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Constellation & Correspondences
LIBRARY CONSTELLATION & CORRESPONDENCES AND NETWORKING BETWEEN ARTISTS ARCHIVES 1970 –1980 KATHY ACKER (RIPOFF RED & THE BLACK TARANTULA) MAC ADAMS ART & LANGUAGE DANA ATCHLEY (THE EXHIBITION COLORADO SPACEMAN) ANNA BANANA ROBERT BARRY JOHN JACK BAYLIN ALLAN BEALY PETER BENCHLEY KATHRYN BIGELOW BILL BISSETT MEL BOCHNER PAUL-ÉMILE BORDUAS GEORGE BOWERING AA BRONSON STU BROOMER DAVID BUCHAN HANK BULL IAN BURN WILLIAM BURROUGHS JAMES LEE BYARS SARAH CHARLESWORTH VICTOR COLEMAN (VIC D'OR) MARGARET COLEMAN MICHAEL CORRIS BRUNO CORMIER JUDITH COPITHORNE COUM KATE CRAIG (LADY BRUTE) MICHAEL CRANE ROBERT CUMMING GREG CURNOE LOWELL DARLING SHARON DAVIS GRAHAM DUBÉ JEAN-MARIE DELAVALLE JAN DIBBETS IRENE DOGMATIC JOHN DOWD LORIS ESSARY ANDRÉ FARKAS GERALD FERGUSON ROBERT FILLIOU HERVÉ FISCHER MAXINE GADD WILLIAM (BILL) GAGLIONE PEGGY GALE CLAUDE GAUVREAU GENERAL IDEA DAN GRAHAM PRESTON HELLER DOUGLAS HUEBLER JOHN HEWARD DICK NO. HIGGINS MILJENKO HORVAT IMAGE BANK CAROLE ITTER RICHARDS JARDEN RAY JOHNSON MARCEL JUST PATRICK KELLY GARRY NEILL KENNEDY ROY KIYOOKA RICHARD KOSTELANETZ JOSEPH KOSUTH GARY LEE-NOVA (ART RAT) NIGEL LENDON LES LEVINE GLENN LEWIS (FLAKEY ROSE HIPS) SOL LEWITT LUCY LIPPARD STEVE 36 LOCKARD CHIP LORD MARSHALORE TIM MANCUSI DAVID MCFADDEN MARSHALL MCLUHAN ALBERT MCNAMARA A.C. MCWHORTLES ANDREW MENARD ERIC METCALFE (DR. BRUTE) MICHAEL MORRIS (MARCEL DOT & MARCEL IDEA) NANCY MOSON SCARLET MUDWYLER IAN MURRAY STUART MURRAY MAURIZIO NANNUCCI OPAL L. NATIONS ROSS NEHER AL NEIL N.E. THING CO. ALEX NEUMANN NEW YORK CORRES SPONGE DANCE SCHOOL OF VANCOUVER HONEY NOVICK (MISS HONEY) FOOTSY NUTZLE (FUTZIE) ROBIN PAGE MIMI PAIGE POEM COMPANY MEL RAMSDEN MARCIA RESNICK RESIDENTS JEAN-PAUL RIOPELLE EDWARD ROBBINS CLIVE ROBERTSON ELLISON ROBERTSON MARTHA ROSLER EVELYN ROTH DAVID RUSHTON JIMMY DE SANA WILLOUGHBY SHARP TOM SHERMAN ROBERT 460 SAINTE-CATHERINE WEST, ROOM 508, SMITHSON ROBERT STEFANOTTY FRANÇOISE SULLIVAN MAYO THOMSON FERN TIGER TESS TINKLE JASNA MONTREAL, QUEBEC H3B 1A7 TIJARDOVIC SERGE TOUSIGNANT VINCENT TRASOV (VINCENT TARASOFF & MR. -
Beautiful Penis
BEAUTIFUL PENIS Quelle merveille que les hommes existent ! Une exposition de Barbara Polla et Jenny Mannerheim A la Galerie NUKE à Paris, du 12 mai au 14 juillet 2012 11rue Saint Anastase Paris 3è Dans son livre récemment publié chez Odile Jacob, intitulé Tout à fait Femme, Barbara Polla s’interroge, entre autres, sur la créativité fémi- nine, et cherche à explorer les raisons pour lesquelles, tout au long de l’histoire de l’art, les représentations glorieuses du corps et du sexe masculin par les artistes femmes sont si peu nombreuses, alors que les hommes auront représenté, et représentent encore, avec passion, le corps féminin et ses attributs sexuels. Jenny Mannerheim partage ces questionnements, et il en est issu cette exposition, qui présente une sélection – arbitraire comme le sont toutes les sélections –, de douze femmes artistes d’aujourd’hui qui travaillent sur le thème : Vanessa Beecroft (Italie), Leslie Deere (USA), Tracey Emin (Angleterre), Dana Hoey (USA), Katerina Jebb (Angleterre), Elena Kovylina (Russie), Sarah Lucas (Angleterre), Joanna Malinowska (Pologne), Maro Michalakakos (Grèce), Sabine Pigalle (France), Michaela Spiegel (Autriche) et Ornela Vorpsi (Albanie). Tracey EMIN, TOO BIG, Appliquéd and emboidered calico, 38 9/16 x 33 11/16 in. (98 x 85.5 cm), 2001 © The artist, Courtesy White Cube Pascal Quignard, dans Le sexe et l’effroi, souligne combien « la vision du sexe masculin est terrifiante, même dans les sociétés où son osten- tation la rend banale et sa fréquence dérisoire » et explore la dualité mentula / fascinus (pénis/phallus) chez les Romains, cette « sémantique des deux états » concrétisée chez les romains par la distinction entre l’homo (homme) et le vir (l’homme en érection, l’homme dans le désir), sémantique abondamment reprise par Bruce Nauman. -
