Frank Stella
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Annual Report 2018–2019 Artmuseum.Princeton.Edu
Image Credits Kristina Giasi 3, 13–15, 20, 23–26, 28, 31–38, 40, 45, 48–50, 77–81, 83–86, 88, 90–95, 97, 99 Emile Askey Cover, 1, 2, 5–8, 39, 41, 42, 44, 60, 62, 63, 65–67, 72 Lauren Larsen 11, 16, 22 Alan Huo 17 Ans Narwaz 18, 19, 89 Intersection 21 Greg Heins 29 Jeffrey Evans4, 10, 43, 47, 51 (detail), 53–57, 59, 61, 69, 73, 75 Ralph Koch 52 Christopher Gardner 58 James Prinz Photography 76 Cara Bramson 82, 87 Laura Pedrick 96, 98 Bruce M. White 74 Martin Senn 71 2 Keith Haring, American, 1958–1990. Dog, 1983. Enamel paint on incised wood. The Schorr Family Collection / © The Keith Haring Foundation 4 Frank Stella, American, born 1936. Had Gadya: Front Cover, 1984. Hand-coloring and hand-cut collage with lithograph, linocut, and screenprint. Collection of Preston H. Haskell, Class of 1960 / © 2017 Frank Stella / Artists Rights Society (ARS), New York 12 Paul Wyse, Canadian, born United States, born 1970, after a photograph by Timothy Greenfield-Sanders, American, born 1952. Toni Morrison (aka Chloe Anthony Wofford), 2017. Oil on canvas. Princeton University / © Paul Wyse 43 Sally Mann, American, born 1951. Under Blueberry Hill, 1991. Gelatin silver print. Museum purchase, Philip F. Maritz, Class of 1983, Photography Acquisitions Fund 2016-46 / © Sally Mann, Courtesy of Gagosian Gallery © Helen Frankenthaler Foundation 9, 46, 68, 70 © Taiye Idahor 47 © Titus Kaphar 58 © The Estate of Diane Arbus LLC 59 © Jeff Whetstone 61 © Vesna Pavlovic´ 62 © David Hockney 64 © The Henry Moore Foundation / Artists Rights Society (ARS), New York 65 © Mary Lee Bendolph / Artist Rights Society (ARS), New York 67 © Susan Point 69 © 1973 Charles White Archive 71 © Zilia Sánchez 73 The paper is Opus 100 lb. -
Borderline Research
Borderline Research Histories of Art between Canada and the United States, c. 1965–1975 Adam Douglas Swinton Welch A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of Art University of Toronto © Copyright by Adam Douglas Swinton Welch 2019 Borderline Research Histories of Art between Canada and the United States, c. 1965–1975 Adam Douglas Swinton Welch Doctor of Philosophy Department of Art University of Toronto 2019 Abstract Taking General Idea’s “Borderline Research” request, which appeared in the first issue of FILE Megazine (1972), as a model, this dissertation presents a composite set of histories. Through a comparative case approach, I present eight scenes which register and enact larger political, social, and aesthetic tendencies in art between Canada and the United States from 1965 to 1975. These cases include Jack Bush’s relationship with the critic Clement Greenberg; Brydon Smith’s first decade as curator at the National Gallery of Canada (1967–1975); the exhibition New York 13 (1969) at the Vancouver Art Gallery; Greg Curnoe’s debt to New York Neo-dada; Joyce Wieland living in New York and making work for exhibition in Toronto (1962–1972); Barry Lord and Gail Dexter’s involvement with the Canadian Liberation Movement (1970–1975); the use of surrogates and copies at the Nova Scotia College of Art and Design (1967–1972); and the Eternal Network performance event, Decca Dance, in Los Angeles (1974). Relying heavily on my work in institutional archives, artists’ fonds, and research interviews, I establish chronologies and describe events. By the close of my study, in the mid-1970s, the movement of art and ideas was eased between Canada and the United States, anticipating the advent of a globalized art world. -
Oral History Interview with Nicholas Krushenick, 1968 Mar. 7-14
