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Monster Roster: Existentialist Art in Postwar Chicago Receives First Major Exhibition, at University of Chicago’S Smart Museum of Art, February 11 – June 12, 2016
Contact C.J. Lind | 773.702.0176 | [email protected] For Immediate Release “One of the most important Midwestern contributions to the development of American art” MONSTER ROSTER: EXISTENTIALIST ART IN POSTWAR CHICAGO RECEIVES FIRST MAJOR EXHIBITION, AT UNIVERSITY OF CHICAGO’S SMART MUSEUM OF ART, FEBRUARY 11 – JUNE 12, 2016 Related programming highlights include film screenings, monthly Family Day activities, and a Monster Mash Up expert panel discussion (January 11, 2016) The Smart Museum of Art at the University of Chicago, 5550 S. Greenwood Avenue, will mount Monster Roster: Existentialist Art in Postwar Chicago, the first-ever major exhibition to examine the history and impact of the Monster Roster, a group of postwar artists that established the first unique Chicago style, February 11–June 12, 2016. The exhibition is curated by John Corbett and Jim Dempsey, independent curators and gallery owners; Jessica Moss, Smart Museum Curator of Contemporary Art; and Richard A. Born, Smart Museum Senior Curator. Monster Roster officially opens with a free public reception, Wednesday, February 10, 7–9pm featuring an in-gallery performance by the Josh Berman Trio. The Monster Roster was a fiercely independent group of mid-century artists, spearheaded by Leon Golub (1922–2004), which created deeply psychological works drawing on classical mythology, ancient art, and a shared persistence in depicting the figure during a period in which abstraction held sway in international art circles. “The Monster Roster represents the first group of artists in Chicago to assert its own style and approach—one not derived from anywhwere else—and is one of the most important Midwestern contributions to the development of American art,” said co-curator John Corbett. -
Dan Nadel, Hairy Who? 1966-1969, Artforum, February 2019, P. 164-167 REVIEWS
ARTFORUM H A L E s GLADYS NILSSON Dan Nadel, Hairy Who? 1966-1969, Artforum, February 2019, p. 164-167 REVIEWS FOCUS 166 Dan Nadel OIi "Hall)' Who? 1966-1969 " 11:18 Barry SChwabskyon Raout de Keyser 169 Dvdu l<ekeon the 12th Shangh ai Blennale NEW YORK PARIS zoe Lescaze on Liu vu,kav11ge 186 UllianOevieson Lucla L.a&una Ania Szremski on Amar Kanwar Mart1 Hoberman on Alaln Bublex Jeff Gibson on Paulina OloW5ka BERLIN 172 Colby Chamberialn on Lorraine O'Grady 187 MartinHerberton SteveBlshop OavtdFrankelon lyleAshtonHarrl5 Jurriaan Benschopon Louise Bonnet 173 MlchaelWilsonon HelenMlrra Chloe Wyma on Leonor Finl HAMBURG R11chelChumeron HeddaS1erne JensAsthoffon UllaYonBrandenburg Mira DayalonM11rcelStorr ZURICH 176 Donald Kuspit on ltya Bolotowsky Adam Jasper on Raphaela Vogel Barry Schwabsky on Gregor Hildebrandt 2ackHatfieldon"AnnaAtklns ROME Refracted: Contemporary Works " Francesca Pola on Elger Esser Sasha Frere-Jones on Aur.i Satz TURIN.ITALY Matthew Weinstein on Allen Frame Giorglo\lerzottlon F,ancescoVeuoll WASHINGTON, DC VIENNA 179 TinaR1versRyan011 TrevorPaglen Yuki Higashinoon CHICAGO Wende1ienvanO1denborgh C.C. McKee on Ebony G. Patterson PRAGUE BrienT. Leahy on Robertlostull er 192 Noemi Smolik on Jakub Jansa LISBON 181 Kaira M. cabanas on AlexandreMeloon JuanArauJo ·co ntesting Modernity : ATHENS lnlormallsm In Venezuela, 1955-1975" 193 Cathr)TI Drakeontlle 6thAthensB lennele EL PASO,TEXAS BEIJING 1s2 Che!seaweatherson 194 F!OrlB He on Zhan, Pelll "AfterPosada : Revolutlon · YuanFucaon ZhaoYao LOS ANGELES TOKYO 183 SuzanneHudsonon Sert1Gernsbecher 195 Paige K. Bradley on Lee Kil Aney Campbell on Mary Reid KalleyandP!ltflCkKelley OUBAI GollcanDamifkaz1k on Ana Mazzei TORONTO Dan Adler on Shannon Boo! ABIOJAN, IVORY COAST 196 Mars Haberman on Ouatlera Watts LONDON Sherman Sam on Lucy Dodd SAO PAULO EJisaSchaarot1Flom1Tan Camila Belchior on Clarissa Tossln CHRISTCHURCH. -
Gladys Nilsson MATTHEW MARKS GALLERY | 523 WEST 24TH STREET
