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Fabienne Verdier Rhythms and Reflections
FABIENNE VERDIER RHYTHMS AND REFLECTIONS A COMET Do all roads that lead to truth lie underground? Do all depths lie in darkness? dostoevsky And is the word Truth anything else but snow? One day, as I went round a gallery, luminous like an artist’s studio where work is left exposed to its own light, I happened on a painting by Fabienne Verdier. To me, her painted line seemed like the branch of a tree, broad as an artery, a tunnel in a badger’s sett, a cocoon in air, and at the same time like none of those things, but a thing of mystery whose exacting gaze takes your breath away! A reptile whose hiss lingers around the walls. Then it disappears, it loses itself elsewhere, leaving you with the feeling nonetheless that you were there the very moment its untamed presence so unexpectedly appeared. Of course, such an event never occurs twice. It was the painting that arrested the flight of this fugitive presence for an instant, like water holding on to air, yet expressing an instant of perception and the path taken to grasp it. As if, in fact, all the patience of the world had transformed into a lightning flash – the watchfulness of a lighthouse-keeper who knows to be neither fully awake nor asleep. Whenever solitude is put to the creative test, it becomes the key to a world. How to describe the solitude that is a crowd, unable to bloom into thousands of individuals. How to describe the crowd that blooms into a single world. -
Rr Chris Martin & Hansen
Nominations for ASCIT Prez, famous, renowned, Veep, and the most sought af ter, respected, esteemed, ho nored, influential, notable, cherished, reputable, presti gious, worthy, • I Swanson and Cathy Hafer. The kids were all thrilled that I was float was roped off, but thousands waving especially to them! We're ofpeople fIled by to see it. Ourjob some serious time in thera was to run around the float, wave py later in life. Then there were the at the masses, and to shake hands. bigger kids that will Especially to shake hands. "I must spend some time in have shook hands with every These kids were in Pasadena!" said John Krowas. and face and We also had to answer all sorts real beaver!" of annoying questions like "What's lot of time the float supposed to do?", "Why But once day was didn't you guys have a prank?" and was worth it. We had a lot of "Newton? Where's the city of New and some more will ton?" That's why I preferred to recogrrize the name \..-<UclCI,;Jl1. stand up on the float, wave to the won't associate it kids, and pose for The beavers. Crime Is there a in Pasadena? Read the first and about and to avoid these JlUHU" I.n cidents. 12/7 A student to CarnplJS from Jack in the Box 'C do was harrassed on Hill three persons a ~ When the student he was r.r. pus by one ofthe persons who had been in £ 12/7 Another student was on HoIhston with three persons, between 15 and 18 in the vehicle of the persons dent was a " A Sh0l1 time later a person, aploarently Caltech's entry, "For Every Action...A Reaction" is a popular float in the Pasadena Rose Parade. -
(Exhibition Catalogue). Texts by Lucina Ward, James Lawrence and Anthony E Grudin
SOL LEWITT SELECTED BIBLIOGRAPHY BOOKS AND EXHIBITION CATALOGUES 2018 American Masters 1940–1980 (exhibition catalogue). Texts by Lucina Ward, James Lawrence and Anthony E Grudin. Canberra: National Gallery of Australia, 2018: 186–187, illustrated. Cameron, Dan and Fatima Manalili. The Avant-Garde Collection. Newport Beach, California: Orange County Museum of Art, 2018: 57, illustrated. Destination Art: 500 Artworks Worth the Trip. New York: Phaidon, 2018: 294, 374, illustrated. LeWitt, Sol. “Sol LeWitt: A Primary Medium.” In Auping, Michael. 