DOCSLIB.ORG

150 a Tremendous Success").2

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
150 a Tremendous Success 150 FIG.4.1 Installation view, Don Judd, Whitney Museum of American Art, New York, 27 FebruarY-24 March 1968 Curator, William C. Agee THE OPENING OF OONALD JUDD'S solo exhibition at catalogue raisonn. designation Untitled rOSS 79] [fig. 4.3]), the Whitney Museum of American Art in 1968 sealed his "As an object, the box was very much there ... Its. whole reputation as a central figure in contemporary art. William purpose seemed to be the declaration of some blunt quid­ C. Agee, the curator, had packed Judd's sheet-metal sculp­ dityand nothing more."'ln the years since, Judd's works tures fairly tightly into what at least one critic described as have likewise appeared "blunt, unambiguous," "completely a warehouselike installation,and the tidy right angles and present," "just existing," and "simply 'there.' "5 Each sculp­ repetitive modularity of the works made a neat match to ture has asserted itself as· "simply another thing in the world the stone tiles and concrete ceUing coffers of the museum's of things."'ln the 1967 essay "Art andObjecthood," which two-year-old Marcel Breuer building (fig. 4.1).' Sitting remains the single most influential account of Minimalism, brightly in the middle of the space, Untitled (OSS 128) (fig. Michael Fried characterized Judd's work (together with that 4.2) exemplified the overall appearance of the exhibition: of Robert Morris and others) as a "literalist art" that insisted a shiny rectangle of amber Plexiglas with a thin and hollow on its own occupation of ordinary space and time? By the stainless.-steel core. Critics conSidering the works were time of the Whitney exhibition, literafist characterizations undecided about their meanings, and their importance. of Judd's work predominated, with one clause becoming Some dismissed the show as empty novelty ("He is about as paradigmatic. Glueck's review appeared under the title "A minimal as can be .... Do you suppose that next year, with Box Is a Box Is a Box," while the anonymous critic at Time the skirts, art will go midi?"), while others lauded it as newly wrote, "For Judd, a box is a box is a box, and nothing more." canonical ("The most important event of the month ... A year later, Rose concluded, "[Thelprincipal statement [of a tremendous success").2 Judd's early Minimalist works] appeared to be the tautology Although the responses plainly lacked any certainty that a box is a box is a box."B over the critical terms in play CArtnews titled their review If we find echoes here of Stuart Preston's declaration, "Judd the Obscure")' a cluster of related phrases appeared in a review of Jasper Joh ns, that "a flashlight is a flashlight again and again. James R. Mellow, writing for the New York is a flashlight," then we should hear an assonance, too, be­ Times; saw Judd's.sculptures as "a matter of brilliant factual­ tween Mellow's understanding of Judd's floor box and John ity," while Jane Harrison Cone emphasized the sculptures' Ashbery's view of White Flag: "It has tremendous-though "inescapable factuality," and Grace Glueck called the works silent-impact. It is there, though for what purpose it would "actual, specific facts- in themselves."3Indeed, critics had be hard to say.'" Despite these critical parallels, the most already been tripping over the factual quality of Judd's work cursory glance at Judd's work makes it clear that his brand for a couple of years. In 1965, Barbara Rose had claimed of literalism, especially after the Minimalist turn of 1964-65, "concreteness and substantial presence" as the "prime is quite different from those of the other artists treated in quality" of Judd's sculpture. In 1966, Lucy Lippard had added this book. Judd's Minimalist sculpture has none of Johns's that "[Judd's] metal and plastic boxes are among the most heft or palpability, none of Rauschenberg's discordance, factual and radically assertive works today," while Mel- none of Oldenburg'S mad mark-making. Instead, it is thin, low had written of an untitled floor box (now known by its serial, often shiny; the artist directly declared that he "didn't 1 I I I I I I I I I I! I I FIG. 4.2 i Donald Judd Untitled (DSS 728), 1968 Stainless steel and Plexiglas, overall 33 x 68 x 48 in. (83·8 x 172.7 x 121.9 em), Whitney Museum of American Art, New York, Purchase, with fu'nds from the Howard and Jean Lipman Foundation, Inc. FIG.4.3 Donald Judd Untitled (DSS 79), 1966 Aluminum, 40 x 72 X 51 in. (101.6 x 182.9 x 129.5 cm) Collection of Judd foundation FIG. 4.4 Donald Judd Untitled (D5555), 1964 Brass and galvanized iron with blue lacquer, 40 '12 X 84 x 6 3/4 in . .