Contempoary Art Collection

Total Page：16

File Type：pdf, Size：1020Kb

CONTEMPOARY ART COLLECTION Jonathan Borofsky Hammering Man at 2,938,405 1984 Corten steel 288 × 132 × 24 in. (731.5 × 335.3 × 61 cm) Gift of the Martin Z. Margulies Foundation 2005.16.1 Jonathan Borofsky is a multifaceted artist who has worked in several media including painting, sculpture, prints, complex installations, video, and light. He received a BFA from Carnegie Mellon University and an MFA from Yale University. He moved to New York City in 1966 and began to record his thoughts, observations, and compulsive counting. In the 1990s Borofsky turned his attention to large-scale public sculpture. His signature work in this arena is Hammering Man. The Harn’s sculpture is one of several versions of Hammering Man in cities around the world including Basel, Frankfurt, Los Angeles, Minneapolis, Seattle, Seoul, and Washington, D.C. The broad dispersal of the work demonstrates its wide appeal and universal relevance. Hammering Man at 2,938,405 stands 24 feet high and is cut from Corten steel. The dynamic silhouetted figure holds a hammer, which he raises and lowers in the repetitive gesture of an industrial laborer. He pays tribute to the universal worker, the underpaid worker, the worker who still uses his hands in a mechanized world. Borofsky’s work is often inspired by the world of memories, dreams, and free association. He draws on these levels of awareness to explore the meaning of daily existence rather than the depths of the subconscious. Mathematics and counting also act as a meditative component of the artist’s work and play a part in identifying the piece. The number 2,938,405 etched on the Hammering Man at the Harn Museum represents how far he counted by the time this work was realized..

Copy Link

Recommended publications

List of Exhibitions Held at the Corcoran Gallery of Art from 1897 to 2014
National Gallery of Art, Washington February 14, 2018 Corcoran Gallery of Art Exhibition List 1897 – 2014 The National Gallery of Art assumed stewardship of a world-renowned collection of paintings, sculpture, decorative arts, prints, drawings, and photographs with the closing of the Corcoran Gallery of Art in late 2014. Many works from the Corcoran’s collection featured prominently in exhibitions held at that museum over its long history. To facilitate research on those and other objects included in Corcoran exhibitions, following is a list of all special exhibitions held at the Corcoran from 1897 until its closing in 2014. Exhibitions for which a catalog was produced are noted. Many catalogs may be found in the National Gallery of Art Library (nga.gov/research/library.html), the libraries at the George Washington University (library.gwu.edu/), or in the Corcoran Archives, now housed at the George Washington University (library.gwu.edu/scrc/corcoran-archives). Other materials documenting many of these exhibitions are also housed in the Corcoran Archives. Exhibition of Tapestries Belonging to Mr. Charles M. Ffoulke, of Washington, DC December 14, 1897 A catalog of the exhibition was produced. AIA Loan Exhibition April 11–28, 1898 A catalog of the exhibition was produced. Annual Exhibition of the Work by the Students of the Corcoran School of Art May 31–June 5, 1899 Exhibition of Paintings by the Artists of Washington, Held under the Auspices of a Committee of Ladies, of Which Mrs. John B. Henderson Was Chairman May 4–21, 1900 Annual Exhibition of the Work by the Students of the CorCoran SChool of Art May 30–June 4, 1900 Fifth Annual Exhibition of the Washington Water Color Club November 12–December 6, 1900 A catalog of the exhibition was produced.
