William Brice
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Helen Pashgianhelen Helen Pashgian L Acm a Delmonico • Prestel
HELEN HELEN PASHGIAN ELIEL HELEN PASHGIAN LACMA DELMONICO • PRESTEL HELEN CAROL S. ELIEL PASHGIAN 9 This exhibition was organized by the Published in conjunction with the exhibition Helen Pashgian: Light Invisible Los Angeles County Museum of Art. Funding at the Los Angeles County Museum of Art, Los Angeles, California is provided by the Director’s Circle, with additional support from Suzanne Deal Booth (March 30–June 29, 2014). and David G. Booth. EXHIBITION ITINERARY Published by the Los Angeles County All rights reserved. No part of this book may Museum of Art be reproduced or transmitted in any form Los Angeles County Museum of Art 5905 Wilshire Boulevard or by any means, electronic or mechanical, March 30–June 29, 2014 Los Angeles, California 90036 including photocopy, recording, or any other (323) 857-6000 information storage and retrieval system, Frist Center for the Visual Arts, Nashville www.lacma.org or otherwise without written permission from September 26, 2014–January 4, 2015 the publishers. Head of Publications: Lisa Gabrielle Mark Editor: Jennifer MacNair Stitt ISBN 978-3-7913-5385-2 Rights and Reproductions: Dawson Weber Creative Director: Lorraine Wild Designer: Xiaoqing Wang FRONT COVER, BACK COVER, Proofreader: Jane Hyun PAGES 3–6, 10, AND 11 Untitled, 2012–13, details and installation view Formed acrylic 1 Color Separator, Printer, and Binder: 12 parts, each approx. 96 17 ⁄2 20 inches PR1MARY COLOR In Helen Pashgian: Light Invisible, Los Angeles County Museum of Art, 2014 This book is typeset in Locator. PAGE 9 Helen Pashgian at work, Pasadena, 1970 Copyright ¦ 2014 Los Angeles County Museum of Art Printed and bound in Los Angeles, California Published in 2014 by the Los Angeles County Museum of Art In association with DelMonico Books • Prestel Prestel, a member of Verlagsgruppe Random House GmbH Prestel Verlag Neumarkter Strasse 28 81673 Munich Germany Tel.: +49 (0)89 41 36 0 Fax: +49 (0)89 41 36 23 35 Prestel Publishing Ltd. -
UCLA Artists in the Hammer Museum Collections Digital Archive Checklist
UCLA Artists in the Hammer Museum Collections ID: 69.40.05232 Artist William Brice, American, 1921-2008 Title: Land Fracture Date: 1955 Medium: Oil and sand on masonite Dimensions: Object: 96 x 72 in. (243.8 x 182.9 cm) Credit Line: Collection University of California, Los Angeles. Hammer Museum. Gift of Mr. and Mrs. Ray Stark. ID: 92.40.00084.1 Artist Laura Andreson, American, 1902-1999 Title: Vase Date: ca. 1935-1940 Medium: Glazed earthenware Dimensions: Object: 8 in. (20.3 cm) Credit Line: Collection University of California, Los Angeles. Hammer Museum. Gift of Pauline Blank. ID: 92.40.00084.2 Artist Laura Andreson, American, 1902-1999 Title: Bowl Date: ca. 1940 Medium: Glazed earthenware Dimensions: Object: 3 x 4 1/2 in. (7.6 x 11.4 cm) Credit Line: Collection University of California, Los Angeles. Hammer Museum. Gift of Pauline Blank. ID: 92.40.00084.3 Artist Laura Andreson, American, 1902-1999 Title: Bowl Date: 1940 Medium: Earthenware Dimensions: Object: 12 in. (30.5 cm) Credit Line: Collection University of California, Los Angeles. Hammer Museum. Gift of Pauline Blank. ID: 92.40.00084.4 Artist Laura Andreson, American, 1902-1999 Title: Bowl Date: 1946 Medium: Glazed earthenware Dimensions: Object: 7 x 9 3/4 in. (17.8 x 24.8 cm) Credit Line: Collection University of California, Los Angeles. Hammer Museum. Gift of Pauline Blank. ID: 92.40.00084.5 Artist Laura Andreson, American, 1902-1999 Title: Bowl Date: 1967 Medium: Glazed stoneware Dimensions: Object: 6 1/4 x 8 1/4 in. (15.9 x 21 cm) Credit Line: Collection University of California, Los Angeles. -
1 Santa Barbara Museum of Art Archives 1130 State Street Santa
