The Joseph A. Baird, Jr. Collection
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Copyright by Cary Cordova 2005
Copyright by Cary Cordova 2005 The Dissertation Committee for Cary Cordova Certifies that this is the approved version of the following dissertation: THE HEART OF THE MISSION: LATINO ART AND IDENTITY IN SAN FRANCISCO Committee: Steven D. Hoelscher, Co-Supervisor Shelley Fisher Fishkin, Co-Supervisor Janet Davis David Montejano Deborah Paredez Shirley Thompson THE HEART OF THE MISSION: LATINO ART AND IDENTITY IN SAN FRANCISCO by Cary Cordova, B.A., M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin December, 2005 Dedication To my parents, Jennifer Feeley and Solomon Cordova, and to our beloved San Francisco family of “beatnik” and “avant-garde” friends, Nancy Eichler, Ed and Anna Everett, Ellen Kernigan, and José Ramón Lerma. Acknowledgements For as long as I can remember, my most meaningful encounters with history emerged from first-hand accounts – autobiographies, diaries, articles, oral histories, scratchy recordings, and scraps of paper. This dissertation is a product of my encounters with many people, who made history a constant presence in my life. I am grateful to an expansive community of people who have assisted me with this project. This dissertation would not have been possible without the many people who sat down with me for countless hours to record their oral histories: Cesar Ascarrunz, Francisco Camplis, Luis Cervantes, Susan Cervantes, Maruja Cid, Carlos Cordova, Daniel del Solar, Martha Estrella, Juan Fuentes, Rupert Garcia, Yolanda Garfias Woo, Amelia “Mia” Galaviz de Gonzalez, Juan Gonzales, José Ramón Lerma, Andres Lopez, Yolanda Lopez, Carlos Loarca, Alejandro Murguía, Michael Nolan, Patricia Rodriguez, Peter Rodriguez, Nina Serrano, and René Yañez. -
Oral History Interview with Viola Frey, 1995 Feb. 27-June 19
Oral history interview with Viola Frey, 1995 Feb. 27-June 19 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 tape-recorded interview with Viola Frey on February 27, May 15 & June 19, 1995. The interview took place in oakland, CA, and was conducted by Paul Karlstrom for the Archives of American Art, Smithsonian Institution. Interview Session 1, Tape 1, Side A (30-minute tape sides) PAUL KARLSTROM: Archives of American Art, Smithsonian Institution. An interview with Viola Frey at her studio in Oakland, California, February 27, 1995. The interviewer for the Archives is Paul Karlstrom and this is what we hope will be the first in a series of conversations. It's 1:35 in the afternoon. Well, Viola, this is an interview that has waited, I think, about two or three years to happen. When I first visited you way back then I thought, "We really have to do an interview." And it just took me a while to get around to it. But at any rate what I would like to do is take a kind of journey back in time, back to the beginning, and see if we can't get some insight into, of course, who you are, but then where these wonderful works of art come from, perhaps what they mean. -
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. -
Selected Bibliography and Exhibition History
6/6/11 n11 Karlstrom_bib.doc: 163 Selected Bibliography and Exhibition History The following selected bibliography and exhibition history have been compiled by Jeff Gunderson, longtime librarian at the San Francisco Art Institute, the intended repository for the Peter Selz library. Gunderson worked closely with the author of this book, along with Selz himself, in setting up the guidelines for inclusion. For a full bibliography of articles, essays, books, and catalogues by Peter Selz, as well as a complete list of exhibitions for which he was curator, see www.ucpress.edu/go/peterselz. The lists presented here demonstrate Selz’s wide range of interests and expertise, as well as his advocacy for fine artists and his belief that art can be a fitting vehicle for social and political commentary. For the two bibliographic sections, “Books and Catalogues” and “Journal Articles and Essays,” the selection of titles was made on the basis of their significance and the contribution that they represent. Although Selz has been involved in and responsible for numerous exhibition-related publications, the extent of his involvement in these catalogues has varied widely. Those listed here (and indicated by an asterisk) are for the projects in which he took the lead authorial role, whatever his position in conceiving or producing the accompanying exhibition. Selz wrote a great number of magazine articles and reviews as well, many of them as West Coast correspondent for Art in America. With few exceptions, the regional exhibition reviews are not included. On the other hand, independent articles that represent the development and application of his thinking about modernist art are cited. -
