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National Arts Awards Monday, October 19, 2015
2015 Americans for the Arts National Arts Awards Monday, October 19, 2015 Welcome from Robert L. Lynch Performance by YoungArts Alumni President and CEO of Americans for the Arts Musical Director, Jake Goldbas Philanthropy in the Arts Award Legacy Award Joan and Irwin Jacobs Maria Arena Bell Presented by Christopher Ashley Presented by Jeff Koons Outstanding Contributions to the Arts Award Young Artist Award Herbie Hancock Lady Gaga 1 Presented by Paul Simon Presented by Klaus Biesenbach Arts Education Award Carolyn Clark Powers Alice Walton Lifetime Achievement Award Presented by Agnes Gund Sophia Loren Presented by Rob Marshall Dinner Closing Remarks Remarks by Robert L. Lynch and Abel Lopez, Chair, introduction of Carolyn Clark Powers Americans for the Arts Board of Directors and Robert L. Lynch Remarks by Carolyn Clark Powers Chair, National Arts Awards Greetings from the Board Chair and President Welcome to the 2015 National Arts Awards as Americans for the Arts celebrates its 55th year of advancing the arts and arts education throughout the nation. This year marks another milestone as it is also the 50th anniversary of President Johnson’s signing of the act that created America’s two federal cultural agencies: the National Endowment for the Arts and the National Endowment for the Humanities. Americans for the Arts was there behind the scenes at the beginning and continues as the chief advocate for federal, state, and local support for the arts including the annual NEA budget. Each year with your help we make the case for the funding that fuels creativity and innovation in communities across the United States. -
Alphabetical List of Catalogues Raisonnés in the Collection Of
Alphabetical List of Catalogues Raisonnés in the Collection of Ricker Library of Art and Architecture University of Illinois at Urbana-Champaign Last updated 04/10/14 ARX = Circulating book in our stacks ARR = Non-circulating book in our Reference collection ARC = Non-circulating book held in the Closed Stacks, behind our desk ARV = Non-circulating book held in our Vault IL BACHIACCA (a.k.a. Francesco d’Ubertino Verdi, Francesco Bachiacca) LaFrance, Robert G. Bachiacca : Artist of the Medici Court. Firenze : L. S. Olschki, 2008. Q.759.5B124l (ARX) Nikolenko, Lada. Francesco Ubertini Called il Bacchiacca. Locust Valley/NY: J. J. Augustin, 1966. 759.5IL1N (STX) BACKER, JACOB van den Brink, Peter and Jaap van der Veen. Jacob Backer (1608/9-1651). Zwolle: Waanders, 2008. Text and accompanying CD-Rom available. Q.759.9492B126br (ARV) BACON, FRANCIS Alley, Ronald. Francis Bacon. New York: Viking, 1964. 759.2 B132a (ARC) BAJ, ENRICO Enrico Baj. Baj: Catalogue del’Oeuvre Graphique et des Multiples = Catalogue of the Graphic Work and Multiples. 2 volumes. Genève: Rousseau, 1973. 709.45 B167ba (ARV) BALDESSARI, JOHN Baldessari, John et al. John Baldessari: Catalogue Raisonné. New Haven: Yale University Press, 2012. Vol. One, 1956-1974 Vol. Two, 1975-1986 Q.709.73B192j (ARV) Hurowitz, Sharon Coplan. John Baldessari : A Catalogue Raisonné of Prints and Multiples, 1971-2007. Manchester : Hudson Hills Press, 2009. Q. 709.73 B192h (ARV) BALDUNG, HANS (a.k.a. Hans Baldung Grien/Grün) Mende, Matthias. Hans Baldung Grien: das Graphische Werk. Unterschneidheim: UHL, 1978. Q.769.943B19m (ARV) Alphabetical list of Catalogue Raisonnés in the Collection of the Ricker Library of Architecture and Art B:2. -
Joslyn Art Museum's 2007 Annual Report
