Arts Gallery, Boston. 1965 Hyman Bloom Landscape Drawings 1962-1964, Swetzoff Gallery, Boston 1957 Drawings by Hyman Bloom, Currier Museum of Art, Manchester, NH. Travels to The Museum of Art, Rhode Island School of Design; and the Wadsworth Atheneum, Hartford, CT Hyman Bloom Drawings, Swetzoff Gallery, Boston 1954 Hyman Bloom, Institute of Contemporary Art, Boston. -
Alex Katz on 10 Artists Who Inspire Him
Search by artist, gallery, etc. Art Alex Katz on 10 Artists Who Inspire Him Alex Katz Nov 1, 2018 2:30 pm Portrait of Alex Katz. Photo by Ander Gillenea/AFP/Getty Images. “A lot of art books are very tiresome to most people,” admitted Alex Katz who, at 91 years young, is one of our most prominent living painters. ere’s nothing tiresome about Looking At Art With Alex Katz, a new volume in which the artist shares relatable, off-the-cuff impressions of dozens of his favorite artists, poets, and creatives, from Fra Angelico to Frank Lloyd Wright. “Everyone gets art on their own level,” he said in a recent interview with Artsy. “If you don’t know a lot about art history and you look at a picture, you’re not seeing the same picture that someone who knows something about art history sees. But that doesn’t mean you receive less from the picture. Art is very multifaceted that way.” Below, we share excerpts from the book that highlight nine eclectic artists who have amazed and inspired Katz over the years. Louise Bourgeois Follow Louise Bourgeois Spider, 1997 Louise Bourgeois Fée Couturière "… Sotheby's: Contemporary Art Day Auction “I rst heard Louise Bourgeois and Louise Nevelson on a Sunday afternoon in 1950, when I had just come to Manhattan. ey spoke in a loft on 10th Street and 4th Avenue. ey seemed arty and quite irresponsible, as they kept talking about the fth, sixth and seventh dimensions. However, when one looks at the body of work by Louise Bourgeois, one cannot help but admire the energy to go out and at the same time to reveal what is inside of her. -
KS3-KS5 Summer Season 19 May – 23 September 2012
Teacher Resource Notes – KS3-KS5 Summer Season 19 May – 23 September 2012 Alex Katz: Give Me Tomorrow Alex Katz On The Tate Collection 1928: A Cornish Encounter These notes are designed to support KS3-5 teachers in engaging students as they explore the art work. As well as factual information they provide starting points for discussion, ideas for simple practical activities and suggestions for extended work that could stem from a gallery visit. To book a gallery visit for your group call 01736 796226 or email [email protected]. Season Overview This season Tate St Ives is showing paintings and collages by Alex Katz, plus an eclectic display of works which Katz has chosen from the Tate Collection in Lower Gallery 2. In the Studio there is a one-room archival display 1928: A Cornish Encounter, which documents this important year in the history of St Ives art. The display of Katz's work is a selected survey from the mid 1950s to 2011. Alex Katz is 85 and had his first solo show in New York in 1954. His paintings at Tate St Ives explore themes including family portraits, friends and social relationships, style and the American Dream, flowers, seascapes and beach life. Katz's process involves making small studies from life, which he scales up using the traditional charcoal cartoon and pin- hole 'pouncing' method, then paints the final large scale work in one go, working wet on wet. Katz's paintings can be regarded as an antithesis to his contemporary American Abstract Expressionists; Katz chose to represent the cultural context of New York style, fashion and glamour. -
Exhibition Explores the Inverse of the Landscape in My Room: Artists Paint the Interior 1950-Now Opens May 18, 2018
Exhibition Explores the Inverse of the Landscape In My Room: Artists Paint the Interior 1950-Now opens May 18, 2018 CHARLOTTESVILLE, Va. – The Fralin Museum of Art at the University of Virginia presents In My Room: Artists Paint the Interior 1950-Now, May 18-Sept. 30, 2018. The exhibition looks at the inverse of the landscape: the interior. Landscape painting, a common genre in western painting, is understood as a window onto the world thanks to artist and theorist Leon Battista Alberti and his ideas about the picture plane known as Alberti’s Window. After the Industrial Revolution, however, modern art erupted with the interior. Notably, modern artists began depicting windows into other rooms instead of painting views of the outside world. “The interior space has an ability to prompt the viewer to ask questions and to view a space with new perspective,” said Matthew McLendon, director and chief curator of the Fralin Museum of Art. “In an untitled work by Alex Katz, for example, a bed in disarray invites the questions whether someone has left in a rush, to where and why? Interior with Doorway by Richard Diebenkorn uses light and shadow in juxtaposition creating a sculptural feel to everyday objects.” Artists continued to paint indoor spaces throughout the 20th century for a variety of psychological, interpersonal and biographical reasons. Architecture, design and the still-life inform the paintings in this exhibition, as does the persistent theme of the artist’s studio. The exhibition raises myriad questions upon which to reflect and will address how representations of interior spaces have changed and evolved over time. -
