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Employers' Deadlines for Decisions Now Loom
20120702-NEWS--0001-NAT-CCI-CD_-- 6/29/2012 6:05 PM Page 1 ©Entire contents copyright 2012 by Crain Communications Inc. All rights reserved www.crainsdetroit.com Vol. 28, No. 27 Chinese automaker setsPage up 3 headquarters in Birmingham Advanced manufacturing 3-D process takes manufacturing to new levels, Page 9 Crain’s Largest OEM parts suppliers, Page 12 Agreement may be near on Belle Isle C Aquarium YOUR reopening RAIN share your views on the Detroit River — literally. Crain’s Lists ’ D S Detroit River, photos of out-of- the-way hangouts and bars by the river or photos of ETROIT interesting spots to fish, play or stories to go with them. WANTS TO SEE relax. Be sure to include an We’re looking for views of the explanation and story with your photos. river photos and the would like you to be part of a contest for the best photo. Prizes will be given to Investing in the D the top photos, picked by submitting your favorite Crain’s Business’ Living and 20 special publication Submit photos by July 27 to of others, will be used in print and Be part of the Aug. online as part of this annual publication. Crain’s Detroit The winning photo, and many electronically, go to R detroit.com/riverviews. Deputy Managing Editor IVER PICS To submit a photo Duggan @crain.com or (313) 446-0414. For questions, contact Employers’ deadlines editors. for decisions now loom NEWSPAPER State delay on health exchange muddies waters at dduggan has ruled, employers can be ex- by pected to begin to moving forward with plans to comply with regula- tory requirements of the Patient Now that the Protection and Affordable Care Act. -
HARD FACTS and SOFT SPECULATION Thierry De Duve
THE STORY OF FOUNTAIN: HARD FACTS AND SOFT SPECULATION Thierry de Duve ABSTRACT Thierry de Duve’s essay is anchored to the one and perhaps only hard fact that we possess regarding the story of Fountain: its photo in The Blind Man No. 2, triply captioned “Fountain by R. Mutt,” “Photograph by Alfred Stieglitz,” and “THE EXHIBIT REFUSED BY THE INDEPENDENTS,” and the editorial on the facing page, titled “The Richard Mutt Case.” He examines what kind of agency is involved in that triple “by,” and revisits Duchamp’s intentions and motivations when he created the fictitious R. Mutt, manipulated Stieglitz, and set a trap to the Independents. De Duve concludes with an invitation to art historians to abandon the “by” questions (attribution, etc.) and to focus on the “from” questions that arise when Fountain is not seen as a work of art so much as the bearer of the news that the art world has radically changed. KEYWORDS, Readymade, Fountain, Independents, Stieglitz, Sanitary pottery Then the smell of wet glue! Mentally I was not spelling art with a capital A. — Beatrice Wood1 No doubt, Marcel Duchamp’s best known and most controversial readymade is a men’s urinal tipped on its side, signed R. Mutt, dated 1917, and titled Fountain. The 2017 centennial of Fountain brought us a harvest of new books and articles on the famous or infamous urinal. I read most of them in the hope of gleaning enough newly verified facts to curtail my natural tendency to speculate. But newly verified facts are few and far between. -
Archives of American Art Journal, Vol. 49 Nos. 1-2: the Anniversary Issue
From the director This year marks the fiftieth anniversary of theArchives of American Art Journal. What started as a modest pamphlet for announcing new acquisitions and other Archives’ activities soon blossomed into one of the signature publications for the dissemination of new research in the field of American art history. During its history, the Archives has published the work of most of the leading thinkers in the field. The list of contributors is far too long to include, but choose a name and most likely their bibliography will include an essay for the Journal. To celebrate this occasion, we mined the Journal’s archive and reprinted some of the finest and most representative work to have appeared in these pages in the past five decades. Additionally, we invited several leading scholars to prepare short