(102.9 x 2134 x '7.2 cm) National Gallery of Canada, Ottawa, Purchased 1974 A LOFT WITHOUT LABOR: JUDD 153 want to make just lumps."10 If we wish to unpack what the explanation." It also seems to me a quality that allows the critics might have meant in diagnosing a factuality in Judd's sculptures to speak with a unique fullness to the changes sculpture, we will have to consider the specifics of the case. facing New York at the time, and especially (far more than For one thing, the literalist reception of Judd's work the other artists we have considered) to the rapid transfor­ was complicated from the beginning by ~mother, 'Competing mation'of the city's economy-its shift away from manufac­ strain in the criticism. Take for example Harold Rosenberg's turing and toward the provision of financial S€rvices. 1967 claim that many Minimalist sculptures, even while "affirm(ing] the independent existence of the art object as To be sure, Judd's own statements underscor:ed his antipa­ meaningful in itself' also aimed to "disguise themselves as thy toward representation. Art historians have leaned es­ I ordinary objectsLJ ... to pass as machine or building parts, pecially heavily on Judd's essay "Specific Objects" {"Three as those of two or three years earlier passed as billboards or dimensions are real space. That gets rid of the problem of comic strips."l1 In Rosenberg's view, Minimalism eschewed illusionismLl ... one of the salient and most objectionable reference and quoted the built environment at the same -relics of European art") and on his radio interview with time. Other critics betrayed a similar ambivalence. Despite Bruce Glaser and Lucy Lippard {"I'm using actual space")." its claim that "for Judd a box is a box is a box," Time pro­ As early as 1963, Judd had emphasized the importance of posed that viewers might ask, "What is a box ... if not "actual materials, actual color, and actual space," and he a coffin, a house, a treasure chest?"12 told a New York symposium audience in 1966, "I'd like work Rosalind Krauss pursued architettural references in a that didn't allude to other things and was a specific thing 1966 essay titled "Allusion and Illusion in Donald Judd," see­ in itself."17 ing similarities between Untitled (DSS 55) (fig. 4.4) and "the For Judd, the primary problem with pictorial represen­ colonnades of classical architecture or , , , the supporting tation was that it inevitably imposed a fallacious human members of any modular structure," The next year, Clement order on things, rather than simply delivering fact. "Earlier Greenberg, attacking Minimalism, suggested that the move­ painting," Judd said to Glaser and Lippard, "was saying that ment had been infiltrated by the "good design" of recent there's more order in the scheme of things than we admit home and office furniture." Although the art-historical now, like Poussin saying order underlies nature." That is, pic­ mainstream now largely treats Judd's sculpture as intrac­ torial representation (especially "illusionism") was "linked tably literalist about its own space and materials, several up with" ways of thinking that Judd characterized variously recent essays, too, have found references to the everyday. as "rationalism," "humanism," "anthropomorphism," or "the built environment, "echoes of Plexiglas jukebox windows, philosophy of,a man-centered universe." These views of the car parts, cutlery, and shiny metal turnstiles',"14 world,·repiete with implicit organization, were "pretty much It seems to me that this Janus-faced quality of Judd's discredited now" or "wrong and not-credible."18 sculptures-their being at once literalist and bound up, 11 seems that Judd, trained as a painter, had finally as one writer has put it, in lithe spaces and surfaces of concluded that none of the modernist efforts to perfect rep­ the modern city"-is a strange quality, one needing resentation couM save it from its fundamental fraudufence, 154 FIG. 4.5 Donald Judd Untitled (DSS 32), 1962 light cadmium red oil on wood and Masonite black enamel on Masonite and wood with asphalt pipe, 1 44 /4 x 40 3/8 X13 3/4 in. (112.4 x 10204 x 34.9 em) Collection of Judd Foundation its inevitable organization, systematization, or abstraction you live here and you are involved in your sense of what's of the world. On the occasion of the Whitney exhibition, around yoU."21 Judd spoke to Lippard about his early frustration with Seeing Judd's work fully requires that we manage to drawing from life. His femarks make dear that his eventual -keep always in view both its literalism and its engagement rejection of optical representation was c;tlso a denial of with the built environment. What might it have meant for idealist notions of the material world: Judd to refuse representation even as he worked with the architectural vocabulary of his city? These two claims made You know, you can't sit and draw something out there as if for Judd's sculpture, both by his critics and by the artist somehow you're putting it down on paper.