40 Years: Just Talking About Art. Fort Worth, Texas and Munich: Modern Art Museum of Fort Worth; DelMonico BooksꞏPrestel, 2018: 84–87, illustrated. Picasso – Gorky – Warhol: Sculptures and Works on Paper, Collection Hubert Looser (exhibition catalogue). Edited by Florian Steininger. Krems an der Donau, Austria and Zürich: Kunsthalle Krems; Fondation Hubert Looser, 2018: 104, illustrated. Sol LeWitt: Between the Lines (exhibition catalogue). Texts by Francesco Stocchi. Rem Koolhaas and Adachiara Zevi. Milan: Fondazione Carriero, 2018 Sol LeWitt: Wall Drawings. Edited by Lindsay Aveilhé. [New York]: Artifex Press, 2018. 2017 Sol LeWitt: Selected Bibliography—Books 2 The Art Museum. London: Phaidon, 2017: 387, illustrated. Booknesses: Artists’ Books from the Jack Ginsberg Collection (exhibition catalogue). Johannesburg, South Africa: University of Johannesburg Art Gallery, 2017: 129, 151, 221, illustrated. Delirious: Art at the Limits of Reason 1950–1980 (exhibition catalogue). Texts by Kelly Baum, Lucy Bradnock and Tina Rivers Ryan. New York: Met Breuer, 2017: pl.21, 22, 23, 24, illustrated. Doss, Erika. American Art of the 20th–21st Centuries. New York and Oxford: Oxford University Press, 2017: fig. 113, p.178, illustrated. Gross, Béatrice. -
Wednesday, December 18, 2019 NEW YORK DOYLE+DESIGN® MODERN and CONTEMPORARY ART and DESIGN
Wednesday, December 18, 2019 NEW YORK DOYLE+DESIGN® MODERN AND CONTEMPORARY ART AND DESIGN AUCTION Wednesday, December 18, 2019 at 10am EXHIBITION Saturday, December 14, 10am – 5pm Sunday, December 15, Noon – 5pm Monday, December 16, 11am – 6pm LOCATION Doyle 175 East 87th Street New York City 212-427-2730 www.Doyle.com Catalog: $25 THE ESTATE OF SYLVIA MILES Doyle is honored to offer artwork and It was Miles’ association with Andy Miles’ Central Park South apartment, memorabilia from the Estate of Sylvia Warhol as a close friend and one of which she occupied from 1968 until her Miles (1924-2019). Twice nominated the so-called “Warhol Superstars” that death earlier this year, was filled with for an Academy Award, Miles is best cemented her status as a New York icon. memorabilia from her career and artwork PAINTINGS, SCULPTURE, remembered for her strong performances Miles had a starring role in Warhol’s gifted by her talented group of friends, in diverse works ranging from Midnight 1972 film Heat, the third in a trilogy that particularly Warhol. Cowboy to Sex and the City, as a bona parodied Sunset Boulevard, alongside PHOTOGRAPHS & PRINTS fide “Warhol Superstar,” and as a Joe Dallesandro. Property from the Estate of Sylvia Miles prominent and frequent figure on comprises lots 18, 21, 34-36, 62-65, 67, the Manhattan party scene. 73, 90, 99, 102, 103, 105, 127-131, 144, 146, 166. INCLUDING PROPERTY FROM THE ESTATES OF CONTENTS Elsie Adler Paintings 1-155 Evelyn Berezin Prints 156-171 Arthur Brandt Furniture & Decorative Arts 172-253 Miriam Diner Silver 254-270 Steven R. -
Tomma Abts Francis Alÿs Mamma Andersson Karla Black Michaël
Tomma Abts 2015 Books Zwirner David Francis Alÿs Mamma Andersson Karla Black Michaël Borremans Carol Bove R. Crumb Raoul De Keyser Philip-Lorca diCorcia Stan Douglas Marlene Dumas Marcel Dzama Dan Flavin Suzan Frecon Isa Genzken Donald Judd On Kawara Toba Khedoori Jeff Koons Yayoi Kusama Kerry James Marshall Gordon Matta-Clark John McCracken Oscar Murillo Alice Neel Jockum Nordström Chris Ofili Palermo Raymond Pettibon Neo Rauch Ad Reinhardt Jason Rhoades Michael Riedel Bridget Riley Thomas Ruff Fred Sandback Jan Schoonhoven Richard Serra Yutaka Sone Al Taylor Diana Thater Wolfgang Tillmans Luc Tuymans James Welling Doug Wheeler Christopher Williams Jordan Wolfson Lisa Yuskavage David Zwirner Books Recent and Forthcoming Publications No Problem: Cologne/New York – Bridget Riley: The Stripe Paintings – Yayoi Kusama: I Who Have Arrived In Heaven Jeff Koons: Gazing Ball Ad Reinhardt Ad Reinhardt: How To Look: Art Comics Richard Serra: Early Work Richard Serra: Vertical and Horizontal Reversals Jason Rhoades: PeaRoeFoam John McCracken: Works from – Donald Judd Dan Flavin: Series and Progressions Fred Sandback: Decades On Kawara: Date Paintings in New York and Other Cities Alice Neel: Drawings and Watercolors – Who is sleeping on my pillow: Mamma Andersson and Jockum Nordström Kerry James Marshall: Look See Neo Rauch: At the Well Raymond Pettibon: Surfers – Raymond Pettibon: Here’s Your Irony Back, Political Works – Raymond Pettibon: To Wit Jordan Wolfson: California Jordan Wolfson: Ecce Homo / le Poseur Marlene -