Joslyn Art Museum 2 0 0 7 A N N U A L R E P O R T YEAR AT A GLANCE 201,021 visited Joslyn Art Museum. 293 works of art were acquired by Joslyn Art Museum through gift or purchase in the following areas: Modern and Contemporary (142); American (140); European (8); and Asian (3). 60 works of art were lent by Joslyn to other institutions. 28 works of art were lent by other institutions and individuals to Joslyn's permanent collection. 10 special exhibitions were on view at the Museum. 38,774 attended tours, lectures, gallery talks, special programs for adults, art classes, camps, and other programs at Joslyn. The Museum ended the year with 5,971 membership households and an additional 10,000 members through the Passport Partners program. 46,298 attended music programs at Joslyn. 68,041 participated in Joslyn outreach programs. Volunteers logged 7,855 hours of service for the Museum's Art Reference Library; Museum Shop; Joslyn Art Museum Association events; Young Art Patrons events; and Membership, Education (including the docent program), and Marketing and Public Relations departments (including music series and visitor services). Joslyn's Abrahams Library acquired 699 new volumes, and there were 258 outgoing interlibrary loans. Joslyn Art Museum receives numerous requests from around the world for images of art works from its permanent collection. These images are used in textbooks, exhibition catalogues, books, and other publications; featured on posters, cards, and calendars; and used in films, videos, or television programs. In 2007, there were 77 completed reproduction requests, 46 of which were for works by Karl Bodmer. -
Annual Report 2016
Collecting Exhibiting Learning Connecting Building Supporting Volunteering & Publishing & Interpreting & Collaborating & Conserving & Staffing 2016 Annual Report 4 21 10 2 Message from the Chair 3 Message from the Director and the President 4 Collecting 10 Exhibiting & Publishing 14 Learning & Interpreting 18 Connecting & Collaborating 22 Building & Conserving 26 Supporting 30 Volunteering & Staffing 34 Financial Statements 18 22 36 The Year in Numbers Cover: Kettle (detail), 1978, by Philip Guston (Bequest of Daniel W. Dietrich II, 2016-3-17) © The Estate of Philip Guston, courtesy McKee Gallery, New York; this spread, clockwise from top left: Untitled, c. 1957, by Norman Lewis (Purchased with funds contributed by the Committee for Prints, Drawings, and Photographs, 2016-36-1); Keith and Kathy Sachs, 1988–91, by Howard Hodgkin (Promised gift of Keith L. and Katherine Sachs) © Howard Hodgkin; Colorscape (detail), 2016, designed by Kéré Architecture (Commissioned by the Philadelphia Museum of Art for The Architecture of Francis Kéré: Building for Community); rendering © Gehry Partners, LLP; Inside Out Photography by the Philadelphia Museum of Art Photography Studio A Message A Message from the from the Chair Director and the President The past year represented the continuing strength of the Museum’s leadership, The work that we undertook during the past year is unfolding with dramatic results. trustees, staff, volunteers, city officials, and our many valued partners. Together, we Tremendous energy has gone into preparations for the next phase of our facilities have worked towards the realization of our long-term vision for this institution and a master plan to renew, improve, and expand our main building, and we continue reimagining of what it can be for tomorrow’s visitors. -
Annual Report 2018
2018 Annual Report 4 A Message from the Chair 5 A Message from the Director & President 6 Remembering Keith L. Sachs 10 Collecting 16 Exhibiting & Conserving 22 Learning & Interpreting 26 Connecting & Collaborating 30 Building 34 Supporting 38 Volunteering & Staffing 42 Report of the Chief Financial Officer Front cover: The Philadelphia Assembled exhibition joined art and civic engagement. Initiated by artist Jeanne van Heeswijk and shaped by hundreds of collaborators, it told a story of radical community building and active resistance; this spread, clockwise from top left: 6 Keith L. Sachs (photograph by Elizabeth Leitzell); Blocks, Strips, Strings, and Half Squares, 2005, by Mary Lee Bendolph (Purchased with the Phoebe W. Haas fund for Costume and Textiles, and gift of the Souls Grown Deep Foundation from the William S. Arnett Collection, 2017-229-23); Delphi Art Club students at Traction Company; Rubens Peale’s From Nature in the Garden (1856) was among the works displayed at the 2018 Philadelphia Antiques and Art Show; the North Vaulted Walkway will open in spring 2019 (architectural rendering by Gehry Partners, LLP and KXL); back cover: Schleissheim (detail), 1881, by J. Frank Currier (Purchased with funds contributed by Dr. Salvatore 10 22 M. Valenti, 2017-151-1) 30 34 A Message from the Chair A Message from the As I observe the progress of our Core Project, I am keenly aware of the enormity of the undertaking and its importance to the Museum’s future. Director & President It will be transformative. It will not only expand our exhibition space, but also enhance our opportunities for community outreach. -