testimonies to the value of the Journal and to the crucial role that the Archives has played in advancing not only their own work, but its larger mission to foster a wider appreciation and deeper understanding of American art and artists. I’m particularly grateful to Neil Harris, Patricia Hills, Gail Levin, Lucy Lippard, and H. Barbara Weinberg for their thoughtful tributes to the Journal. Additionally, I’d like to thank David McCarthy, Gerald Monroe, H. Barbara Weinberg, and Judith Zilczer for their essays. And I would like to make a very special acknowledgement to Garnett McCoy, who served as the Journal’s editor for thirty years. As our current editor Darcy Tell points out, the Journal’s vigor and intellectual rigor owe much to Garnett’s stewardship and keen Endpapers inspired by the Artists' Union logo. -
Sketches to Sculptures, Rendered Reality: Rendered Sculptures, to Sketches Sixty Years Sixty Marshall with M
Sketches to Sculptures, Rendered Reality: Sixty Years with Marshall M. Fredericks M. with Marshall Sixty Years This catalogue is published in conjunction with the exhibition Sketches to Sculptures, Rendered Reality: Sixty Years with Marshall M. Fredericks organized by the Marshall M. Fredericks Sculpture Museum. Saginaw Valley State University 7400 Bay Road, University Center, Michigan 48710 www.marshallfredericks.org Sketches to Sculptures, Rendered Reality: Sixty Years with Marshall M. Fredericks Marilyn L. Wheaton, Editor with contributions by Joseph Antenucci Becherer, Vince Carducci, Dennis Alan Nawrocki, Michael W. Panhorst, and MaryAnn Wilkinson The Marshall M. Fredericks Sculpture Museum Saginaw Valley State University University Center, Michigan 2011 i This volume is published to accompany the exhibition Sketches to Sculptures, Rendered Reality: Sixty Years with Marshall M. Fredericks, held at the Marshall M. Fredericks Sculpture Museum, University Center, Michigan, February 12 - June 12, 2010. ©2011 Marshall M. Fredericks Sculpture Museum, Saginaw Valley State University, University Center, Michigan All rights reserved under international copyright conventions. No part of this book may be reproduced in any form, or by any electronic, mechanical, or other means, without written permission from the publisher. Book designer: John Bowman Manuscript editor: Cynthia Newman Edwards Printer: F. P. Horak Company, Bay City, Michigan Cover: Color photo of Leaping Gazelle, Saginaw Valley State University campus, 2008; photo by Adam Baudoux; see also Cat. no.16 and 17. Please note: All drawings and sketches displayed are reproductions of the archival originals, which are housed in the Marshall M. Fredericks Sculpture Museum Archives. Where dimensions are given, height precedes width precedes depth unless otherwise indicated. -
Downtown Detroit Self-Guided Walking Tour D N O C E S
DOWNTOWN This self-guided tour is a great intro to downtown! Be sure to join us on one of our public tours or contact DETROIT us to a create a customized experience that fits your schedule. DOWNTOWN DETROIT SELF-GUIDED WALKING TOUR SECOND C H E R R Y P L U M Midtown M O N T C A L M J N O E L I Z A B E T H H N GRAND RIVER AVE C P L U M C O L U M B I A L WOODWARD AVE C H U R C H O MICHIGAN AVE THIRD D TRUMBULL G E L I Z A B E T H E E L I Z A B E T H COMERICA PARK BRUSH FORD FIELD ADAMS TENTH B E E C H C L FORD FIELD I P SECOND F A Corktown F R F O F I R S T O K U R P L A Z A R A BEAUBIEN B A G L E Y T D V EIGHTH H E M BROOKLYN A R D 13 11 I S N O N 12 H O B A G L E Y J GRATIOT AVE L A B R O S S E RANDOLPH 12 BROADWAY M U L L E T MICHIGAN AVE 1 TIMES SQUARE 10 P O R T E R WASHINGTON BLVD E A V DETROIT EXPERIENCE C L I N T O N E R G R A N D R I V LIBRARY9 FACTORY Lafayette Park A B B O T T A B B O T T STATE S T A N T O I N E M A C O M B PA R K P L A C E GRISWOLD 11 2 F A H O W A R D WASHINGTON BLVD R M O N R O E 8 TENTH BROOKLYN 10 M 10 375 E R FIFTH TRUMBULL E LAFAYETTE W LAFAYETTE BLVD W LAFAYETTE BLVD SHELBY SIXTH EIGHT 1 BRUSH 3 C A S S AV E S F O R T E RANDOLPH WOODWARD AVE F O R T 9 F O R T T PEOPLE MOVER A (ELEVATED MONORAIL) B BEAUBIEN E C O N G R E S S E C O N G R E S S W C O N G R E S S W J E F F E R S O N A V E 4 2 E L A R N E D RIVARD 6 3 4 7 COBO CENTER E JEFFERSON AVE W JEFFERSON AVE 5 7 5 8 RivertownW O O D B R I D G E W O O D B R I D G E RIOPELLE JOE LOUIS ARENA S T A U B I N O R L E A N S F R A N K L I N D U B O I S C I V I C C E N T E R AT W AT E R RIVARD PLAZA Detroit River 6 AT W AT E R AT W AT E R MILLIKEN STATE PARK DETROIT RIVER People Mover Tour Stops MAP LEGEND DXF Welcome Center Stations DXF creates experiences that are enlightening, entertaining and led by Detroiters. -