Santa Barbara Museum of Art Archives 1130 State Street Santa Barbara, CA 93101 Finding Aid to the Santa Barbara Museum of Art Publications Collections, 1941 – ongoing Collection number: ARCH.PUB.001 Finding Aid written by: Mackenzie Kelly Completed: 2018 ©2018 Santa Barbara Museum of Art. All rights reserved. 1 Table of Contents Collection Summary……………………………………………………………………………………..p. 3 Information for Researchers…………………………………………………………………………p. 4 Administrative Information…………………………………………………………………………..p. 5 Scope and Content…………………………………………………………………………………..…..p. 6 Series Description…………………………………………………………………………………………p. 7 Container List……………………………………………………………………………………………….p. 8 – 31 Series 1.1: Exhibition Catalogues and Brochures, 1941 – Ongoing………………..p. 8 – 29 Series 1.2: Exhibition Ephemera, 1953 Ongoing……………………………………………p. 29 – 30 Series 2: Other Publications, 1953 – Ongoing……………………………………………….p. 30 Series 3: Newsletters, 1943 – Ongoing………………………………………………………….p. 30 – 31 Series 4: Annual Reports, 1940 – 2006………………………………………………………….p. 31 2 Collection Summary Collection Title Santa Barbara Museum of Art, Publications Collection, 1941 – ongoing Collection Number ARCH.PUB.001 Creator Santa Barbara Museum of Art Extent 25 linear feet (boxes, oversize, tubes, etc.) Repository Santa Barbara Museum of Art Archives 1130 State Street Santa Barbara, CA 93101 Abstract The Santa Barbara Museum of Art Publication collection documents the Museum’s publications from 1941 to the present. The collection includes exhibition catalogues, brochures, invitations, newsletters, -
UNIVERSITY of CALIFORNIA Santa Barbara American Tan: Modernism
UNIVERSITY OF CALIFORNIA Santa Barbara American Tan: Modernism, Eugenics, and the Transformation of Whiteness A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in the History of Art and Architecture by Patricia Lee Daigle Committee in charge: Professor E. Bruce Robertson, Chair Professor Laurie Monahan Professor Jeanette Favrot Peterson September 2015 The dissertation of Patricia Lee Daigle is approved. __________________________________________ Laurie Monahan __________________________________________ Jeanette Favrot Peterson __________________________________________ E. Bruce Robertson, Chair August 2015 American Tan: Modernism, Eugenics, and the Transformation of Whiteness Copyright © 2015 by Patricia Lee Daigle iii ACKNOWLEDGMENTS In many ways, this dissertation is not only a reflection of my research interests, but by extension, the people and experiences that have influenced me along the way. It seems fitting that I would develop a dissertation topic on suntanning in sunny Santa Barbara, where students literally live at the beach. While at the University of California, Santa Barbara (UCSB), I have had the fortunate experience of learning from and working with several remarkable individuals. First and foremost, my advisor Bruce Robertson has been a model for successfully pursuing both academic and curatorial endeavors, and his encyclopedic knowledge has always steered me in the right direction. Laurie Monahan, whose thoughtful persistence attracted me to UCSB and whose passion for art history and teaching students has been inspiring. Seminars in Latin American art with Jeanette Favrot Peterson allowed me to explore several concepts that later informed my dissertation. It was also at UCSB where a casual conversation with art historian Sally Stein of UC Irvine on the peculiarities of suntanning sparked what would become a full-fledged dissertation project. -
Paintings by Streeter Blair (January 12–February 7)
1960 Paintings by Streeter Blair (January 12–February 7) A publisher and an antique dealer for most of his life, Streeter Blair (1888–1966) began painting at the age of 61 in 1949. Blair became quite successful in a short amount of time with numerous exhibitions across the United States and Europe, including several one-man shows as early as 1951. He sought to recapture “those social and business customs which ended when motor cars became common in 1912, changing the life of America’s activities” in his artwork. He believed future generations should have a chance to visually examine a period in the United States before drastic technological change. This exhibition displayed twenty-one of his paintings and was well received by the public. Three of his paintings, the Eisenhower Farm loaned by Mr. & Mrs. George Walker, Bread Basket loaned by Mr. Peter Walker, and