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Palm Beach Modern + Contemporary Kicks Off 2019 with World-Class International Art Fair for Third Edition
PALM BEACH MODERN + CONTEMPORARY KICKS OFF 2019 WITH WORLD-CLASS INTERNATIONAL ART FAIR FOR THIRD EDITION The Palm Beach Modern + Contemporary Art Fair (PBM+C), presented by Art Miami and hosted by the City of West Palm Beach, will return for its third edition in West Palm Beach City’s Tent Site (825 S Dixie th th Hwy at Okeechobee Blvd) on Thursday, January 10 through Sunday, January 13 , 2019. PBM+C is the most important fair to take place in Palm Beach during the winter season as it brings a world-class, internationally respected group of art dealers and their artists to one of the most culturally savvy and discerning collecting audiences in the world. The fair will open on Thursday evening at 5:00pm, with an exclusive VIP Preview benefiting the Ann Norton Sculpture Gardens and Joe Namath Foundation. Palm Beach Modern + Contemporary, an integral part of the prestigious Art Miami Group, which just celebrated its 29th edition of Art Miami, presents a world-class art fair in Palm Beach, which curates and offers the best investment quality works from the 20th and 21st centuries. The Fair will take place in the intimate and modern setting of a temperature controlled clear span pavilion, conveniently located behind Restoration Hardware, between CityPlace and the luxurious Hilton West Palm Beach. Collectors, art connoisseurs and art world luminaries alike will have the opportunity to acquire investment quality blue chip, modern and contemporary, and post-war works from nearly 70 top international galleries over the four days of the fair. These premier galleries come from as far as Austria, United Kingdom, France, Germany, Canada, Columbia, Venezuela and throughout the United States. -
Donald Sultan
THE DRAWING ROOM 66H Newtown Lane, East Hampton, New York 11937 T 631 324.5016 FOR IMMEDIATE RELEASE June 2012 DONALD SULTAN Rouge Poppies April 25 2012, conté on paper, 22 ! x 30 " inches Flocked Oranges on Branches January 22 2002, charcoal and flock on paper 19 # x 25 ! inches From June 28 through July 30, The Drawing Room in East Hampton presents a selection of important drawings and a striking new painting by DONALD SULTAN. This rich collection of works on paper, punctuated by a single 2010 Lantern Flowers painting, reveals the artist’s inventive approach to his quotidian subjects which loom larger than life on paper and become transformative sculptural objects in tar and plaster. Two early drawings, Black Roses 1988 and Black Lemon 1989 set the stage for Sultan’s dramatic and masterful use of the dry, ancient medium of charcoal in the following decades. Densely wrought in the friable medium, the small, sole lemon is a signature Sultan silhouette, widely known since the Museum of Modern Art’s 1988 exhibition, Black Lemons. Several drawings selected from his powerful 2000-2002 series, Oranges on Branches, conjure memories of walking through an orchard laden with fruit. Sultan’s playful and deft balance of compressed charcoal mark making, combined with the velvet flocking of the fruit, dazzle and confound. Ever inspired by the geometry and sensuality of flowers, Sultan made a large series, Wallflowers, in April of 2007 using the French medium of gouache for its opacity of hues worthy of flower petals. In these patterns of free floating wisteria, fritillaria, bluebells, and coreopsis, and many other species, Sultan reduces and repeats the architecture of each blossom in marvelous variations of form and color across the white expanse of the page. -
The Museum Off Modern Art
The Museum off Modern Art For Immediate Release January 1988 DONALD SULTAN'S BLACK LEMONS February 4 - May 3, 1988 An exhibition of monumental prints by American artist Donald Sultan opens at The Museum of Modern Art on February 4, 1988. Organized by Riva Castleman, director of the Department of Prints and Illustrated Books, DONALD SULTAN'S BLACK LEMONS includes several groups of black-and-white aquatints executed between 1984 and 1987, as well as a lead sculpture and a folding screen with printed panels. On view through May 3, the exhibition is supported by the Associates of the Department of Prints and Illustrated Books. Taking the distinctive form of the lemon—the subject of many of his somber tar-on-tile paintings—Sultan has used a unique procedure to create these large prints. Beginning with a copperplate evenly covered with resin particles, the artist has blown through a glass pipe to draw the images with his own breath. With this technique he has achieved the blurred effect of heavily applied charcoal. In an article written at the time of a 1986 exhibition in Paris, Sultan's prints were described by Brigitte Baer: "Here they are, huge, covering the wall from the celling to the floor: gorgeous, fat, velvet black, with those hazy outlines, as powdery as if they had been covered with some mysterious kind of black icing sugar. The room is swarming with black lemons." Three of the black lemon prints have been mounted in the traditional oriental manner as a six-fold screen, which is shown for the first time in this exhibition. -