Art in Architecture Acknowledgments
art in architecture Acknowledgments It is a pleasure to thank those who helped to make this exhibition a success. First and foremost, I would like to thank the Michigan Humanities Council, an affiliate of the National Endowment for the Humanities, whose generous support made this exhibition possible. I owe my deepest gratitude to the institutions from whose collections we borrowed objects for inclusion in this exhibition. My heartfelt thanks goes out to Leslie Edwards, Robbie Terman, and Laurie Kay at the Cranbrook Archives; Roberta Frey Gilboe at the Cranbrook Art Museum; David Schneider and Tracy Irwin at the Detroit Historical Museum; Jim Joyce at the Friedman Real Estate Group; Meredith Long at Meadow Brook Hall; and Jan Durecki at the Rabbi Leo M. Franklin Archives. Working with these individuals has been a joy and I truly appreciate all of the time and energy they spent preparing for the loan of these objects. Thank you also to the numerous archives, museums, historical societies and libraries throughout the state and the country who granted permission for the museum to use their photographs in the exhibition. Additionally, I would like to express my gratitude to the Flickr photographers who generously allowed the museum to include their photographs in the exhibition. It has been a pleasure to work with all of you. I wish to thank Tawny Ryan Nelb for her insightful essay that appears in this catalog. John Gallagher, Architecture Critic and Urban Development Writer at the Detroit Free Press, and Jennifer Baross, Partner, Destination Detroit Media, were gracious in accepting the museum’s invitation to give lectures during the course of the exhibition. -
Kolokytha, Chara (2016) Formalism and Ideology in 20Th Century Art: Cahiers D’Art, Magazine, Gallery, and Publishing House (1926-1960)
Citation: Kolokytha, Chara (2016) Formalism and Ideology in 20th century Art: Cahiers d’Art, magazine, gallery, and publishing house (1926-1960). Doctoral thesis, Northumbria University. This version was downloaded from Northumbria Research Link: http://nrl.northumbria.ac.uk/32310/ Northumbria University has developed Northumbria Research Link (NRL) to enable users to access the University’s research output. Copyright © and moral rights for items on NRL are retained by the individual author(s) and/or other copyright owners. Single copies of full items can be reproduced, displayed or performed, and given to third parties in any format or medium for personal research or study, educational, or not-for-profit purposes without prior permission or charge, provided the authors, title and full bibliographic details are given, as well as a hyperlink and/or URL to the original metadata page. The content must not be changed in any way. Full items must not be sold commercially in any format or medium without formal permission of the copyright holder. The full policy is available online: http://nrl.northumbria.ac.uk/policies.html Formalism and Ideology in 20 th century Art: Cahiers d’Art, magazine, gallery, and publishing house (1926-1960) Chara Kolokytha Ph.D School of Arts and Social Sciences Northumbria University 2016 Declaration I declare that the work contained in this thesis has not been submitted for any other award and that it is all my own work. I also confirm that this work fully acknowledges opinions, ideas and contributions from the work of others. Ethical clearance for the research presented in this thesis is not required. -
A Catalogue of the Collection of American Paintings in the Corcoran Gallery of Art
