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THE ARTIST's EYES a Resource for Students and Educators ACKNOWLEDGEMENTS
THE ARTIST'S EYES A Resource for Students and Educators ACKNOWLEDGEMENTS It is with great pleasure that the Bowers Museum presents this Resource Guide for Students and Educators with our goal to provide worldwide virtual access to the themes and artifacts that are found in the museum’s eight permanent exhibitions. There are a number of people deserving of special thanks who contributed to this extraordinary project. First, and most importantly, I would like to thank Victoria Gerard, Bowers’ Vice President of Programs and Collections, for her amazing leadership; and, the entire education and collections team, particularly Laura Belani, Mark Bustamante, Sasha Deming, Carmen Hernandez and Diane Navarro, for their important collaboration. Thank you to Pamela M. Pease, Ph.D., the Content Editor and Designer, for her vision in creating this guide. I am also grateful to the Bowers Museum Board of Governors and Staff for their continued hard work and support of our mission to enrich lives through the world’s finest arts and cultures. Please enjoy this interesting and enriching compendium with our compliments. Peter C. Keller, Ph.D. President Bowers Museum Cover Art Confirmation Class (San Juan Capistrano Mission), c. 1897 Fannie Eliza Duvall (1861-1934) Oil on canvas; 20 x 30 in. Bowers Museum 8214 Gift of Miss Vesta A. Olmstead and Miss Frances Campbell CALIFORNIA MODULE ONE: INTRO / FOCUS QUESTIONS 5 MODULE FOUR: GENRE PAINTING 29 Impressionism: Rebels and Realists 5 Cityscapes 30 Focus Questions 7 Featured Artist: Fannie Eliza Duvall 33 Timeline: -
The Origins and Meanings of Non-Objective Art by Adam Mccauley
The Origins and Meanings of Non-Objective Art The Origins and Meanings of Non-Objective Art Adam McCauley, Studio Art- Painting Pope Wright, MS, Department of Fine Arts ABSTRACT Through my research I wanted to find out the ideas and meanings that the originators of non- objective art had. In my research I also wanted to find out what were the artists’ meanings be it symbolic or geometric, ideas behind composition, and the reasons for such a dramatic break from the academic tradition in painting and the arts. Throughout the research I also looked into the resulting conflicts that this style of art had with critics, academia, and ultimately governments. Ultimately I wanted to understand if this style of art could be continued in the Post-Modern era and if it could continue its vitality in the arts today as it did in the past. Introduction Modern art has been characterized by upheavals, break-ups, rejection, acceptance, and innovations. During the 20th century the development and innovations of art could be compared to that of science. Science made huge leaps and bounds; so did art. The innovations in travel and flight, the finding of new cures for disease, and splitting the atom all affected the artists and their work. Innovative artists and their ideas spurred revolutionary art and followers. In Paris, Pablo Picasso had fragmented form with the Cubists. In Italy, there was Giacomo Balla and his Futurist movement. In Germany, Wassily Kandinsky was working with the group the Blue Rider (Der Blaue Reiter), and in Russia Kazimer Malevich was working in a style that he called Suprematism. -
The Art Story: Comparison: Abstract Vs. Figurative Art
The Art Story: Comparison: Abstract vs. Figurative Art HOME | ABOUT US | CONTACT US | SUPPORT US Stay informed on the latest news, exhibitions and events in modern art. TEXT SIZE PRINT PAGE Abstract vs. Figurative Art Questions over the meaning, origin, and necessity of abstract art have formed some of the central riddles of modern art. The answers to them can seem even more remote now that contemporary painting encompasses veins of both abstraction and figuration. This wasn't always the case: during the years when Abstract Expressionism flourished, figuration was shunned by the most advanced artists, and for reasons which date back to the late 1930s. Below we examine all the terms in this debate: abstraction; figuration (abstraction's opposite for