Arnold) Glimcher, 2010 Jan
Oral history interview with Arne (Arnold) Glimcher, 2010 Jan. 6-25 Funding for this interview was provided by the Widgeon Point Charitable Foundation. Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. 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 Arne Glimcher on 2010 January 6- 25. The interview took place at PaceWildenstein in New York, NY, and was conducted by James McElhinney for the Archives of American Art, Smithsonian Institution. Funding for this interview was provided by the Widgeon Point Charitable Foundation. Arne Glimcher has reviewed the transcript and has made corrections and emendations. The reader should bear in mind that he or she is reading a transcript of spoken, rather than written, prose. Interview JAMES McELHINNEY: This is James McElhinney speaking with Arne Glimcher on Wednesday, January the sixth, at Pace Wildenstein Gallery on— ARNOLD GLIMCHER: 32 East 57th Street. MR. McELHINNEY: 32 East 57th Street in New York City. Hello. MR. GLIMCHER: Hi. MR. McELHINNEY: One of the questions I like to open with is to ask what is your recollection of the first time you were in the presence of a work of art? MR. GLIMCHER: Can't recall it because I grew up with some art on the walls. So my mother had some things, some etchings, Picasso and Chagall. So I don't know. -
James-Steward-Cv-2013.Pdf
JAMES CHRISTEN STEWARD 115 Winant Road Princeton, New Jersey 08540 609.375.6941 PROFESSIONAL EXPERIENCE 2009- Director, Princeton University Art Museum Lecturer with the Rank of Professor, Princeton University Oversees operating budget of $15 million, staff of 75, and global collections of 82,000 works of art. Leads and provides vision for program of exhibitions, collections installations, and scholarly and public programs. Develops acquisitions strategies and oversees annual purchase program of ca. $4.5 million along with gift cultivation and acceptances. Advocates for the Museum to local, regional, statewide, and national constituencies including funders, collaborators, and audiences. Led a successful endowment campaign of $45.9 million that concluded in June 2012 and a potential $200 million facility project and campaign. Liaises with university leaders to develop arts policy and interdisciplinary collaborative projects. Teaches courses in 18th- and 19th-century art, ethics, and arts policy. 1998-2009 Director, University of Michigan Museum of Art 2003-2009 Professor, History of Art and Museum Studies 2001-2003 Associate Professor, History of Art and Art 1998-2001 Assistant Professor, History of Art and Art Provided direction for staff of 50, an operating budget of $5.5 million, collections of over 18,000 objects, and 200+ volunteers. Led major development initiatives including a building and endowment campaign totaling $98 million. Initiated and led National Advisory Board. Developed interdisciplinary program in museum studies. Conducted research and organizes exhibitions. Taught courses in 18th- century art and museum studies. 1997-1998 Chief Curator, University of California, Berkeley Art Museum 1992-1997 Curator and Assistant Director Member of Senior Management Team; managed budgets totaling $1.7 million, including $600,000 annual gallery exhibition program; administered all aspects of collection development and management; cultivated individual and corporate donors and collectors; managed project-specific grant writing. -
The Museum of Modern Art