Load more

Recommended publications
  • Paulacoopergallery.Com
    P A U L A C O O P E R G A L L E R Y FOR IMMEDIATE RELEASE JENNIFER BARTLETT Grids & Dots 243A Worth Ave, Palm Beach January 16 – February 7, 2021 PALM BEACH—Opening on Saturday, January 16, 2021 in Paula Cooper Gallery’s Palm Beach location is a focused presentation of work by Jennifer Bartlett titled “Grids and Dots.” On view will be five examples of Bartlett’s pioneering steel and enamel plate works, made between 1971 and 2011. Installed in an interior room of the gallery, the presentation is in dialogue with the concurrent exhibition “Sol LeWitt: Cubic Forms,” highlighting both artists’ parallel interest in geometric forms and programmatic strategies as the foundation for complex and exuberant works of art. Bartlett first began making paintings on white enameled, square-cut steel plates in late 1968. The idea was born from her interest in the metal signs found inside New York City subway stations. “They looked like hard paper,” Bartlett explained. “I needed paper that could be cleaned and reworked. I wanted a unit that could go around corners on the wall, stack for shipping. If you made a painting and wanted it to be longer, you could add plates. If you didn’t like the middle you could remove it, clean it, replace it or not.”1 Inspired by LeWitt's application of the grid and serial systems, Bartlett begins with vertical and horizontal lines silkscreened onto the baked enamel surfaces. Using Testors brand enamel paint, she then plots out various dot patterns within the framework, following simple mathematical schemes.
    [Show full text]
  • Why the Whitney's Humanist, Pro-Diversity Biennial Is a Revelation
    Why the Whitney’s Humanist, Pro-Diversity Biennial Is a Revelation Roberta Smith March 16, 2017 Since moving downtown, the Whitney Museum of American Art has grown up, thanks to a larger, dashing new building, more ambitious exhibitions and new responsibilities brought by rising attendance and membership. No surprise, its biennial has grown up, too. Perhaps less expected: So has the art in it. This show’s strength and focus make it doubly important at a time when art, the humanities and the act of thinking itself seem under attack in Washington. The 2017 Biennial, the first held in the expansive Renzo Piano-designed structure on Gan- sevoort Street, is an adult affair: spatially gracious to art and visitors alike, and exceptionally good looking, with an overall mood of easy accessibility. My first thought: It needs a little more edge. Yet this show navigates the museum’s obligations to a broader public and its longtime art-world audience with remarkable success. Organized by Christopher Y. Lew, the Whitney’s associate curator, and Mia Locks, an independent curator, it has some immature inclusions and other letdowns. But once you really start looking, there’s edge all over the place. The show spotlights 63 artists and collectives working at the intersection of the formal and the social, and in this it announces a new chapter of so-called political art — though one already brewing in small museums, galleries and studios. Many of these artists confront such Ameri- can realities as income inequality, homelessness, misogyny, immigration, violence, hatred and biases of race, religion and class.
    [Show full text]
  • CLAES OLDENBURG by Barbara Rose, the First Comprehensive Treatment of Oldenburg's
    No. 56 V»< May 31, 1970 he Museum of Modern Art FOR IMT4EDIATE RELEASE jVest 53 Street, New York, N.Y. 10019 Tel. 956-6100 Cable: Modernart (N.B. Publication date of book: September 8) CLAES OLDENBURG by Barbara Rose, the first comprehensive treatment of Oldenburg's life and art, will be published by The Museum of Modern Art on September 8, 1970. Richly illustrated with 224 illustrations in black-and-white and 52 in color, this monograph, which will retail at $25, has a highly tactile., flexible binding of vinyl over foam-rubber padding, making it a "soft" book suggestive of the artist's well- known "soft" sculptures. Oldenburg came to New York from Chicago in 1956 and settled on the Lower East Side, at that time a center for young artists whose rebellion against the dominance of Abstract Expressionism and search for an art more directly related to their urban environment led to Pop Art. Oldenburg himself has been regarded as perhaps the most interesting artist to emerge from that movement — "interesting because he transcends it," in the words of Hilton Kramer, art critic of the New York Times. As Miss Rose points out, however, Oldenburg's art cannot be defined by the label of any one movement. His imagination links him with the Surrealists, his pragmatic thought with such American philosophers as Henry James and John Dewey, his handling of paint in his early Store reliefs with the Abstract Expressionists, his subject matter with Pop Art, and some of his severely geometric, serial forms with the Mini­ malists.