[Show full text]
News Release
NEWS RELEASE FOURTH STRKKT AT CONSTITUTION AVENUE NW WASHINGTON DC 20565 • 737-4215/842-6353 FOR IMMEDIATE RELEASE CONTACT: Ruth Kaplan April 7, 1993 Deborah Ziska (202) 842-6353 MARK ROSENTHAL NAMED CURATOR OF TWENTIETH-CENTURY ART AT NATIONAL GALLERY OF ART WASHINGTON, DC Mark Rosenthal has been named curator of twentieth-century art at the National Gallery of Art by Earl A. Powell III, director. Rosenthal replaces Jack Cowart, who left the Gallery last fall to become the chief curator and deputy director of the Corcoran Gallery of Art in Washington. "Mark Rosenthal is highly regarded for his recent curatorial experience at museums with outstanding twentieth-century collections, particularly The Solomon R. Guggenheim Museum and the Philadelphia Museum of Art. He is also respected for his imaginative concepts as well as his practical skills in organizing exhibitions on the work of twentieth-century artists as diverse as Juan Gris and Anselm Kiefer," said Powell. Since 1989 Rosenthal has been consultative curator at The Solomon R. Guggenheim Museum, New York, where he is preparing an -more- rosenthal . page 2 exhibition and catalogue entitled Abstraction in the Twentieth Century for 1994. During his tenure from 1983 to 1989 as curator of twentieth-century art at the Philadelphia Museum of Art, Rosenthal organized exhibitions and wrote catalogues on the art of Jasper Johns (for the Venice Biennale in 1988-1989), Anselm Kiefer, and Jonathan Borofsky. He also served as curator of collections for the University Art Museum in Berkeley from 1976 to 1983, and as associate curator of painting and sculpture at the Wadsworth Atheneum, Hartford, 1974 to 1976.
[Show full text]
Jonathan Borofsky (American, B. 1942) Walking Man (On the Edge), 1995 Fiberglass and Steel Collection Nerman Museum of Contempor
Jonathan Borofsky (American, b. 1942) Walking Man (On the Edge), 1995 Fiberglass and steel Collection Nerman Museum of Contemporary Art, 1995.14 Gift of Marti and Tony Oppenheimer and the Oppenheimer Brothers Foundation After completing his MFA at Yale, the Boston-born Jonathan Borofsky moved to New York City, where he pursued an intensely private form of conceptual art that consisted of counting and recording numbers sequentially onto 8 ½ x 11” sheets of paper. Desiring to connect with a wider public, he began in the 1970s to make drawings, paintings, prints, sculptures and installations featuring recognizable figures. Recurrent images such as the Hammering Man, Running Man, and Man with a Briefcase function, for Borofsky, both as self-portraits and symbols of common aspects of the human condition. Appropriately placed atop the JCCC Commons building, Walking Man (On the Edge) exemplifies Borofsky’s use of generic figures to communicate shared human experience. The college campus attracts many different people, but most are students, striving for knowledge. Borofsky had this in mind when he set the man on the roof’s edge, remarking, “The edge . seems to refer to pushing the limits of knowledge. [It] implies that we are reaching for something or looking for answers.” Striding forward with energetic purpose, oblivious to his precarious position, Borofsky’s Everyman simultaneously embodies and brings together the diverse student population, in a surprising, delightful, and inspiring fashion. Jonathan Borofsky received his BFA from Carnegie Mellon University in 1964 and his MFA from Yale University in 1966. Magdalena Abakanowicz (Polish, b. 1930 – d. 2017) Two Figures on a Beam, 1997 Bronze Collection Nerman Museum of Contemporary Art,1996.01 Gift of the Marti and Tony Oppenheimer and the Jules and Doris Stein Foundation in honor of Floriene and George Lieberman's 50th Anniversary Beginning in the 1970s, Magdalena Abakanowicz created figurative works by molding burlap over plaster casts of nude bodies and stiffening the fabric with glue and resin.