20 Ans De Café Zimmermann
l’agenda de votre quotidien Ouvertes Vincent e LEGOU in ma 6, 7 et 8 Do 180420800 Décembre •De9h30à18h30 •Dégustation gratuite 2019 •De10%à20%de remise BONS PLANS Concerts Jeux et Marchés Fêtes Musique concours Brocantes Expositions Randonnées Carnaval Festivals 6, chemin du Grépissot Hameau de Concœur Nuits-Saint-Georges Côte-d'Or CDO - 1 Ne peut être vendu séparément - Vendredi 22 novembre 2019 MUSIQUE Le cri du Caire, au son d’une révolte PAGE 5 MUSIQUE Passer une soirée russe à l’Opéra Photo Opéra de Dijon/Gilles ABBEG PAGE 6 FESTIVAL Les Nuits d’Orient en expositions Le salon Crocmillivre se déroule tout le week-end salle Devosge. Photo LBP/Mayalen GAUTHIER PAGES 2 ET 3 PAGE 14 MUSIQUE 20 ansdeCafé Aya Nakamura, Zimmermann la nouvelle star Suites et Concertos Brandebourgeois de Bach "! Photo Magnum/ Matt ALEXANDER PAGE 4 160867800 2 POUR SORTIR CÔTE D'OR ET RÉGION DIJON Manifestation Crocmillivre, un monde de papier et de rêve La 11e édition du salon brairie Autrement Dit, choisis- Crocmillivre, le salon du sent des ouvrages « parmi les livre jeunesse de Dijon, se coups de cœur », et étudient par- déroulera ces samedi 23 fois des demandes qui leur ont et dimanche 24 novembre été faites de participer à ce salon, à la salle Devosge à Dijon. dont la renommée va croissant. Un rendez-vous plébiscité Elles veillent également à met- par les petits et les tre en avant un auteur et sa mas- grands ! cotte. En l’occurrence, il s’agit de l’illustrateur dijonnais Jérémie l y a un an, Crocmillivre fêtait Fleury, dont le petit dragon bleu I ses dix ans d’existence et « on Azuro viendra se promener à a explosé tous les records d’afflu- travers le public à tout moment ence ! », s’enthousiasme encore pendant les deux jours du salon. -
2020-2021 Newsletter Department of Art History the Graduate Center, Cuny
2020-2021 NEWSLETTER DEPARTMENT OF ART HISTORY THE GRADUATE CENTER, CUNY 1 LETTER FROM THE EXECUTIVE OFFICER Dear GC Art History Community, The 2020-21 academic year has been, well, challenging for all of us at the GC, as I imagine it has for you. The building—boarded up in November for the elections—is still largely off-limits to students and faculty; the library is closed; classes and meetings have been almost exclusively virtual; and beyond the GC, many of us have lost friends, family, or jobs due to the pandemic and its repercussions. Through it all, we have struggled to keep our community together and to support one another. I have been extraordinarily impressed by how well students, faculty, and staff in the program have coped, given the circumstances, and am I hopeful for the future. This spring, we will hold our rst in-person events—an end-of-year party and a graduation ceremony for 2020 and 2021 Ph.D.s, both in Central Park—and look forward to a better, less remote fall. I myself am particularly looking forward to fall, as I am stepping down as EO and taking a sabbatical. I am grateful to all of you for your help, advice, and patience over the years, and hope you will join me in welcoming my successor, Professor Jennifer Ball. Before getting too excited about the future, though, a few notes on the past year. In fall 2020, we welcomed a brave, tough cohort of ten students into the Ph.D. Program. They have forged tight bonds through coursework and a group chat (not sure if that's the right terminology; anyway, it's something they do on their phones). -