John BALDESSARI
John BALDESSARI THROUGH VIDEO, ON CANVAS, IN COLLAGE, AND, YES, WITH HIS SIGNATURE PAINTED DOTS ON FACES, ARTIST JOHN BALDESSARI HAS PUNCHED HOLES THROUGH MODERNISM, TURNED CONCEPTUALISM ON ITS HEAD, AND CREATED A BODY OF WORK THAT IS PART COMEDIC, PART TRAGIC, UTTERLY SEMIOTIC, AND ABSOLUTELY ALL HIS OWN. By DAVID SALLE Photography MARIO SORRENTI JOHN BALDESSARI IN NEW YORK, JULY 2013. ALL CLOTHING: BALDESSARI’S OWN. 160 161 For a very long time, John Baldessari had the distinction I think I even used you as a license for my own foundation of humor also play a role in your work. of being the tallest serious artist in the world (he is tendency toward obscurity when I was younger. Now It’s obviously a very sophisticated kind of humor. And 6'7"). To paraphrase the writer A.J. Liebling, he was I find I just want to be as clear as possible. not to in any way denigrate Wegman, but Bill goes taller than anyone more serious, and more serious BALDESSARI: I go back and forth between wanting more for the punch line. Of course, there other artists than anyone taller. As was inevitable, Baldessari’s to be abundantly simple and maddeningly complex. whose sensibility is fundamentally humorous, but few hegemony in the height department has now been I always compare what I do to the work of a mystery who actually make you laugh. challenged by a handful of younger artists. What, is writer—like, you don’t want to know the end of the BALDESSARI: It’s also a little bit in the eyes of the there to be no progress? Paul Pfeiffer, Richard Phil- book right away. -
The Inventory of the Everett Raymond Kinstler Collection #1705
The Inventory of the Everett Raymond Kinstler Collection #1705 Howard Gotlieb Archival Research Center Kinstler, Everett Raymond #1705 8/9/05 Preliminary Listing I. Printed Material. Box 1 A. Chronological files; includes news clippings, periodicals, bulletins, and other items re: ERK and his artwork. 1. "1960-62." [F. 1] 2. "1963-64," includes photos. [F. 2] 3. "1965-66." [F. 3] 4. "1967-68." [F. 4] 5. "1969." [F. 5] 6. "1970." [F. 6] 7. "1971," includes photos. [F. 7] 8. "1972," includes photos. [F. 8] 9. "1973." [F. 9] 10. "1974." [F. 10] 11. "1975." [F. 11] 12. "1976." [F. 12] 13. "1977." [F. 13] 14. "1978." [F. 14] 15. "1979." [F. 15] Box2 16. "1980." [F. 1-2] 17. "1981." [F. 3-4] 18. "1982." [F. 5-6] 19. "1983." [F. 7] 20. "1984." [F. 8] 21. "1985." [F. 9] 22. "1986." [F. 10] 23. "1987." [F. 11] 24. "1988." [F. 12] 25. "1988-89." [F. 13] 26. "1990." [F. 14] 27. "1991." [F. 15] Box3 28. "1992." [F. 1] 29. "1993." [F. 2] 30. "1994." [F. 3] 31. "1995." [F. 4] 32. "1996." [F. 5] 33. "1997." · [F. 6] 34. "1998." [F. 7] 35. "1999." [F. 8] 36. "2000." [F. 9] Kinstler, Raymond Everett (8/9/05) Page 1 of 38 37. "2001." [F. 10-11] 38. "2002." [F. 12-13] 39. "2003." [F. 14] 40. "2004." [F. 15-16] II Correspondence. Box4 A. Letters to ERK arranged alphabetically; includes some responses from ERK. 1. Adams, James F. TLS, 5/16/62. [F. 1] 2. Adams,(?). ALS, Aug. -
Artist Resources – John Baldessari (American, 1931-2020)
Artist Resources – John Baldessari (American, 1931-2020) Baldessari at Marian Goodman Gallery Baldessari reflects on his childhood, teaching, and creative inspirations in a 1992 oral history with the Smithsonian Archives of American Art. In 1994, Baldessari participated in MoMA’s Artist’s Choice series of exhibitions, selecting objects in the permanent collection to inspire a new artwork. He curated and installed the show, which featured six of the original works of inspiration alongside photographs of the remaining twenty plus pieces, and the newly completed construction. “As I continued with teaching and art, I began to see how they both shared the same problem of communication,” explains Baldessari in an essay from 1998. “I saw how