[Show full text]
Schenley Plaza and Schenley Park and the Built Environment That Surrounds Both of These Historic Pittsburgh Spaces
FRICK FINE ARTS LIBRARY SCHENLEY PLAZA, SCHENLEY PARK & ENVIRONS Library Guide Series, No. 11 “Qui scit ubi scientis sit, ille est proximus habenti.” -- Brunetiere* Introduction Pittsburgh’s Oakland neighborhood was originally designed to be the city’s cultural showcase during the end of the nineteenth and early years of the twentieth centuries. It was the time when model suburbs and the “City Beautiful” movement flowered in urban areas of the country. In Pittsburgh the effort to build a park system in Pittsburgh was inspired by parks and urban development in American and European cities. The park movement in this country was launched in the 1850s with the creation of New York’s Central Park designed by Frederick Law Olmstead. Such beautification projects grew from the beliefs of Progressive era reformers responding to rapid growth, over crowding and burgeoning social inequalities in the nation’s cities. Leaders believed that healthful relaxation and pure park air, in contrast, to the hectic and polluted mechanized world of the city, would benefit city dwellers by offering rest for the tired body and weary soul. In addition, reformers believed that parks could improve nature with landscape design, statuary and recreational facilities that would elevate citizens’ attitudes and behavior and inspire civic pride. It was in such an intellectual milieu that Pittsburgh’s park system began as a part of the new Civic Center beginning to rise in Oakland near the end of the nineteenth century. That center would eventually include Carnegie Institute (1895) and Hotel Schenley (1898), as well as other monumental buildings (some of which can not be viewed from Schenley Plaza) such as Soldiers and Sailors Memorial, Pittsburgh Athletic Club and Masonic Temple in addition to University of Pittsburgh buildings like the Cathedral of Learning (1937), Stephen Foster Memorial Building (1937) and Heinz Chapel (1938).
[Show full text]
Jonathan Borofsky, Titled My Mother’S Words and God Is a Feeling
GEMINI G.E.L. AT JONI MOISANT WEYL Johnathan Borofsky Johnathan Borofsky My Mother's Words , 2010 God is a Feeling , 2010 2-color screenprint 2-color lithograph 34 1/2 x 55" (87.6 x 139.7 cm) 38 x 49" (96.5 x 124.5 cm) Edition of 45 Edition of 25 JB08-5318 JB08-1583 980 MADISON AVENUE – 5TH FLOOR NEW YORK, NEW YORK 10075-1848 212.249.3324 FAX 212.249.3354 [email protected] WWW.JONIWEYL.COM GEMINI G.E.L. AT JONI MOISANT WEYL In 2010, Gemini G.E.L. published two prints by Jonathan Borofsky, titled My Mother’s Words and God is a Feeling . Well-known to be the subject of his own works, Borofsky injects himself into these two through the selection of phrases that are very personal to the artist and by rendering the words in his own handwriting. For My Mother's Words , Borofsky, ever- interested in understanding his own pain and happiness, explains, "Several days before my mother died, I was sitting at her bedside - just talking about things. At one point, I casually asked her if she had any words she wanted to leave behind. Without taking any time to think about it, she answered 'Be Happy, Do the Best You Can, Be Good and Kind'." An edition of 45, this two-color screenprint has a softer quality than his earlier editioned works that utilize the same minimal, strictly text-based imagery such as Object of Magic (1989) and 31247** (1991). In the case of My Mother's Words , the cursive handwriting creates an intimacy with the artist, whereas the earlier works were executed in a blunt, sans-serif type that maintains an impersonal quality.