much of the twentieth century); and the concept of 'representation,' which critics have come to use more often since the 1970s, which acknowledges that abstract and figurative art are not as different as they might seem. ABSTRACT ART DEFINITION FIGURATIVE ART Almost all art is abstract art, if we take abstraction to be a process of drawing inspiration Imitation, or realistic representation, has been one of the goals of visual art since the earliest from the shape, color and texture of objects. Artists have "abstracted" from the world times - the ancients called it mimesis. During some periods artists have striven to create the around them since prehistoric times. But it was not until the early twentieth century that effect of an illusion, with images that seem to extend the real, 3D space of the viewer. At abstraction began to be explored as an end in itself. -
Annual Report 1995
19 9 5 ANNUAL REPORT 1995 Annual Report Copyright © 1996, Board of Trustees, Photographic credits: Details illustrated at section openings: National Gallery of Art. All rights p. 16: photo courtesy of PaceWildenstein p. 5: Alexander Archipenko, Woman Combing Her reserved. Works of art in the National Gallery of Art's collec- Hair, 1915, Ailsa Mellon Bruce Fund, 1971.66.10 tions have been photographed by the department p. 7: Giovanni Domenico Tiepolo, Punchinello's This publication was produced by the of imaging and visual services. Other photographs Farewell to Venice, 1797/1804, Gift of Robert H. and Editors Office, National Gallery of Art, are by: Robert Shelley (pp. 12, 26, 27, 34, 37), Clarice Smith, 1979.76.4 Editor-in-chief, Frances P. Smyth Philip Charles (p. 30), Andrew Krieger (pp. 33, 59, p. 9: Jacques-Louis David, Napoleon in His Study, Editors, Tarn L. Curry, Julie Warnement 107), and William D. Wilson (p. 64). 1812, Samuel H. Kress Collection, 1961.9.15 Editorial assistance, Mariah Seagle Cover: Paul Cezanne, Boy in a Red Waistcoat (detail), p. 13: Giovanni Paolo Pannini, The Interior of the 1888-1890, Collection of Mr. and Mrs. Paul Mellon Pantheon, c. 1740, Samuel H. Kress Collection, Designed by Susan Lehmann, in Honor of the 50th Anniversary of the National 1939.1.24 Washington, DC Gallery of Art, 1995.47.5 p. 53: Jacob Jordaens, Design for a Wall Decoration (recto), 1640-1645, Ailsa Mellon Bruce Fund, Printed by Schneidereith & Sons, Title page: Jean Dubuffet, Le temps presse (Time Is 1875.13.1.a Baltimore, Maryland Running Out), 1950, The Stephen Hahn Family p. -
On the Possibilities of Contemporary Figurative Sculpture
Dialectics of the hero: representing subjectivities -On the Possibilities of Contemporary Figurative Sculpture- A dissertation submitted by João Miguel Correia Gonçalves In partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of Art Goldsmiths, University of London, September 2015 I hereby declare that this thesis is my own work and effort 1 Acknowledgments I would like to offer a huge thanks to my supervisors, Professor Andrea Phillips and Dr. John Chilver for all the generous support and time offered throughout the developing of this project. I also thank FCT, the Portuguese public funding agency for the support provided for this academic research and generously funded the project. Furthermore, I need to acknowledge the contribution of Rui Marcelino and Remigijus Raisys who have helped me to translate sculptural ideas into an interactive computing system for the practical component of the thesis. Finally, I owe a word of gratitude to my mother, Maria Magnífica Correia Vieira Gonçalves, for her infinite love, kindness and support during my time at Goldsmiths, University of London. 2 Abstract This thesis sets out to critically reposition contemporary figurative sculpture through a re- articulation of the hero. It starts by identifying the removal of the human figure in minimal art and with notions of objectivity, repetition and indifference. Here I argue against Donald Judd, Robert Morris and Rosalind E. Krauss, by claiming that there is a necessity to reflect upon the sculptural object and the subject beyond that which is produced by the principles outlined by these artists and critics. Working through readings of Judith Butler, Alain Badiou, Hannah Arendt, Bernard Stiegler, Jacques Lacan and others, the argument establishes the contingency and polemics of the term hero, the way it pertains to the introduction of the new and how it coalesces action and narrative with constant negotiation. -