    [Show full text]
  • Introduction and Will Be Subject to Additions and Corrections the Early History of El Museo Del Barrio Is Complex
    This timeline and exhibition chronology is in process INTRODUCTION and will be subject to additions and corrections The early history of El Museo del Barrio is complex. as more information comes to light. All artists’ It is intertwined with popular struggles in New York names have been input directly from brochures, City over access to, and control of, educational and catalogues, or other existing archival documentation. cultural resources. Part and parcel of the national We apologize for any oversights, misspellings, or Civil Rights movement, public demonstrations, inconsistencies. A careful reader will note names strikes, boycotts, and sit-ins were held in New York that shift between the Spanish and the Anglicized City between 1966 and 1969. African American and versions. Names have been kept, for the most part, Puerto Rican parents, teachers and community as they are in the original documents. However, these activists in Central and East Harlem demanded variations, in themselves, reveal much about identity that their children— who, by 1967, composed the and cultural awareness during these decades. majority of the public school population—receive an education that acknowledged and addressed their We are grateful for any documentation that can diverse cultural heritages. In 1969, these community- be brought to our attention by the public at large. based groups attained their goal of decentralizing This timeline focuses on the defining institutional the Board of Education. They began to participate landmarks, as well as the major visual arts in structuring school curricula, and directed financial exhibitions. There are numerous events that still resources towards ethnic-specific didactic programs need to be documented and included, such as public that enriched their children’s education.
    [Show full text]
  • Rosalyn Drexler at Mitchell Algus Ans Nicholas Davies
    bringing hard-edged , often ro lent imagery from film noir alll tabloid culture into the Poi arena. Known also as a plat wright and novelist , Drexler r her youth enjoyed a brief stintas , a professional wrestler. Ths dual -ven ue selection of bol '60s work and recent painting! and collages more than proves the lasting appeal of her literale comic sensibility. Sex and violence are he intertwined themes. Se/f-Port,a, (1963) presents a skimpily cloo Sylvia Sleigh: Detail of Invitation to a Voyage, 1979-99, oil on canvas , 14 panels, 8 by 70 feet overall; at Deven Golden. prone woman against a rel background with her high heel. in the air and her face obscurocf Gardner is good with planes, import, over the years , of her Arsenal , a castlelike fortress by a pillow . The large-seal! O both when delineated as in self-portraits as Venus as well built on an island in the early image s in what is perhap. Untitled (Bhoadie, Nick, S, Matt as the idealized male nudes of 20th century by eccentr ic & Tim playing basketball, The Turkish Bath (1973), art crit­ Scottish-American millionaire Victoria) or when intimated as in ics all, including her husband, Frank Bannerman to house part Untitled (S pissing). The latter the late Lawrence Alloway. of his military-surplus business. was one of the best pieces in Perh aps the practice harks Sleigh first glimpsed the place the exhibition. The urine spot on back to Sleigh 's charmed from the window of an Amtrak the ground is delicately evoked, girlhood in Wales; perhaps train, and on a mild spring day as is the stream of urine, which it ha s something to do with a some time later she organized a has the prec ision of a Persian European tendency to allegory riverbank picnic to take advan­ miniature.