[Show full text]
Students Hold Palantir, ICE Protests Dealing With
EdBoard:Hollywood’s Tartan need stands for a reality with PolyethyleneRunning is linked nanofibers to lower act CMUWomen’s basketball soccer holds takes off St. U of Tartan staff picks 2019 GSA supports right of grad Mechanical leaves create CMU football destroys Thiel ScotchIn celebration and Soda of puts Korean on theEdBoard:EdBoard: Post-Gazette• trytry toto make makestrike your your• A4 StartupStartuprisk of uses usesdeath AIAI to•to A7 improveimprove• KeepKeepThomas anan eyeeye to on onovertime thethe • PortlandPortland • A10 Avengers:favorites Endgame• B10 is an checkEdBoard: A5 try to make• your Startupas thermal uses• AIswitches to improveA8 KeepC Maroons an eye 84-73 on the• Portland A10 Avengers:Avengers:cinema •Endgame EndgameB4 is is an an students to unionize A5 energy A7 College Tomcats A10 another fun show • B4 summer enjoyable •• A5A5 • • A7 • another fun show• summersummer enjoyable enjoyable A5A5 liftinglifting workoutsworkouts A7A7 TrailTrail BlazersBlazers • • A10A10 epicepic conclusionconclusion • • B14B14 FORUMFORUMFORUM SCITECHSCITECHSCITECH SPORTSSPORTSSPORTS PILLBOXPILLBOX FORUMFORUM SCITECHSCITECH SPORTSSPORTS PILLBOXPILLBOXPILLBOX thetartan.orgthetartan.orgthetartan.org @thetartan @thetartan@thetartan@thetartan The Tartan TheTheThe Tartan TartanTartanTartan NovemberOctoberAprilApril 29, 29,28,25, 2019 20192019 February 17, 2020 VolumeVolumeVolume 113, 113,114, 114, Issue IssueIssue Issue 24 2412 8 Volume 114, Issue 16 CarnegieCarnegieCarnegie Mellon’s Mellon’sMellon’s Student StudentStudent Newspaper Newspaper Since SinceSince 1906 19061906 Carnegie Mellon’s Student Newspaper Since 1906 PedutoPeduto talkstalks OnePGHOnePGH atat CMUCMU panelpanel WasteWaste codecode updateupdate CMUTaskTrump librariesforce delivers almostStudents Pittsburgh out of hold storage Palantir,keynote space ICELife@CMUCMU’s protests largestDealing hackathon results with concludes willshowwill affectaffect campus lonelinessrentersrenters stress heldADAMADAM TUNNARD TUNNARDon Valentine’sbeingbeing “no “no sooner sooner than than 6Day 6 p.m.
[Show full text]
Annual Report Group 1995/1996
MünchenerM Rück Munich Re 1995/96 Münchener Rückversicherungs-Gesellschaft Aktiengesellschaft in München Königinstrasse 107 · D-80802 München Telephone: (0 89) 38 91-0 Fax: (089) 399056 Munich Re Group 1993/94 1994/95 1995/96 DM million DM million DM million Gross premiums written 28,638 28,974 28,989 Reinsurers 19,059 18,848 18,507 Direct insurers 9,579 10,126 10,482 Investments 102,425 111,008 120,279 Reinsurers 45,197 48,398 52,937 Direct insurers 57,228 62,610 67,342 Net underwriting funds and provisions 94,709 100,162 107,783 Reinsurers 39,450 42,305 45,663 Direct insurers 55,259 57,857 62,120 Shareholders’ funds 4,274 4,442 5,378 Profit for the year 300 325 595 Earnings per share in DM according to DVFA/GDV* 45.70 67.60 140.00 (previous years adjusted owing to 1995 capital increase) Dividend of the Munich Reinsurance Company 91 102 133 Dividend per share in DM 12.00 13.50 16.00 * German Association of Financial Analysts and Investment * Consultants/Association of German Insurers Munich Re registered shares Development in the value of Munich Re Price development registered shares 1st July 1990 = 100 200 Investment in Munich Re registered shares has been very attractive for the long-term- oriented investor in recent years. Whereas 180 the DAX share index has risen by 35 % since July 1990, Munich Re registered shares have increased in value by 74 %, 160 also far outstripping the international index for the insurance sector, which rose by only 24 % in the same period.
