Jake Berthot
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Jake Berthot
Jake Berthot 1939 Born in Niagara Falls, NY 1941 Family moves to Clearfield, PA 1959 Moves to New York, NY 1960-61 Studies at New York School for Social Research, New York, NY 1960-62 Studies at Pratt Institute, Brooklyn, New York, NY Teaches at Cooper Union, New York, NY 1976 Venice Biennial, Venice, Italy 1981 Receives Guggenheim Fellowship 1982 Resident Artist, Skowhegan School, Skowhegan, ME Teaches at Yale University, New Haven, CT 1983 National Endowment for the Arts Grant 1992 Teaches at the School of Visual Arts, New York, NY Present Lives and works in Accord, NY One Person-Exhibitions 2006 “Ink Drawings: The Artist and Model,” Woodstock Byrdcliffe Guild, Woodstock, NY 2005 Betty Cuningham Gallery, New York, NY 2004 "Jake Berthot: 1968 - Present," Nielsen Gallery, Boston, MA 2002 “The Dark Paintings,” Nielsen Gallery, Boston, MA 2001 “Jake Berthot, New Paintings,” McKee Gallery, New York, NY 2002 "Landscape Paintings & Drawings," Nielsen Gallery, Boston, MA 1999 "Trees: Drawings and Texts," Humanities Gallery, The Cooper Union, New York, NY 1998 “Paintings and Drawings,” Nielsen Gallery, Boston, MA 1997 “New Paintings and Drawings,” McKee Gallery, New York, NY 1996 “Drawings,” McKee Gallery, New York, NY “Enamel Drawings," Nielsen Gallery, Boston, MA 1995 “Jake Berthot: The Red Paintings,” Nielsen Gallery, Boston, MA “Jake Berthot,” Jaffe-Friede and Strauss Galleries, Hopkins Center, Dartmouth College, Hanover, NH 1994 “Jake Berthot: The Kristin Paintings and Works on Paper,” David McKee Gallery, New York, NY “Jake Berthot : Paintings and Works on Paper,” David McKee Gallery, New York, NY 1992 “Jake Berthot - Paintings,” Toni Oliver Gallery, Sydney, Australia. -
Berthot Press Release 2016
Jake Berthot: In Color March 12 – April 23, 2016 Opening Saturday March 12th, 4 – 7 PM Celebrating the career of Jake Berthot, Betty Cuningham Gallery is pleased to open Jake Berthot: In Color on Saturday, March 12th, with a reception from 4 – 7 PM. The exhibition will include approximately 20 works dating from 1969 to 2014. As this is the first exhibition of Berthot’s work since his death in December of 2014, the Gallery chose to feature Nympha Red, a major work only once exhibited in 1988 at the Rose Art Museum (Brandeis University). Painted in 1969, Nympha Red measures 60 ½ x 210 inches and is the ‘sister painting’ to another major horizontal painting, Walken's Ridge, 1975-6, in the collection of the Museum of Modern Art. From these two paintings – painted early in his career – the titles alone indicate Berthot’s instinctive interest in both color and landscape. Berthot began exhibiting in the mid-1960s, at a time when Abstract Expressionism, Pop and Minimalism were part of the aesthetic environment. Berthot’s early work was geometric and the color was subdued. Over the following years, his color intensified and the underlying grid opened to include an oval (some thought a portrait or a head). In 1992, Berthot moved to upstate New York where he wrote a quote from Ralph Waldo Emerson on the wall of his new studio: We may climb into the thin and cold realm of pure geometry and lifeless science, or sink into that of sensation. Between these extremes is the equator of life, of thought, or spirit, or poetry – a narrow belt. -
THE SHAPE-SHIFTER How Lynda Benglis Left the Bayou and Messed with with the Establishment
THE SHAPE-SHIFTER How Lynda Benglis left the bayou and messed with with the establishment BY M.H. MILLER Senior Editor You notice her face first. This is odd, because she’s nude, her body bronzed and oiled, with one wiry arm holding a large dou- ble-sided dildo between her legs. Her eyes aren’t even in play; a pair of white sunglasses covers them. The focus is really on her face, framed by an androgynous hairstyle that could have been cut and pasted from the cover of David Bowie’s Aladdin Sane. Her eyebrows are shaved. Her expression, to the extent that it’s readable, rests somewhere between a smirk and a grimace. Lynda Benglis was about to