Highland Farm loaned by Miss Helen Moore, were sold during the exhibition. [Newsletter, memo, various letters] The Private World of Pablo Picasso (January 15–February 7) A notable exhibition of paintings, drawings, and graphics by Pablo Picasso (1881–1973), accompanied by photographs of Picasso by Life photographer David Douglas Duncan (1916– 2018). Over thirty pieces were exhibited dating from 1900 to 1956 representing Picasso’s Lautrec, Cubist, Classic, and Guernica periods. These pieces supplemented the 181 Duncan photographs, shown through the arrangement of the American Federation of Art. The selected photographs were from the book of the same title by Duncan and were the first ever taken of Picasso in his home and studio. -
Eduardo Carrillo, a Painter Who Took Chicano Art Beyond Identity's Borders
Eduardo Carrillo, a Painter Who Took Chicano Art Beyond Identity’s Borders Carrillo’s paintings re-envision the history of art through the heightened Chicano consciousness of his generation and the richness of his bicultural roots. By Elaine O'Brien Eduardo Carrillo, “Cabin in the Sky” (1966), oil on board, 72 x 58 3/4 inches (private collection, all images provided by the Crocker Art Museum) hyperallergic.com/460638/eduardo-carrillo-testament-of-the-spirit-crocker-art-museum/ SACRAMENTO — Testament of the Spirit, a monographic survey at the Crocker Art Museum, makes a convincing argument that the painter Eduardo Carrillo, who died in 1997, deserves broader recognition for taking Chicano art beyond the borders of identity. Eduardo Carrillo, “Testament of the Holy Spirit” (1971), oil on panel, 47 3/4 x 60 inches (Crocker Art Museum Purchase with funds from the Maude T. Pook Acquisition Fund, 1972.24) The sensual force of Carrillo’s ripe forms, in rich tones of ochre and ultramarine, with dramatic chiaroscuro effects and otherworldly illumination, alerts viewers to his prodigious talent. But the artist’s contemporary relevance lies in the wide, cosmopolitan range of art historical sources that he seamlessly integrated into his visual narratives. At once epic and intimate, Carillo’s subjects interweave the personal, political, philosophical, and religious. This is the work of a worldly artist-seeker who brought all that he loved to his art. Eduardo Carrillo, “Self-Portrait” (1960), oil on canvas, 29 1/2 X 27 3/4 inches (private collection) Earning bachelor’s and master’s degrees in the late 1950s and early ’60s at University of California, Los Angeles (UCLA), Carrillo absorbed what he admired of the Western tradition, guided by notable professors Mary Holmes, William Brice, Jack Hooper, and Stanton Macdonald-Wright. -
Sunshine and Shadow: Recent Painting in Southern California Exhibition Dates: 15 January-23 February 1985
Sunshine and Shadow: Recent Painting in Southern California Exhibition Dates: 15 January-23 February 1985 2500 copies printed on the occasion of the exhibition, Sunshine and Shadow: Recent Painting in Southern California, at the Fisher Gallery, University of Southern California, Los Angeles, California. Catalog design: Nancy Zaslavsky, Ultragraphics, Venice, California Design assistant: Lupe Marmolejo Assistant to the curator: Joanne Rattner Catalog editor: Jeanne D ’Andrea Photography: Damian Andrus - pp. 17, 43; Art Documentation - pp. 15, 23, 2 7 . -29. 33. 37. 45. 53. 59, 61, 67; J. Felgar - pp. 47, 5.; L.A. Louver - pp. 55, 71; Barbara Lyter - p. 35; Modernism - p. 39; Douglas M. Parker Studio - pp. 21, 37; Ernest Silva - p. 69. Typographer: Mondo Typo, Santa Monica, California Typography: Garamond with small caps; Univers 85 Lithography: Southern California Graphics, Culver City, California Text paper: 100 pound Centura Cover paper: .018 pt. Carolina © 1985 by the Fellows of Contemporary Art, Los Angeles, California All rights reserved Printed in the United States of America No part of this catalog may be reproduced in any form by any electronic or mechanical means without permission in writing from the Fellows of Contemporary Art, except by a reviewer who may quote brief passages in a review. Published by the Fellows of Contemporary Art, 333 South Hope Street, 48th Floor, Los Angeles, California 90071. Library of Congress Catalog Card Number 84-73006 isbn 0-911291-10-5 Sunshine and Shadow: Recent Painting in Southern California Susan C. Larsen An exhibition and catalog initiated and sponsored by the Fellows of Contemporary Art, Los Angeles, and organized by the Fisher Gallery, University of Southern California. -