The Estate of General Idea: Ziggurat, 2017, Courtesy of Mitchell-Innes and Nash
Installation view of The Estate of General Idea: Ziggurat, 2017, Courtesy of Mitchell-Innes and Nash. © General Idea. The Estate of General Idea (1969-1994) had their first exhibition with the Mitchell-Innes & Nash Gallery on view in Chelsea through January 13, featuring several “ziggurat” paintings from the late 1960s, alongside works on paper, photographs and ephemera that highlight the central importance of the ziggurat form in the rich practice of General Idea. It got me thinking about the unique Canadian trio’s sumptuous praxis and how it evolved from humble roots in the underground of the early 1970s to its sophisticated position atop the contemporary art world of today. One could say that the ziggurat form is a perfect metaphor for a staircase of their own making that they ascended with grace and elegance, which is true. But they also had to aggressively lacerate and burn their way to the top, armed with real fire, an acerbic wit and a penchant for knowing where to apply pressure. Even the tragic loss of two thirds of their members along the way did not deter their rise, making the unlikely climb all the more heroic. General Idea, VB Gown from the 1984 Miss General Idea Pageant, Urban Armour for the Future, 1975, Gelatin Silver Print, 10 by 8 in. 25.4 by 20.3 cm, Courtesy Mitchell-Innes and Nash. © General Idea. The ancient architectural structure of steps leading up to a temple symbolizes a link between humans and the gods and can be found in cultures ranging from Mesopotamia to the Aztecs to the Navajos. -
Emuseum of Modernart, 11 West 53 Street, Newyork, N, Y
..~ Museum of Modern Art No.4; 53 Street, NewYork, N.Y. 10019 Circle 5·8900 Cable, Modernart FOR RELEASE: Tuesday, May 11, 1965 PRESS PREVIEW: Monday,Mey 10, 1965 11 a.m, - 4 p.m. ICANCOLLAGES,anexhibition from The Museumof Modern Art's special program of traveling exhibitions, will interrupt its current tour end be shCMnat the Museum from May11 through July 25. Twice as manyexhibitions are circulated in the United States and Canada by the Museum'SDapartment of Circulating Exhibitions as are shown yearly at the Museum in NewYork. Last year the exhibitions "lere seen in 139 com- MoMAExh_0766_MasterChecklist munities. The same department, in charge of the Kuseum's foreign program of Circu- lating Exhibitions sponsored by the International Council of the Museum, has prepared 75 exhibitions secu in 65 countries. I The<lOrksin the collage sbow, dating from 1950 to the present, deal with a I i The term I mediumwhich has grown in importance only during the last fifty years. "collage," from the French for pasting or paper-hanging, has been broad ly interpreted I as a technique of cutting and pasting various materials which are aometimes combined with drawing, watercoloor or oil. The exhibition includes the work of someof the foremost makers of collage in I li I this country __ Robert Motherwell, Esteban Vicente, Conred Marca-Rel and Joseph Cornell _ as well as other artists who have broadened the medium. Kynaston McShine, whodirected the exhibition, writes, "[Collage] has been a means of creative liberation, leading us to recogGize not only the beauty of ephemera but also that of texture and spatial effects different from those of painting and sculpture. -
