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The Artist and the American Land
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sheldon Museum of Art Catalogues and Publications Sheldon Museum of Art 1975 A Sense of Place: The Artist and the American Land Norman A. Geske Director at Sheldon Memorial Art Gallery, University of Nebraska- Lincoln Follow this and additional works at: https://digitalcommons.unl.edu/sheldonpubs Geske, Norman A., "A Sense of Place: The Artist and the American Land" (1975). Sheldon Museum of Art Catalogues and Publications. 112. https://digitalcommons.unl.edu/sheldonpubs/112 This Article is brought to you for free and open access by the Sheldon Museum of Art at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Sheldon Museum of Art Catalogues and Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. VOLUME I is the book on which this exhibition is based: A Sense at Place The Artist and The American Land By Alan Gussow Library of Congress Catalog Card Number 79-154250 COVER: GUSSOW (DETAIL) "LOOSESTRIFE AND WINEBERRIES", 1965 Courtesy Washburn Galleries, Inc. New York a s~ns~ 0 ac~ THE ARTIST AND THE AMERICAN LAND VOLUME II [1 Lenders - Joslyn Art Museum ALLEN MEMORIAL ART MUSEUM, OBERLIN COLLEGE, Oberlin, Ohio MUNSON-WILLIAMS-PROCTOR INSTITUTE, Utica, New York AMERICAN REPUBLIC INSURANCE COMPANY, Des Moines, Iowa MUSEUM OF ART, THE PENNSYLVANIA STATE UNIVERSITY, University Park AMON CARTER MUSEUM, Fort Worth MUSEUM OF FINE ARTS, BOSTON MR. TOM BARTEK, Omaha NATIONAL GALLERY OF ART, Washington, D.C. MR. THOMAS HART BENTON, Kansas City, Missouri NEBRASKA ART ASSOCIATION, Lincoln MR. AND MRS. EDMUND c. -
Leap Before You Look: Black Mountain
Reviews 1. Exhibition travelled to LEAP BEFORE YOU LOOK: BLACK MOUNTAIN COLLEGE 1933–1957, the Hammer Museum, Los Angeles, CA INSTITUTE OF CONTEMPORARY ART, BOSTON, 10 OCTOBER 2015– (21 February–15 May 24 JANUARY 20161 2016) and the Wexner Center for the Arts, Columbus, Ohio (17 Reviewed by Johanna Gosse, Columbia University September 2016– 1 January 2017). What is an exhibition? Is it a machine for generating experience? Or rather, is it a specific medium, equipped with its own inherent logic, or to borrow Clement Greenberg’s famous phrase, a ‘unique and proper area of compe- tence’? Leap Before You Look: Black Mountain College, 1933–1957, organized by the Institute of Contemporary Art (ICA) in Boston, offers an opportunity to reconsider what an exhibition is, and, more to the point, what it can be expected to do. Black Mountain College was a short-lived experiment in liberal arts educa- tion located near Asheville, North Carolina. Though the school shut down in 1957, it has since achieved mythical status as a home-grown American avant- garde utopia. During its near quarter-century of existence, the College was host to catalytic encounters between an international cast of artists, writers and thinkers, many of whom influenced or directly participated in what Allan Kaprow called ‘the alchemies of the 1960s’ (1958). As a result, the name ‘Black Mountain’ refers not so much to a specific time and place or cohesive style, but rather, to an illustrious list of faculty and alumni who collectively have exerted a disproportionate influence on post-war American art. Beyond its influential diaspora, the College’s broader legacy (and its persistent utopian myth) is rooted in the communal ethos and intersecting practices that char- acterized campus life: experiential learning, interdisciplinary collaboration, the work programme, direct democracy, and the opportunity to create art in relative freedom from market pressures. -
Black Mountain College As a Form of Life Lyubov Bugaeva