National and International Modernism in Italian Sculpture from 1935-1959
National and International Modernism in Italian Sculpture from 1935-1959 by Antje K. Gamble A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (History of Art) in the University of Michigan 2015 Doctoral Committee: Professor Alexander D. Potts, Chair Associate Professor Giorgio Bertellini Professor Matthew N. Biro Sharon Hecker Associate Professor Claire A. Zimmerman Associate Professor Rebecca Zurier Copyright: Antje K. Gamble, 2015 © Acknowledgements As with any large project, this dissertation could not have been completed without the support and guidance of a large number of individuals and institutions. I am glad that I have the opportunity to acknowledge them here. There were a large number of funding sources that allowed me to study, travel, and conduct primary research that I want to thank: without them, I would not have been able to do the rich archival study that has, I think, made this dissertation an important contribution to the field. For travel funding to Italy, I thank the Horace R. Rackham Graduate School at the University of Michigan for its support with the Rackham International International Research Award and the Rackham Rackham Humanities Research Fellowship. For writing support and U.S.-based research funding, I thank the Department of History of Art at the University of Michigan, the Rackham Graduate School, the Andrew W. Mellon Foundation and the University of Michigan Museum of Art. For conference travel support, I thank the Horace R. Rackham Graduate School, the Department of History of Art, and the American Association of Italian Studies. While in Italy, I was fortunate enough to work with a great number of amazing scholars, archivists, librarians and museum staff who aided in my research efforts. -
Jean-Noel Archive.Qxp.Qxp
THE JEAN-NOËL HERLIN ARCHIVE PROJECT Jean-Noël Herlin New York City 2005 Table of Contents Introduction i Individual artists and performers, collaborators, and groups 1 Individual artists and performers, collaborators, and groups. Selections A-D 77 Group events and clippings by title 109 Group events without title / Organizations 129 Periodicals 149 Introduction In the context of my activity as an antiquarian bookseller I began in 1973 to acquire exhibition invitations/announcements and poster/mailers on painting, sculpture, drawing and prints, performance, and video. I was motivated by the quasi-neglect in which these ephemeral primary sources in art history were held by American commercial channels, and the project to create a database towards the bibliographic recording of largely ignored material. Documentary value and thinness were my only criteria of inclusion. Sources of material were random. Material was acquired as funds could be diverted from my bookshop. With the rapid increase in number and diversity of sources, my initial concept evolved from a documentary to a study archive project on international visual and performing arts, reflecting the appearance of new media and art making/producing practices, globalization, the blurring of lines between high and low, and the challenges to originality and quality as authoritative criteria of classification and appreciation. In addition to painting, sculpture, drawing and prints, performance and video, the Jean-Noël Herlin Archive Project includes material on architecture, design, caricature, comics, animation, mail art, music, dance, theater, photography, film, textiles and the arts of fire. It also contains material on galleries, collectors, museums, foundations, alternative spaces, and clubs. -
Rosalind Emily Adair, U. A
