Joseph Glasco
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The Cultural Cold War the CIA and the World of Arts and Letters
The Cultural Cold War The CIA and the World of Arts and Letters FRANCES STONOR SAUNDERS by Frances Stonor Saunders Originally published in the United Kingdom under the title Who Paid the Piper? by Granta Publications, 1999 Published in the United States by The New Press, New York, 2000 Distributed by W. W. Norton & Company, Inc., New York The New Press was established in 1990 as a not-for-profit alternative to the large, commercial publishing houses currently dominating the book publishing industry. The New Press oper- ates in the public interest rather than for private gain, and is committed to publishing, in in- novative ways, works of educational, cultural, and community value that are often deemed insufficiently profitable. The New Press, 450 West 41st Street, 6th floor. New York, NY 10036 www.thenewpres.com Printed in the United States of America ‘What fate or fortune led Thee down into this place, ere thy last day? Who is it that thy steps hath piloted?’ ‘Above there in the clear world on my way,’ I answered him, ‘lost in a vale of gloom, Before my age was full, I went astray.’ Dante’s Inferno, Canto XV I know that’s a secret, for it’s whispered everywhere. William Congreve, Love for Love Contents Acknowledgements .......................................................... v Introduction ....................................................................1 1 Exquisite Corpse ...........................................................5 2 Destiny’s Elect .............................................................20 3 Marxists at -
Opticality and the Work of Morris Louis (1912-1962)
CHAPTER 1 SITUATING MORRIS LOUIS 1912–1962 SITUATING MORRIS LOUIS 1912–1962 Although the work of the Washington–based artist Morris Louis (1912–62) is now discussed alongside some of the most well–known of the American abstract artists of the mid–twentieth century, much of Louis’ mature work, and arguably his most refined, was produced outside of public knowledge. For the majority of Louis’ career his work existed in relative obscurity, particularly in comparison with his contemporaries, artists such as Jackson Pollock (1912–56), Mark Rothko (1903–70) and Clyfford Still (1904–80). Being amongst the first generation of abstract artists in the United States, the newness of his abstract painting depended upon the endorsement of major critics for public appreciation.1 The critical recognition of Louis’ work emerged only with the support of Clement Greenberg in 1960, almost 30 years after he began working as an artist and only two years before his death. The timing of Greenberg’s writing positioned Louis amongst a new generation of artists including Frank Stella (1936 – ), Kenneth Noland (1924 –) and Jules Olitski (1922 –). Audiences were only beginning to appreciate Louis’ work as he entered the last phase of his career, and as such, the representation of Louis’ work only addressed a small period of his career. The limited exposure of Louis’ paintings prior to the early 1960s had major effects upon how his works were interpreted in the decades following his death. Many retrospectives and group exhibitions of Louis’ work came to relate his paintings to the work of younger artists engaging with ‘Colourfield’ abstraction. -
Sonja Sekula and “Art of the Mentally Ill”
American Art | Spring 2021 Vol. 35, No. 1 Smithsonian Institution Published by the University of Chicago Press Sonja Sekula and “Art of the Mentally Ill” Jenny Anger In the early-to-mid-twentieth century, modernist artists were fascinated by what was then called “art of the mentally ill.” There are three nodal points in this history. First, in 1890, the pioneering German psychiatrist Emil Kraepelin began to collect artwork by patients with severe mental illness at the Heidelberg Psychiatric Clinic. Hans Prinzhorn published some of that collection as Bildnerei der Geisteskranken ( Artistry of the Mentally Ill ) in 1922, and many well-known artists, such