Helène Aylon & Barry Le Va, Press Release 2020
Helène Aylon January 18 – February 22, 2020 Marc Selwyn Fine Art is pleased to announce the gallery’s first presentation of works by the multimedia artist Helène Aylon. The exhibition features three of Aylon’s abstract series, Elusive Silver, Pouring Formations, and Paintings That Change in Time all created between 1969 and 1977. The seven Elusive Silver works employ industrial materials such as sheet metal, acrylic plastic, and spray paint. Pouring Formations and Paintings That Change in Time consist of linseed oil on paper mounted on Masonite panels. Beginning in 1969, Aylon experimented with the idea of creating “painting that revealed itself,” in an attempt to introduce feminist consciousness to a medium that had, by then, been firmly dominated by the notion of a heroic, and almost exclusively male, American idiom. Refraining from mark making (“I didn’t want to be hammered in by exactitudes”), she allowed the works themselves to inform the evolution of her ideas. In Aylon’s first process-driven body of work, Elusive Silver, her surfaces reflect and refract an inner glow that changes visually with the viewer’s stance and the light conditions in which they are seen. These perceptual changes evolved into her later challenging of established norms with works which physically change with the passage of time. Aylon’s Paintings That Change in Time and the Pouring Formations series were completed after the artist’s move from New York to San Francisco in 1973. In contrast to the simultaneous formlessness and material complexity of the Elusive Silver works, these were powerful graphic statements that questioned the traditional notions of permanence in painting as Aylon allowed the sepia colored linseed oil to seep naturally into the surface of the paper. -
The East Hampton Star - Arts 6/7/08 12:13 AM
Jumping Genres and Generations in Art - The East Hampton Star - Arts 6/7/08 12:13 AM Register June 6, 2008 Login Home Business & Real Estate Arts Food & Wine Sports Outdoors Commentary Obituaries Letters Fiction Real Estate Listings Jumping Genres and Generations in Art Web Directory By Jess Frost Media Kit (6/03/2008) “I guess I have Search & Forms a reputation as a painting Local History guy,” Klaus Kertess said, an understatement to be sure. FAQs/Contact Us Proof of his propensity for painting can be found at “The Annual Hamptons Show,” an exhibit opening tomorrow, © Copyright 1996-2008 and running through June 16, The East Hampton Star that he has curated for the 153 Main Street Fireplace Project in Springs. Morgan McGivern East Hampton, NY 11937 Klaus Kertess at home in East Hampton Mr. Kertess lives in East Hampton with his partner, the artist Billy Sullivan. As a writer and curator he has worked for any number of highly respected museums, but his success seems to have as much to do with his departure from such positions as with the prestige they have brought him. In 1966 Mr. Kertess founded, with John Byers, the influential Bykert Gallery in New York, where he acted as director for almost 10 years, exhibiting burgeoning artists such as Brice Marden, Chuck Close, Agnes Martin, and Joe Zucker, who is represented in the Fireplace Project exhibit. Seacoast Enterprises “It was a starter gallery essentially, when I look back on it,” Mr. Kertess said. 423 Three Mile Harbor Road “What gave me pleasure was showing somebody for the first time and trying to clear East Hampton a path for them into the art world.” www.sea-incorp.com “Part of the reason I left the gallery was because I was going to have to become a career manager more than anything else, and that wasn’t what I did well. -
At Toledo Is Finally Ended End of Congress Until Next Week