An Exceptional Inclusion: on Moma's Exhibition Recent American Prints in Color and the First Exhibition of Southeast Asian
An Exceptional Inclusion: On MoMA’s Exhibition Recent American Prints in Color and the First Exhibition of Southeast Asian Art Kathleen Ditzig Southeast of Now: Directions in Contemporary and Modern Art in Asia, Volume 1, Number 1, March 2017, pp. 39-80 (Article) Published by NUS Press Pte Ltd DOI: https://doi.org/10.1353/sen.2017.0002 For additional information about this article https://muse.jhu.edu/article/646477 [ Access provided at 26 Sep 2021 16:50 GMT with no institutional affiliation ] An Exceptional Inclusion: On MoMA’s Exhibition Recent American Prints in Color and the First Exhibition of Southeast Asian Art KATHLEEN DITZIG The exhibition of the First Southeast Asia Art Conference and Competition in Manila in 1957 was one of the first post-war events that sought to bring together the then contemporary art from the region.1 What is unusual and worthy of study about this exhibition is that not only was it the first survey exhibition of Southeast Asia, it also included the Museum of Modern Art (MoMA) International Program’s travelling exhibition, Recent American Prints in Color.2 Little is known of the history behind the First Southeast Asia Art Conference and Competition. There have been no studies which recount in detail how the conference and competition came to be, who it served and what it represented.3 Even less is known about how the MoMA exhibition came to be included in this unprecedented platform. However, its inclusion as a participant in the one-room survey exhibition complicates an indigenous art organisation’s attempt to present Southeast Asia as a cultural region within an exhibitionary frame. -
2015-011315Fed
National Register Nomination Case Report HEARING DATE: OCTOBER 21, 2015 Date: October 21, 2015 Case No.: 2015-011315FED Project Address: 800 Chestnut Street (San Francisco Art Institute) Zoning: RH-3 (Residential House, Three-Family) 40-X Height and Bulk District Block/Lot: 0049/001 Project Sponsor: Carol Roland-Nawi, Ph.D., State Historic Preservation Officer California Office of Historic Preservation 1725 23rd Street, Suite 100 Sacramento, CA 95816 Staff Contact: Shannon Ferguson – (415) 575-9074 [email protected] Reviewed By: Timothy Frye – (415) 575-6822 [email protected] Recommendation: Send resolution of findings recommending that, subject to revisions, OHP approve nomination of the subject property to the National Register BACKGROUND In its capacity as a Certified Local Government (CLG), the City and County of San Francisco is given the opportunity to comment on nominations to the National Register of Historic Places (National Register). Listing on the National Register of Historic Places provides recognition by the federal government of a building’s or district’s architectural and historical significance. The nomination materials for the individual listing of the San Francisco Art Institute at 800 Chestnut Street were prepared by Page & Turnbull. PROPERTY DESCRIPTION 800 Chestnut Street, also known as the San Francisco Art Institute, is located in San Francisco’s Russian Hill neighborhood on the northwest corner of Chestnut and Jones streets. The property comprises two buildings: the 1926 Spanish Colonial Revival style original building designed by Bakewell & Brown (original building) and the 1969 Brutalist addition designed by Paffard Keatinge-Clay (addition). Constructed of board formed concrete with red tile roofs, the original building is composed of small interconnected multi-level volumes that step up from Chestnut Street to Jones Street and range from one to two stories and features a five-story campanile, Churrigueresque entranceway and courtyard with tiled fountain. -
20Th Century Design and Craft: the Library of Philip Aarons
20 th Century Design and Craft The Library of Philip Aarons 965 titles in 981 volumes The Philip Aarons Design Library The Philip Aarons design library is focused on modern decorative arts—including ceramics, glass, furniture design, metalwork and jewelry—and on modern architecture and architects, from Wright and Gaudi to Team 10. Studies of periods and movements, such as Art Nouveau, Arts and Crafts, and Art Déco, are represented as well. ARS LIBRI THE PHILIP AARONS 20 TH CENTURY DESIGN AND CRAFT LIBRARY GENERAL WORKS 1 AGIUS, PAULINE. British Furniture, 1880-1915. 195, (1)pp. Prof. illus. 4to. Cloth. D.j. Woodbridge (The Antique Collectors’ Club), 1978. 2 AKRON. THE AKRON ART INSTITUTE. Why Is an Object: An Exhibition Investigating Motivation and Purpose. Sept.