Oral History Interview with David Driskell, 2009 March 18-April 7
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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. -
Washington University Record, July 2, 1987
Washington University School of Medicine Digital Commons@Becker Washington University Record Washington University Publications 7-2-1987 Washington University Record, July 2, 1987 Follow this and additional works at: http://digitalcommons.wustl.edu/record Recommended Citation "Washington University Record, July 2, 1987" (1987). Washington University Record. Book 414. http://digitalcommons.wustl.edu/record/414 This Article is brought to you for free and open access by the Washington University Publications at Digital Commons@Becker. It has been accepted for inclusion in Washington University Record by an authorized administrator of Digital Commons@Becker. For more information, please contact [email protected]. I '/^OH/MGr / O/N/ /V//i/5/7V ,~*:-- § Washington WASHINGTON ■ UNIVERSITY- IN • ST- LOUIS ARCHIVES u*«ry JUL i '87 RECORD Vol. 11 No. 36/July 2, 1987 Science academy's medical institute elects two faculty Two faculty members at the School of Medicine have been elected mem- bers of the prestigious Institute of Medicine of the National Academy of Sciences. New members of the institute are Michel M. Ter-Pogossian, Ph.D., and Samuel A. Wells Jr., M.D. Ter- Pogossian is professor of radiology at the School of Medicine and director of radiation sciences for Mallinckrodt Institute of Radiology. Wells is Bixby Professor and chairman of the De- partment of Surgery at the medical school. He is also chief of surgery at Barnes and Children's Hospitals in the Washington University Medical Center. The two are among 40 new members elected to the institute in recognition of their contributions to health and medicine or related fields. As members of the institute, which was established in 1970, Wells and Ter-Pogossian will help examine health policy issues and advise the federal government. -
Driskell's 2019 Oral History
Oral History Center University of California The Bancroft Library Berkeley, California David C. Driskell David C. Driskell: Life Among The Pines Getty Trust Oral History Project Interviews conducted by Bridget Cooks and Amanda Tewes in 2019 Interviews sponsored by the J. Paul Getty Trust Copyright © 2020 by J. Paul Getty Trust Oral History Center, The Bancroft Library, University of California, Berkeley ii Since 1954 the Oral History Center of The Bancroft Library, formerly the Regional Oral History Office, has been interviewing leading participants in or well-placed witnesses to major events in the development of Northern California, the West, and the nation. Oral History is a method of collecting historical information through recorded interviews between a narrator with firsthand knowledge of historically significant events and a well-informed interviewer, with the goal of preserving substantive additions to the historical record. The recording is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The corrected manuscript is bound with photographs and illustrative materials and placed in The Bancroft Library at the University of California, Berkeley, and in other research collections for scholarly use. Because it is primary material, oral history is not intended to present the final, verified, or complete narrative of events. It is a spoken account, offered by the interviewee in response to questioning, and as such it is reflective, partisan, deeply involved, and irreplaceable. ********************************* Copyright in the manuscript and recording is owned by the J. Paul Getty Trust, which has made the materials available under Creative Commons licenses as follows: Manuscript is licensed under CC-BY (https://creativecommons.org/licenses/by/4.0/) and recording is licensed under CC-BY-NC (https://creativecommons.org/licenses/by-nc/4.0/) Rights to reproduce images must be secured from the original rights- holders: DC Moore Gallery and the National Museum of African American History and Culture. -
Fall 2020 Art @UMGC
FALL 2020 ART @ UMGCUMGC NEWS AND PERSPECTIVES FOR FRIENDS OF THE ARTS AT UNIVERSITY OF MARYLAND GLOBAL CAMPUS A MODEL JUST LOOKIN’ GALLERY CELEBRATES REMEMBERING PHILANTHROPIST 25 YEARS OF SUCCESS DAVID C. DRISKELL 4 10 16 GREETINGS CONTENTS From the President Dear Art Patrons, I hope this message finds you and those you love safe and well. On behalf of University of Maryland Global Campus (UMGC) and the 90,000 students we serve each year, I thank you for your belief in our mission and for your continued support of our Arts Program. As some of you know, in July 2020, after some 20 years with UMGC and more than eight years as president, I announced my intention to retire upon the appointment of a successor. I did so confident in the future of this institution and of its role in the community. As our world has adjusted to the global pandemic, we have been fortunate at UMGC that our online presence has offered us a