A Catalogue of the Collection of American Paintings in The Corcoran Gallery of Art VOLUME I THE CORCORAN GALLERY OF ART WASHINGTON, D.C. A Catalogue of the Collection of American Paintings in The Corcoran Gallery of Art Volume 1 PAINTERS BORN BEFORE 1850 THE CORCORAN GALLERY OF ART WASHINGTON, D.C Copyright © 1966 By The Corcoran Gallery of Art, Washington, D.C. 20006 The Board of Trustees of The Corcoran Gallery of Art George E. Hamilton, Jr., President Robert V. Fleming Charles C. Glover, Jr. Corcoran Thorn, Jr. Katherine Morris Hall Frederick M. Bradley David E. Finley Gordon Gray David Lloyd Kreeger William Wilson Corcoran 69.1 A cknowledgments While the need for a catalogue of the collection has been apparent for some time, the preparation of this publication did not actually begin until June, 1965. Since that time a great many individuals and institutions have assisted in com- pleting the information contained herein. It is impossible to mention each indi- vidual and institution who has contributed to this project. But we take particular pleasure in recording our indebtedness to the staffs of the following institutions for their invaluable assistance: The Frick Art Reference Library, The District of Columbia Public Library, The Library of the National Gallery of Art, The Prints and Photographs Division, The Library of Congress. For assistance with particular research problems, and in compiling biographi- cal information on many of the artists included in this volume, special thanks are due to Mrs. Philip W. Amram, Miss Nancy Berman, Mrs. Christopher Bever, Mrs. Carter Burns, Professor Francis W. -
CHILDE HASSAM: Docent Notes
CHILDE HASSAM: Docent Notes The Childe Hassam oil painting in the Mint‟s holdings –“The Stone Cottage, Old Lyme”- has always been a favorite of our museum visitors, at least in my experience. This short survey and biographical note is followed by a brief timeline and some authoritative quotes from art historians. Hassam (born in Boston in 1859, died at the summer home East Hampton NY 1935), is widely known as America‟s foremost Impressionist. He is often described as “the American Monet”, and his works were collected and admired during his life by major collectors such as Freer, Whitney, Frick, and White -–no struggling, starving, misunderstood artist he! “Stone Cottage, Old Lyme” is obviously painted outdoors (en plein air to use the French term), with a very pleasing impressionist palette – pastel and deep blues, greens, and yellows. Note that he used no blacks or greys. The sun is to the left and behind the cottage, casting a chimney shadow on the roof and shadow on the ground. While there is a wisp of smoke from the chimney, the people seem warmed by the sun. The adult walker is effectively silhouetted against the tree trunks. Hassam used the quick, short brushstrokes of the impressionist –though he decried this term, and never acknowledged being influenced by the French Impressionists--to give the characteristic vibrant, shimmering light effect. Unlike the French, his works always had form and did not disintegrate into simply “vibrations of light”. The strokes seem loose but controlled. Note the different qualities of brushwork: quick vigorous horizontals for the roof, choppy impasto for the foliage, wide diagonals for the sky. -
Walter Pach Papers
Walter Pach Papers A Finding Aid to the Collection in the Helen Farr Sloan Library & Archives, Delaware Art Museum Acquisition Information Gift of Raymond P. Pach Extent 4 linear feet Contents Correspondence, photographs, and Christmas cards Access Restrictions Unrestricted Contact Information Helen Farr Sloan Library & Archives Delaware Art Museum 2301 Kentmere Parkway Wilmington, DE 19806 (302) 571-9590 [email protected] Preferred Citation Walter Pach Papers, Helen Farr Sloan Library & Archives, Delaware Art Museum 1 Table of Contents Chronology of Walter Pach Scope and Contents Note Organization of the Papers Description of the Papers Chronology of Walter Pach 1883 – Born July 11, New York City, son of Frances Wise Pach and well-known commercial photographer, Gotthelf Pach, of the firm Pach Bros. 1903 – Graduated from the City College of New York. Studied painting with Leigh Hunt, Robert Henri, and William Merritt Chase. Trip to Europe with Chase's class. 