as Paul Klee, were inspired by the book.1 Second, the sequel to the Museum of Modern Art’s landmark exhibition Cubism and Abstract Art (1936) was Fantastic Art, Dada, Surrealism (also 1936), which included examples of art of the “insane.”2 Third, beginning in 1945, the French artist Jean Dubuffet began to collect what he termed art brut (raw art), uncultured and purportedly pure art by outsiders, including people with mental illness. The collection was on view in the home of the artist Alfonso Ossorio in East Hampton, New York, from 1951 to 1962, when it returned to Paris and was established as the Compagnie de l’art brut. It lives on today as the Collection de l’Art Brut in Lausanne, Switzerland.3 As different as these moments were, they largely shared a psychoanalytic perspec-tive— initially more Freudian, and later, more Jungian.4 The art historian Hal Foster has characterized this long-standing interest in “art of the mentally ill” as a successor to artists’ interest in “primitive” and children’s art: “most modernists saw the art of the mentally ill according to their own ends only—as expressive of an aesthetic essence, revelatory of an innocent vision, or defiant of all convention—and for the most part it was none of these things. -
Masculinity: the Veteran-Artist and Figural Representation in Postwar Chicago, 1946-1959
‘Monster’ Masculinity: The Veteran-Artist and Figural Representation in Postwar Chicago, 1946-1959 Elizabeth Maynard Department of Art History and Communication Studies McGill University, Montreal June 2014 A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Doctor of Philosophy © Elizabeth Maynard, 2014 ii iii Abstract This dissertation examines the formation and milieu of a group of artists working in Chicago after the Second World War, known as the “Monster Roster.” It argues that this group was marginalized in large part because the grotesque and vulnerable bodies often depicted in its artists’ work were incompatible with the dominant trend of abstraction in postwar American art and art history, as well as the national political project of solidifying the United States’ reputation as a powerful, liberating force on the global stage. It also contends that the veteran status of many Monster Roster artists made them suspect subjects in the postwar “crisis of masculinity,” further rendering them inadequate bearers of the avant-garde reputation that was being constructed around New York School artists. This project adds substance and texture to the current conversations about postwar American art by bringing into focus both the marginalized site of Chicago and the virtually unexplored subject-position of the Second World War veteran. Building on important literature that has re-politicized the content and context of Abstract Expressionist artwork, this dissertation elucidates the tensions between the constructions of New York abstraction and Chicago figural representation. These constructions were often erroneously posited as binary opposites during a period in which conversations about art, and its aesthetic and political implications, adopted increasingly strident tones. -
Biographical Dictionary of Kansas Artists (Active Before 1945)
Biographical Dictionary of Kansas Artists (active before 1945) Compiled by Susan V. Craig, Art & Architecture Librarian Univ. of Kansas August 2006 1 This book began with a 1981 reference question about John Noble, a name I did not recognize despite having studied art history and worked as an art librarian for more than 10 years. Learning that John Noble was a Kansas artist, I went looking for the best available book on Kansas art only to learn the resources were few. As a new faculty member at the Univ. of Kansas, I needed to establish a research project so I decided to prepare a dictionary of Kansas artists thus fulfilling both the research requirement and educating myself about the history of the visual arts in my native state; I just didn't intend the project to take 25 years or realize that I would have more than 1750 entries in the dictionary. I