turn 33, and she wanted her nude self-portrait to run alongside a feature article about her by Robert Pincus-Witten in the November 1974 issue of Artforum. John Coplans, Artfo- rum’s editor, wouldn’t allow that, so her dealer at the time, Paula Cooper Gallery, took out an ad, which cost $2,436. Benglis paid for it, which involved a certain amount of panic. In the middle of October, as the issue was getting ready to go to the printer, she reached out to Cooper, frantically trying to track down collectors with outstanding payments so she could put the money toward the ad. “Everyone seems out to get me,” she wrote. Benglis’s ad might have been written off as a quirky footnote for an artist who would go on to become a pioneer of contemporary art in numerous guises, from video to sculpture to painting and beyond. -
Susan Howe Papers
http://oac.cdlib.org/findaid/ark:/13030/tf5q2nb4cj No online items Susan Howe Papers Special Collections & Archives, UC San Diego Special Collections & Archives, UC San Diego Copyright 2005 9500 Gilman Drive La Jolla 92093-0175 [email protected] URL: http://libraries.ucsd.edu/collections/sca/index.html Susan Howe Papers MSS 0201 1 Descriptive Summary Languages: English Contributing Institution: Special Collections & Archives, UC San Diego 9500 Gilman Drive La Jolla 92093-0175 Title: Susan Howe Papers Creator: Howe, Susan, 1937- Identifier/Call Number: MSS 0201 Physical Description: 29 Linear feet(69 archives boxes, 4 card file boxes, 6 oversize folders) Date (inclusive): 1942-2002 Abstract: Papers of Susan Howe, American poet. The collection consists of Howe's literary correspondence, poetry manuscripts, notes and typescripts for readings and talks, personal and working journals, recordings, research files, and art/poetry installations dating from the 1950s to 2002. Scope and Content of Collection The collection consists of Susan Howe's literary correspondence, poetry manuscripts, notes and typescripts for readings and talks, personal and working journals, recordings, research files, and art/poetry installations dating from the 1950s to 2002. The collection is arranged in three accessions: an accession processed in 1991, an accession processed in 2003, and a small additional accession of manuscripts for Coracle Press Publications acquired in 2009. Accession Processed in 1991: Correspondence, poetry manuscripts, typescripts and notes for readings and talks, personal and working journals, art/poetry installations and over 100 tape recordings from Howe's WBAI Radio program, "Poetry." Most of the material dates from the early 1970s to the mid-1980s. -
Oral History Interview with Jack Whitten, 2009 December 1-3
Oral history interview with Jack Whitten, 2009 December 1-3 Funding for this interview was provided by the Terra Foundation for American Art. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a recorded interview with Jack Whitten on 2013 December 1 and 3. The interview took place in Woodside, N.Y., and was conducted by Judith Olch Richards for the Archives of American Art, Smithsonian Institution. Jack Whitten and Judith Olch Richards have reviewed the transcript. Jack Whitten's corrections and emendations appear below in brackets. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview JUDITH RICHARDS: This is Judith Richards interviewing Jack Whitten on December 1, 2009, at his studio in Woodside, Queens, New York, for the Archives of American Art, Smithsonian Institution, disc one. Jack, I'd like to start with your family, as far back as you want to go– it could be even your grandparents, if you have information about them, and then going on to your parents and yourself and your siblings. And then we'll focus on you again. JACK WHITTEN: Yes. My mom [as] Annie B. Whitten and my father was Mose Whitten. MS. RICHARDS: Annie – A-N-N-I-E? MR. WHITTEN: A-N-N-I-E. MS. RICHARDS: And B is – MR. WHITTEN: Belle. Annie Belle. -
New Work on Paper I John Elderfield