MATTHEW MARKS GALLERY 523 West 24th Street, New York,New York 10011 Tel: 212-243-0200 Fax: 212-243-0047 Gladys Nilsson MATTHEW MARKS GALLERY | 523 WEST 24TH STREET GARTH GREENAN GALLERY “Honk! Fifty Years of Painting,” an energizing, deeply satisfying pair of shows devoted to the work of Gladys Nilsson that occupied both Matthew Marks’s Twenty-Fourth Street space, where it remains on view through April 18, and Garth Greenan Gallery, took its title from one of the earliest works on display: Honk, 1964, a tiny, Technicolor street scene in acrylic that focuses on a pair of elderly couples, which the Imagist made two years out of art school. The men, bearded and stooped, lean on canes, while the women sport dark sunglasses beneath their blue-and-chartreuse beehives. They are boxed in by four more figures: Some blank-eyed and grimacing, others skulking under fedoras pulled low. The scene might suggest a vague Kastner, Jeffrey. “Gladys Nilsson.” 58, no. 8, April 2020. Artforum kind of menace were it not for the little green noisemakers dangling from the bright-red lips of the central quartet, marking them as sly revelers rather than potential victims of some unspecified mayhem. The painting’s acid palette and thickly stylized figures obviously owe a debt to Expressionism, whose lessons Nilsson thoroughly absorbed during regular museum visits in her youth, but its sensibility is more Yellow Submarine than Blaue Reiter, its grotesquerie leavened with genial good humor. The Marks portion of the show focuses primarily on the first decade of Nilsson’s career, while Greenan’s featured works made in the past few years, the two constituent parts together neatly bookending the artist’s richly varied and lamentably underappreciated oeuvre. -
Gladys Nilsson Featured in the New York Times
http://nyti.ms/1n3sZC4 ART & DESIGN | ART REVIEW Recognizing a Vibrant Underground ‘What Nerve!’ at the Rhode Island School of Design Museum By KEN JOHNSON SEPT. 25, 2014 In 1962 the film critic Manny Farber published the provocative essay “White Elephant Art and Termite Art,” in which he distinguished two types of artists: the White Elephant artist, who tries to create masterpieces equal to the greatest artworks of the past, and the Termite, who engages in “a kind of squandering- beaverish endeavor” that “goes always forward, eating its own boundaries and, likely as not, leaves nothing in its path other than signs of eager, industrious, unkempt activity.” While White Elephant artists like Richard Serra, Brice Marden, Jeff Koons and a few other usually male contemporary masters still are most highly valued by the establishment, the art world’s Termite infestation has grown exponentially. They’re everywhere, male and female, busily burrowing in a zillion directions. They’re painting, drawing, doodling, whittling, tinkering and making comic books, zines, animated videos and Internet whatsits — all, it seems, with no objective other than to just keep doing whatever they’re doing. Where did they come from? How did this happen? The history of White Elephant art is well known, that of Termite art much less so, which isn’t surprising given its furtive, centerless nature. So it’s gratifying to see a rousing exhibition at the Rhode Island School of Design Museum that blocks out a significant part of what such a history would entail. “What Nerve! Alternative Figures in American Art, 1960 to the Present” presents more than 180 paintings, sculptures, drawings, prints, photographs and videos by 29 artists whom Mr. -
A Finding Aid to the Ellen Lanyon Papers, Circa 1880-2014, Bulk 1926-2013, in the Archives of American Art
A Finding Aid to the Ellen Lanyon Papers, circa 1880-2014, bulk 1926-2013, in the Archives of American Art Hilary Price 2016 September 19 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..................................................................................................................... 4 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 3 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 6 Series 1: Biographical Material, circa 1880-2015 (bulk 1926-2015)......................... 6 Series 2: Correspondence, 1936-2015.................................................................. 10 Series 3: Interviews, circa 1975-2012.................................................................... 24 Series 4: Writings, Lectures, and Notebooks, circa -