The Museum of Modern Art 50th Anniversary NO. 81 *o FOR IMMEDIATE RELEASE ADVANCE FACT SHEET EXHIBITION: PRINTED ART:A VIEW OF TWO DECADES DATES: The Museum of Modern Art, New York February 14-April 1, 1980 DIRECTOR: Riva Castleman, Director of the Department of Prints and Illustrated Books, The Museum of Modern Art CONTENTS: The past two decades have been unprecedented in the production of fine prints and other printed matter by leading artists. The printed image is ubiquitous in contemporary art. The silkscreens of the Pop Artists; the lithographs of the major painters of the 1960's and 1970's; the ephemeral periodicals and booklets of the Conceptualists; the etchings and engravings of the Minimalists, with their precise lines and clear colors; the images of every day life seen in the work of the Photo-Realists--all are, in the words of Riva Castleman, "testimony that a great part of the creative activity of this era has been directed toward the widespread communication that prints make possible." This major international survey of work in the different print mediums, a 50th Anniversary year exhibition of The Museum of Modern Art, includes more than 175 contemporary artists from Eastern and Western Europe, North and South America, and Japan. Among the artists represented in the exhibition are Josef Albers, Art & Language, Jennifer Bartlett, Joseph Beuys, Mel Bochner, Daniel Buren, Christo, Chuck Close, Jim Dine, Marcel Duchamp, Helen Frankenthaler, Richard Hamilton, David Hockney, Bryan Hunt, Jasper Johns, Alex Katz, Ellsworth Kelly, Joseph Kosuth, Les Levine, Sol LeWitt, Roy Lichtenstein, Claes Oldenburg, Philip Pearl- stein, Martial Raysse, Robert Rauschenberg, Ad Reinhardt, Ed Ruscha, Robert Ryman, Michael Snow, Soto, Frank Stella, Victor Vasarely, and Andy Warhol. -
Annual Report 1995
19 9 5 ANNUAL REPORT 1995 Annual Report Copyright © 1996, Board of Trustees, Photographic credits: Details illustrated at section openings: National Gallery of Art. All rights p. 16: photo courtesy of PaceWildenstein p. 5: Alexander Archipenko, Woman Combing Her reserved. Works of art in the National Gallery of Art's collec- Hair, 1915, Ailsa Mellon Bruce Fund, 1971.66.10 tions have been photographed by the department p. 7: Giovanni Domenico Tiepolo, Punchinello's This publication was produced by the of imaging and visual services. Other photographs Farewell to Venice, 1797/1804, Gift of Robert H. and Editors Office, National Gallery of Art, are by: Robert Shelley (pp. 12, 26, 27, 34, 37), Clarice Smith, 1979.76.4 Editor-in-chief, Frances P. Smyth Philip Charles (p. 30), Andrew Krieger (pp. 33, 59, p. 9: Jacques-Louis David, Napoleon in His Study, Editors, Tarn L. Curry, Julie Warnement 107), and William D. Wilson (p. 64). 1812, Samuel H. Kress Collection, 1961.9.15 Editorial assistance, Mariah Seagle Cover: Paul Cezanne, Boy in a Red Waistcoat (detail), p. 13: Giovanni Paolo Pannini, The Interior of the 1888-1890, Collection of Mr. and Mrs. Paul Mellon Pantheon, c. 1740, Samuel H. Kress Collection, Designed by Susan Lehmann, in Honor of the 50th Anniversary of the National 1939.1.24 Washington, DC Gallery of Art, 1995.47.5 p. 53: Jacob Jordaens, Design for a Wall Decoration (recto), 1640-1645, Ailsa Mellon Bruce Fund, Printed by Schneidereith & Sons, Title page: Jean Dubuffet, Le temps presse (Time Is 1875.13.1.a Baltimore, Maryland Running Out), 1950, The Stephen Hahn Family p. -
NEA-Annual-Report-1980.Pdf
National Endowment for the Arts National Endowment for the Arts Washington, D.C. 20506 Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts and the National Council on the Arts for the Fiscal Year ended September 30, 1980. Respectfully, Livingston L. Biddle, Jr. Chairman The President The White House Washington, D.C. February 1981 Contents Chairman’s Statement 2 The Agency and Its Functions 4 National Council on the Arts 5 Programs 6 Deputy Chairman’s Statement 8 Dance 10 Design Arts 32 Expansion Arts 52 Folk Arts 88 Inter-Arts 104 Literature 118 Media Arts: Film/Radio/Television 140 Museum 168 Music 200 Opera-Musical Theater 238 Program Coordination 252 Theater 256 Visual Arts 276 Policy and Planning 316 Deputy Chairman’s Statement 318 Challenge Grants 320 Endowment Fellows 331 Research 334 Special Constituencies 338 Office for Partnership 344 Artists in Education 346 Partnership Coordination 352 State Programs 358 Financial Summary 365 History of Authorizations and Appropriations 366 Chairman’s Statement The Dream... The Reality "The arts have a central, fundamental impor In the 15 years since 1965, the arts have begun tance to our daily lives." When those phrases to flourish all across our country, as the were presented to the Congress in 1963--the illustrations on the accompanying pages make year I came to Washington to work for Senator clear. In all of this the National Endowment Claiborne Pell and began preparing legislation serves as a vital catalyst, with states and to establish a federal arts program--they were communities, with great numbers of philanthro far more rhetorical than expressive of a national pic sources. -