Y861 A WORKING BIBLIOGRAPHY ON THE ART OF DRAWING THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF FINE ARTS By Rosalind Emily Adair, U. A. Denton, Texas August, 1974 iUo. 79~C~Lt~j Adair, Rosalind Emily, A Working Bibliography on the Art of Drawing. Master of Fine Arts (Elementary Art Education), August, 1974, 77 pp., bibliography, 835 titles. This working bibliography of 835.publications on the art of drawing is presented in five categories: Educational and Psychological, Historical, "How-to," Technical, and Techniques of Teaching Drawing. The. latter category is annotated, offering a synthesis of the areas of art education and drawing. This bibliography is designed for scholars, artists, and teachers as well as students of the many facets of drawing. TABLE OF CONTENTS Page INTRODUCTION.. ........ 1 PART I Education and Therapy Drawing. 5 PART II Historical Drawing . .. 17 PART III "How To" Drawing Books . 38 PART IV Technical Drawings....... 53 PART V . .. .I .I .I Techniques of Teaching Drawing. 61 PART VI Summary. .......... 74 INTRODUCTION During the course of this writer's graduate studies in art education and drawing, she repeatedly came in contact with the problem of locating a comprehensive range of literature on the art of drawing. Although there have been numerous studies compiling the literature available on the art of drawing,l they have all included the category in conjunction with other divisions within the field of art; i.e., art history, painting, sculpture, graphics, and. crafts. Due to this writer's interest in the art of drawing as well as in the teaching of drawing, she pursued an investigation of the literature available which specifically addressed it- self to drawing as a singular technique. -
Abstract Expressionism 1 Abstract Expressionism
Abstract expressionism 1 Abstract expressionism Abstract expressionism was an American post–World War II art movement. It was the first specifically American movement to achieve worldwide influence and put New York City at the center of the western art world, a role formerly filled by Paris. Although the term "abstract expressionism" was first applied to American art in 1946 by the art critic Robert Coates, it had been first used in Germany in 1919 in the magazine Der Sturm, regarding German Expressionism. In the USA, Alfred Barr was the first to use this term in 1929 in relation to works by Wassily Kandinsky.[1] The movement's name is derived from the combination of the emotional intensity and self-denial of the German Expressionists with the anti-figurative aesthetic of the European abstract schools such as Futurism, the Bauhaus and Synthetic Cubism. Additionally, it has an image of being rebellious, anarchic, highly idiosyncratic and, some feel, nihilistic.[2] Jackson Pollock, No. 5, 1948, oil on fiberboard, 244 x 122 cm. (96 x 48 in.), private collection. Style Technically, an important predecessor is surrealism, with its emphasis on spontaneous, automatic or subconscious creation. Jackson Pollock's dripping paint onto a canvas laid on the floor is a technique that has its roots in the work of André Masson, Max Ernst and David Alfaro Siqueiros. Another important early manifestation of what came to be abstract expressionism is the work of American Northwest artist Mark Tobey, especially his "white writing" canvases, which, though generally not large in scale, anticipate the "all-over" look of Pollock's drip paintings. -
A Finding Aid to the Marvin Harden Papers, Circa 1936-2005, in the Archives of American Art
A Finding Aid to the Marvin Harden Papers, circa 1936-2005, in the Archives of American Art Elissa L. Jerome 2016 July 7 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 3 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 2 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 5 Series 1: Biographical Material, 1950-1991 ............................................................ 5 Series 2: Correspondence, 1964-2005.................................................................... 6 Series 3: Teaching Files, circa 1964-2003............................................................... 9 Series 4: Exhibition Files, 1966-2004...................................................................