BLACK MOUNTAIN COLLEGE AS A FORM OF LIFE Education as Experience Lyubov Bugaeva Saint-Petersburg State University [email protected] Pragmatist ideas that were shaped and employed in unique practices of teaching and organizing students’ life ABSTRACT: The paper focuses on a unique experiment in in Black Mountain College came from several sources – education that was realized in Black Mountain College (North Carolina) in 1933–1957 and seeks to find answers directly from John Dewey’s writings, and indirectly chan- to a number of questions. What connects the notions of neled through John Andrew Rice and Josef Albers. In the democracy, education, and the arts? To what extent is Dewey’s version of pragmatism, known as instrumental- 1930s John Dewey visited the College on several occa- ism, applicable to education in the arts? And finally, what sions. In 1936 he was elected a member of the Advisory makes Black Mountain College a revolutionary experiment in education, the importance and memory of which con- Council of Black Mountain College and served for three siderably outlasts its less than a quarter of a century exist- years, and in 1939 was re-elected for the next term. The ence? library comprised many of Dewey’s writings donated by Keywords: Black Mountain College, John Andrew Rice, the author during his visits. Dewey attended classes, Joseph Albers, John Dewey, progressive education, art, advised on the curriculum, and enjoyed formal and democracy, democratic man informal communication with students and faculty, who had meals and extracurricular activities together. In a “The democratic man, we said, must be an artist” letter to Myrtle B. -
Josef Albers: Josef Albers: to Open Eyes Para Abrir Ojos
BRENDA DANILOWITZ BRENDA DANILOWITZ Josef Albers: Josef Albers: To Open Eyes Para abrir ojos To coincide with an exhibition of Josef Albers’s Para corresponder con la apertura de una exhibi- paintings opening at the Chinati Foundation ción de pinturas de Josef Albers en la Fundación in October 2006, the following pages feature Chinati este octubre, incluimos a continuación un an excerpt from Brenda Danilowitz’s essay in extracto del libro Josef Albers: To Open Eyes por Josef Albers: To Open Eyes, a study of Albers Brenda Danilowitz, un estudio de Albers como as teacher, and essays on the artist written by maestro, y ensayos sobre el artista escritos por Donald Judd over a 30-year period. Donald Judd a lo largo de treinta años. At the very moment Josef and Anni En el preciso momento cuando Josef y Albers found themselves unable to Anni Albers ya no podían imaginar su imagine their future in Germany, the futuro en Alemania, llegó la oferta de offer of a teaching position at Black una cátedra en la Universidad Black Mountain College arrived. This sur- Mountain. Esta sorprendente invitación, prising invitation, which came in the en forma de un telegrama mandado form of a telegram from Philip John- por Philip Johnson, director del nuevo son, then head of the fledgling de- Departamento de Arquitectura y Diseño partment of architecture and design del Museo de Arte Moderno de Nueva at New York’s Museum of Modern York, fue una consecuencia fortuita de Art, was an unintended consequence tres acontecimientos: la dimisión de of three events: John Andrew Rice’s John Andrew Rice de Rolins College en resignation from Rollins College in Winter Park, Florida, los concomitantes Winter Park, Florida; the attendant despidos y dimisiones solidarias de un dismissals and sympathetic resigna- grupo de colegas de Rice, y el estable- the curriculum] was natural to me. -
Not for the Uncommitted: the Alliance of Figurative Artists, 1969–1975 By
Not for the Uncommitted: The Alliance of Figurative Artists, 1969–1975 By Emily D. Markert Submitted in partial fulfillment of the requirements for the degree Master of Arts in Curatorial Practice California College of the Arts April 22, 2021 Not for the Uncommitted: The Alliance of Figurative Artists, 1969–1975 Emily Markert California College of the Arts 2021 From 1969 through the early 1980s, hundreds of working artists gathered on Manhattan’s Lower East Side every Friday at meetings of the Alliance of Figurative Artists. The art historical canon overlooks figurative art from this period by focusing on a linear progression of modernism towards medium specificity. However, figurative painters persisted on the periphery of the New York art world. The size and scope of the Alliance and the interests of the artists involved expose the popular narrative of these generative decades in American art history to be a partial one promulgated by a few powerful art critics and curators. This exploration of the early years of the Alliance is divided into three parts: examining the group’s structure and the varied yet cohesive interests of eleven key artists; situating the Alliance within the contemporary New York arts landscape; and highlighting the contributions women artists made to the Alliance. Keywords: Post-war American art, figurative painting, realism, artist-run galleries, exhibitions history, feminist art history, second-wave feminism Acknowledgments and Dedication I would foremost like to thank the members of my thesis committee for their support and guidance. I am grateful to Jez Flores-García, my thesis advisor, for encouraging rigorous and thoughtful research and for always making time to discuss my ideas and questions. -