Introduction and Will Be Subject to Additions and Corrections the Early History of El Museo Del Barrio Is Complex
This timeline and exhibition chronology is in process INTRODUCTION and will be subject to additions and corrections The early history of El Museo del Barrio is complex. as more information comes to light. All artists’ It is intertwined with popular struggles in New York names have been input directly from brochures, City over access to, and control of, educational and catalogues, or other existing archival documentation. cultural resources. Part and parcel of the national We apologize for any oversights, misspellings, or Civil Rights movement, public demonstrations, inconsistencies. A careful reader will note names strikes, boycotts, and sit-ins were held in New York that shift between the Spanish and the Anglicized City between 1966 and 1969. African American and versions. Names have been kept, for the most part, Puerto Rican parents, teachers and community as they are in the original documents. However, these activists in Central and East Harlem demanded variations, in themselves, reveal much about identity that their children— who, by 1967, composed the and cultural awareness during these decades. majority of the public school population—receive an education that acknowledged and addressed their We are grateful for any documentation that can diverse cultural heritages. In 1969, these community- be brought to our attention by the public at large. based groups attained their goal of decentralizing This timeline focuses on the defining institutional the Board of Education. They began to participate landmarks, as well as the major visual arts in structuring school curricula, and directed financial exhibitions. There are numerous events that still resources towards ethnic-specific didactic programs need to be documented and included, such as public that enriched their children’s education. -
An Examination of an Analogic-Metaphoric Approach to Museum Education and Art Appreciation
University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-1983 An examination of an analogic-metaphoric approach to museum education and art appreciation. Marilyn JS Goodman University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Goodman, Marilyn JS, "An examination of an analogic-metaphoric approach to museum education and art appreciation." (1983). Doctoral Dissertations 1896 - February 2014. 3879. https://scholarworks.umass.edu/dissertations_1/3879 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. UMASS/AMHERST 31EDbbQ1353Tt)t)4 AN EXAMINATION OF AN ANALOGIC- METAPHORIC APPROACH TO MUSEUM EDUCATION AND ART APPRECIATION A Dissertation Presented By MARILYN JS GOODMAN Submitted to the Graduate School of the University of Massachusetts in partial fulfillment of the requirements for the degree of DOCTOR OF EDUCATION February 1983 Education Marilyn JS Goodman 1983 All Rights Reserved AN EXAMINATION OF AN ANALOGIC- METAPHORIC APPROACH TO MUSEUM EDUCATION AND ART APPRECIATION A Dissertation Presented By MARILYN JS GOODMAN Approved as to style and content by: 7f"i / 1 J Richard D. Konicek, Chairperson of Committee Liane Brandon, Member Ms Charles S. Chetham, Member Mario D. Fantini, Dean 9 School of Education iii DEDICATION To my mother, who, when I was seven years old, took me to the Museum of Modern Art and asked me how I felt about the paintings. -
Double Vision: Woman As Image and Imagemaker