Oral history interview with Nicholas Krushenick, 1968 Mar. 7-14 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 Nicholas Krushenick on March 7, 1968. The interview was conducted in New York by Paul Cummings for the Archives of American Art, Smithsonian Institution. Interview PAUL CUMMINGS: This is March 7, 1968. Paul Cummings talking to Nicholas Krushenick. You’re a rare born New Yorker? NICHOLAS KRUSHENICK: Yes. One of the last. PAUL CUMMINGS: Let’s see, May 31, 1929. NICHOLAS KRUSHENICK: Very Young. PAUL CUMMINGS: That’s the year to do it. NICHOLAS KRUSHENICK: That’s the year of the zero, the crash. PAUL CUMMINGS: Well, why don’t you tell me something about your family, what part of New York you were born in. NICHOLAS KRUSHENICK: I was born up in the Bronx in a quiet little residential neighborhood. Luckily enough my father actually brought me into the world. The doctor didn’t get there soon enough and my father did the operation himself; he ties the knot and the whole thing. When the doctor got there he said it was a beautiful job. And I went to various public schools in the Bronx. PAUL CUMMINGS: You have what? –one brother? More brothers? Any sisters? NICHOLAS KRUSHENICK: Just one brother. PAUL CUMMINGS: What did you live in – a house? Or an apartment? NICHOLAS KRUSHENICK: No. Actually it was the Depression days. And we were the superintendents of a building. -
Architectural Theory and Practice, and the Question of Phenomenology
Architectural Theory and Practice, and the Question of Phenomenology (The Contribution of Tadao Ando to the Phenomenological Discourse) Von der Fakultät Architektur, Bauingenieurwesen und Stadtplanung der Brandenburgischen Technischen Universität Cottbus zur Erlangung des akademischen Grades eines Doktor-Ingenieurs genehmigte Dissertation vorgelegt von Mohammadreza Shirazi aus Tabriz, Iran Gutachter: : Prof. Dr. Eduard Führ Gutachter: Prof. Dr. Karsten Harries Gutachter: Gastprofessor. Dr. Riklef Rambow Tag der Verteidigung: 02. Juni 2009 Acknowledgment My first words of gratitude go to my supervisor Prof. Führ for giving me direction and support. He fully supported me during my research, and created a welcoming and inspiring atmosphere in which I had the pleasure of writing this dissertation. I am indepted to his teachings and instructions in more ways than I can state here. I am particularly grateful to Prof. Karsten Harries. His texts taught me how to think on architecture deeply, how to challenge whatever is ‘taken for granted’ and ‘remain on the way, in search of home’. I am also grateful to other colleagues in L.S. Theorie der Architektur. I want to express my thanks to Dr. Riklef Rambow who considered my ideas and texts deeply and helped me with his advice at different stages. I am thankful for the comments and kind helps I received from Dr. Katharina Fleischmann. I also want to thank Prof. Hahn from TU Dresden and other PhD students who attended in Doktorandentag meetings and criticized my presentations. I would like to express my appreciation to the staff of Langen Foundation Museum for their kind helps during my visit of that complex, and to Mr. -
Art and Politics: a Small History of Art for Social Change Since 1945 Free
FREE ART AND POLITICS: A SMALL HISTORY OF ART FOR SOCIAL CHANGE SINCE 1945 PDF Claudia Mesch | 224 pages | 15 Oct 2013 | I.B.Tauris & Co Ltd | 9781848851108 | English | London, United Kingdom 15 Influential Political Art Pieces | Widewalls What is political art? Is it different than the art itself and could it be the art beside the politics, as we know the political truth is the ruling mechanism over all aspects of humanity? From its beginnings, art is inseparable from the societies and throughout its history authors always reflected the present moment bringing the artistic truth to the general public. For Plato and Aristotle, mimesis - the act of artistic creation is inseparable from the notion of real world, in which art represents or rather disputes the various models of beauty, truth, and the good within the societal reality. Hence, position of the art sphere is semi- autonomous, as it is independent field of creation freed from the rules, function and norms, but on the other hand, art world is deeply connected and dependent from artistic productionways