began by defining the scope of the work: • "Kansas artist" was loosely defined as artists who were both born in the state as well as artists who were born elsewhere but were artistically active in Kansas. Under this latter definition, I included artists who produced significant artworks such as the murals installed in Kansas post offices. Occasionally, artists who lived or worked primarily in Kansas City, MO may be included. I did not deliberately include all Kansas City artists but neither did I exclude them if the name came from a Kansas source such as the Kansas State Gazetteer. • Another choice I made was to look for artists who were artistically active before 1945. -
Contemporary American Painting and Sculpture
UNIVERSITY OF ILLINOIS LIBRARY AT URBANACHAMPAIGN ARCHITECTURE UNIVSiaiTY OF numti •.T«"^- *!r^" Materialsl The Minimum fee lor NOTICE: Return or renew all Library each Lost Book is $50.00. for The person charging this material is responsible which it was withdrawn its return to the hbrary from below. on or before the Latest Date stamped books are reasons tor discipli- Then, mutilation, and underiining of (rom the University. nary action and may result in dismissal 333-8400 To renew call Telephone Center, URBANA-CHAMPAIGN UNIVERSITY OF ILLINOIS LIBRARY AT iMb .> RKl) TABI.F.CI.OIII Xicholas \"asilirtT Sunday, March 2, through Sunday, T^pril 13, 1952 University of Illinois Exhibition of CONTEMPORT^RY AMERICAN PAINTING Galleries Architecture Building College of Fine and Applied Arts, Urbana THE LIBRARY OF THE MAR 1 1C52 liNiVERSir/ OF ILLI!"OiS Copyright 1952 by the University of Illinois Manufactured in the United States of America /0 7./ ayu*^*^ RICHER IIP'T'^Y ARCiVJICTUflE UUIVEftSlTY Of ILLINOIS University of Illinois Exhibition of CONTEMPORARY AMERICAN PAINTING GEORGE D. STODDT^RD President of the University DEAN REXFORD NEWCOMB Chairman, Festival of Contemporary Arts C. W. Briggs E. C. Rae N. Britsky J. R. Shipley OPERATING COMMITTEE G. N. Foster A. S. Weller J. D. Hogan C. V. Donovan, Chairman L. F. Bailey R. E. Marx E. H. Belts R. Perlman C. E. Bradbury A. J. Pulos STAFF COMMITTEE MEMBERS L. R. Chcsney J. W. Raushenberger C. A. Dietemann F. J. Roos W. F. Doolittle H. A. Schultz R. L. Drummond M. A. Sprague R. A. Ginstrom B. R. -
Joseph Glasco
JOSEPH GLASCO BIOGRAPHY 1925 Born in Paul's Valley, Oklahoma 1931 Moves with family to Tyler, Texas 1942 Studies at University of Texas, Austin 1943 Drafted into United States Army; stationed at Amarillo, Texas 1945 Transferred to infantry; combat duty in Germany After VE Day, enrols at Portsmouth Art School in England 1946 Joins family at new home in Dallas Employed as commercial artist by Dreyfuss Department Store Moves to Los Angeles to study commercial art at Art Center School; transfers to Jepson Art Institute where studies fine art under Rico Lebrun 1948 Moves to San Miguel de Allende, Mexico; studies at School of Painting and Sculpture Moves to Mexico City 1949 Moves to New York City; studies at Art Students League 1950 First one-man exhibition, Perls Galleries, New York Big Sitting Cat purchased by Museum of Modern Art, New York; included in ‘Recent Acquisitions’ exhibition Travels to Paris and Morocco 1951 First one-man exhibition at Catherine Viviano Gallery, New York 1952 Travels to Paris and Amsterdam 1954 Moves to Taos, New Mexico 1955–6 Maintains studios in Taos and New York Travels to Europe 1957 Moves to Bucks County, Pennsylvania 1959 Returns to New York 1963 Moves to Boston 1964–7 Maintains studio in New York; spends extended periods in Greece 1968 Travels widely in Far East 1970 Last exhibition at Catherine Viviano Gallery 1970–2 Begins regular visits to Galveston, Texas Travels widely in United States; extended stays in Dallas, Key West and Cleveland Travels to Canary Islands; stays for eight months 1972 Moves to Galveston, -
Sonja Sekula | Biografie