July 1, 2012–June 30, 2013 FY13: a LOOK BACK
Georgia Museum of Art Annual Report July 1, 2012–June 30, 2013 FY13: A LOOK BACK One of the brightest spots of FY13 was the On October 22, the museum celebrated inaugural UGA Spotlight on the Arts, a nine-day its official reaccreditation by the American festival held November 3–11, highlighting visual, Alliance of Museums (formerly the American performing, and literary arts all over campus, Association of Museums). Although the in which the museum participated eagerly. The museum is usually closed on Mondays, it was vision of vice-provost Libby Morris, the festival open to the public for the day. AAM director was planned by the UGA Arts Council, of which Ford Bell attended the event and spoke about museum director William U. Eiland is a member, the museum, followed by an ice cream social. and its subsidiary public relations arm (at Less than 5 percent of American museums are which Michael Lachowski and Hillary Brown accredited, and the process is not a simple one. represented the museum). The festival attracted Reaccreditation is a lengthy process, involving great attendance, especially from students, and a self-study that the museum worked on for demonstrated the administration’s commitment several years and a site visit lasting several days, to making the arts an essential part of the during which AAM representatives toured the university experience. Later in the fiscal year, the facility from top to bottom, met with university Arts Council began working on a strategic plan, upper administration, and interviewed staff with brainstorming meetings held by both the members, volunteers, students, and patrons of executive and PR committees in the museum’s the museum. -
The Federal Art Project in Provincetown, Massachusetts: the Impact of a Relief Program on an Established Art Colony
University of New Hampshire University of New Hampshire Scholars' Repository Master's Theses and Capstones Student Scholarship Spring 2009 The Federal Art Project in Provincetown, Massachusetts: The impact of a relief program on an established art colony Whitney E. Smith University of New Hampshire, Durham Follow this and additional works at: https://scholars.unh.edu/thesis Recommended Citation Smith, Whitney E., "The Federal Art Project in Provincetown, Massachusetts: The impact of a relief program on an established art colony" (2009). Master's Theses and Capstones. 113. https://scholars.unh.edu/thesis/113 This Thesis is brought to you for free and open access by the Student Scholarship at University of New Hampshire Scholars' Repository. It has been accepted for inclusion in Master's Theses and Capstones by an authorized administrator of University of New Hampshire Scholars' Repository. For more information, please contact [email protected]. THE FEDERAL ART PROJECT IN PROVINCETOWN, MASSACHUSETTS THE IMPACT OF A RELIEF PROGRAM ON AN ESTABLISHED ART COLONY BY WHITNEY E. SMITH BA, University of New Hampshire, 2007 THESIS Submitted to the University of New Hampshire in Partial Fulfillment of the Requirements for the Degree of Masters of Liberal Studies in History May 6, 2009 UMI Number: 1466954 INFORMATION TO USERS 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 bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. -
Oral History Interview with Raphael Soyer, 1981 May 13-June 1
Oral history interview with Raphael Soyer, 1981 May 13-June 1 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. Funding for this interview was provided by the Wyeth Endowment for American Art. 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 tape-recorded interview with Raphael Soyer on May 13, 1981. The interview was conducted by Milton Brown for the Archives of American Art, Smithsonian Institution. Interview Tape 1, side A MILTON BROWN: This is an interview with Raphael Soyer with Milton Brown interviewing. Raphael, we’ve known each other for a very long time, and over the years you have written a great deal about your life, and I know you’ve given many interviews. I’m doing this especially because the Archives wants a kind of update. It likes to have important American artists interviewed at intervals, so that as time goes by we keep talking to America’s famous artists over the years. I don’t know that we’ll dig anything new out of your past, but let’s begin at the beginning. See if we can skim over the early years abroad and coming here in general. I’d just like you to reminisce about your early years, your birth, and how you came here. RAPHAEL SOYER: Well, of course I was born in Russia, in the Czarist Russia, and I came here in 1912 when I was twelve years old. -