of curating and display as well as socio-economical conditions and political context. In times of big political changes, many art and cultural workers choose to reflect the context within their artistic practices and consequently to create politically and socially engaged art. Art could be connected to politics in many different ways, and the field of politically engaged art is rather broad and rich than a homogenous term reducible to political propaganda. There are many strategies to reach the state of political engagement in art and it includes the wide scale of artistic interventions from bare gestures to complex conceptual pieces with direct political engagement intended to factual political changes. -
The Creative Arts at Brandeis by Karen Klein
The Creative Arts at Brandeis by Karen Klein The University’s early, ardent, and exceptional support for the arts may be showing signs of a renaissance. If you drive onto the Brandeis campus humanities, social sciences, and in late March or April, you will see natural sciences. Brandeis’s brightly colored banners along the “significant deviation” was to add a peripheral road. Their white squiggle fourth area to its core: music, theater denotes the Creative Arts Festival, 10 arts, fine arts. The School of Music, days full of drama, comedy, dance, art Drama, and Fine Arts opened in 1949 exhibitions, poetry readings, and with one teacher, Erwin Bodky, a music, organized with blessed musician and an authority on Bach’s persistence by Elaine Wong, associate keyboard works. By 1952, several Leonard dean of arts and sciences. Most of the pioneering faculty had joined the Leonard Bernstein, 1952 work is by students, but some staff and School of Creative Arts, as it came to faculty also participate, as well as a be known, and concentrations were few outside artists: an expert in East available in the three areas. All Asian calligraphy running a workshop, students, however, were required to for example, or performances from take some creative arts and according MOMIX, a professional dance troupe. to Sachar, “we were one of the few The Wish-Water Cycle, brainchild of colleges to include this area in its Robin Dash, visiting scholar/artist in requirements. In most established the Humanities Interdisciplinary universities, the arts were still Program, transforms the Volen Plaza struggling to attain respectability as an into a rainbow of participants’ wishes academic discipline.” floating in bowls of colored water: “I wish poverty was a thing of the past,” But at newly founded Brandeis, the “wooden spoons and close friends for arts were central to its mission. -
Annual Report 2017
2017 ANNUAL REPORT ANNUAL REPORT 2017 2,522 EMPLOYEES FROM 71NATIONS WORKED IN 38 COUNTRIES AND OVERSEAS PROGRAMMES IN 2017. 410 WITH MILLION EUROS OF FUNDING 229.4 WE SUPPORTED MILLION PEOPLE IN ORDER 11. 8 TO ACHIEVE 1 GOAL : Interview with Supervisory Board and Executive Board 6 WHAT WE Zero Hunger Requires Political Measures 8 WANT Welthungerhilfe's Vision 52 Project Map 10 WHAT WE Congo: Better Harvests for a Brighter Future 12 Bangladesh: The Suffering of the Rohingya 14 ACHIEVE Nepal: Fast Reaction thanks to Good Preparation 16 Sierra Leone: Creating Professional Prospects with “Skill Up!” 18 Horn of Africa: Prepared for Drought 20 New Approach: Securing Water Sustainably 22 Transparency and Impact 24 Impact Chain 27 Holding Politics Accountable 28 Campaigns and Events 2017 30 Outlook for 2018: Tapping into Potentials 48 Thank You to Our Supporters 50 This Is How We Collect Donations 51 Welthungerhilfe’s Structure 32 WHO WE ARE Forging ahead with the foundation 44 Welthungerhilfe’s Networks 47 Balance Sheet 34 FACTS AND Income and Expenditure Account 37 Income and Expenditure Account in Accordance with DZI 39 FIGURES Welthungerhilfe in Numbers 40 All Overseas Programmes 2017 42 Annual Financial Statement Foundation 46 PUBLICATION DETAILS Publisher: Order number p. 22: Thomas Rommel/WHH; pp. 23, The DZI donation Deutsche Welthungerhilfe e. V. 460-9549 24: WHH; p. 26 t./b.: Iris Olesch; p. 28: seal certifies Friedrich-Ebert-Straße 1 Deutscher Bundes tag/Trutschel; p. 29 t. l.: Welthungerhilfe‘s efficient and 53173 Bonn Cover photo Engels & Krämer GmbH; p. 29 t. r.: responsible Tel. -