    [Show full text]
  • The New York Times Review/Art
    FORT GANSEVOORT Review/Art; 3 Museums Collaborate To Sum Up a Decade Roberta Smith May 25, 1990 What happened to American art during the tumultuous, comba?ve 1980's is a large and mul?-faceted subject that will undoubtedly be debated for some ?me. But less than six months into the 90's, one of the first assessments has already arrived, in the form of the messy, provoca?ve exhibi?on ?tled ''The Decade Show: Frameworks of Iden?ty in the 1980's.'' This exhibi?on comes from an unusual collabora?on of three young and very different museums well known for presen?ng alterna?ve views of contemporary art: the New Museum of Contemporary Art and the Museum of Hispanic Contemporary Art, both in SoHo, and the Studio Museum in Harlem. Not sur - prisingly, the curators at these museums have knit their alterna?ve agendas into an alterna?ve overview. ''The Decade Show'' and its thick opinionated catalogue try to shake up any ideas about 80's art that aren't nailed down, and may say as much about art's future as they do about its recent past. The exhibi?on gathers together work by more than 100 creators of pain?ngs, sculptures and installa?on pieces and nearly 40 video and performance ar?sts. It features many collabora?ve efforts, in pain?ngs to poli?cal posters, from Tim Rollins and K.O.S., the Guerrilla Girls, Gran Fury, Group Material and a rela?ve - ly unknown Asian-American ar?sts' collec?ve called Epoxy Art Group.
    [Show full text]
  • The Museum of Modern Art: the Mainstream Assimilating New Art
    AWAY FROM THE MAINSTREAM: THREE ALTERNATIVE SPACES IN NEW YORK AND THE EXPANSION OF ART IN THE 1970s By IM SUE LEE A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2013 1 © 2013 Im Sue Lee 2 To mom 3 ACKNOWLEDGMENTS I am deeply grateful to my committee, Joyce Tsai, Melissa Hyde, Guolong Lai, and Phillip Wegner, for their constant, generous, and inspiring support. Joyce Tsai encouraged me to keep working on my dissertation project and guided me in the right direction. Mellissa Hyde and Guolong Lai gave me administrative support as well as intellectual guidance throughout the coursework and the research phase. Phillip Wegner inspired me with his deep understanding of critical theories. I also want to thank Alexander Alberro and Shepherd Steiner, who gave their precious advice when this project began. My thanks also go to Maureen Turim for her inspiring advice and intellectual stimuli. Thanks are also due to the librarians and archivists of art resources I consulted for this project: Jennifer Tobias at the Museum Library of MoMA, Michelle Harvey at the Museum Archive of MoMA, Marisa Bourgoin at Smithsonian Institution’s Archives of American Art, Elizabeth Hirsch at Artists Space, John Migliore at The Kitchen, Holly Stanton at Electronic Arts Intermix, and Amie Scally and Sean Keenan at White Columns. They helped me to access the resources and to publish the archival materials in my dissertation. I also wish to thank Lucy Lippard for her response to my questions.
    [Show full text]
  • Double Vision: Woman As Image and Imagemaker
    double vision WOMAN AS IMAGE AND IMAGEMAKER Everywhere in the modern world there is neglect, the need to be recognized, which is not satisfied. Art is a way of recognizing oneself, which is why it will always be modern. -------------- Louise Bourgeois HOBART AND WILLIAM SMITH COLLEGES The Davis Gallery at Houghton House Sarai Sherman (American, 1922-) Pas de Deux Electrique, 1950-55 Oil on canvas Double Vision: Women’s Studies directly through the classes of its Woman as Image and Imagemaker art history faculty members. In honor of the fortieth anniversary of Women’s The Collection of Hobart and William Smith Colleges Studies at Hobart and William Smith Colleges, contains many works by women artists, only a few this exhibition shows a selection of artworks by of which are included in this exhibition. The earliest women depicting women from The Collections of the work in our collection by a woman is an 1896 Colleges. The selection of works played off the title etching, You Bleed from Many Wounds, O People, Double Vision: the vision of the women artists and the by Käthe Kollwitz (a gift of Elena Ciletti, Professor of vision of the women they depicted. This conjunction Art History). The latest work in the collection as of this of women artists and depicted women continues date is a 2012 woodcut, Glacial Moment, by Karen through the subtitle: woman as image (woman Kunc (a presentation of the Rochester Print Club). depicted as subject) and woman as imagemaker And we must also remember that often “anonymous (woman as artist). Ranging from a work by Mary was a woman.” Cassatt from the early twentieth century to one by Kara Walker from the early twenty-first century, we I want to take this opportunity to dedicate this see depictions of mothers and children, mythological exhibition and its catalog to the many women and figures, political criticism, abstract figures, and men who have fostered art and feminism for over portraits, ranging in styles from Impressionism to forty years at Hobart and William Smith Colleges New Realism and beyond.