- Nov. 1962. Text by Luke Lietzke and the artists. (32)pp. 15 plates. Sm. oblong 4to. Wraps. Josef Albers, Leonard Baskin, Wharton Esherick, Trude Guermonprez, Edith Heath, Margo Hoff, Gideon Kramer, Jack Lenor Larsen, Miriam Leefe, George Nakashima, Robert Sperry, Lenore Tawney, Peter Voulkos, Marguerite Wildenhain, George Wells. Akron, 1962. 3 AKRON. AKRON ART INSTITUTE. Young Designers 1953. March-April 1953. (16)pp. Prof. illus. Sm. sq. 4to. Wraps. Library stamp. Akron, 1953. 4 AKRON. AKRON ART MUSEUM. Off the Production Line. An invitational exhibition of products designed for industry for you. Feb.-March 1956. (28)pp. 55 illus. Oblong 4to. Self-wraps. Akron, 1956. 5 ALBUQUERQUE. UNIVERSITY OF NEW MEXICO. ART MUSEUM. Crafts: National Invitational Exhibition. April-May 1968. 23, (1)pp. Prof. illus. 4to. Wraps. Albuquerque, 1968. 6 ALBUQUERQUE. UNIVERSITY OF NEW MEXICO. -
Manuel Neri CV
MANUEL NERI BORN: 1930, Sanger, CA EDUCATION: 1949-50 San Francisco City College, San Francisco, CA 1951-52 University of California, Berkeley 1951-56 California College of Arts and Crafts, Oakland 1956-58 California School of Fine Arts, San Francisco TEACHING: 1959-65 California School of Fine Arts, San Francisco, CA 1963-64 University of California, Berkeley, CA 1965-90 University of California, Davis, CA GRANTS AND AWARDS: 1953 Oakland Art Museum, First Award in Sculpture 1957 Oakland Art Museum, Purchase Award in Painting 1959 Nealie Sullivan Award, California School of Fine Arts, San Francisco 1963 San Francisco Art Institute, 82nd Annual Sculpture Award 1965 National Art Foundation Award 1970-75 University of California at Davis, Sculpture Grant 1979 John Simon Guggenheim Memorial Foundation Fellowship 1980 National Endowment for the Arts, Individual Artist Grant 1982 American Academy and Institute of Arts and Letters, Academy-Institute Award in Art 1985 San Francisco Arts Commission, Award of Honor for Outstanding Achievement in Sculpture 1990 San Francisco Art Institute, Honorary Doctorate for Outstanding Achievement in Sculpture 1992 California College of Arts and Crafts, Honorary Doctorate 1995 Corcoran School of Art, Washington, DC, Honorary Doctorate 2004 International Sculpture Center, Lifetime Achievement Award in Contemporary Sculpture COMMISSIONS: 1980-82 Office of the State Architect, State of California, Commission for marble sculpture "Tres Marias" for The Bateson Building, Sacramento, CA 1987 North Carolina National Bank, Commission for marble sculpture "Española" for NCNB Tower, Tampa, FL The Linpro Company, Commission for marble sculpture "Passage" for the Christina Gateway Project, Wilmington, DE U.S. General Services Administration, Commission for marble sculpture "Ventana al Pacifico" for U.S. -
Spencer, Catherine. Coral and Lichen, Brains and Bowels- Jay
Coral and Lichen, Brains and Bowels: Jay DeFeo’s Hybrid Abstraction By Catherine Spencer 13 May 2015 Tate Papers no.23 Situating the US artist Jay DeFeo within a network of West Coast practitioners during the 1950s and 1960s, this essay shows how her relief paintings – layered with organic, geological and bodily referents – constitute what can be understood as ‘hybrid abstraction’. This has affinities with ‘eccentric abstraction’ and ‘funk art’, but also resonates with the socio-political context of Cold War America. Jay DeFeo has been repeatedly characterised by critics, historians and fellow artists as ‘an independent visionary’, devoted to ‘“private” art’, who was ‘professionally reclusive’.1 As early as 1963 the critic John Coplans cast DeFeo, together with other American artists working on the West Coast, including her friend Wallace Berman, as ‘isolated visionaries’ cloistered ‘in complete retreat’.2 The tenacity of this myth stems partly from the work for which DeFeo has become most famous, and indeed infamous: she re-worked her gargantuan oil painting The Rose obsessively between 1958 and 1966, and the energy expended on it forced a four-year career break until 1970.3 The Rose, and by extension DeFeo, have been co-opted as ‘representative of Bay Area abstract painting in microcosm’, invoked as symptomatic of West Coast 1950s and 1960s artistic production, understood as a brief flare of creativity eclipsed by New York.4 DeFeo’s hiatus seems to bisect her output into two sections: the works made during the 1950s and early 1960s on the one side, and those from the 1970s and the 1980s on the other.5 Yet rather than being an isolated or disjointed practice, DeFeo’s work exhibits remarkable consistency and, moreover, an ability to combine multiple influences and ideas. -
Like the Ancients: the Art of Donal Hord
