FORREST MYERS Present Lives and Works In
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In Memoriam Frederick Dougla
Central Library of Rochester and Monroe County · Historic Monographs Collection Central Library of Rochester and Monroe County · Historic Monographs Collection CANNOT BE PHOTOCOPIED * Not For Circulation Central Library of Rochester and Monroe County · Historic Monographs Collection / III llllllllllll 3 9077 03100227 5 Central Library of Rochester and Monroe County · Historic Monographs Collection jFrebericfc Bouglass t Central Library of Rochester and Monroe County · Historic Monographs Collection fry ^tty <y /z^ {.CJ24. Central Library of Rochester and Monroe County · Historic Monographs Collection Hn flDemoriam Frederick Douglass ;?v r (f) ^m^JjZ^u To live that freedom, truth and life Might never know eclipse To die, with woman's work and words Aglow upon his lips, To face the foes of human kind Through years of wounds and scars, It is enough ; lead on to find Thy place amid the stars." Mary Lowe Dickinson. PHILADELPHIA: JOHN C YORSTON & CO., Publishers J897 Central Library of Rochester and Monroe County · Historic Monographs Collection Copyright. 1897 & CO. JOHN C. YORSTON Central Library of Rochester and Monroe County · Historic Monographs Collection 73 7^ In WLzmtxtrnm 3fr*r**i]Ch anglais; "I have seen dark hours in my life, and I have seen the darkness gradually disappearing, and the light gradually increasing. One by one, I have seen obstacles removed, errors corrected, prejudices softened, proscriptions relinquished, and my people advancing in all the elements I that make up the sum of general welfare. remember that God reigns in eternity, and that, whatever delays, dis appointments and discouragements may come, truth, justice, liberty and humanity will prevail." Extract from address of Mr. -
Modernism 1 Modernism
Modernism 1 Modernism Modernism, in its broadest definition, is modern thought, character, or practice. More specifically, the term describes the modernist movement, its set of cultural tendencies and array of associated cultural movements, originally arising from wide-scale and far-reaching changes to Western society in the late 19th and early 20th centuries. Modernism was a revolt against the conservative values of realism.[2] [3] [4] Arguably the most paradigmatic motive of modernism is the rejection of tradition and its reprise, incorporation, rewriting, recapitulation, revision and parody in new forms.[5] [6] [7] Modernism rejected the lingering certainty of Enlightenment thinking and also rejected the existence of a compassionate, all-powerful Creator God.[8] [9] In general, the term modernism encompasses the activities and output of those who felt the "traditional" forms of art, architecture, literature, religious faith, social organization and daily life were becoming outdated in the new economic, social, and political conditions of an Hans Hofmann, "The Gate", 1959–1960, emerging fully industrialized world. The poet Ezra Pound's 1934 collection: Solomon R. Guggenheim Museum. injunction to "Make it new!" was paradigmatic of the movement's Hofmann was renowned not only as an artist but approach towards the obsolete. Another paradigmatic exhortation was also as a teacher of art, and a modernist theorist articulated by philosopher and composer Theodor Adorno, who, in the both in his native Germany and later in the U.S. During the 1930s in New York and California he 1940s, challenged conventional surface coherence and appearance of introduced modernism and modernist theories to [10] harmony typical of the rationality of Enlightenment thinking. -
Fall 201720172017