double vision WOMAN AS IMAGE AND IMAGEMAKER Everywhere in the modern world there is neglect, the need to be recognized, which is not satisfied. Art is a way of recognizing oneself, which is why it will always be modern. -------------- Louise Bourgeois HOBART AND WILLIAM SMITH COLLEGES The Davis Gallery at Houghton House Sarai Sherman (American, 1922-) Pas de Deux Electrique, 1950-55 Oil on canvas Double Vision: Women’s Studies directly through the classes of its Woman as Image and Imagemaker art history faculty members. In honor of the fortieth anniversary of Women’s The Collection of Hobart and William Smith Colleges Studies at Hobart and William Smith Colleges, contains many works by women artists, only a few this exhibition shows a selection of artworks by of which are included in this exhibition. The earliest women depicting women from The Collections of the work in our collection by a woman is an 1896 Colleges. The selection of works played off the title etching, You Bleed from Many Wounds, O People, Double Vision: the vision of the women artists and the by Käthe Kollwitz (a gift of Elena Ciletti, Professor of vision of the women they depicted. This conjunction Art History). The latest work in the collection as of this of women artists and depicted women continues date is a 2012 woodcut, Glacial Moment, by Karen through the subtitle: woman as image (woman Kunc (a presentation of the Rochester Print Club). depicted as subject) and woman as imagemaker And we must also remember that often “anonymous (woman as artist). Ranging from a work by Mary was a woman.” Cassatt from the early twentieth century to one by Kara Walker from the early twenty-first century, we I want to take this opportunity to dedicate this see depictions of mothers and children, mythological exhibition and its catalog to the many women and figures, political criticism, abstract figures, and men who have fostered art and feminism for over portraits, ranging in styles from Impressionism to forty years at Hobart and William Smith Colleges New Realism and beyond. -
Adja Yunkers John Palmer Leeper
New Mexico Quarterly Volume 20 | Issue 2 Article 8 1950 Adja Yunkers John Palmer Leeper Follow this and additional works at: https://digitalrepository.unm.edu/nmq Recommended Citation Leeper, John Palmer. "Adja Yunkers." New Mexico Quarterly 20, 2 (1950). https://digitalrepository.unm.edu/nmq/vol20/iss2/8 This Contents is brought to you for free and open access by the University of New Mexico Press at UNM Digital Repository. It has been accepted for inclusion in New Mexico Quarterly by an authorized editor of UNM Digital Repository. For more information, please contact [email protected]. £ L· - ... Leeper: Adja Yunkers A.dja runkers By John Palmer Leeper H E MOST impressive sing~ quality of Adja Yunkers 1]" is his abso}utematurity as an at.tist. Each pr~nt is a com· plete, fecund statement. The nnpaet of hIS woodcuts., which I first saw unpacked and spread about the Print Room of the Fogg ~fuseum~ was deep and·satisfying-a recognition of the poised and powerful statement which places h~m in the tradition . ofmodem expressionism: Gauguin, Nolde, Heckel. Knowing Yunkers himself, following thecons~ntlyex.tending horizonsofhisarthave innoway lessenedappreciationofhis ·full.. ness and potency. In part these qualities may have grown from theassimilationwith thoughtandhigh witofrich, heterogeneous . experience. He was born in Riga, t~ined in Leningrad, Berlin, Paris and London, and later travelled through Central andSouth 19 1 Published by UNM Digital Repository, 1950 1 - iS$. L i. New Mexico Quarterly, Vol. 20 [1950], Iss. 2, Art. 8 19~ JOHN PALM Ell LEEPER. Americaf reaching thelVest Indies as a stowaway. then stoker. on a Danish freighter. -