measure of protection, and we have maintained our operational sta bility while shifting to remote working arrangements to protect our students, faculty, staff, and guests. Our Arts Program, too, is well positioned to continue to support our public mission. While we have postponed on-site exhibitions as we operate remotely, we continue to explore ways that the Arts Program can serve the community—such as through this virtual newsletter. I invite you to visit umgc.edu/art for the latest news and updates. In challenging times in particular, we need the inspiration that art can provide by highlighting Just Lookin’ Gallery the beauty that surrounds us, celebrating the resilience of the human spirit, and testifying to the 10 Celebrates 25 Years power of creativity to reimagine our world in better and brighter ways. -
Travel Papers in American Literature
ROAD SHOW Travel Papers in American Literature This exhibition celebrates the American love of travel and adventure in both literary works and the real-life journeys that have inspired our most beloved travel narratives. Exploring American literary archives as well as printed and published works, Road Show reveals how travel is recorded, marked, and documented in Beinecke Library’s American collections. Passports and visas, postcards and letters, travel guides and lan- guage lessons—these and other archival documents attest to the physical, emotional, and intellectual experiences of moving through unfamiliar places, encountering new landscapes and people, and exploring different ways of life and world views. Literary manuscripts, travelers’ notebooks, and recorded reminiscences allow us to consider and explore travel’s capacity for activating the imagination and igniting creativity. Artworks, photographs, and published books provide opportunities to consider the many ways artists and writers transform their own activities and human interactions on the road into works of art that both document and generate an aesthetic experience of journeying. 1-2 Luggage tag, 1934, Gertrude Stein and Alice B. Toklas Papers 3 Langston Hughes, Mexico, undated, Langston Hughes Papers 4 Shipboard photograph of Margaret Anderson, Louise Davidson, Madame Georgette LeBlanc, undated, Elizabeth Jenks Clark Collection of Margaret Anderson 5-6 Langston Hughes, Some Travels of Langston Hughes world map, 1924-60, Langston Hughes Papers 7 Ezra Pound, Letter to Viola Baxter Jordan with map, 1949, Viola Baxter Jordan Papers 8 Kathryn Hulme, How’s the Road? San Francisco: Privately Printed [Jonck & Seeger], 1928 9 Baedeker Handbooks for Greece, Belgium and Holland, Paris, Berlin, Great Britain, various dates 10 H. -
Marley, Review of Riffs and Relations
ISSN: 2471-6839 Cite this article: Anna O. Marley, review of “Riffs and Relations: African American Artists and the European Modernist Tradition,” Phillips Collection, Panorama: Journal of the Association of Historians of American Art 6, no. 2 (Fall 2020), https://doi.org/10.24926/24716839.10748. Riffs and Relations: African American Artists and the European Modernist Tradition Curated by: Adrienne L. Childs Exhibition schedule: Phillips Collection, Washington, DC, February 29, 2020–January 3, 2021 Exhibition catalogue: Adrienne L. Childs, with contributions by Valerie Cassel Oliver and Renee Maurer, and the foreword by Dorothy Kosinski, exh. cat., Washington, DC: Phillips Collection in association with Rizzoli Electa, 2019. 208 pp.; 108 color illus.; 13 b/w illus. Hardcover: $50.00 (ISBN: 9780847866649) Reviewed by: Anna O. Marley, Kenneth R. Woodcock Curator of Historical American Art, Pennsylvania Academy of the Fine Arts Riffs and Relations: African American Artists and the European Modernist Tradition is a must-see exhibition for scholars of American art. The installation is sensitive, dynamic, and revelatory, and the catalogue is a much-needed contribution to scholarship, a primer on modern and contemporary African American artists’ fraught relations with European modernism. Thankfully, it has been extended through the fall of 2020. For those who cannot travel to see the exhibition in person, I hope this review and images will encourage you to seek out the catalogue. The fact that the exhibition takes place at the Phillips Collection in Washington, DC, and only there, is important. Since the thesis of the exhibition is that African American twentieth- and twenty-first-century art is in deep dialogue with European modernism, it is meaningful that the show is held at an institution known for its collection of European and American masterpieces. -
Romare Bearden