AvnuoMB!|!n!^^ for the Mairth af Slay. 1IM4 ^ Eva; . ^-nK..WBATnB' ^ 'weeaat af o, a, Weelhse Bm«hn. Bartfaffi A t 5 , 4 7 5 xT ■ Mr aflha A a«t Ohmfiy. Mft qM«a aa cool taaIgM. I a f .CbmnaftMMk '■aadagr nur aafi warmer. ^ Gobs Find Their **Land Lejrs^ On Fifth Avenue AT TOLEDO WEALTHY BOY ^ ■/ KILLS MO ^ IS FINALLY ENDED END OF CONGRESS pre ANDBRO R Easier Conditioiis m Other LONDON c elebrated • UNTIL NEXT WEEK Breaks Under Strain of All Phrts of Nition Where BIBTHDAY OF KING Night GriUing Uses a Labor troobles Fhred— MVISKIRDEIIED Chief Execothre W vim pro- Parley on Textile Strike. Hatchet -in Ihe Double Colorfnl CeremoDj As ^ His Tariff^ Silver, H o i^ g M nrder.' ^ DumniTAnave Majesty Rides m Parade By Aaaodated Praaa and Labor B3Is Passed NaUon’a Capital-Labor treu- Lot Angeles, Jupe 4,—(AP)— Wara fawar today. from His Palace. Believed That He Discovered Before Adjonnunent — The Blactric-Auto-Llte atrika at Loiils Rude Payne,^3i. cracked under Toledo, O, which brought death to the strain of^an all-night grlll’ng London, June 4.—(API—Leaden by police confessed early todav, a StiU— Had Been Slain Byms Says Senate Holds two peraona in note, ended and the last Nations^ Guai^ troopa with skies, a biting east wind and more officers said, to too details of too drew. h a t c ^ slaying of his mother and With Rocks. than a suspicion of sadly-needed other In their Westwood mansi'-n Keys to Early Ailjoiim* The set^m ent came when the raia, made on Incongruoua accom- Auto-Lit^ Company ratified an 'panlmeht today to the stately pag ’’I klUed them last Tuesday ment. -
If an Imaginary Line Could Be Traced Around Three Outer Elements of This Exhibition
Birgit Megerle, “Suite,” Galerie Emanuel Layr, Vienna, 2015, installation views STAGE LEFT 2015) offered a bright tone for entering the space, Megan Francis Sullivan on Birgit Megerle at a photographic print of a hand holding a musi- Galerie Emanuel Layr, Vienna cal triangle against a blue sky dotted with sunlit If an imaginary line could be traced around three clouds. The instrument’s shape pointed to the first outer elements of this exhibition – a color photo canvas, a geometric composition of overlapping at the entry, a patchwork curtain on the back triangles, set aglow by the use of contrasting and wall, and a text that occupies the page of a press complementary colors. The layering of pastels release – what happens in between is definitely in washy but careful strokes induced a sense of a painting show. By preserving the conventions hovering, as one’s eyes reached for a handrail of painting (a series in oil on linen, in consistent of space and dimension, but were instead kept sizes, hung flat on the wall, with proper distance adrift. On an adjacent wall was a variation of between works), the installation permitted theat- the composition, this time a bit squatter and rical cues to move in and out, setting a platform with different colors. Titled, respectively, “Suite for what was also outside of it. I (after Bruch)” and “Suite II (after Bruch),” the “Suite” was the show’s title, and the introduc- paintings performed something of a bait and tory image, “Untitled (Invitation),” (all works switch: they act visually as abstract paintings, 200 SHORT WAVES TzK#99_E.indd 200 20.08.15 15:09 while referring specifically to compositions of the at Berlin’s Mathew Gallery, her painting was rein- American painter Robin Bruch, whose 1970s–80s troduced to a broader public. -
William Gropper's
US $25 The Global Journal of Prints and Ideas March – April 2014 Volume 3, Number 6 Artists Against Racism and the War, 1968 • Blacklisted: William Gropper • AIDS Activism and the Geldzahler Portfolio Zarina: Paper and Partition • Social Paper • Hieronymus Cock • Prix de Print • Directory 2014 • ≤100 • News New lithographs by Charles Arnoldi Jesse (2013). Five-color lithograph, 13 ¾ x 12 inches, edition of 20. see more new lithographs by Arnoldi at tamarind.unm.edu March – April 2014 In This Issue Volume 3, Number 6 Editor-in-Chief Susan Tallman 2 Susan Tallman On Fierce Barbarians Associate Publisher Miguel de Baca 4 Julie Bernatz The Geldzahler Portfoio as AIDS Activism Managing Editor John Murphy 