Not for the Uncommitted: the Alliance of Figurative Artists, 1969–1975 By
Not for the Uncommitted: The Alliance of Figurative Artists, 1969–1975 By Emily D. Markert Submitted in partial fulfillment of the requirements for the degree Master of Arts in Curatorial Practice California College of the Arts April 22, 2021 Not for the Uncommitted: The Alliance of Figurative Artists, 1969–1975 Emily Markert California College of the Arts 2021 From 1969 through the early 1980s, hundreds of working artists gathered on Manhattan’s Lower East Side every Friday at meetings of the Alliance of Figurative Artists. The art historical canon overlooks figurative art from this period by focusing on a linear progression of modernism towards medium specificity. However, figurative painters persisted on the periphery of the New York art world. The size and scope of the Alliance and the interests of the artists involved expose the popular narrative of these generative decades in American art history to be a partial one promulgated by a few powerful art critics and curators. This exploration of the early years of the Alliance is divided into three parts: examining the group’s structure and the varied yet cohesive interests of eleven key artists; situating the Alliance within the contemporary New York arts landscape; and highlighting the contributions women artists made to the Alliance. Keywords: Post-war American art, figurative painting, realism, artist-run galleries, exhibitions history, feminist art history, second-wave feminism Acknowledgments and Dedication I would foremost like to thank the members of my thesis committee for their support and guidance. I am grateful to Jez Flores-García, my thesis advisor, for encouraging rigorous and thoughtful research and for always making time to discuss my ideas and questions. -
Mary Frank Pilgrimage: Photographs and Recent Sculpture DARREN Waterstonnovember 9 – December 21, 2017 REMOTE FUTURES Opening Reception: November 9, 6-8Pm
FOR IMMEDIATE RELEASE DC M OORE GALLERY 535 WEST 22ND STREET NEW YORK NEW YORK 10011 212 247.2111 DCMOOREGALLERY.COM FOR IMMEDIATE RELEASE Mary Frank Pilgrimage: Photographs and Recent Sculpture DARREN WATERSTONNovember 9 – December 21, 2017 REMOTE FUTURES Opening Reception: November 9, 6-8pm OCTOBERNew York, NY, 4 – October NOVEMBER 11, 2017 3, – 2012DC Moore Gallery is pleased to announce Mary Frank Pilgrimage: Photographs and Recent Sculpture, opening on OPENING RECEPTION November 9 and running through December 21, 2017 OCTOBER 4, 6 – 8 PM with a reception on November 9 from 6-8pm. This exhibition will include 60 recent photographs and a AcataloguewithanessaybyJimVoorhiespremier presentation of Mary Frank’s recent sculptural will be available constructions. of stone and paint. The exhibition will Agony in the Garden, 2012. Oil on wood panel, 36 x 36 inches. coincide with the publication, Pilgrimage: Photographs of Mary Frank (Eakins Press Foundation) DC MOORE GALLERY is pleased to present its first exhibition by Darren Waterston, Remote Futures. Thiswith recent texts body by the of work poet explores and critic the allureJohn andYau, menace and the of utopian fantasy, where an imagined, idealized paradise holdsenvironm withinental it a disconcerting activist and future.author, Terry Tempest Williams. Waterston has often engaged with mythological, theological, and natural histories while proposing visual depictions of the ineffable that transcend the picture plane. In Remote Futures, there is evidence of human life in the fragments ofThis architecture exhibition—temples, presents, cathedrals, for the firstziggurats, time, abridges broad— that emerge from the organic detritus. These scenes evokeselection places of of the refuge, composed offering photographs an escape from that the have processes of time and mortality. -