An Oral Interpretation Script Illustrating the Influence
379 AN ORAL INTERPRETATION SCRIPT ILLUSTRATING THE INFLUENCE ON CONTEMPORARY AMERICAN POETRY OF THE THREE BLACK MOUNTAIN POETS: CHARLES OLSON, ROBERT CREELEY, ROBERT DUNCAN THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF SCIENCE By H. Vance James, B.A. Denton, Texas August, 1981 J r James, H. Vance, An Oral Interpretation Script Illustrating the Influence on Contemporary American Poetry of the Three Black Mountain Poets: Charles Olson, Robert Creeley, Robert Duncan. Master of Science (Speech Communication and Drama), August, 1981, 87 pp., bibliography, 23 titles. This oral interpretation thesis analyzes the impact that three poets from Black Mountain College had on contemporary American poetry. The study concentrates on the lives, works, poetic theories of Charles Olson, Robert Creeley, and Robert Duncan and culminates in a lecture recital compiled from historical data relating to Black Mountain College and to the three prominent poets. @ 1981 HAREL VANCE JAMES All Rights Reserved TABLE OF CONTENTS Page LIST OF ILLUSTRATIONS . iv Chapter I. INTRODUCTION . 1 History of Black Mountain College Purpose of the Study Procedure II. BIOGRAPHICAL INFORMATION . 12 Introduction Charles Olson Robert Creeley Robert Duncan III. ANALYSIS . 31 IV. LECTURE RECITAL . 45 The Black Mountain Poets: Charles Olson, Robert Creeley, Robert Duncan "These Days" (Olson) "The Conspiracy" (Creeley) "Come, Let Me Free Myself" (Duncan) "Thank You For Love" (Creeley) "The Door" (Creeley) "Letter 22" (Olson) "The Dance" (Duncan) "The Awakening" (Creeley) "Maximus, To Himself" (Olson) "Words" (Creeley) "Oh No" (Creeley) "The Kingfishers" (Olson) "These Days" (Olson) APPENDIX . -
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Studi di estetica, anno XLVII, IV serie, 3/2019 ISSN 0585-4733, ISSN digitale 1825-8646, DOI 10.7413/18258646102 David A. Granger1 The legacy of John Dewey’s Art as experience: from Black Mountain College to “happenings” Abstract This is a companion piece to an article in a previous issue of the journal that offered an overview of the contrasts between John Dewey’s naturalistic aes- thetics, primarily as presented in his classic work Art as experience, and the more formalist aesthetics of art collector, philanthropist and educator Albert Barnes. This contrast was then used to explore and explain their disparate compatibilities and relationships with the pioneering work of the iconic 20th century American artists Thomas Hart Benton and Jackson Pollock. The cur- rent article does the same with respect to the avant-garde art and artistic legacy of the members of the creative community who lived and worked at Black Mountain College in North Carolina. As with the previous article, this examination ultimately underscores both the genuine catholicity of Dewey’s aesthetics and its deep roots in the endless meaning-making possibilities of everyday experience. The article then concludes with a brief discussion of the educational implications of these findings for our thinking about Dewey in the context of art and aesthetic education. Keywords Dewey, Aesthetics, Art education Dedicated to my mother, Julia Merriwether Arnold 1. Introduction There is perhaps no more intriguing aspect of John Dewey’s personal and professional life than his over thirty-year friendship with the in- imitable art collector, philanthropist and educator Albert Barnes. -
ASIAN SYMPHONIES a Discography of Cds and Lps Prepared By