Zen for Film
UvA-DARE (Digital Academic Repository) Re: Paik. On time, changeability and identity in the conservation of Nam June Paik’s multimedia installations Hölling, H.B. Publication date 2013 Link to publication Citation for published version (APA): Hölling, H. B. (2013). Re: Paik. On time, changeability and identity in the conservation of Nam June Paik’s multimedia installations. Boxpress. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:23 Sep 2021 CHAPTER 4 . ZEN FOR FILM 4 .1 . Zen in Three Episodes No .1 In a slightly darkened museum room I am standing in front of a white screen that fills a rectangular wall with a proportional cinematic rectangle. The image seems to diffuse towards its edges, its contour soft, its corners slightly curved. -
Kenneth Noland
! KENNETH NOLAND BIOGRAPHY Born in 1924 in Asheville, North Carolina US Died in 2010 in Port Clyde, Maine US EDUCATION & TEACHING 1985-90 Serves on the Board of Trustees, Bennington College, Bennington Vermont US 1985 Named Milton Avery Professor of the Arts, Bard College, Annandale-on-Hudson, New York US 1952-56 Taught at the Washington Workshop Center for the Arts US 1951-60 Taught at the Catholic University of America, Washington D.C. US 1949-51 Taught at the Institute of Contemporary Art, Washington D.C. US 1948-49 Studies with Ossip Zadkine in Paris FR 1946-48 Studies at Black Mountain College, North Carolina US SELECTED SOLO EXHIBITIONS 2019 Kenneth Noland, Almine Rech, Paris FR 2017 Kenneth Noland: Cicles - Early + Late, Yares Art, New York US Kenneth Noland, Pace Prints, New York US Kenneth Noland: Into the Cool, Pace Gallery, New York US 2016 Kenneth Noland: Unbalanced, Paul Kasmin Gallery, New York US 2015 Kenneth Noland: Color and Shape 1976–1980, Castelli, New York US Kenneth Noland: selected Works 1958-1980, Cardi Gallery, Milan IT ! ! ! 2014 Kenneth Noland: Handmade Paper and Monoprints 1978-1984, Meredith Long & Company, Houston US Kenneth Noland: Paintings 1975-2003, Pace Gallery, New York US 2012 Kenneth Noland: Mysteries, Full Circle, Yares Art Projects, Santa Fe US 2011 Kenneth Noland: Paintings 1958-1968, Mitchell-Innes & Nash, New York US 2010 Kenneth Noland, 1924-2010: A Tribute, Solomon R. Guggenheim Museum, New York US Kenneth Noland: A Tribute, Museum of Fine Arts, Houston US 2009 Kenneth Noland: Shaped Paintings -
Program Site Landscape and Building
Location: near Neuss, North Rhine-Westphalia, Germany. Architect: Tadao Ando (Japan) Date: 2002.8-2004.7 Site Site: On the grounds of the Museum Insel Hombroich; 1,040 Acres Langen Foundation Case Study Material: Reinforced concrete; Glass; steel. Program: Museum Program The Langen Foundation is located at the Raketenstation Hombroich, a former NATO base, in the midst of the idyllic landscape of 1,040 acres of land is being planned for an experiment in living with nature, where architects and artists from this list each envision his or her own program and its accompanying design. This lat- Japanese collection space the Hombroich cultural environment. ter effort, coordinated by the Berlin architectural office of Hoidn Wang Partner, is known as the “Hombroich spaceplacelab,” and requires that at least 90 percent of each site be left for nature. The simple shape of space inside makes people to be peaceful and Ando got involved with the art program at Hombroich through the instigation of Müller, who knew of Ando’s museums in Japan and the United States Ando’s crafted concrete geometric forms interact compellingly Visitors enter through a cut-out in the semicircular concrete wall, opening up the view to the glass, steel and concrete building. with light, water, and earth in a manner that fits in with the Hombroich identity. In 1995, Ando designed an art pavilion for Müller on the former missile base; it appealed to another German art collector, Marianne focus on the art collections. Langen, who was searching for a home for the art that she had amassed with her late husband, Viktor, a businessman, which they had housed in Switzerland. -