Rönnells Antikvariat Katalog/Catalogue 83
RÖNNELLS ANTIKVARIAT KATALOG/CATALOGUE 83 ARTISTS’ BOOKS & OTHER ODD ITEMS or a couple of years we have put aside some odd material that we thought needed a more thorough presentation. Most of F the material is what’s called artists’ books. When we acquired a few of the more important and valuable items, we thought it was time to put everything together and present a wide spectrum of Swedish and foreign books in a wide price range. At the same time a very extensive work on Artists’ books from a Swedish point of view was published. The author Thomas Millroth has written a beautiful and richly illustrated book that further pushed us to finish this catalogue. Hope you will find something that interests you! PS. The book by Millroth is not included in the catalogue but available in our shop. Beställningar/Orders: Betalning/Payment: Rönnells Antikvariat AB Porto tillkommer. / Shipping costs additional. Birger Jarlsgatan 32 Ingen avdragsgill moms. / No deductible VAT. S-114 29 STOCKHOLM Visa & MC accepted. Tel/Phone: +46 8-54501560 [email protected] Förskottsbetalning till bankkonto: PlusGiro: 5 00 40-5 Alla beställningar måste ske via e-post Bankgiro: 476-9287 eller annan kontakt med oss. Betalning Swish: 123 576 3438 sker först efter klartecken från oss. Pre-payment to our account: When ordering you must contact us IBAN SE14 9500 0099 6026 0050 0405 first via e-mail or other means. No pay- BIC NDEASESS ments must be made without our prior (Bank: Nordea Plusgirokonto knowledge. SE-105 71 Stockholm) A GREAT BEAR PAMPHLET – KNOWLES, ALISON A.O. -
Available in 12 Styles Licenses for Web, Desktop, & App Designed By
Garnett Designed by Available in 12 styles Connor Davenport in 2018 Licenses for Web, Desktop, & App 1 All Caps Roman POWERS Black — 70pt BURMAN Bold — 70pt KNIGHTS Semibold — 70pt BERKSOY Medium — 70pt CHRYSSA Regular — 70pt VELASCO Light — 70pt Garnett 2 All Caps Italic MÜNTER Black Italic — 70pt PARRISH Bold Italic — 70pt REYNELL Semibold Italic — 70pt STECKEL Medium Italic — 70pt ANSINGH Regular Italic — 70pt KAY SAGE Light Italic — 70pt Garnett 3 Title Case Roman Spanton Black — 70pt Léontine Bold — 70pt Bagshaw Semibold — 70pt Kostenko Medium — 70pt Schwartz Regular — 70pt Nimarkoh Light — 70pt Garnett 4 Title Case Italic Winegar Black Italic — 70pt Blumann Bold Italic — 70pt Käsebier Semibold Italic — 70pt Mendieta Medium Italic — 70pt Chalmers Regular Italic — 70pt Suruzhon Light Italic — 70pt Garnett 5 All Caps & Title Case Roman MOTHER AND CHILD Sanja Iveković Black — 30pt BRAZILIAN ORCHIDS Henriette Wyeth Bold — 30pt I DON’T KNOW WHAT Mary Tillman Smith Semibold — 30pt STATUE DE CAVALIER Émilie Charmy Medium — 30pt IN THE BOX, VERTICAL Ruth Bernhard Regular — 30pt BLUE ATMOSPHERE III Helen Frankenthaler Light — 30pt Garnett 6 All Caps & Title Case Italic FREEING THE VOICE Marina Abramović Black — 30pt JEAN-PAUL SARTRE Gisèle Freund Bold — 30pt MUSIQUE ADORABLE Valentine Hugo Semibold — 30pt THE CRY OF ORESTES Françoise Gilot Medium — 30pt THE NIGHT SWIMMER Brita Granström Regular — 30pt EAST TENTH STREET Anne Goldthwaite Light — 30pt Garnett 7 Text Sizes, Mixed Weights 18pt / 23 ‒ Mixed Weights In 1905, Georgia O’Keeffebegan her serious formal art training at the School of the Art Institute of Chicago and then the Art Students League of New York, but she felt constrained by her lessons that focused on recreating or copying what was in nature.