[Show full text]
Curriculum Vitae for Jim Shaw
JIM SHAW Born in Midland, MI, 1952 Education MFA, California Institute of the Arts, Valencia, CA, 1978 BFA, University of Michigan at Ann Arbor, MI, 1974 Lives and works in Los Angeles, CA One-Person Exhibitions 2019 The Family Romance, Metro Pictures, New York, NY 2018 Drawings, Simon Lee Gallery, London, UK Simon Lee Gallery, Hong Kong, China 2017 Blum & Poe, Los Angeles, CA Massimo De Carlo, Milan, Italy Metro Pictures, New York, NY The Wig Museum, curated by Philipp Kaiser, Marciano Art Foundation, Los Angeles, CA 2016 Rather Fear God, Praz-Delavallade & Vedovi, Brussels, Belgium Rather Fear God, Praz-Delavallade, Paris, France 2015 Entertaining Doubts, Massachusetts Museum of Contemporary Art, North Adams, MA The End is Here, curated by Massimiliano Gioni, Gary Carrion-Murayari, and Margot Norton, New Museum, New York, NY Simon Lee Gallery, London, UK 2014 Oeuvres choisies: dessins, peintures, sculptures, vidéo, Galerie Guy Bärtschi, Carouge, Switzerland I Only Wanted You to Love Me, Metro Pictures, New York, NY 2013 Blum & Poe, Los Angeles, CA The Hidden World: Jim Shaw, Curated by Marc-Olivier Wahler, Didactic Art Collection, Chalet Society, Paris, France; traveled to Centre Dürrenmatt, Neuchâtel, Switzerland Simon Lee Gallery, Hong Kong, China Simon Lee Gallery, London, UK BLUM & POE LOS ANGELES NEW YORK TOKYO 2012 Dream Drawings, Los Angeles County Museum of Art, Los Angeles, CA Dreams, BFAS Blondeau Fine Art Services, Geneva, Switzerland The Rinse Cycle, Baltic Centre for Contemporary Art, Gateshead, UK Metro Pictures, New York,
[Show full text]
HUMAN STRUCTURES VANCOUVER Jonathan Borofsky (Maine, USA)
HUMAN STRUCTURES VANCOUVER Jonathan Borofsky (Maine, USA) “In all of my work, I seek to convey the feeling that everything is connected." – Jonathan Borofsky WHO MADE THIS ART INSTALLATION? For American artist Jonathan Borofsky, his role as an artist is to explore questions about human life, the collective consciousness of humanity, and remind us of our connections to one another as we build our world together. Born in Boston, Massachusetts, he has been studying art from professional instructors since the age of 9, first in the medium of oil painting in his youth. In 1964 he received his BFA from Carnegie-Mellon University in Pittsburgh, with a specialty in painting and sculpture. Two years later he completed his MFA in sculpture from Yale School of Art and Architecture in New Haven, Connecticut. His large-scale work was interactive, multi-media installations and he often incorporated spiritual themes and ideas around the human psyche during a time when Pop Art and Minimalism had been dominant movements in the Western Art world in those years. His works drew from dreams, self-portraits, media and technology. Some were interactive with the audience, others used video and light projections, and he referenced historical figures like Dali, Picasso and Elisabeth Taylor. Through the 1970s and 80s, Borofsky became a key artist in the growing ‘installation art’ movement. Installation art is many objects that connect together in a room, space or environment, rather than a single object or sculpture. His works were layered and inventive, and he viewed all art in those years as a kind of self portrait.