1904 – Trip to Holland and England with Chase's class. Purchased Hokusai Manga book (artist's manual). Saw Sir Frank Brangwyn's extensive collection of Japonaiseries. 1906 – Presented first art history lecture, Westfield State Normal School, Westfield, Mass. 1907 – Moved to France. Met Gertrude and Leo Stein. Painted Portrait of Japanese Painter Moriye Ogihara. 1908 – "Cézanne," by Walter Pach, the first American article on the subject, published in December issue of Scribner's. 1909 – "Portrait of Walter Pach," by Gertrude Stein. 1911 – "Albert P. Ryder," by Walter Pach, published in January issue of Scribner's. 1912 – Met with Arthur B. Davies and Walt Kuhn to begin preparations for the Armory Show. -
Campus-Tour-Color.Pdf
Lounde1 d in 1904 by Detroit philanthropists George and Ellen Booth, Cranbrook is considered one of the world's leading centers for education, science and art. A National Historic Landmark, Cranbrook is comprised of public venues including Cranbrook Art Also known as The Gateway to the Campus, Museum, House and Gardens and Institute of Science, and several this structure serves as the main entrance point for Cranbrook. Designed by former Cranbrook private educational institutions including Cranbrook Schools, a pre-k Academy of Art architect-in-residence Dan through 12th grade independent college-preparatory school and Hoffman along with Ted Gallante and Juliani Cranbrook Academy of Art, the only graduate school in the United Pallasmaa, the Entrance Feature is illuminated at night becoming a subtle States devoted solely to fine art. For information on exhibitions and beacon along Woodward Avenue. The entrance opened in 1992. other public events at Cranbrook, please visit www.cranbrook.edu or call 1.877.GO.CRANBROOK (1.877.462.7262). The former house of Cranbrook founders George :** . ; ., and Ellen Booth, Cranbrook House was designed ft Cranbrook Archives is located in the former by architect Albert Kahn, also known for Detroit's studio of Henry Booth. It now houses more Fisher Building and GM Building. The Fnglish ^^_ than a century of Cranbrook history, from Arts and Crafts-style home was the first major i personal papers to thousands of rare images. structure built at Cranbrook. Its interior features hand-crafted stone and The archives is available as a resource for wood work, Pewabic tiling, and a wide array of rare art, sculpture and academics, researchers and members of the public interested in learning antiquities. -
The Art Museum As Personal Statement: the Southwest Experience
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Great Plains Quarterly Great Plains Studies, Center for 1989 The Art Museum as Personal Statement: The Southwest Experience Keith L. Bryant Jr University of Akron Follow this and additional works at: https://digitalcommons.unl.edu/greatplainsquarterly Part of the Other International and Area Studies Commons Bryant, Keith L. Jr, "The Art Museum as Personal Statement: The Southwest Experience" (1989). Great Plains Quarterly. 400. https://digitalcommons.unl.edu/greatplainsquarterly/400 This Article is brought to you for free and open access by the Great Plains Studies, Center for at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Great Plains Quarterly by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. THE ART MUSEUM AS PERSONAL STATEMENT THE SOUTHWESTERN EXPERIENCE KEITH L. BRYANT, JR. The museum boom in this country since World Indeed, the art museum rivals the shopping mall War II has been easy to observe and document. as a site for family excursions. The residents of Almost as many museums were constructed in the Southwest have participated in the museum the 1960s as in the previous two decades, and boom, generating new institutions and new the erection or expansion of cultural palaces has buildings along with national media attention, continued into the 1980s. The rising impor in a proclamation of the region's cultural ma tance of museums has been signaled not only turation. It has not always been so, however. by new buildings and massive additions but also In 1948, the artist, critic, and scholar Walter by attendance figures.