2017 2017 2017 2017 Fall Fall Fall Fall This content downloaded from 024.136.113.202 on December 13, 2017 10:53:41 AM All use subject to University of Chicago Press Terms and Conditions (http://www.journals.uchicago.edu/t-and-c). American Art SummerFall 2017 2017 • 31/3 • 31/2 University of Chicago Press $20 $20 $20 $20 USA USA USA USA 1073-9300(201723)31:3;1-T 1073-9300(201723)31:3;1-T 1073-9300(201723)31:3;1-T 1073-9300(201723)31:3;1-T reform reform reform reform cameras cameras cameras cameras “prints” “prints” “prints” “prints” and and and and memory memory memory memory playground playground playground playground of of of Kent’s of Kent’s Kent’s Kent’s guns, guns, guns, guns, abolitionism abolitionism abolitionism abolitionism art art art art and and and and the the the the Rockwell literary Rockwell Rockwell literary literary Rockwell issue literary issue issue issue Group, and Group, and Group, and Group, and in in in in this this this this Homer—dogs, Homer—dogs, Homer—dogs, Place Homer—dogs, Place Place Place In In In In nostalgia Park nostalgia nostalgia Park Park nostalgia Park Duncanson’s Duncanson’s Duncanson’s Duncanson’s Christenberry the Christenberry S. Christenberry the S. the S. Christenberry the S. Winslow Winslow Winslow Winslow with with with with Robert Robert Robert Robert Suvero, Suvero, Suvero, Suvero, William William William William di di di Technological di Technological Technological Technological Hunting Hunting Hunting Hunting Mark Mark Mark Mark Kinetics of Liberation in Mark di Suvero’s Play Sculpture Melissa Ragain Let’s begin with a typical comparison of a wood construction by Mark di Suvero with one of Tony Smith’s solitary cubes (fgs. -
The Philip Glass Ensemble in Downtown New York, 1966-1976 David Allen Chapman Washington University in St
Washington University in St. Louis Washington University Open Scholarship All Theses and Dissertations (ETDs) Spring 4-27-2013 Collaboration, Presence, and Community: The Philip Glass Ensemble in Downtown New York, 1966-1976 David Allen Chapman Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/etd Part of the Music Commons Recommended Citation Chapman, David Allen, "Collaboration, Presence, and Community: The hiP lip Glass Ensemble in Downtown New York, 1966-1976" (2013). All Theses and Dissertations (ETDs). 1098. https://openscholarship.wustl.edu/etd/1098 This Dissertation is brought to you for free and open access by Washington University Open Scholarship. It has been accepted for inclusion in All Theses and Dissertations (ETDs) by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Department of Music Dissertation Examination Committee: Peter Schmelz, Chair Patrick Burke Pannill Camp Mary-Jean Cowell Craig Monson Paul Steinbeck Collaboration, Presence, and Community: The Philip Glass Ensemble in Downtown New York, 1966–1976 by David Allen Chapman, Jr. A dissertation presented to the Graduate School of Arts and Sciences of Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 2013 St. Louis, Missouri © Copyright 2013 by David Allen Chapman, Jr. All rights reserved. CONTENTS LIST OF FIGURES .................................................................................................................... -
Marian Goodman Gallery Robert Smithson
MARIAN GOODMAN GALLERY ROBERT SMITHSON Born: Passaic, New Jersey, 1938 Died: Amarillo, Texas, 1973 SELECTED SOLO EXHIBITIONS 2018 Robert Smithson: Time Crystals, University of Queensland, BrisBane; Monash University Art Museum, MelBourne 2015 Robert Smithson: Pop, James Cohan, New York, New York 2014 Robert Smithson: New Jersey Earthworks, Montclair Museum of Art, Montclair, New Jersey 2013 Robert Smithson in Texas, Dallas Museum of Art, Dallas, Texas 2012 Robert Smithson: The Invention of Landscape, Museum für Gegenwartskunst Siegen, Unteres Schloss, Germany; Reykjavik Art Museum, Reykjavik, Iceland 2011 Robert Smithson in Emmen, Broken Circle/Spiral Hill Revisited, CBK Emmen (Center for Visual Arts), Emmen, the Netherlands 2010 IKONS, Religious Drawings and Sculptures from 1960, Art Basel 41, Basel, Switzerland 2008 Robert Smithson POP Works, 1961-1964, Art Kabinett, Art Basel Miami Beach, Miami, Florida 2004 Robert Smithson, Museum of Contemporary Art, Los Angeles, California; Dallas Museum of Art, Dallas, Texas; Whitney Museum of American Art, New York, New York 2003 Robert Smithson in Vancouver: A Fragment of a Greater Fragmentation, Vancouver Art Gallery, Canada Rundown, curated by Cornelia Lauf and Elyse Goldberg, American Academy in Rome, Italy 2001 Mapping Dislocations, James Cohan Gallery, New York 2000 Robert Smithson, curated by Eva Schmidt, Kai Voeckler, Sabine Folie, Kunsthalle Wein am Karlsplatz, Vienna, Austria new york paris london www.mariangoodman.com MARIAN GOODMAN GALLERY Robert Smithson: The Spiral Jetty, organized -