[Show full text]
New Work on Paper 2 : Jonathan Borofsky
New work on paper 2 : Jonathan Borofsky ... [et al.] Bernice Rose Author Rose, Bernice Date 1982 Publisher The Museum of Modern Art ISBN 0870703242 Exhibition URL www.moma.org/calendar/exhibitions/2249 The Museum of Modern Art's exhibition history—from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art NEW WORK ON PAPER JONATHAN BO ROES K Y FRANCESCO CLEMENTE MARIO MERZ R . PENCEA . GIUSEPPE PENON E BERN ICE ROSE THE MUSEUM OF MODERN ART NEW YORK NEW WORK ON PAPER 2 JONATHAN BOROFSKY FRANCESCO CLEMEN T E MARIO MERZ A. R. F>ENCK GI USE PPl ? PENONE BERNIC E ROSE THE MUSEUM OF MODI ERN ART N E W Y O R K NEW WORK ON PAPER 2 Thisis the second in a seriesof exhibitionsorganized by The Museum space,of onlya fewof thosewhose achievementmight warrant their of ModernArt, NewYork,each of whichis intendedto showa rela inclusion—anda choice,moreover, that is entirelythe responsibility tivelysmall number of artiststhrough a representativeselection of of the directorof the exhibition,who wished to sharesome of the theirrecentdrawing and work on paper.E mphasisis placedon new interestand excitementexperienced in looking at newwork on paper. work,wit hoccasional glances backward to earlierproduction where Thecurrentexhibit iondeparts from the formatof workson paper thecharacter oft heartespecially requires it, andon artists or kindsof onlyto includedrawings on othersupportas s well,while the catalog art notseen in depthat the Museumbefore.B eyondthis,no restric is designedto givethe viewer an idea of eachartist's work within the tionsare imposed on the series,which may include exhibitions devoted strictf ormatof a workon paper.
[Show full text]
Biography , Independent Curators Incorporated, New York, NY
GEMINI G.E.L. A T JONI MOISANT WEYL JONATHAN BOROFSKY Jonathan Borofsky was born in 1942 in Boston, Massachusetts, to a family immersed in the arts: his father was a musician and his mother an artist-architect. He received a Bachelor of the Arts degree from the Carnegie Institute of Technology in 1964 before getting a Master of Fine Arts from Yale University in 1966 and subsequently moving to New York City. Borofsky’s art has always been both autobiographical and universal, fusing personal and political subjects in a thought-provoking manner. His aim is to depict subject matter of worldwide consequence and he has thus developed a pattern of recurring themes that are often highlighted by archetypes and archetypal situations. At the heart of Borofsky’s art is the activity of drawing. For him, drawing is a demonstration of his thoughts, and that process itself is an object. Borofsky is prone to contemplating new manifestations of an initial impulse, and many versions or transformations can result. Known for his autobiographical subject matter, the artist often places himself into his work through images of himself, or the selection of phrases that are very personal to him, most often rendering the words in his own handwriting. In his work, Borofsky explores the philosophical and psychological values inherent in the human spirit; themes of spiritual well-being, wholeness, and contemplation of the nature of the universe have always played a central role. Borofsky’s first solo exhibition was at the Paula Cooper Gallery in 1975. The Philadelphia Museum of Art and Whitney Museum of American Art organized an important traveling retrospective of Borofsky’s work in 1984.
[Show full text]
Jonathan Borofsky Mid-America Center Molecule Man
JONATHAN BOROFSKY MID-AMERICA CENTER MOLECULE MAN IOWAWESTPUBLICART.ORG JONATHAN BOROFSKY MID-AmERICA CENTER MOLECULE MAN For Borofsky the three figures joining in the center not only refer to the lightness in our Go to www.iowawestpublicart.org for a link to an image of this sculpture Jonathan Borofsky remembers a story that his father used to tell him about a friendly giant ABOUT THE ARTIST own solid bodies but also to the molecules of all human beings coming together to create moving. Borofsky wants to have Hammering Man sculptures around the world all working who lived in the sky. In this story he and his father would travel up to the sky to talk to the our existence. at the same time. He says, ”It is a symbol for working with others on the planet … and helps giant. They would ask the giant what needed to be done to help people on earth. The artist Jonathan Borofsky was born in Boston, Massachusetts. He studied art in college in the United to connect all of us together.” sees the sculptures as a celebration of how hard we can work to reach important goals to States and France, receiving a Master of Fine Arts from Yale University in 1966. When he first All human beings are made up of molecules. It is one way that people all over the world are improve the world. decided to work as an artist in New York City, he set himself the all the same. Jonathan Borofsky believes that his sculptures show how human beings come Which of these jobs require people to be active and moving? Pick one of these workers and task to count from one to infinity and wrote down numbers for a together to share our world.
[Show full text]