New work on paper I John Elderfield Author Elderfield, John Date 1981 Publisher The Museum of Modern Art Exhibition URL www.moma.org/calendar/exhibitions/2019 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art NEW WORK ON PAPER JAKE BERTHOT DAN CHRISTENSEN ALAN COTE TOM HOLLAND YVONNE JACQUETTE KEN KIFF JOAN SNYDER WILLIAM TUCKER JOHN ELDERFIELD THE MUSEUM OF MODERN ART NEW YORK NEW WORK ON PAPER 1 Thisis the first in a seriesof exhibitionsorganized by The Museumof ModernArt, New York, each of whichis intendedto showa relativelysmall number of artists througha broadand representativeselection of their recentwork on paper.Emphasis is placedon newwork, with occasionalglances backward to earlierproduction where the characterof the art especially reguiresit, and on artists or kindsof art not seenin depth at the Museumbefore. Beyond this, no restrictionsare imposedon the series,which may include exhibitions devoted to heterogeneous and to highlycompatible groups of artists, and selectionsof workranging from traditional drawing to workson paper in mediaof all kinds.Without exception, however, the artists includedin each exhibitionare presentednot as a definitive selectionof outstandingcontemporary talents but as a choice, limitedby necessitiesof space, of only a fewof those whose achievementmight warrant their inclusion— and a choice, moreover,that is entirelythe responsibilityof the directorof the exhibition,who wished to share someof the interestand excite mentexperienced in lookingat newwork on paper. NEW WORK ON PAPER 1 JOHN ELDERFIELD THE MUSEUM OF MODERN ART, NEW YORK Copyright© 1981by The Museumof ModernArt TRUSTEES OF THE MUSEUM Jr.,Mrs. -
Richard Kalina CV 2019
LENNON, WEINBERG, INC. 514 West 25th Street, New York, NY 10001 Tel. 212 941 0012 Fax. 212 929 3265 [email protected] www.lennonweinberg.Com Richard Kalina Born: New York City, 1946 Resides and works in New York City EDUCATION 1966 University of Pennsylvania, B.A. EXHIBITIONS 2019 New York, Lennon, Weinberg, InC., Richard Kalina: Future Perfect, February 21-MarCh 30, 2019. 2017 New York, Lennon, Weinberg, InC. Richard Kalina and Roy Dowell: “Synchronicity: A State of Painting,” November 9-DeCember 23. 2016 New York, Lennon, Weinberg, InC. Panamax: New Paintings and Watercolors, February 18- MarCh 26. 2014 New York, Lennon, Weinberg, InC. Richard Kalina: New Paintings and Watercolors, February 20-MarCh 29. 2012 New York, Lennon, Weinberg, InC. New Paintings and Watercolors, January 19-February 25. 2010 New York, Lennon, Weinberg, InC. Richard Kalina: A Survey of Works 1970-2010, June 10- August 13. 2009 New York, Lennon, Weinberg, InC. New Paintings and Watercolors, March 26-May 2. 2006 New York, Lennon, Weinberg, InC. New paintings and watercolors, OCtober 21 – November 27. 2003 New York, Lennon, Weinberg, InC. Richard Kalina: New Works, November 7 – DeCember 20. 2001 New York, Lennon, Weinberg, InC. Richard Kalina: New Paintings and Selected Drawings 1990- 2001, March 22 – April 21. 1998 New York, Lennon, Weinberg, InC. Richard Kalina, September 10 – October 10. 1995 New York, Lennon, Weinberg, InC. Richard Kalina: New Paintings, November 16 – DeCember 22. 1993 New York, Lennon, Weinberg, InC. Richard Kalina: New Paintings, September 30 – November 6. 1992 New York, Diane Brown Gallery. New York, Ledis Flam Gallery. 1989 New York, Elizabeth MCDonald Gallery. -
5441 Ca Object Representations
(1) Robin Winters and Christy Rupp at the (2) Arleen Schloss at the opening reception for (3) Anton van Dalen, Two-Headed Monster (4) Dave Sander and Ethan Swan at the opening reception for “Come Closer: Art Around “Come Closer: Art Around the Bowery, 1969– Destroys Community, 1981. Aerosol paint on opening reception for “Come Closer: Art the Bowery, 1969–1989,” New Museum, 1989,” New Museum, New York, September 19, paper, 29 x 23 in (73.7 x 58.4 cm). Installation Around the Bowery, 1969–1989,” New New York, September 19, 2012. Photo: Jesse 2012. Photo: Jesse Untracht-Oakner view: “Come Closer: Art Around the Bowery, Museum, New York, September 19, 2012. Untracht-Oakner 1969–1989,” New Museum, New York, 2012. Photo: Jesse Untracht-Oakner Courtesy the artist. Photo: Jesse Untracht-Oakner Published by When