A Guide for Holders of the International Association of Art Card Prepared with Contributions from the Slovak Union of Visual Arts (Slovenská Výtvarná Únia) 2017
A guide for holders of the International Association of Art card Prepared with contributions from the Slovak Union of Visual Arts (Slovenská výtvarná únia) 2017 The International Association of Art (IAA/AIAP) is a non-governmental organization working in official partnership with UNESCO. Its objectives are to stimulate international cooperation among visual artists of all countries, nations or peoples, to improve the socio-economic position of artists nationally and internationally, and to defend their material and moral rights. The IAA issues identity cards to professional visual artists. This card allows free or discounted admission to many galleries and museums in countries around the world. The card is a tool for the lifelong education of artists in their professional artistic research. These institutions, large or small, recognize the benefit they gain from enabling the artists, like art critics and journalists, to visit exhibitions, art events and collections of art, to carry on research, and to gain inspiration. As a member within the IAA network, CARFAC National issues IAA cards exclusively to Canadian professional artists that are members of CARFAC upon request. Only National Committees of the IAA may issue the card. Where to use the IAA card This document includes a chart detailing selected institutions that offer free or discounted admission prices, or other perks to IAA card holders while travelling abroad. This information was obtained from surveying recent users of the card and IAA National Committees worldwide, and is updated regularly – most recently in 2017 by the Slovak Union of Visual Arts (SUVA). Users will find that different areas in Europe are more receptive to the card than others. -
Die Brücke Der Blaue Reiter Expressionists
THE SAVAGES OF GERMANY DIE BRÜCKE DER BLAUE REITER EXPRESSIONISTS 22.09.2017– 14.01.2018 The exhibition The Savages of Germany. Die Brücke and Der DIE BRÜCKE (“The Bridge” in English) was a German artistic group founded in Blaue Reiter Expressionists offers a unique chance to view the most outstanding works of art of two pivotal art groups of 1905 in Dresden. The artists of Die Brücke abandoned visual impressions and the early 20th century. Through the oeuvre of Ernst Ludwig idyllic subject matter (typical of impressionism), wishing to describe the human Kirchner, Emil Nolde, Wassily Kandinsky, August Macke, Franz Marc, Alexej von Jawlensky and others, the exhibition inner world, full of controversies, fears and hopes. Colours in their paintings tend focuses on the innovations introduced to the art scene by to be contrastive and intense, the shapes deformed, and the details enlarged. expressionists. Expressionists dedicated themselves to the Besides the various scenes of city life, another common theme in Die Brücke’s study of major universal themes, such as the relationship between man and the universe, via various deeply personal oeuvre was scenery: when travelling through the countryside, the artists saw an artistic means. opportunity to depict man’s emotional states through nature. The group disbanded In addition to showing the works of the main authors of German expressionism, the exhibition attempts to shed light in 1913. on expressionism as an influential artistic movement of the early 20th century which left its imprint on the Estonian art DER BLAUE REITER (“The Blue Rider” in English) was another expressionist of the post-World War I era.