seit 1950 ______________________________________________________________________________________________ Sonja Sekula | Biografie Ohne Titel, 1958 Gouache, Grattage auf Papier, 65 x 49,9 cm www.galeriehilt.ch © Galerie HILT Basel, 2015/cr © www.galeriehilt.ch – 2015/cr Seite 2 von 16 Sonja Sekula – Biografie tieren: «Ich habe das Töchterchen Frau Sekulas gemalt in Aquarell und angefangen zu modellieren. Das Aqua- 1918 rell ist gut geworden, die Plastik aber geht nicht gut. Das Mädchen sitzt um nichts in der Welt einen Augen- Sonja Sekula wird am 8. April in Luzern geboren als blick ruhig. Ich habe aber bei dieser Gelegenheit einige Tochter von Béla Sekula (1881 – 1966), ungarischer sehr angenehme Stunden mit Frau Sekula verbracht». Staatsangehöriger halbjüdischer Abstammung und Berta (Bertie), geborene Huguenin (1896 – 1980), die 1930 – 1931 aus der gleichnamigen, bekannten Luzerner Café- und Confiserie-Dynastie stammt. Der Vater kam 1913 von Schuljahr in Zuoz. Sie beginnt, ihre Eltern oft auf (Ge- Budapest in die Schweiz und arbeitet, wie seine drei schäfts-)Reisen zu begleiten, so nach Paris, wo Sonja Brüder, als Briefmarkenhändler. die Museen kennenlernt, oder nach Ungarn, wo man Verwandte des Vaters besucht. Seit dem 9. Oktober 1916 verheiratet, mieten die Eltern nach der Geburt Sonjas die 1892 erbaute Villa Sonnen- hof in Luzern. Neben dieser Tochter wohnen im Haus auch zwei ältere Kinder aus der ersten Ehe des Vaters: Karl und Hedy. Die Familie führt einen grossbürgerli- chen Lebensstil, mit Dienstpersonal und vielen Einla- dungen. 1919 Da der Vater oft auf Geschäftsreisen im Ausland ist und sich die Mutter deshalb einsam und allein mit den Kin- dern fühlt, beginnt sie Ende August ein Tagebuch über ihre kleine Tochter zu führen. -
Younger American Painters : a Selection, [Exhibition] May 12 to July 25, 1954
M00eMM<e€m Digitized by the Internet Archive in 2011 with funding from Solomon R. Guggenheim Museum Library and Archives http://www.archive.org/details/youngeramericanpOOswee YOUNGER PAINTERS jtf &/ectnen MA V 12 TO JVV Y 25, 1954 1071 FIFTH AVEXVE, XEW YORK 28, JV. Y. THE SOLOMOX R. GVGGEXHE1M MUSEUM ^J/'/iiieei -_//<" ^Mia/it ^Lone/'-aile (oa/'l u)aitle Cftewa/ct, C/ resident ^Caii/it/ ^r. ^/t/aaen/ieiin, ()/iairinan ol t/ie ^f)oatcd S&liej't (o. zs/tiele, Pice c/resident U/ie (oo/rnteSS (oastle C/Cewawt f t<-i. ^(armi <_!/ . £//tq(ien/ieiin r <Jred ffiatre/t <yMi<S. Jten mi ([/we • i [ptiUa iSle&ait, ^'i/'ector (Dnieritai J/ed/ey & 3§. i/Lfi/ey. JOerH JCtf/jwiiep Younger American Painters is a companion exhibition to the selection Younger European Painters recently shown in the Museum. Actually the tivo exhibitions ivere conceived as a single exhibition without any national distinctions. Lack of space in the present museum galleries made it necessary to divide the show into these two sections. The term "younger"' as in the case of the previous exhibition refers to the youth of the artists' reputations rather than to the age of the artists. The artists included were relatively unknown on a national basis, at any rate in their present style of ivork, previous to the outbreak of W orld W ar II. Like its companion showing. Younger American Painters is essentially a selection and a personal one. It does not pretend to comprehensiveness. Its aim has been to introduce to the New York public icork of quality and pioneering interest by lesser known artists from all quarters of the country, side by side with selected examples of leading younger artists of the Eastern seaboard. -
DMA Annual Report Comp1.Qx
2007–2008 Dallas Museum of Art in Review The Year D ALLAS MUSEUM OF ART 2007–2008 THE YEAR IN REVIEW Dallas Museum of Art On the cover: LOUIS COMFORT TIFFANY, DESIGNER; TIFFANY GLASS AND DECORATING COMPANY, NEW YORK, NEW YORK, MANUFACTURER Window with Starfish (“Spring”) and Window with Sea Anemone (“Summer”) c. 1885–1895, glass, lead, iron, and wooden frame (original), The Eugene and Margaret McDermott Art Fund, Inc., 2008.21.1–2.McD © 2009 Dallas Museum of Art President’s Report . .2 Editors: Bonnie Pitman, Queta Moore Watson, Tamara Wootton-Bonner Director’s Report . .4 Contributors: John R. Eagle, Bonnie Pitman, Tamara Wootton-Bonner, Gail Davitt, Jacqueline Allen, Tracy Bays-Boothe, Carolyn