you could obfuscate, be crystal clear or do anything in-between. You could play your audience like a musical instrument.” In a 2008 interview with Art21, Baldessari discussed his interest in language and the relationship between teaching and his art practice. “You try to think of ways to make your time in the classroom like you’re making art in some way. A vital lesson for me was learning that teaching is about communication. Lecturing doesn’t do it. You have to see the light in the student’s eyes; you have to see that they get it…I realized that that attitude was filtering into my art—that you have to communicate. Teaching and art began to cross-pollinate and one affected the other.” Art21 talked with Baldessari in his studio in a 2009 video interview. “I think my idea is Baldessari, 2015 Photograph: Stefanie Keenan this: not so much structure that it’s inhibiting, that there’s no wiggle room, not so loose that it could be anything…like a corral around your idea.” The Tate Modern celebrated Baldessari’s towering career with the 2009 retrospective Pure Beauty. -
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Press Release A DIFFERENT WAY TO MOVE MINIMALISMES. NEW-YORK 1960-1980 Place de la Maison Carrée. 30000 Nîmes. Téléphone : 04 66 76 35 70. Fax : 04 66 76 35 85 Courriel : [email protected] Exhibition from 7 April until 17 September 2017 An exhibition celebrating the 40th anniversary of the Centre Pompidou Musée d’art contemporain de Nîmes Suggesting a subversive history of Minimal Art, this project sheds fresh light on common focuses and intersecting perspectives in a mixture of visual art, dance and music of the sixties and seventies in the New York. Recognized in the field of art today are some radically trail-blazing paths taken by the pioneering figures of American Postmodern Dance – most notably Trisha Brown, Lucinda Childs, Simone Forti and Yvonne Rainer – an area of research close to Minimal Art. “A different way to move” envisions a collective history, placing on an equal footing these concise, direct, artless gestures that together revolutionized Visual Art and Performance Art. Yvonne Rainer sums it up neatly: “We had to find a different way to move”. The idea caught on both in the new languages of choreography and sound environments and in this exploration of the dialogue between object and viewer that characterizes the works of Carl Andre, Dan Flavin, Donald Judd, Sol LeWitt, Robert Morris, Richard Serra and others. It was also closely connected to the political activism of artists opposing the Vietnam War, and fuelled a penetrating critique of relations based on power in their works. Hence the exhibition takes a look at Minimalist forms within a broader perspective, with special attention to the way the arts of time – dance and music, and also writing, film and video, which from the mid- sixties formed the core conceptual and so-called “post-minimalist” practices – placed the conflicting polarity between the concept and perception at the forefront of artistic research. -
Syracuse University Art Galleries
School of Art College of Visual and Performing Arts Syracuse University Stow Wengenroth Spring Morning, 1949 Lithograph Printed by George C. Miller Syracuse University Art Collection, 75.28 precise definition of what is meant by "collabora~ tion" is difficult to determine when referring to American printmaking. In general, the term has come to represent the myriad circumstances in which persons other than the artist have assisted in the making of the artist's prints. A collabora tion consists of the interaction between an artist, who is also referred to as the printmaker, and a printer. Typically, the efforts of the artist and printer complement rather than duplicate one another. The art ist develops the idea and creates the image on the plate, stone, block, paper, or screen; the image is printed by the printer. "Collaborative American Printmaking" is not meant to overlook, and thus diminish, the importance of those Syracuse University Art Galleriesartists who have assumed total responsibility for the making of their prints-but rather to ex lore the various contexts in which