Let’s Create A Collage An abstract mixed-media project inspired by the work of Romare Bearden What is COLLAGE and DÉCHIRAGE? Collage is a technique where a piece of art is created by assemblying different images and shapes and adding them in layers to a piece of paper, canvas, or object. A collage might include images or headlines from a magazine or news- paper, photos, color papers, fabric, items found in nature, and/or other objects. Déchirage, which means “to tear” in French, is an artistic style that distresses paper to create a 3D patchwork. Déchirage is a form of décollage (which is the opposite of collage) because the art is created by cutting, tearing away, or otherwise removing pieces of the original image. Romare Bearden, Melon Season, 1967 HOW TO REMEMBER THE DIFFERENCE Mixed media on canvas, 56 1/2 x 44 1/2 in (143.5 x 113 cm) Collage = Adds image layers to create art Signed upper right: Romare Bearden Décollage and Déchirage = Takes away pieces of the image Collection: Neuberger Museum of Art, Purchase College, SUNY Gift of Roy R. Neuberger. 1976.26.45 WHAT DO YOU SEE? In the Melon Season collage shown above, can you spot an example of déchirage where artist Romare Bearden tore or peeled edges of paper away from the artwork? This project was created by the Neuberger Museum of Art Education team. [email protected] Let’s Create A Collage Activity Materials Students will create a collage using magazines, • Cardboard, heavy card stock paper, or a newspapers, and art supplies found around the Canvas Board house. -
Press Release for Immediate Release Berry Campbell Presents Lilian Thomas Burwell: Soaring Curated by Melissa Messina
PRESS RELEASE FOR IMMEDIATE RELEASE BERRY CAMPBELL PRESENTS LILIAN THOMAS BURWELL: SOARING CURATED BY MELISSA MESSINA NEW YORK, NEW YORK, March 27, 2021— Berry Campbell is pleased to present Lilian Thomas Burwell: Soaring. This exhibition marks the esteemed Maryland-based artist’s first solo exhibition in New York. The exhibition title, Soaring, is an homage to the late Dr. David Driskell’s essay, Soaring With a Painterly Voice, written on the occasion of Burwell’s 1997 survey exhibition at Hampton University Museum, Virginia. Driskell described Burwell’s work as, “transcendental in showing stylistic diversity of earthly beauty and cosmic vision.” Lilian Thomas Burwell: Soaring, organized by guest curator, Melissa Messina, highlights the dynamic transition in Burwell’s abstract visual language from two-dimensional painterly planes to three-dimensional sculptural forms. Burwell’s paintings from the late 1970s and early 1980s employ a distinctly bold palette and reference organic forms found in natural floral and earthly phenomena. The exhibition centers on the painting Skybound (1984), which marks the first time that the artist cut into her canvas, creating positive and negative space. This pivotal act gave way to Burwell’s examination of form, bringing forth Burwell’s signature style of three-dimensional, painted wall sculpture. These wall sculptures, which would become the artist’s signature focus for more than two decades. Lilian Thomas Burwell: Soaring opens at Berry Campbell, New York April 22 and continues through May 28, 2021. The exhibition is accompanied by a 20-page exhibition catalogue with an essay by Melissa Messina. On the occasion of the exhibition, Berry Campbell will digitally screen the documentary, Kindred Spirits: Artists Hilda Wilkinson Brown and Lilian Thomas Burwell, on Wednesday, April 28, 2021, 4 pm - 10 pm and May 8, 2021, 1 - 5 pm. -
The Mississippi Museum of Art and Tougaloo College Art and Civil Rights Initiative | 2017–2020
The Mississippi Museum of Art and Tougaloo College Art and Civil Rights Initiative | 2017–2020 The Mississippi Museum of Art and Tougaloo College Art and Civil Rights Initiative | 2017–2020 edited by Dr. Redell Hearn Mississippi Museum of Art Jackson in partnership with Tougaloo College Art Collections Turry M. Flucker, Director Tougaloo made possible by the Henry Luce Foundation The Art and Civil Rights Initiative is a partnership between the Mississippi Museum of Art and Tougaloo College, supported by the Henry Luce Foundation. The Mississippi Museum of Art and its programs are sponsored in part by the city of Jackson and Visit Jackson. Support is also provided in part by funding from the Mississippi Arts Commission, a state agency, and by the National Endowment for the Arts, a federal agency. Tougaloo College is a private, coeducational, historically black four-year liberal arts, church related, but not church-controlled institution. Copyright © 2020 Mississippi Museum of Art 380 South Lamar Street, Jackson, MS 39201 / www.msmuseumart.org and Tougaloo College 500 County Line Rd, Tougaloo, MS 39174 / https://www.tougaloo.edu/ All rights reserved. No part of this publication may be reproduced or transmitted in any form without written permission from the publisher. Artwork dimensions are given in inches; height precedes width precedes depth. MMA collection numbers 1966.001, 1966.018, 1972.006, and 2005.029 photographed by Gil Ford Photography; 2005.029 photographed by Roland L. Freeman. All other photography of artwork from MMA and Tougaloo collections is by Mark Geil. Creative director for the exhibitions A Tale of Two Collections and The Prize is Latrice Lawson. -
Macleod, Kirsten, Ed. 2018. Carl Van Vechten, the Blind Bow- Boy