The Influence of Norm-Violating Abstract Artists in Modern Day Society William Caycedo University of Amsterdam Bachelor Thesis S
The Influence of Norm-Violating Abstract Artists in Modern Day Society William Caycedo University of Amsterdam Bachelor Thesis Social Psychology W.M. Caycedo 10196668 20-05-2015 Supervisor: Eftychia Stamkou Abstract The current research investigated how influential norm violating artists have been in modern culture. Abstract and figurative artists that were active between 1900 and 1950 were studied to investigate if violating the norm was a determinant for abstract artists to gain influence. It was hypothesized that artists that have produced abstract art in the period of 1900-1950 have been more influential in modern culture than artists that have produced figurative art in the same time period. Based on the theory of idiosyncrasy credits by Hollander (1958), it was also hypothesized that artists that have produced both abstract and figurative art have been more influential than artists that have produced only abstract or figurative art. Artists were found on the Internet and their influence was measured by documenting street names, landmarks, movies and books that were made/named after or in respect to the artists, the amount of Google hits when searching for a certain artist and the amount of works represented in museums around the world. Results show that abstract artists have been somewhat more influential than figurative artists and that artists that have produced both figurative art and abstract art have been somewhat more influential than artists that have produced only figurative or abstract art. However, no definitive statements could be made. The Influence of Norm-Violating Abstract Artists In Modern Day Society Social norms are crucial to a full understanding of human behavior and are described by Cialdini et al. -
A Furniture Comedy for Hans Hofmann," an "Environment" by Allan
THE MUSEUM OF MODERN ART No. k8 11 WEST 53 STREET, NEW YORK 19, N. Y. F0R RELEASE: Thursday, April 18, I963 TILEPHONE: CIRCLE 5-8900 9 ' r ' W W NOTE: The special viewing of the exhibition Hans Hofmann and His Students including the "environment" described here will take place from k to 6 p.m., Wednesday, April 17, 19&3 at Santini's Warehouse, kkf West 1+9 Street. Mr. Hofmann, the other artists represented in the exhibition, and lenders have been invited. Members of the press and photographers are, of course, welcome to attend and participate. "Push and Pull - A Furniture Comedy for Hans Hofmann," an "environment" by Allan Kaprow, will be presented for an invited audience as part of a special one-day show ing of a new Museum of Modern Art circulating exhibition, Hans Hofmann and His Students, on Wednesday, April IT at Santini's Warehouse, khj West 1*9 Strset. The exhibition consists of six major paintings by the famous 83-year-old teacher and one work each by 50 well-known American artists who have been his students. The show will be shipped from the warehouse later this month to begin a year and one-half long tour of the United States* The great variety of media and styles in the exhibition is a testament to Hofmann1s ability to inspire individual creativity. According to William C, Seitz, Associate Curator of Painting and Sculpture Exhibitions who organized the show, "the Impact of Hofmann's teaching, especially on American art of the post-war period, has been invaluable. -
Figurative Sculpture in Paper Clay. Valarie G
East Tennessee State University Digital Commons @ East Tennessee State University Electronic Theses and Dissertations Student Works 8-2001 Figurative Sculpture in Paper Clay. Valarie G. Lyle East Tennessee State University Follow this and additional works at: https://dc.etsu.edu/etd Part of the Art and Design Commons Recommended Citation Lyle, Valarie G., "Figurative Sculpture in Paper Clay." (2001). Electronic Theses and Dissertations. Paper 31. https://dc.etsu.edu/etd/31 This Thesis - Open Access is brought to you for free and open access by the Student Works at Digital Commons @ East Tennessee State University. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. FIGURATIVE SCULPTURE IN PAPER CLAY A THESIS PRESENTED TO THE FACULTY OF THE DEPARTMENT OF ART AND DESIGN EAST TENNESSEE STATE UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF FINE ARTS by Valarie G. Lyle August 2001 Ralph Slatton, Chair Dr. James C. Mills Don Davis Keywords: Paper clay, Figurative sculpture, Figurative Ceramics, Georges Jeanclos, Stephen De Staebler, Mary Frank ABSTRACT The artist discusses her Master of Fine Arts exhibition at East Tennessee State University, Carroll Reece Museum, Johnson City, Tennessee, March 9 - 17, 2001. The exhibition marked her return to organic, gestural work. Works are figurative, ceramic, sculpture, made of paper clay, ranging from 8-inch, -
Figurative Sculpture in Paper Clay
FIGURATIVE SCULPTURE IN PAPER CLAY A THESIS PRESENTED TO THE FACULTY OF THE DEPARTMENT OF ART AND DESIGN EAST TENNESSEE STATE UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF FINE ARTS by Valarie G. Lyle August 2001 Ralph Slatton, Chair Dr. James C. Mills Don Davis Keywords: Paper clay, Figurative sculpture, Figurative Ceramics, Georges Jeanclos, Stephen De Staebler, Mary Frank ABSTRACT The artist discusses her Master of Fine Arts exhibition at East Tennessee State University, Carroll Reece Museum, Johnson City, Tennessee, March 9 - 17, 2001. The exhibition marked her return to organic, gestural work. Works are figurative, ceramic, sculpture, made of paper clay, ranging from 8-inch, wall mounted, bas-relief to life sized, full round figures. Most are slab constructed, unglazed or lightly glazed with soda wash. Topics discussed: the artist’s development, including the influences of Stephen De Staebler, in his treatment of the indi- vidual in mass culture, and of Mary Frank, in psychological content and in the use of negative space; similarities with sensuality in Georgia O’Keeffe’s flower paintings; paper clay technique and the work of Rosette Gault; ceramic workshops in Appalachia; mythology and feminism as inspiration; the effect of nature and environment on art; and Georges Jeanclos. Includes images and discussion of seventeen works and a brief video of the exhibit. page 2 © COPYRIGHT 2001, VAL LYLE ALL RIGHTS RESERVED Design consultant: Michael Garrett. Photographs of current works by Tim Barnwell, Chris Stewart, and Val Lyle. All other photos and digital video by Val Lyle, unless otherwise noted. -
“Just What Was It That Made U.S. Art So Different, So Appealing?”
“JUST WHAT WAS IT THAT MADE U.S. ART SO DIFFERENT, SO APPEALING?”: CASE STUDIES OF THE CRITICAL RECEPTION OF AMERICAN AVANT-GARDE PAINTING IN LONDON, 1950-1964 by FRANK G. SPICER III Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Adviser: Dr. Ellen G. Landau Department of Art History and Art CASE WESTERN RESERVE UNIVERSITY May, 2009 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of Frank G. Spicer III ______________________________________________________ Doctor of Philosophy candidate for the ________________________________degree *. Dr. Ellen G. Landau (signed)_______________________________________________ (chair of the committee) ________________________________________________Dr. Anne Helmreich Dr. Henry Adams ________________________________________________ Dr. Kurt Koenigsberger ________________________________________________ ________________________________________________ ________________________________________________ December 18, 2008 (date) _______________________ *We also certify that written approval has been obtained for any proprietary material contained therein. Table of Contents List of Figures 2 Acknowledgements 7 Abstract 12 Introduction 14 Chapter I. Historiography of Secondary Literature 23 II. The London Milieu 49 III. The Early Period: 1946/1950-55 73 IV. The Middle Period: 1956-59: Part 1, The Tate 94 V. The Middle Period: 1956-59: Part 2 127 VI. The Later Period: 1960-1962 171 VII. The Later Period: 1963-64: Part 1 213 VIII. The Later Period: 1963-64: Part 2 250 Concluding Remarks 286 Figures 299 Bibliography 384 1 List of Figures Fig. 1 Richard Hamilton Just What Is It That Makes Today’s Homes So Different, So Appealing? (1956) Fig. 2 Modern Art in the United States Catalogue Cover Fig. 3 The New American Painting Catalogue Cover Fig.