The Image and Imagination of the Fourth Dimension in Twentieth-Century Art and Culture
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by UT Digital Repository 7KH,PDJHDQG,PDJLQDWLRQRIWKH)RXUWK'LPHQVLRQLQ7ZHQWLHWK&HQWXU\ $UWDQG&XOWXUH /LQGD'DOU\PSOH+HQGHUVRQ &RQILJXUDWLRQV9ROXPH1XPEHUV:LQWHUSS $UWLFOH 3XEOLVKHGE\-RKQV+RSNLQV8QLYHUVLW\3UHVV '2,FRQ )RUDGGLWLRQDOLQIRUPDWLRQDERXWWKLVDUWLFOH KWWSVPXVHMKXHGXDUWLFOH Access provided by The University Of Texas at Austin, General Libraries (30 Aug 2016 16:41 GMT) The Image and Imagination of the Fourth Dimension in Twentieth-Century Art and Culture Linda Dalrymple Henderson University of Texas at Austin Abstract: One of the most important stimuli for the imaginations of modern artists in the twentieth century was the concept of a higher, unseen fourth dimension of space. An outgrowth of the n-dimensional geom- etries developed in the nineteenth century, the concept predated the definition of time as the fourth dimension by Minkowski and Einstein in relativity theory. Only the popularization of relativity theory after 1919 brought an end to the widespread public fascination with the supra-sensible fourth dimension between the 1880s and 1920s. Ini- tially popularized by figures such as E. A. Abbott, Charles Howard Hin- ton, Claude Bragdon, and P. D. Ouspensky (as well as science-fiction writers), the fourth dimension was a multivalent term with associa- tions ranging from science, including X-rays and the ether of space, to idealist philosophy and mystical “cosmic consciousness.” This essay focuses on the differing approaches to higher spatial dimensions in the cubism of Pablo Picasso and Juan Gris, the suprematism of Ka- zimir Malevich, and The Large Glass project of Marcel Duchamp in the early twentieth century. -
EVA HESSE Born in Hamburg/D, on January 11, 1936 Studied At
EVA HESSE Born in Hamburg/D, on January 11, 1936 Studied at Cooper Union, New York, 1954-57 Received a Yale-Norfolk Fellowship, 1957 Studied at Yale University, New Haven CT, 1959 Died in New York, on May 29, 1970 Solo Exhibitions 2006 Walker Art Center, 'Eva Hesse Drawing', Minneapolis MN MOCA Museum of Contemporary Art, 'Eva Hesse Drawing', Los Angeles CA Menil Collection, 'Eva Hesse Drawing', Houston TX, cur. By Catherine de Zegher, Elisabeth Sussmann [travels to: The Drawing Center, New York; Los Angeles Museum of Contemporary Art, Los Angeles CA] The Jewish Museum, 'Eva Hesse: Sculpture', New York NY 2004 Kukje Gallery, 'Eva Hesse Transformations – The Sojourn in Germany 1964/65', Seoul/KR Hauser & Wirth, 'Eva Hesse Transformationen – Die Zeit in Deutschland 1964/65/ Transformations – The Sojourn in Germany 1964/65', Zurich/CH Kunsthalle Wien, 'Eva Hesse Transformationen – Die Zeit in Deutschland 1964/65/ Transformations – The Sojourn in Germany 1964/65', Vienna/AT 2003 Gallery Paule Anglim, San Francisco CA 2002 San Francisco Museum of Modern Art, 'Eva Hesse Retrospective', San Francisco CA Museum Wiesbaden, 'Eva Hesse Retrospective', Wiesbaden/DE Tate Modern, 'Eva Hesse Retrospective', London/GB 1998 Robert Miller Gallery, 'Black and white Paintings on paper from the Estate of Eva Hesse', New York NY 1996 Robert Miller Gallery, 'Eva Hesse: Dream Portraits, Paintings from 1960-61', New York NY Wexner Center for the Arts, Ohio State University,'Eva Hesse: Area', Columbus OH Robert Miller Gallery, 'Eva Hesse: Gouaches', New York NY -
Rethinking Minimalism: at the Intersection of Music Theory and Art Criticism