144 | Textual Cultures 12.2 (2019) MacLeod, Kirsten, ed. 2018. Carl Van Vechten, The Blind Bow- Boy. Cambridge, UK: Modern Humanities Research Association. Pp. xxviii + 152. ISBN 9781781882900, Paper $17.99. Carl Van Vechten’s The Blind Bow-Boy (1923) is a book about pleasure — about the kinds of pleasure taken by 1920s dandies in literature, per- formance, perfumes, fashion, cocktails, Coney Island, and car rides; about sexual pleasures and the pleasure of solitude; about fads and the short shelf- life of certain kinds of pleasure; about whether one can learn from things that are pleasurable and whether one can learn to take pleasure. It is a modernist novel written in a Decadent register. The cataloguing of inte- riors frequently stands in for character development. The reader comes to understand who people are according to the kinds of tableware with which they surround themselves or in which they are able to find joy. The text speaks in commodity code, mixing the high and the low, mass and high culture, addressing itself to a readership who knows their French literature and avant-garde art and music as well as their fashion houses, perfumiers, and parlor songs. It expects from its audience a deep awareness of literary history as well as an up-to-date savvy concerning bestsellers and modern- ist trends. One is meant to feel whipped about by the whirlwind of things one might enjoy in 1920s New York by visiting certain neighborhoods, booksellers, and beautifully outfitted apartments. In conveying so much detail about the richness of modern pleasure, however, Van Vechten con- structed a novel that demands a certain kind of cultural literacy. -
Introduction to Romare Bearden #1 “Jamming at the Savoy” by Bearden
Copyright, 1994, Art Outreach, an extension of the Education Department and School of Art, Springfield Art Association of Edwards Place, an Illinois non-profit corporation. #53 ROMARE BEARDEN AND WILLIAM H. JOHNSON Images Artists #1 “Jamming At the Savoy” Bearden #2 “The Return of Maudelle Sleet” Bearden #3 “Return of the Prodigal Son” Bearden #4 “The Lamp” Bearden #5 “Out Chorus” Bearden #6 “Man in a Vest” Johnson #7 “Going to Church” Johnson #8 “Mom and Dad” Johnson Introduction to Romare Bearden “He struck me as taller somehow and even more substantial than his 5”11”, 210 pound frame would warrant, smiling with a gaze in his hazel green eyes that was at the same time congenial, approachable, yet detached and distant--and there was a decidedly special aura about him. Although Bearden was a remarkably fair-skinned black American, he was also what Albert Murray had called an Omni-American--part frontiersman, part Cherokee, part Southerner, part urbane Harlemite, and part blues-idiom hero. He was a man whose presence charged a room with intelligence, not that he ever put on any airs: he had no need to.” Quote by Myron Schwartzman, author. Right now, it is almost impossible to go into a bookstore and not come across a book with Romare Bearden’s art on its cover. We make two assumptions when encountering this phenomenon: that the contents of the book have something to do with the “black experience”: and that the publisher wants to be absolutely sure we know this. These assumptions expose an underlying problem in the literature on Bearden: the common reduction of his work to just a record of the black experience. -
ACP 2015.Pdf
Our collection offers High-quality, limited-edition, numbered and signed, works on paper by contemporary American artists commissioned by the Art Collectors Program. Works include screen prints, lithographs, aquatints, linocuts, aquatints, engravings, and etchings . Please call 202-633-3030 or 202-633-6860 with any questions or to purchase artwork. Museum Moment, 2009 by Sam Gilliam 32 x 40 inches Member price $1500 Nonmember price $1800 Code: ART116 Museum Moment, 2009 by Sam Gilliam Considered one of the foremost abstract artists in the United States, Gilliam says Museum Moment, is “a celebration of art” inspired by the first commission he created for the Smithsonian in 1987. Combined shapes create an explosive power with lush color and a heavily textured overlay. It is a tense balance of intellectual structure and paint. Along with Gilliam, Master printer Lou Stovall, of Workshop Inc., produced the edition. Stovall’s assistant, Rachael Mahr, describes the painter/printer partnership: “What you find in Museum Moment is not only a collaboration between painter, Sam Gilliam and printmaker, Lou Stovall, but a perfect harmony of two rich artistic traditions that compliment and challenge each other and have here brought together a world of color and form into a balance of freedom and control, dynamism and meticulous execution.” Gilliam received a Guggenheim Fellowship and the Norman Walt Harris Prize from the Art Institute of Chicago. His works are in museum permanent collections around the country including the Smithsonian American Art Museum, the Hirshhorn Museum and Sculpture Garden, the Corcoran Gallery of Art, Denver Museum of Art, Chrysler Museum of Art, and the Walker Art Center in Minneapolis.