we announced that the New To date, the Bowery Artist Tribute has We are indebted to Hermine and Museum would construct a freestanding conducted over seventy interviews David B. Heller for funding the research, building on a parking lot at 235 Bowery, with artists, curators, and authors who development, and presentation of this one of our first concerns was finding a helped build the creative community archive, and for providing endowment newmuseum.org way to acknowledge the rich history of of the Bowery for the past seventy funds for its future. We are also grateful creative activity in our new neighbor- years. We’ve encountered artists who to a number of individuals who have Editor: Ethan Swan Designer: Chelsea Amato hood. We thought about 222 Bowery, were grateful for the opportunity to tell been instrumental in the research and Copy Editors: Frances Malcolm and Olivia Casa Printed by: Linco William Burroughs’s “Bunker” that shel- their Bowery stories for the first time, coordination of these efforts over the tered Lynda Benglis, John Giorno, Mark and others who weren’t convinced past nine years: Ethan Swan, Eungie Cover: Sylvia Plimack Mangold on the roof of her Grand Rothko, and a dozen more. -
BETTY CUNINGHAM GALLERY Jake Berthot Paintings and Drawings
BETTY CUNINGHAM GALLERY PRESS RELEASE IMMEDIATE RELEASE Jake Berthot Paintings and Drawings October 17- November 30, 2013 Opening Reception: Thursday, October 17, 6 – 8 PM “In an ugly time, Beauty is held in suspicion.” ~Jake Berthot, summer 2013 Betty Cuningham Gallery is pleased to announce an exhibition of new work by Jake Berthot including both paintings and drawings. This will be the artist’s fifth exhibition at the Gallery, located at 541 West 25th Street, New York, NY. The artist will be present for an opening reception on Thursday, October 17th, from 6 – 8 PM. Since the late 1960’s Jake Berthot has been known for his distinctive brushwork (an admirer of Milton Resnick), his characteristic softly-drawn line, his sensitive touch, his rich color, and his incorporation of the frame into his painting. These elements are found in his earlier, more formal, abstract work as well as in his recent subtle landscape paintings. The current exhibition includes approximately 16 paintings and 8 drawings, all completed in the last two years. Each painting or drawing, whether a broad landscape, a single tree or a still life, seem to coalesce into a single, deeply felt image. For example, in Coming Night and Ridge Line, both completed in 2013, a distant mountain emerges slowly in the light of a dark night space. Similarly, in Untitled (Tree), 2013 the tree which dominates the canvas comes into focus gradually from Berthot’s quiet touch. In the still-life, Table and Skull, 2012, the objects take form creating a poetic dialogue between object and paint. -
Placing Harvey Quaytman Dore Ashton Early in Our Friendship Harvey Quaytman Made Me a Gift of His Cherished Copy of Artur Schnab
Placing Harvey Quaytman Early in our friendship Harvey Quaytman made me a gift of his Dore Ashton cherished copy of Artur Schnabel’s My Life and Music. Years later, he titled a painting after the pianist’s book. Quaytman’s tread, as a visual artist, was always tempered by his inner ear, alert to intervals played out in time and space. While Quaytman was a highly literate painter, well acquainted with all the arts and their history, I believe he felt the deepest affinities with what his idol Schnabel called the ‘direct musician,’ who is a gardener, while the indirect musician is a botanist. During a question period after the lectures that make up his book, Schnabel was asked what the ideal should be for a person performing music, and ‘if it all comes from within a person.’ Without hesitation he responded: ‘Love has to be the starting point – love of music. It is one of my firmest convictions, that love always produces some knowledge, while knowledge only rarely produces something similar to love.’ Sometimes, embedded in a title, Quaytman’s affinities for the other arts appear, as when he titled a painting Warsaw Thirds (no. 57) in 1986. Since a third is a musical interval, I took this painting to be a tribute to Chopin, the celebrated Polish pianist, and a hint of Quaytman’s thoughts transposed into a painting. In a different key is the title Quince Days, a painting of 1979. Fellow travellers would recognize immediately Wallace Stevens’ poem Peter Quince at the Clavier, especially as Quaytman’s visual construction hints at the strings of a piano. -