Rethinking Minimalism: At the Intersection of Music Theory and Art Criticism Peter Shelley A dissertation submitted in partial fulfillment of requirements for the degree of Doctor of Philosophy University of Washington 2013 Reading Committee Jonathan Bernard, Chair Áine Heneghan Judy Tsou Program Authorized to Offer Degree: Music Theory ©Copyright 2013 Peter Shelley University of Washington Abstract Rethinking Minimalism: At the Intersection of Music Theory and Art Criticism Peter James Shelley Chair of the Supervisory Committee: Dr. Jonathan Bernard Music Theory By now most scholars are fairly sure of what minimalism is. Even if they may be reluctant to offer a precise theory, and even if they may distrust canon formation, members of the informed public have a clear idea of who the central canonical minimalist composers were or are. Sitting front and center are always four white male Americans: La Monte Young, Terry Riley, Steve Reich, and Philip Glass. This dissertation negotiates with this received wisdom, challenging the stylistic coherence among these composers implied by the term minimalism and scrutinizing the presumed neutrality of their music. This dissertation is based in the acceptance of the aesthetic similarities between minimalist sculpture and music. Michael Fried’s essay “Art and Objecthood,” which occupies a central role in the history of minimalist sculptural criticism, serves as the point of departure for three excursions into minimalist music. The first excursion deals with the question of time in minimalism, arguing that, contrary to received wisdom, minimalist music is not always well understood as static or, in Jonathan Kramer’s terminology, vertical. The second excursion addresses anthropomorphism in minimalist music, borrowing from Fried’s concept of (bodily) presence. -
+ Public Art Tour
Corlears Hook Corlears J a c k s o n S t r e e PUBLIC ART TOUR t e o r n o M + Park Fish lton lton Hami E 10th St. St. 10th E E 6th St. E 14th St. 14th E E Houston St. St. Houston E Park Thomas Jefferson Jefferson Thomas Carl Schurz Park Schurz Carl a nel z la d d n a l l un P T Ho k r a P Seward Park Tompkins Square Tompkins E 20th St. 20th E St. Canal E 72nd St. St. 72nd E E 56th 56th E E 61st 61st E ASTOR PL. REST STOP Park Roosevelt D. Sara FOLEY SQ. REST STOP Square Chatham E 51st St. St. 51st E UPTOWN REST STOP St. 42nd E Park 52nd St. & Park Ave. Astor Pl. & Lafayette Square St.Stuyvesant Duane St. & Centre St. 35 39 36 Street Lafayette Square 8 Foley 4 Park 34 40 41 42 43 2 Gramercy LAFAYETTE ST. BROADWAY 37 44 45 46 47 48 PARK ROW 6 9 11 12 13 14 16 17 18 19 26 32 PARK AVE. PARK AVE. Park Square Union BROADWAY 49 50 51 52 5 7 27 28 10 20 29 30 31 38 Park Battery 21 22 23 E 51st St. St. 51st E E 61st St. St. 61st E 3 St. 34th E E 56th St. St. 56th E 24 25 E 42nd St. St. 42nd E E 14th St. 14th E 1 St. 20th E SOHO REST STOP Bryant Park Bryant Rotary St. John's John's St. -
9. About Strategies of Sonic Control and Inter Reaction 26
2. Jonathan Sterne, Urban ....... Media and the Politics of 1. Editorial John Heymans 2 Sound Space (p. 6) 3. Ulrich Loock, Times Square Max Neuhaus’s Sound 2. Quietscapes; Noise, Silence and Work in New York City (p. 82) ReDesigning the Public Sonosphere 4. LIGNA, The Future of Radio Art A Monolougue Julian H. Scaff ................ 4 (p. 110) Caroline Basset, ‘How May Movements?’ Mobile Tele- phones and Transformations 3. You Write Like Radiowaves; in Urban Space (p. 38) Alex de Jong and Marc Footnotes for An Article Schuilenburg, The Audio Hallucinatory Spheres of the ............. City A Pop Analysis of the Sonia Ribeiro 4-29 Urbanization process (p. 19) Ulrich Loock, Times Square Max Neuhaus’s Sound Work 4. Transformations of Species of in New York City (p. 91) LIGNA, The Future of Spaces Iris Tenkink ........... 8 Radio Art A Monologue for a Broadcast Voice: (p. 111) Dirk van Weelden, The Multiplication of the Street 5. Always a Combination of Pri- New Impulses for Radio vate and Public; Justin Bennett (p. 73) LIGNA, Dial the Signals on Field Recordings and City Maps (p. 120) Ulrich Loock, Times Square Max Neuhaus’s Sound Work Dagmar Kriegesmann......12 in New York City ( p. 82) Mark Bain, Psychosonics and the Modulation of Public 6. Radio Becoming Art Space (p. 100) Huib Haye van der Werk, Sarah Washington ............. 18 Radiodays An Iquiry into an Aural Space (p.124) 7. Where is Radio Art? Knut Aufermann................ 20 8. Dear Max Marrianne Viero .... 11, 19, 28-29 9. About Strategies of Sonic Control and Inter Reaction Idan Hayosh ................. -
A Battle Between Moral Rights and Freedom of Expression: How Would Moral Rights Empower the "Charging Bull" Against the "Fearless Girl"?