    [Show full text]
  • WOMAN's. ART JOURNAL
    WOMAN's. ART JOURNAL (on the cover): Alice Nee I, Mary D. Garrard (1977), FALL I WINTER 2006 VOLUME 27, NUMBER 2 oil on canvas, 331/4" x 291/4". Private collection. 2 PARALLEL PERSPECTIVES By Joan Marter and Margaret Barlow PORTRAITS, ISSUES AND INSIGHTS 3 ALICE EEL A D M E By Mary D. Garrard EDITORS JOAN MARTER AND MARGARET B ARLOW 8 ALI CE N EEL'S WOMEN FROM THE 1970s: BACKLASH TO FAST FORWA RD By Pamela AHara BOOK EDITOR : UTE TELLINT 12 ALI CE N EE L AS AN ABSTRACT PAINTER FOUNDING EDITOR: ELSA HONIG FINE By Mira Schor EDITORIAL BOARD 17 REVISITING WOMANHOUSE: WELCOME TO THE (DECO STRUCTED) 0 0LLHOUSE NORMA BROUDE NANCY MOWLL MATHEWS By Temma Balducci THERESE DoLAN MARTIN ROSENBERG 24 NA CY SPERO'S M USEUM I CURSIO S: !SIS 0 THE THR ES HOLD MARY D. GARRARD PAMELA H. SIMPSON By Deborah Frizzell SALOMON GRIMBERG ROBERTA TARBELL REVIEWS ANN SUTHERLAND HARRis JUDITH ZILCZER 33 Reclaiming Female Agency: Feminist Art History after Postmodernism ELLEN G. LANDAU EDITED BY N ORMA BROUDE AND MARY D. GARRARD Reviewed by Ute L. Tellini PRODUCTION, AND DESIGN SERVICES 37 The Lost Tapestries of the City of Ladies: Christine De Pizan's O LD CITY P UBLISHING, INC. Renaissance Legacy BYS uSAN GROAG BELL Reviewed by Laura Rinaldi Dufresne Editorial Offices: Advertising and Subscriptions: Woman's Art journal Ian MeUanby 40 Intrepid Women: Victorian Artists Travel Rutgers University Old City Publishing, Inc. EDITED BY JORDANA POMEROY Reviewed by Alicia Craig Faxon Dept. of Art History, Voorhees Hall 628 North Second St.
    [Show full text]
  • The Waste Land of Law School Fiction
    BOOK REVIEW The Waste Land Of Law School Fiction Arthur D. Austin* Sad things can happen when an author chooses the wrong subject: first the author suffers, then the reader, and finally the publisher, all to- gether in a tiny whirlpool of pain.' Law schools generate controversy and initiate change. They attract the "best and the brightest" students. 2 They have not, however, received the ultimate measure of recognition-the examination of institutional character through literary fiction. Novels about law school society can be counted on one hand-with a finger and thumb left over.3 They are John Osborn's The Paper Chase,4 Katherine Roome's The Letter of the Law, 5 and Michael Levin's The Socratic Method. 6 None succeed as fic- tion.7 This review focuses on the way each writer uses style, plot, and * Edgar A. Hahn Professor of Jurisprudence, Case Western Reserve University School of Law. 1. Sheed, The Exile, N.Y. REV. oF BooKs, Oct. 27, 1988, at 35, col. 1. 2. Even this causes controversy. Harvard University President Bok claims that the "brain drain" into law schools is "a massive diversion of exceptional talent into pursuits that often add little to the growth of the economy, the pursuit of culture, the enhancement of the human spirit." Lieber- man & Goldstein, Why Have Lawyers Proliferated?, N.Y. Times, Aug. 6, 1986, at A27, col. 1. 3. Novels with legal themes are prevalent. Wigmore's analysis of "legal literature" remains the best introduction to the subject. See Wigmore, A List Of One Hundred Legal Novels, 17 ILL.