10 Dana Johnson Blacklisted: William Gropper’s Capriccios Makeda Best 15 News Editor Twenty-Five Artists Against Racism Isabella Kendrick and the War, 1968 Manuscript Editor Prudence Crowther Shaurya Kumar 20 Zarina: Paper and Partition Online Columnist Jessica Cochran & Melissa Potter 25 Sarah Kirk Hanley Papermaking and Social Action Design Director Prix de Print, No. 4 26 Skip Langer Richard H. Axsom Annu Vertanen: Breathing Touch Editorial Associate Michael Ferut Treasures from the Vault 28 Rowan Bain Ester Hernandez, Sun Mad Reviews Britany Salsbury 30 Programs for the Théâtre de l’Oeuvre Kate McCrickard 33 Hieronymus Cock Aux Quatre Vents Alexandra Onuf 36 Hieronymus Cock: The Renaissance Reconceived Jill Bugajski 40 The Art of Influence: Asian Propaganda Sarah Andress 42 Nicola López: Big Eye Susan Tallman 43 Jane Hammond: Snapshot Odyssey On the Cover: Annu Vertanen, detail of Breathing Touch (2012–13), woodcut on Maru Rojas 44 multiple sheets of machine-made Kozo papers, Peter Blake: Found Art: Eggs Unique image. -
Bollettino Periodici
SEGRETARIATO GENERALE DELLA PRESIDENZA DELLA REPUBBLICA BIBLIOTECA BOLLETTINO PERIODICI 2008 _________ A cura di Carla Capobianchi Con la collaborazione di Nicoletta Grella INDICE ___________________________________________________ Premessa Acta apostolicae sedis pag. 1 Administrative science quarterly pag. 16 Annali di storia moderna e contemporanea pag. 21 Archivi pag. 24 Archivio storico italiano pag. 27 Argomenti umani pag. 34 Aspenia pag. 49 Belfagor pag. 63 Bollettino d’arte pag. 72 Charta minuta pag. 75 (La) Civilta’ cattolica pag. 98 Clio pag. 125 Connaissance des arts pag. 129 (Il) Corriere giuridico pag. 142 Democrazia e diritto pag. 167 Diritto amministrativo pag. 168 Diritto dell’Unione Europea pag. 172 Diritto e societa’ pag. 177 Diritto pubblico pag. 180 Diritto pubblico comparato ed europeo pag. 183 Federalismo fiscale pag. 208 (Il) Filangieri pag. 211 (Il) Foro amministrativo – C.d.S. pag. 213 (Il) Foro amministrativo – T.A.R. pag. 223 (Il) Foro italiano pag. 234 Funzione pubblica pag, 255 Giornale di storia costituzionale pag. 258 Giurisdizione amministrativa pag. 262 Giurisprudenza costituzionale pag. 268 Giurisprudenza italiana pag. 279 Guida al diritto pag. 307 (L’) Industria pag. 318 Italianieuropei pag. 323 Iustitia pag. 338 (Il) Lavoro nelle pubbliche amministrazioni pag. 346 Lex pag. 355 Limes pag. 355 Micromega pag. 377 (Il) Mulino pag. 393 Nuova antologia pag. 408 Nuova rassegna di legislazione, dottrina e giurisprudenza pag. 424 (Le) Nuove leggi civili commentate pag. 467 (Il) Nuovo diritto pag. 480 Passato e presente pag. 487 Percorsi costituzionali pag. 491 Politica del diritto pag. 495 (Il) Ponte pag. 499 Quaderni costituzionali pag. 522 Quaderni di scienza politica pag. 534 Quaderni di storia pag. -
Oral History Interview with Chuck Close, 1987 May 14-September 30
Oral history interview with Chuck Close, 1987 May 14-September 30 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 Chuck Close on May 14, 1987. The interview took place at the artist's studio on 75 Spring Street, New York City, and was conducted by Judd Tully for the Archives of American Art, Smithsonian Institution. Interview JUDD TULLY: According to published information, you were born in the state of Washington in 1940. What was your actual birthdate and tell me a little bit about Monroe, Washington? CHUCK CLOSE: July 5, 1940. Monroe, Washington, was a smelly little town halfway up the Cascade Mountains, northeast of Seattle. I didn't live there very long, actually. I was born at home -- not in a hospital -- of humble beginnings. Actually, I want to go back and photograph the house, because if I were a politician it would be great to have a picture of the shack that I was born in. [They laugh.] MR. TULLY: Was it really a shack? MR. CLOSE: Well, it wasn't a real shack, but it was a very modest little cottage. "Cottage" is giving it all the benefit of the doubt. It was definitely on the wrong side of the tracks -- about thirty five feet from the tracks.