THE JOHN MARSHALL REVIEW OF INTELLECTUAL PROPERTY LAW A BATTLE BETWEEN MORAL RIGHTS AND FREEDOM OF EXPRESSION: HOW WOULD MORAL RIGHTS EMPOWER THE "CHARGING BULL" AGAINST THE "FEARLESS GIRL"? TZU-I LEE ABSTRACT The Fearless Girl statue that stands in front of the iconic Charging Bull sculpture in Manhattan’s Financial District has drawn attention since an investment company first installed her for International Women’s Day in 2017. The Fearless Girl alters the context and meaning of the Charging Bull to a symbol of gender oppression in the workplace and provokes tensions between copyright and freedom of speech. The Fearless Girl also leads to a scene where a small girl funded by Wall Street is standing up a large bull created by an artist with his own money. This comment discusses how artists can rely on “moral rights” in preventing their works from intentional distortions like the Fearless Girl case under the Visual Artists Rights Act (VARA). With the reputational externalities and the freedom of expression theories, this comment proposes that VARA should extend to protect against objectionable contextual modification of a work of art. The clear global trend is towards greater recognition of artist’s moral rights for a broad range of protection. The protection against objectionable contextual modification also reveals unequal power relations and empowers artists in the complexities of cultural production and consumption under globalization. The contextual protection is valuable for the artist and the public interest. Copyright © 2018 The John Marshall Law School Cite as Tzu-I Lee, A Battle Between Moral Rights and Freedom of Expression: How Would Moral Rights Empower the "Charging Bull" Against the "Fearless Girl"?, 17 J. -
American Sculptor Paul Manship Celebrated at the Addison Gallery of American Art
American Sculptor Paul Manship Celebrated At the Addison Gallery of American Art Exhibition Debuts New Series of Works by Photographers Barbara Bosworth, Justin Kimball, S. Billie Mandle, and Abelardo Morell Andover, Massachusetts (July 26, 2018)—Exploring notions of place in American art throughout its 2018– 2019 program, this fall the Addison Gallery of American Art will open From Starfield to MARS: Paul Manship and his Artistic Legacy. The exhibition examines the work and influence of Paul Manship (1885– 1966) through two interconnected components: Art Deco at Andover considers the Addison's historic connection with the prominent early 20th-century sculptor Paul Manship, while Starfield through Contemporary Lenses presents the work of four artists-in-residence at the Manship Artists Residency + Studios (MARS) program established this year in Gloucester, Massachusetts. MARS is being developed as an international, interdisciplinary artists’ residency at Manship’s former summer home and studio, which he dubbed Starfield, to create new works inspired by the artist and his estate. The first class of artists-in-residence were selected by Addison curator Allison N. Kemmerer, and include acclaimed Massachusetts-based photographers Barbara Bosworth, Justin Kimball, S. Billie Mandle, and Abelardo Morell, who bring individual perspectives and aesthetic approaches to interpreting Manship’s estate and archives. These artists will also participate in the Addison’s fall 2018 Edward E. Elson Artist-in-Residence program, collaborating with students and faculty at Phillips Academy and area public schools on projects inspired by the exhibition. From Starfield to MARS: Paul Manship and his Artistic Legacy is on view from September 15, 2018 through January 20, 2019.