Karl Wirsum B
Karl Wirsum b. 1939 Lives and works in Chicago, IL Education 1961 BFA, The School of the Art Institute of Chicago, Chicago, IL Solo Exhibitions 2019 Unmixedly at Ease: 50 Years of Drawing, Derek Eller Gallery, NY Karl Wirsum, Corbett vs Dempsey, Chicago, IL 2018 Drawing It On, 1965 to the Present, organized by Dan Nadel and Andreas Melas, Martinos, Athens, Greece 2017 Mr. Whatzit: Selections from the 1980's, Derek Eller Gallery, New York, NY No Dogs Aloud, Corbett vs. Dempsey, Chicago, IL 2015 Karl Wirsum, The Hard Way: Selections from the 1970s, Organized with Dan Nadel, Derek Eller Gallery, New York, NY 2013 Derek Eller Gallery, New York, NY 2010 Drawings: 1967-70, co-curated by Dan Nadel, Derek Eller Gallery, New York, NY Jean Albano Gallery, Chicago, IL 2008 Karl Wirsum: Paintings & Prints, Contemporary Art Center of Peoria, Peoria, IL Winsome Works(some), Chicago Cultural Center, Chicago, IL; traveled to Madison Museum of Contemporary Art, WI; Herron Galleries, Indiana University- Perdue University, Indianapolis, IN 2007 Karl Wirsum: Plays Missed It For You, Jean Albano Gallery, Chicago, IL 2006 The Wirsum-Gunn Family Show, Jean Albano Gallery, Chicago, IL 2005 Union Art Gallery, University of Wisconsin Milwaukee, Milwaukee, WI 2004 Hello Again Boom A Rang: Ten Years of Wirsum Art, Jean Albano Gallery, Chicago, IL 2002 Paintings and Cutouts, Quincy Art Center, Quincy, IL Jean Albano Gallery, Chicago, IL 2001 Rockford College Gallery, Rockford, IL 2000 Jean Albano Gallery, Chicago, IL 1998 Jean Albano Gallery, Chicago, IL University Club of Chicago, Chicago, IL 1997 The University of Iowa Museum of Art, Sculpture Court, Iowa City, IA 1994 Phyllis Kind Gallery, Chicago, IL J. -
Roger Brown (1941 – 1997)
Roger Brown (1941 – 1997) Born, Hamilton, AL Died, Atlanta, GA Education 1970, MFA School of the Art Institute of Chicago 1968, BFA School of the Art Institute of Chicago 1962-1964 attended the American Academy of Art Solo Exhibitions 2015 Roger Brown: Political Paintings, DC Moore Gallery, New York, NY, June 18 – July 31, 2015 Roger Brown: Virtual Still Life, Maccarone Gallery, New York, NY, June 25 – August 7, 2015 2014 Roger Brown: Virtual Still Life, Russell Bowman Art Advisory, September 5 – November 1, 2014 Roger Brown: His American Icons, The Hughes Gallery, Sydney, Australia, March 22 - April 14, 2014 2013 Roger Brown, DC Moore Gallery, New York, NY, January 10 - February 9, 2013 2012 Roger Brown: This Boy’s Own Story, Sullivan Galleries, School of the Art Institute of Chicago, IL, August 24 – November 10, 2012 Dual exhibition, Roger Brown: Major Paintings, Russell Bowman Art Advisory, Chicago, IL and Zolla Lieberman Gallery, Chicago, IL, September 7 - October 27, 2012 Roger Brown: Urban Traumas and Natural Disasters, Springfield Art Museum, Springfield, MO, September 17 – November 13, 2012 2011 Roger Brown: Calif. U.S.A., Hyde Park Art Center, Chicago, IL, June 20 – October 3 roger brown: urban traumas and natural disasters, Springfield Art Museum, Springfield, MO, September 17 - November 13 1 2010 Roger Brown: Calif. U.S.A., curated by Nicholas Lowe, Hyde Park Art Center, Chicago, IL, June 20 – October 3, 2010 2009 Roger Brown: Early Work, Major Paintings and Constructions, 1968-1980, Russell Bowman Art Advisory, Chicago, IL, March 27 – May 16 Roger Brown, Art Works: Chicago A Progressive Corporate Exhibition of Chicago Artists, Metropolitan Capital Bank, Chicago, IL 2008 Roger Brown: The American Landscape, DC Moore Gallery, New York, NY, May 1 – June 13 2007-2009 Roger Brown: Southern Exposure, curated by Sidney Lawrence, The Jule Collins Smith Museum of Fine Art at Auburn University, AL, October 6, 2007 – January 5, 2008. -
One Hundred Drawings One Hundred Drawings