Bulletin 2003 Art/Pages.2
bulletin of yale university bulletin of yale bulletin of yale university Periodicals postage paid New Haven ct 06520-8227 New Haven, Connecticut School of Art 2003–2004 May 10, 2003 School of Art bulletin of yale university Series 99 Number 1 May 10, 2003 Bulletin of Yale University The University is committed to basing judgments concerning the admission, education, and employment of individuals upon their qualifications and abilities and affirmatively seeks to Postmaster: Send address changes to Bulletin of Yale University, attract to its faculty, staff, and student body qualified persons of diverse backgrounds. In PO Box 208227, New Haven ct 06520-8227 accordance with this policy and as delineated by federal and Connecticut law, Yale does not discriminate in admissions, educational programs, or employment against any individual on PO Box 208230, New Haven ct 06520-8230 account of that individual’s sex, race, color, religion, age, disability, status as a special disabled Periodicals postage paid at New Haven, Connecticut veteran, veteran of the Vietnam era, or other covered veteran, or national or ethnic origin; nor does Yale discriminate on the basis of sexual orientation. Issued sixteen times a year: one time a year in May, November, and December; two times University policy is committed to affirmative action under law in employment of women, a year in June and September; three times a year in July; six times a year in August minority group members, individuals with disabilities, special disabled veterans, veterans of the Vietnam era, and other covered veterans. Managing Editor: Linda Koch Lorimer Inquiries concerning these policies may be referred to the Director of the Office for Editor: David J. -
RAR, Volume 22, 2006
Rutgers Art Review 22 (2006) The RUTGERS ART REVIEW Published by the Graduate Students of the Department of Art History Rutgers, The State University of New Jersey Volume 22 2006 Copyright ©2006 Rutgers, The State University of New Jersey All rights reserved Manufactured in the United States of America ISSN0194-049X Rutgers Art Review 22 (2006) Rutgers Art Review Volume 22 Editors Suzy Ford and Lisandra Estevez Layout Designer Yelena Kalinsky Editorial Board Ricki Sablovc David Boffa Yelena Kalinsky Diana Bramham Kandice Rawlings Jessica Evans Julia Kameron Faculty Advisor Erik Thuno Rutgers Art Review is an annual journal published by graduate students in the Department of Art History at Rutgers, The State University of New Jersey. RAR is dedicated to presenting original, scholarly research by current graduate students in the history of art and architecture, art criticism, and related fields. For each volume, the editors convene an editorial board made up of graduate students from the department and review all new submissions. The strongest papers are then sent to established scholars in order to confirm originality of research and soundness of argument. Articles appearing in RAR are abstracted and indexed online in America: History and Life, AR'I'bibliographies Modem, the Avery Index to Architectural Periodicals, BIIA {Bibliography of the History of Art), Historical Abstracts, and the Wilson Art Index. The journal is distributed by subscription to over ninety of the finest academic, museum, and public libraries in North America and Europe. For annual rates and more information about RAR, please visit our website at http://rar.rutgers.edu/. Published articles are selected by RAR's editorial board from a large group of submissions received each summer from students in graduate programs across the United States, Canada and Europe.