ASIAN SYMPHONIES A Discography Of CDs And LPs Prepared by Michael Herman Edited by Stephen Ellis KOMEI ABE (1911-2006, JAPAN) Born in Hiroshima. He studied the cello with Heinrich Werkmeister at the Tokyo Music School and then studied German-style harmony and counterpoint with Klaus Pringsheim, a pupil of Gustav Mahler, as well as conducting with Joseph Rosenstock. Later, he was appointed music director of the Imperial Orchestra in Tokyo, and the musicians who played under him broadened his knowledge of traditional Japanese Music. He then taught at Kyoto's Elizabeth Music School and Municipal College of the Arts. He composed a significant body of orchestral, chamber and vocal music, including a Symphony No. 2 (1960) and Piccolo Sinfonia for String Orchestra (1984). Symphony No. 1 (1957) Dmitry Yablonsky/Russian National Philharmonic ( + Sinfonietta and Divertimento) NAXOS 8.557987 (2007) Sinfonietta for Orchestra (1964) Dmitry Yablonsky/Russian National Philharmonic ( + Sinfonietta and Divertimento) NAXOS 8.557987 (2007) NICANOR ABELARDO (1896-1934, PHILIPPINES) Born in San Miguel, Bulacan. He studied at the University of the Philippines Diliman Conservatory of Music, taking courses under Guy Fraser Harrison and Robert Schofield. He became head of the composition department of the conservatory in 1923. He later studied at the Chicago Musical College in 1931 under Wesley LaViolette. He composed orchestral and chamber works but is best-known for his songs. Sinfonietta for Strings (1932) Ramon Santos/Philippine Philharmonic Orchestra UNIVERSITY OF THE PHILIPPINES PRESS (2004) YASUSHI AKUTAGAWA (1925-1989, JAPAN) He was born in the Tabata section of Tokyo. He was taught composition by Kunihiko Hashimoto and Akira Ifukube at the Tokyo Conservatory of Music. -
Print ED356702.TIF
DOCUMENT RESUME ED 356 702 HE 026 357 AUTHOR Townsend, Barbara K.; And Others TITLE Creating Distinctiveness: Lessons from Uncommon Colleges and Universities. ASHE-ERIC Higher Education Report No. 6, 1992. INSTITUTION Association for the Study of Higher Education.; ERIC Clearinghouse on Higher Education, Washington, D.C.; George Washington Univ., Washington, DC. School of Education and Human Development. SPONS AGENCY Office of Educational Research and Improvement (ED), Washington, DC. REPORT NO ISBN-1-878380-19-2; ISSN-0884-0040 PUB DATE 92 CONTRACT RI88062014 NOTE 110p. AVAILABLE FROMPublications Department, ASHE-ERIC Higher Education Reports, The George Washington University, One Dupont Circle, N.W., Suite 630, Washington, DC 20036-1186 (Single copy prices, including 4th class postage and handling, are $17 regular and $12.75 for members of AERA, AAHE, AIR, and ASHE). PUB TYPE Information Analyses ERIC Clearinghouse Products (071) EDRS PRICE MF01/PC05 Plus Postage. DESCRIPTORS *Colleges; Differences; *Educational Innovation; Governance; Higher Education; *Institutional Mission; Institutional Survival; Models; Organizational Change; *School Based Management; School Policy; *Specialization; Undergraduate Study; *Universities; Values ABSTRACT Distinctive colleges and universities, as opposed to the great majority which fit into a more or less standardized mold, possess a unifying theme or vision which is expressed in all their activities. They often respond to newly emerging societal or community needs unmet by existing colleges and universities; they challenge conventional ideas about higher education and inspire greater engagement by students and faculty in undergraduate education. However, distinctiveness can also limit the institution to a very small market niche as well as sometimes making it more difficult for it to adapt to the changes necessary for survival. -
Download Issue 43
Issue 43 / 2019 Notes on Curating www.oncurating.org Revisiting Black Mountain Cross-Disciplinary Experiments and Their Potential for Democratization Contributions by Caroline Adler, Sascia Bailer, Lucy Bayley, Paolo Bianchi, Johanna Bruckner, Annemarie Bucher, Boris Buden, Brandon Farnsworth, Simon Fleury, Jeanne van Heeswijk, Martin Jaeggi, Andres Janser, Gilly Karjevsky, Susanne Kennedy, Ronald Kolb, Ronny Koren, Jochen Kiefer, Steven Henry Madoff, Mieke (Annemarie) Matzke, Daniel Späti, Raqs Media Collective, Dorothee Richter, Olga von Schubert, Bitten Stetter, Cornelia Sollfrank, Asli Uludag Contents Revisiting Black Mountain 2 64 Editorial Ambiguous Dramaturgies Dorothee Richter, Ronald Kolb and Crude Curation Jochen Kiefer 8 An E-mail Conversation on the Background of 67 the Revisiting Black Mountain Project at ZHdK Utopian Form of Communication with Bitten Stetter, Brandon Farnsworth, An Interview with Dorothee Richter, Jochen Kiefer, Martin Jaeggi, Mieke (Annemarie) Matzke, She She Pop Paolo Bianchi asked by Ronald Kolb 73 17 The Infinite Game of Becoming Revisiting Black Mountain × Museum Susanne Kennedy für Gestaltung Zürich Andres Janser 80 “We have created a parody of these 20 austere rituals which didn’t exist Shared Campus in the past”: Revisiting Music Education Daniel Späti Brandon Farnsworth 23 86 Black Mountain: Terra Vague: Pedagogy of the Hinge Against the Ghosts of Land Steven Henry Madoff Johanna Bruckner 35 93 Revisiting Black Mountain College. New Alphabet School Teaching to Transgress (Haus der Kulturen der Welt: -