    [Show full text]
  • ANNUAL REPORT 2013 BOARD of TRUSTEES 5 Letter from the Chair
    BOARD OF TRUSTEES 2 LETTER FROM THE CHAIR 4 A STRATEGIC VISION FOR THE 6 PHILADELPHIA MUSEUM OF ART A YEAR AT THE MUSEUM 8 Collecting 10 Exhibiting 20 Learning 30 Connecting and Collaborating 38 Building 48 Conserving 54 Supporting 60 Staffing and Volunteering 70 A CALENDAR OF EXHIBITIONS AND EVENTS 75 FINANCIAL STATEMENTS 80 COMMIttEES OF THE BOARD OF TRUSTEES 86 SUPPORT GROUPS 88 VOLUNTEERS 91 MUSEUM STAFF 94 BOARD OF TRUSTEES TRUSTEES EMERITI TRUSTEES EX OFFICIO OFFICERS Peter A. Benoliel Hon. Tom Corbett Constance H. Williams Jack R Bershad Governor, Commonwealth Chair, Board of Trustees Dr. Luther W. Brady, Jr. of Pennsylvania and Chair of the Executive Committee Helen McCloskey Carabasi Hon. Michael A. Nutter Mayor, City of Philadelphia H. F. (Gerry) Lenfest Hon. William T. Raymond G. Perelman Coleman, Jr. Hon. Darrell L. Clarke Chairs Emeriti Ruth M. Colket President, City Council Edith Robb Dixon Dennis Alter Hannah L. Henderson Timothy Rub Barbara B. Aronson Julian A. Brodsky B. Herbert Lee The George D. Widener Director and Chief David Haas H. F. (Gerry) Lenfest Executive Officer Lynne Honickman Charles E. Mather III TRUSTEES Victoria McNeil Le Vine Donald W. McPhail Gail Harrity Vice Chairs Marta Adelson Joan M. Johnson David William Seltzer Harvey S. Shipley Miller President and Chief Operating Officer Timothy Rub John R. Alchin Kenneth S. Kaiserman* Martha McGeary Snider Theodore T. Newbold The George D. Widener Dennis Alter James Nelson Kise* Marion Stroud Swingle Lisa S. Roberts Charles J. Ingersoll Director and Chief Barbara B. Aronson Berton E. Korman Joan F. Thalheimer Joan S.
    [Show full text]
  • Anri Sala Galerie Chantal Crousel Young, Michael
    Anri Sala Selected Press Galerie Chantal Crousel Young, Michael. « Anri Sala’s last resort: 33rd Kaldor public art project », Art Asia Pacific, October 24, 2017 http://artasiapacific.com/Blog/AnriSalaLastResor33rdKaldorPublicArtProject Galerie Chantal Crousel Young, Michael. « Anri Sala’s last resort: 33rd Kaldor public art project », Art Asia Pacific, October 24, 2017 http://artasiapacific.com/Blog/AnriSalaLastResor33rdKaldorPublicArtProject Galerie Chantal Crousel McDonald, John. « Review: Anri Sala’s The Last Resort ‘an exemplary work of public art », Sydney Morning Herald, October 20, 2017. http://www.smh.com.au/entertainment/art-and-design/review-anri-salas-the-last-resort-20171016-gz28qw.html Galerie Chantal Crousel Jamart, Christine. « Viva Arte Viva, Vaine Incantation », L’art meme, 73, 3ème trimestre 2017, p.3-5. Galerie Chantal Crousel Jamart, Christine. « Viva Arte Viva, Vaine Incantation », L’art meme, 73, 3ème trimestre 2017, p.3-5. Galerie Chantal Crousel Jamart, Christine. « Viva Arte Viva, Vaine Incantation », L’art meme, 73, 3ème trimestre 2017, p.3-5. Galerie Chantal Crousel Azimi, Roxana, Régnier Philippe. « Christine Macel réenchante la Biennale de Venise », Le Quotidien de l’Art, Numéro1287, Thursday, May 11, 2017, pp.5-9. BIENNALE PAGE LE QUOTIDIEN DE L’ART | JEUDI 11 MAI 2017 NUMÉRO 1287 DE VENISE 05 VIVA ARTE VIVA — Arsenal, Giardini, Venise Du 13 mai au 26 juin Par Roxana Azimi et Philippe Régnier Christine Macel réenchante la Biennale de Venise Peu d’expositions savent donner le sourire et la foi en ces temps troublés. Sans sombrer dans le nihilisme de formes rêches et arides, la Biennale de Venise 2017 conçue par Christine Macel a su remettre le plaisir de l’art au centre.
    [Show full text]