American artists have made prints and thereby portray how an art form has evolved. While many printmakers have successfully printed their own proofs and editions, others have sought the skills of a professional printer for a variety of reasons. Most print makers have an interest in other art media as well, and have November 22, 1987 been unable or have chosen not to devote the time necessary to master the often complex technical demands of the print~ through making processes. The collaborative workshop has also freed January 10, 1988 many artists from having to devote scarce financial resources and studio space to the purchase and maintenance of printmaking equipment. -
Gretchen Bender
GRETCHEN BENDER Born 1951, Seaford, Delaware Died 2004 EDUCATION 1973 BFA University of North Carolina, Chapel Hill SELECTED ONE-PERSON EXHIBITIONS 2019 So Much Deathless, Red Bull Arts, New York 2017 Living With Pain, Wilkinson Gallery, London 2015 Tate Liverpool; Project Arts Centre, Dublin Total Recall, Schinkel Pavillon, Berlin 2013 Tracking the Thrill, The Kitchen, New York Bunker 259, New York 2012 Tracking the Thrill, The Poor Farm, Little Wolf, Wisconsin 1991 Gretchen Bender: Work 1981-1991, Everson Museum of Art, Syracuse, New York; traveled to Alberta College of Art, Calgary; Mendel Art Gallery, Saskatoon; San Francisco Museum of Modern Art 1990 Donnell Library, New York Dana Arts Center, Colgate University, Hamilton, New York 1989 Meyers/Bloom, Los Angeles Galerie Bebert, Rotterdam 1988 Metro Pictures, New York Museum of Fine Arts, Houston 1987 Total Recall, The Kitchen, New York; Moderna Museet, Stockholm 1986 Nature Morte, New York 1985 Nature Morte, New York 1984 CEPA Gallery, Buffalo 1983 Nature Morte, New York 1982 Change Your Art, Nature Morte, New York SELECTED GROUP EXHIBITIONS 2020 Bizarre Silks, Private Imaginings and Narrative Facts, etc., Kunsthalle Basel, Switzerland Glasgow International 2019 Collection 1970s—Present, Museum of Modern Art, New York (Dumping Core; on view through Spring 2021) 2018 Brand New: Art and Commodity in the 1980s, Hirshhorn Museum and Sculpture Garden, Washington, D.C. Art in the Age of the Internet, 1989 to Today, Institute of Contemporary Art/Boston; traveled to University of Michigan Museum of Art, Ann Arbor Expired Attachment, Mx Gallery, New York Art in Motion. 100 Masterpieces with and through Media. -
Picasso and Chicago at the Art Institute of Chicago,Collectors Make
Picasso and Chicago at The Art Institute of Chicago The “Picasso and Chicago” exhibit marks the special hundred- year relationship of Pablo Picasso with the city of Chicago and features more than 250 works selected from the The Art Institute of Chicago’s own exceptional holdings and from private collections throughout city. Representing Picasso’s innovations in nearly every media—paintings, sculpture, prints, drawings, and ceramics—the works not only tell the story of Picasso’s artistic development but also the city’s great interest in and support for the artist since the Armory Show of 1913, a signal event in the history of modern art. The 1913 Armory Show showcased the works of the most radical European artists of the day alongside their progressive American contemporaries and forever changed the artistic landscape for artists, collectors, critics, and cultural institutions in the United States. Unlike the other venues for the Armory Show in New York and Boston, which were private institutions, the Art Institute enjoys the distinction of being the only art museum to host the exhibition and as such, has the privilege of being the first in the United States to present the works of such artists as Constantin Brâncusi, Marcel Duchamp, Henri Matisse, and Picasso to the public. Indeed, Chicago’s interest in Picasso’s art would grow over the years, leading to a number of important distinctions: as just one remarkable example, in 1967 the city welcomed the artist’s first monumental work of public sculpture. “It is clear in even the briefest of histories that Chicago played a critical, early role in the reception and development of modern art in the United States,” said Stephanie D’Alessandro, Gary C.