The Journal of San Diego History SAN DIEGO HISTORICAL SOCIETY QUARTERLY Summer 1985, Volume 31, Number 3 Thomas Scharf, Managing Editor Like the Ancients: The Art of Donal Hord By Bruce Kamerling 1999 Hord Exhibit ~ Outdoor works ~ Complete works ~ Chronology Donal Hord's first view of San Diego, from the deck of the steamship Congress, brought tears to his eyes. Unfortunately, these were not tears of joy. The previous winter in Seattle, the fourteen- year-old youth had been stricken by rheumatic fever, which left him with a permanently damaged heart. Knowing he would not survive another harsh northern winter, his doctors recommended moving to a warmer climate. When his mother asked him where he would like to live, he chose San Diego because it was close to Mexico. In his fertile imagination, he pictured the pyramids of the Aztecs and the temples of the Maya. Needless to say, San Diego in 1916 could not compare with the lush greenery of Seattle or the mysterious jungles of Mexico. It wasn't long, however, before Hord came to love the region, and the arid southwest became the inspiration for many of his sculptures. He was the product of an unhappy marriage; the future artist's parents divorced when he was still a child, his mother taking him eventually to Seattle. At an early age, he developed an interest in ancient cultures, particularly those of the Orient and the Americas. Being an invalid for much of his youth, he was not able to attend regular school. Instead, he spent time at the library, educating himself in a wide variety of subjects including history, literature, music and art. -
Oral History Interview with Tobey C. Moss, 2013 September 12
Oral history interview with Tobey C. Moss, 2013 September 12 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 recorded interview with Tobey Moss on September 12, 2013. The interview took place in Los Angeles, California, and was conducted by Hunter Drohojowska-Philp for the Archives of American Art, Smithsonian Institution. Tobey Moss and Hunter Drohojowska-Philp reviewed the transcript in 2019. Their corrections and emendations appear below in brackets with initials. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview HUNTER DROHOJOWSKA-PHILP: This is Hunter Drohojowska-Philp interviewing Tobey Moss at the art dealer's uh, gallery in Los Angeles, California on September 12, 2013 for the Archives of American Art, Smithsonian Institution, card number one. Tobey, we've spent some time trying to get together to do this. And I'm happy we finally have made it. Just the easiest way for us to proceed is to begin at the beginning. TOBEY C. MOSS: Okay. HUNTER DROHOJOWSKA-PHILP: Tell me about you. Where were you born and when? TOBEY C. MOSS: I was born in Chicago. June 1, 1928. Do you want my hospital and my—[laughs] HUNTER DROHOJOWSKA-PHILP: Not quite that much. Did you say June 21st? TOBEY C. MOSS: June 1st. HUNTER DROHOJOWSKA-PHILP: June 1st, 1928. And what did your parents do? TOBEY C. -
The San Francisco Bay Area 1945 – 1965
Subversive Art as Place, Identity and Bohemia: The San Francisco Bay Area 1945 – 1965 George Herms The Librarian, 1960. A text submitted in fulfillment of the requirements of The Glasgow School of Art For the degree of Master of Philosophy May 2015 © David Gracie 2015 i Abstract This thesis seeks evidence of time, place, and identity, as individualized artistic perspective impacting artists representing groups marginalized within dominant Western, specifically American culture, who lived in the San Francisco Bay Area between 1945–1965. Artists mirror the culture of the time in which they work. To examine this, I employ anthropological, sociological, ethnographic, and art historical pathways in my approach. Ethnic, racial, gender, class, sexual-orientation distinctions and inequities are examined via queer, and Marxist theory considerations, as well as a subjective/objective analysis of documented or existing artworks, philosophical, religious, and cultural theoretical concerns. I examine practice outputs by ethnic/immigrant, homosexual, and bohemian-positioned artists, exploring Saussurean interpretation of language or communicative roles in artwork and iconographic formation. I argue that varied and multiple Californian identities, as well as uniquely San Franciscan concerns, disseminated opposition to dominant United States cultural valuing and that these groups are often dismissed when produced by groups invisible within a dominant culture. I also argue that World War Two cultural upheaval induced Western societal reorganization enabling increased postmodern cultural inclusivity. Dominant societal repression resulted in ethnographic information being heavily coded by Bay Area artists when considering audiences. I examine alternative cultural support systems, art market accessibility, and attempt to decode product messages which reify enforced societal positioning.