One hundred drawings One hundred drawings This publication accompanies an exhibition at the Matthew Marks Gallery, 523 West 24th Street, New York, Matthew Marks Gallery from November 8, 2019, to January 18, 2020. 1 Edgar Degas (1834 –1917) Étude pour “Alexandre et Bucéphale” (Study for “Alexander and Bucephalus”), c. 1859–60 Graphite on laid paper 1 1 14 ∕8 x 9 ∕8 inches; 36 x 23 cm Stamped (lower right recto): Nepveu Degas (Lugt 4349) Provenance: Atelier Degas René de Gas (the artist’s brother), Paris Odette de Gas (his daughter), Paris Arlette Nepveu-Degas (her daughter), Paris Private collection, by descent Edgar Degas studied the paintings of the Renaissance masters during his stay in Italy from 1856 to 1859. Returning to Paris in late 1859, he began conceiving the painting Alexandre et Bucéphale (Alexander and Bucephalus) (1861–62), which depicts an episode from Plutarch’s Lives. Étude pour “Alexandre et Bucéphale” (Study for “Alexander and Bucephalus”) consists of three separate studies for the central figure of Alexandre. It was the artist’s practice to assemble a composition piece by piece, often appearing to put greater effort into the details of a single figure than he did composing the work as a whole. Edgar Degas, Alexandre et Bucéphale (Alexander and Bucephalus), 1861–62. Oil on canvas. National Gallery of Art, Washington, DC, bequest of Lore Heinemann in memory of her husband, Dr. Rudolf J. Heinemann 2 Odilon Redon (1840 –1916) A Man Standing on Rocks Beside the Sea, c. 1868 Graphite on paper 3 3 10 ∕4 x 8 ∕4 inches; 28 x 22 cm Signed in graphite (lower right recto): ODILON REDON Provenance: Alexander M. -
Uncommon Accumulation Bednar Press Release
For Immediate Release: Thursday, December 12, 2019 Contact: Charlotte Easterling 608.257.0158 x 240 [email protected] MMoCA CELEBRATES MAJOR GIFT OF NEARLY 100 WORKS OF CHICAGO IMAGIST ART UNCOMMON ACCUMULATION: THE MARK AND JUDY BEDNAR COLLECTION OF CHICAGO IMAGISM March 14–July 19, 2020 MADISON, WI— To celebrate Mark and Judy Bednar’s transformative gift of Chicago Imagist art from their collection to the Madison Museum of Contemporary Art, MMoCA will bring together the works in the museum’s main galleries with the exhibition Uncommon Accumulation: The Mark and Judy Bednar Collection of Chicago Imagism. From March 14 through July 19, 2020, Uncommon Accumulation will showcase the works that have already been gifted to the museum alongside the promised gifts that have been collected by the Bednars over the past 45 years. The gift from the Bednars complements the museum’s existing collection of Chicago Imagism through its inclusion of artworks produced very early in the careers of several of the artists. Formative works by Roger Brown, Robert Lostutter, Gladys Nilsson, Jim Nutt, Ed Paschke, Christina Ramberg, Barbara Rossi, Karl Wirsum, and Ray Yoshida from the 1960s and 70s—a period when some of the Imagists were still in graduate school at the School of the Art Institute of Chicago (SAIC)—are part of this extraordinary gift. These new additions uphold MMoCA as having one of the largest, and now one of the most comprehensive, collections of Chicago Imagism. The Chicago Imagists were a group of figurative artists who emerged in Chicago in the mid-1960s. Using vibrant color and bold lines, they depicted the human body as grossly distorted and highly stylized. -
Roger Brown November 12, 2019 – January 11, 2020 Opening: Tuesday, November 12Th, 6:00 - 8:00 Pm
Roger Brown November 12, 2019 – January 11, 2020 Opening: Tuesday, November 12th, 6:00 - 8:00 pm Venus Over Manhattan 980 Madison Avenue New York, NY 10075 FOR IMMEDIATE RELEASE: (New York, NY) – Venus Over Manhattan is pleased to present an exhibition of work by Roger Brown, organized in collaboration with the Roger Brown Study Collection at the School of the Art Institute of Chicago, and Kavi Gupta. Comprising a large group of paintings that spans the breadth of his career, the presentation surveys the development of Brown’s production. In conjunction with the exhibition, the gallery will publish a catalogue featuring two new texts on the artist by Lisa Stone, Curator of the Roger Brown Study Collection, and Dan Nadel, Curator at Large, Jan Shrem and Maria Manetti Shrem Museum of Art, UC Davis, as well as pages from Brown’s sketchbooks that relate to the works on view. The exhibition will be on view from November 12th, 2019 through January 11th, 2020. Roger Brown began exhibiting his work in the late 1960s, alongside a group of artists often referred to as the Chicago Imagists. Celebrated for their use of imagery, figuration, narrative, and patterning, these artists pulled from idiosyncratic sources to produce deeply