Enigmatic Realist
Essay from CITY: A Journal of the City Colleges of Chicago, 1986 Arthur Lerner: Enigmatic Realist Devonna Pieszak Arthur Lerner's emergence as an artist was rooted in that era of modern art which still viewed art as a consequence of personal angst, when life rather than artifice was the prime motivator. That is, the artist's work evolved primarily from his existential position rather than from his generating an art obJect that referred to other art obJects or gained its principal meaning by such a reference, such as Rauschenberg making art by erasing a de Kooning drawing. With figurative art on the decline in New York during the late fifties and abstract expressionism the favorite style of the New York critics, Lerner was fortunate at the beginning of his career to be situated in the localized Chicago art environment, which lent sympathy to his exploration of art as self-definition and was tolerant of his concern with the figurative. The city, which has long had a commitment to subJective as well as eccentric content in art, nurtured his Kafkaesque perceptions, without defining them aesthetically. Upon graduation from high school, Arthur Lerner studied at the School of the Art Institute with the artists Leon Golub and Seymour Rosofsky, who became founding members of the "Monster Roster." Although he was younger than many of his fellow students, who were returning veterans, his initial interest in fantasy, mythology and the psychological was typical of many Chicago artists. His art was and is in part a reflection of Chicago attitudes, which Franz Schultz has described as personal, introverted, obsessive and dwelling on privacy of feeling. -
Painting Annual
CHILDS GALLERY Established 1937 painting annual Winter 2013 Volume 21 CHILDS GALLERY Established 1937 Fine American and European Paintings, Prints, Drawings, Watercolors and Sculpture richard J. Baiano, PreSiDent Stephanie V. Bond, exeCutiVe ViCe PreSiDent D. roger Howlett, SeniOr reSeArCH Fellow 169 newbury Street Boston, MA 02116 617-266-1108 617-266-2381 fax childsgallery.com [email protected] We encourage you to phone or e-mail us to reserve your work of art. if you are from Massachusetts, a 6 ¼ % sales tax will be applied. A small shipping and handling fee, depending on package size, will be applied. Visa, MasterCard, and American express are accepted. Prices are subject to change without notice. Works shipped on-approval may be returned within ten days of receipt. Firm orders have priority. All works returned must be as sent: prepaid and insured. All works in this catalogue are unconditionally guaranteed to be as described. Your bill of sale acts as your certificate of authenticity, and we will refund your money at any time if on good authority our description should be shown to vary from the work at the time that it was sold. to receive Our e-Catalogues: in addition to the Print Annual, the Painting Annual, Childs Gallery Collections, and the Childs Gallery Bulletin, we offer a series of specialized e-catalogues. these email-based announcements are produced as single artist catalogues after having acquired significant new additions to the artist’s work, or pertain to specific subject matter such as marine, still life, portraits, etc. Please provide your e-mail address including an indication of the artists or subjects that interest you. -
Born in Brooklyn, New York, USA in 1927 Lives and Works in New York
ALEX KATZ Born in Brooklyn, New York, USA in 1927 Lives and works in New York Education 2000 The Cooper Union Annual Artist of the City Award 1994 Cooper Union Art School creates the Alex Katz Visiting Chair in Painting with the endowment provided by the sale of ten paintings donated by the artist 1949-50 Studies at Skowhegan School of Painting and Sculpture, Skowhegan, Maine 1946-49 Studies at the Cooper Union Art School, New York Selected Solo Exhibitions 2021 Voorlinden Museum, Wassenaar (upcoming) 2020 Gladstone Gallery, Roma Alex Katz - Retrospective, Museo Nacional Thyssen-Bornemisza, Madrid Fosun Foundation, Shanghai 2019 Monica De Cardenas, Zuoz Alex Katz: Flowers, Richard Gray Gallery, Chicago Alex Katz / Moby Dick, Colby Museum of Art, Waterville Focus on: Alex Katz, Dallas Museum of Art, Dallas Gavin Brown's Enterprise, New York Alex Katz, Daegu Art Museum, Daegu Red Dancers, Galerie Thaddaeus Ropac, Paris Contemporary Conterpoint / Alex Katz. Water Lilies - series Homage to Monet, 2009-2010, Musée de l'Orangerie, Paris Bigger is Better, Ludwig Museum, Koblenz 2018 Alex Katz, curated by Jacob Proctor, Museum Brandhorst, Munich Artist Rooms, Tate Liverpool, Liverpool Museum Brandhorst, Kunstareal, Munich Brand-New & Terrific: Alex Katz in the 1950s, Neuberger Museum of Art, Purchase, New York Alex Katz: Coca-Cola Girls, Timothy Taylor Gallery, London Alex Katz: Splits, Galeria Javier Lopez & Frances Fer, Madrid Dancers and Models, Lotte Museum of Art, Songpa-gu, Seoul Grass and Trees, Richard Gray Gallery, Chicago Small Paintings,