Rendering Rhythm and Motion in the Art Of
A Lasting Imprint Rendering Rhythm and Motion in the Art of Black Mountain College Movement and music—both time-based activities—can be difficult to express in static media such as painting, drawing, and photography, yet many visual artists feel called to explore them. Some are driven to devise new techniques or new combinations of media in order to capture or suggest movement. Similarly, some visual artists utilize elements found in music—rhythms, patterns, repetitions, and variations—to endow their compositions with new expressive potency. In few places did movement, music, visual arts, and myriad other disciplines intermingle with such profound effect as they did at Black Mountain College (BMC), an experiment in higher education in the mountains of Western North Carolina that existed from 1933 to 1957. For many artists, their introduction to interdisciplinarity at the college resulted in a continued curiosity around those ideas throughout their careers. The works in the exhibition, selected from the Asheville Art Museum’s Black Mountain College Collection, highlight approaches to rendering a lasting imprint of the ephemeral. Artists such as Barbara Morgan and Clemens Kalischer seek to capture the motion of the human form, evoking a sense of elongated or contracted muscles, or of limbs moving through space. Others, like Lorna Blaine Halper or Sewell Sillman, approach the challenge through abstraction, foregoing representation yet communicating an atmosphere of dynamic change. Marianne Preger-Simon’s drawings of her fellow dancers at BMC from summer 1953 are not only portraits but also a dance of pencil on paper, created in the spirit of BMC professor Josef Albers’s line studies as she simultaneously worked with choreographer Merce Cunningham. -
Finding Black Mountain the Spirit of Progressive Education in the 21St Century
FINDING BLACK MOUNTAIN THE SPIRIT OF PROGRESSIVE EDUCATION IN THE 21ST CENTURY A Dissertation by JOHN HENSON Submitted to the Graduate School at Appalachian State University in partial fulfillment of the requirements for the degree of DOCTOR OF EDUCATION December, 2019 Educational Leadership Doctoral Program Reich College of Education FINDING BLACK MOUNTAIN THE SPIRIT OF PROGRESSIVE EDUCATION IN THE 21ST CENTURY A Dissertation by JOHN HENSON December, 2019 APPROVED BY: Dr. Chris Patti, Ph.D Chairperson, Dissertation Committee Dr. Vachel Miller, Ed.D Member, Dissertation Committee Dr. Kim Becnel, Ph.D Member, Dissertation Committee Dr. Vachel Miller, Ed.D Director, Educational Leadership Doctoral Program Dr. Michael McKenzie, Ph.D Dean, Cratis D. Williams School of Graduate Studies Copyright by John Henson 2019 All Rights Reserved Abstract FINDING BLACK MOUNTAIN THE SPIRIT OF PROGRESSIVE EDUCATION IN THE 21ST CENTURY John Henson B.S., Appalachian State University M.Ed., Boston University Ed.D., Appalachian State University Dissertation Committee Chairperson: Dr. Chris Patti This study explores the phenomena of the Black Mountain College Semester (BMCS) as a means to locate the spirit of progressive education in the 21st Century. Through interviews with contemporary faculty who organized and participated in the BMCS, along with document analysis of texts related to the history and legacy of the BMC, this research seeks to identify effective strategies for cultivating innovation, creativity, and community in the classrooms of today and tomorrow. Using a thematic analysis of interviews and historical texts, this study illuminates the values that past and present educators hold as sacred, and the ways in which they put those values into practice in their classrooms.