personal and visually diverse work, shirking the cool, stylistic orthodoxies that dominated on the coasts. Brown moved in circles around the School of the Art Institute of Chicago, which nurtured the unconventional interests of Brown and his peers. Brown was deeply associated with Chicago during his lifetime: he graduated from the School of the Art Institute of Chicago in 1970; he kept a series of studios, filled with carefully selected art and objects, from both the vernacular and mainstream realms, that culminated in his building in the Lincoln Park neighborhood; and his instantly legible paintings and objects, replete with silhouetted figures, patterned landscapes, and scalloped skies, rendered in dizzying isometric perspective, helped foster a community of artists that announced Chicago as a viable site of artistic production. -
Artforum — April 1St, 2020 Gladys Nilsson At
Gladys Nilsson Matthew Marks Gallery | 523 WEST 24TH ST & Garth Greenan Gallery “Honk! Fifty Years of Painting,” an energizing, deeply satisfying pair of shows devoted to the work of Gladys Nilsson that occupied both Mat- thew Marks’s Twenty-Fourth Street space, where it remains on view through April 18, and Garth Gre- enan Gallery, took its title from one of the earliest Gladys Nilsson, Plain Air, 2018, acrylic and paper on canvas, 40 × 60”. works on display: Honk, 1964, a tiny, Technicolor street scene in acrylic that focuses on a pair of elderly couples, which the Imagist made two years out of art school. The men, bearded and stooped, lean on canes, while the women sport dark sunglasses beneath their blue-and-chartreuse beehives. They are boxed in by four more figures: Some blank-eyed and grimacing, others skulking under fedoras pulled low. The scene might suggest a vague kind of menace were it not for the little green noisemakers dangling from the bright-red lips of the central quartet, marking them as sly revelers rather than potential victims of some unspecified mayhem. The painting’s acid palette and thickly stylized figures obviously owe a debt to Expres- sionism, whose lessons Nilsson thoroughly absorbed during regular museum visits in her youth, but its sen- sibility is more Yellow Submarine than Blaue Reiter, its grotesquerie leavened with genial good humor. The Marks portion of the show focuses primarily on the first decade of Nilsson’s career, while Greenan’s featured works made in the past few years, the two constituent parts together neatly bookending the art- ist’s richly varied and lamentably underappreciated oeuvre. -
Roger Brown, a Leading Painter of the Chicago
Roger Brown, 55, Leading Chicago Imagist Painter, Dies Roberta Smith November 26, 1997 THE NEW YORK TIMES Roger Brown, a leading painter of the Chicago Imagist style, whose radiant, panoramic images were as passionately po- litical as they were rigorously visual, died on Saturday at Piedmont Hospital in Atlanta. He was 55 and had homes and studios in Chicago, New Buffalo, Mich., and Carpen- teria, Calif. The cause was liver failure after a long illness, said Phyllis Kind of the Phyllis Kind Gallery, which has represented Mr. Brown since 1970. In the late 1960’s and early 70’s, Mr. Brown was one of a number of artists whose interests and talents coalesced into one of the defining moments in postwar Chicago art. The inspiration for these artists came from European Surrealism, which was prevalent in the city’s public and private collections; contemporary outsider art, which the Imagists helped promote, and popular culture, recently sanctioned by Pop Artists. In addition to Mr. Brown, these artists included Jim Nutt, Ed Paschke, Phil Hanson, Ray Yoshida, Karl Wirsum, Barbara Rossi and Gladys Nilsson, almost all of whom he met as a student at the School of the Art Institute of Chicago, and each of whom braided the city’s disparate cultural strands into a distinctive hybrid of figurative styles. Mr. Brown’s hybrid was a powerful combination of flattened, cartoonish images that featured isometric skyscrapers and tract houses, furrowed fields, undulating hills, pillowy clouds and agitated citizens, the latter usually seen in black silhouette at stark yellow windows where they enacted violent or sexual shadow plays.