Bess, Susan Diachisin, María Teresa García Pedroche, John Easley, Linda Lipscomb, Pamela Autrey, Marci Driggers Caslin, Eric Zeidler, Carol Griffin, Center for Creative Connections . .8 Elaine Higgins, Yemi Dubale, Liza Skaggs, Jeff Guy, Liz Shipp Contributing Writer: Ellen Hirzy Acquisitions . .16 Copyediting: Queta Moore Watson Loans of Art . .49 Photography and Imaging Services: Giselle Castro-Brightenburg, Brad Flowers, Chad Redmon, Crystal Rosenthal, Neil Sreenan, Jeff Zilm Exhibitions . .50 Pages 66, 67, 76: Photos courtesy Dana Driensky Education . .56 Design: Dittmar Design, Inc./www.dittmardesign.com Printing: Grover Printing, Houston, Texas Development . .64 The Dallas Museum of Art is supported in part by the generosity of Museum members and donors and by the citizens of Dallas through the City of Dallas/Office of Cultural Affairs and the Texas Board of Trustees, Volunteers, and Staff . .80 Commission on the Arts. Audited Financial Information . .88 Additional Financial Information . .102 1717 North Harwood Dallas, Texas 75201 214 922 1200 DallasMuseumofArt.org DALLAS MUSEUM OF ART MISSION STATEMENT We collect, preserve, present, and interpret works of art of the highest quality from diverse cultures and many centuries, including that of our own time. -
A Finding Aid to the Catherine Viviano Gallery Records, 1930-1990, Bulk 1949-1978, in the Archives of American Art
A Finding Aid to the Catherine Viviano Gallery records, 1930-1990, bulk 1949-1978, in the Archives of American Art Joy Weiner September 27, 2010 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 Biographical/Historical note.............................................................................................. 2 Scope and Contents note................................................................................................ 2 Arrangement note............................................................................................................ 3 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 7 Series 1: Artists' Files, 1945-1986........................................................................... 7 Series 2: Correspondence, 1939-1985.................................................................. 17 Series 3: Business Records, 1949-1972................................................................ 67 Series 4: Printed Material, 1930-1990.................................................................. -
Contemporary American Painting and Sculpture 1963
ILLINOIS LIBRARY AT URBANA-CHAMPAIGN ARCHITECTURE Meterielel The Minimum Fee lor NOTICE: Return or renew ell Library each Lost Book Is $50.00. responsible for The person charging this material is from which it was w.thdrawn its return to the library stamped below. on or before the Latest Date books are reasons tor discipli- Theft mutilation, and underlining of dismissal from the Un,vers,ty. nary action and may result in 333-8400 To renew call Telephone Center, LIBRARY AT URBANA-CHAMPAIGN UNIVERSITY OF n I INOIS L161 —O-1096 " R. PERLMAN, O. S. Cover Design: C. V. DONOVAN Catalogue Design: D£ ROOKY] CONTEMPORARY AMERICAN PAINTING AND SCULPTURE 1963 mi OF THE W|AR i 1963 IHMtfcSITY 8f ILUhdiS tile vent It exhibit 'ion of Contemporary American Painting and Sculpture Introduction by Allen S. Weller College of Fine and Applied Arts, University of Illinois, Urbana March 3 through April 7, 1963 Krannert Art Museum University of Illinois Press, Urbana, 1963 CONTEMPORARY (r) Copyright 1963 by the Board of Trustees of the University of Illinois Library of Congress Catalog Card No. A48-340 ' AMERICAN PAINTING AND SCULPTURE DAVID D. HENRY President of the University ALLEN S. WELLER Dean, College of Fine and Applied Arts Chairman, Festival of Contemporary Arts JURY OF SELECTION Muriel B. Christison J. D. Hogan C. V. Donovan, Chairman EXHIBITION COMMITTEE C. W. Briggs F. Gallo O. S. Guy J. D. Hogan R. Perlman J. R. Shipley M. A. Sprague C. V. Donovan, Chairman MUSEUM STAFF C. V. Donovan, Director Muriel B. Christison, Associate Director Berdine Soenksen, Secretary J.