Ellsworth Kelly and Andy Warhol Lead Swann Galleries' November
FOR IMMEDIATE RELEASE Contact: Alexandra Nelson October 25, 2016 Communications Director 212-254-4710 ext. 19 [email protected] Ellsworth Kelly and Andy Warhol Lead Swann Galleries’ November Contemporary Art Auction New York— On Tuesday, November 15, Swann Galleries will hold an auction of Contemporary Art, featuring works by Chuck Close, Christo, Richard Diebenkorn, Claes Oldenburg and Cy Twombly, among others. Prime works by Pop Art king Andy Warhol include the iconic 1964 screenprint of Elizabeth Taylor, aptly titled Liz, as well as the screenprint Campbell’s Soup I: Green Pea, 1968 ($30,000 to $50,000 and $15,000 to $20,000, respectively). Also available is a sheet of sixty unpeeled Banana Stickers (The Velvet Underground & Nico), 1967, the largest amount of intact stickers related to the landmark collaboration between Warhol and The Velvet Underground ever seen at auction, estimated to sell between $8,000 to $12,000. Abstract Expressionist masters are well represented. An excellent work from Robert Motherwell’s Elegy to the Spanish Republic series titled Lament for Lorca, 1981-82, is estimated at $10,000 to $15,000. Willem de Kooning’s first lithograph with printer Irwin Hollander, Woman at Clearwater Beach, 1971, is also present. According to Hollander, the work was inspired by the artist’s “trip to Japan…the seeing and feeling of calligraphy, sumi brush and Zen”—it is expected to realize $8,000 to $12,000. There is also a run of moody works by Adolph Gottlieb. Bridging print and sculpture is Jean Dubuffet’s Parcours, 1981, an unusual scrolled screenprint on silk. -
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. -
1999-02-Art in America
Art in America Feb, 1999 Four Close-Ups - and One Nude - Chuck Close paintings by Linda Nochlin, Richard Kalina, Lynne Tillman, Jerry Saltz Four authors (Linda Nochlin, Richard Kalina, Lynne Tillman and Jerry Saltz) each focus on a single painting by Chuck Close, whose traveling retrospective is on view this month at the Seattle Art Museum. LINDA NOCHLIN on Nancy (1968) It looks just like Nancy, but Nancy didn't look like this. What I mean is, the photo, and even more, the painting after it, have frozen certain atypical, momentary aspects of the sitter--the turned-in eye, the lifted lip, the crooked tooth, the straggling strands of hair--into prominent, permanent features. The painting is a memorial to what was contingent to Nancy Graves, but of course, being photo-based, it purports to tell the truth, the way a mug shot claims to give us the truth, the whole truth and nothing but the truth about the criminal. This is a realist image in that it testifies at once to the existence of the subject in the "real" world beyond the painting and, at the same time, to the concrete, material presence of the acrylic on canvas: a testament to the labor that created this nonvirtuoso display of the artist's patient handwork. The austerity of the production--its lack of color, its stark presentation of image, its refusal of painterly self-indulgence or "personal sensibility"--is also part of the realist ethic. And its exactitude, the unflinching depiction of hairs, wrinkles, askew glance, the gleam on a random tooth, reminds us of the origin of portraiture in magic and memorial. -
Isoluminant Color Picking for Non-Photorealistic Rendering
Isoluminant Color Picking for Non-Photorealistic Rendering Tran-Quˆ anˆ Luong† Ankush Seth† Allison Klein† Jason Lawrence‡ †School of Computer Science ‡Department of Computer Science McGill University Princeton University Abstract The physiology of human visual perception helps ex- plain different uses for color and luminance in visual arts. When visual fields are isoluminant, they look the same to our luminance processing pathway, while potentially looking quite different to the color processing path. This creates a perceptual tension exploited by skilled artists. In this paper, we show how reproducing a target color (a) (b) using a set of isoluminant yet distinct colors can both improve existing NPR image filters and help create new ones. A straight-forward, geometric technique for iso- luminant color picking is presented, and then applied in an improved pointillist filter, a new Chuck Close inspired filter, and a novel type of image mosaic filter. Key words: Nonphotorealistic rendering, color halfton- ing, artistic dithering. 1 Introduction In her book Vision and Art: The Biology of Seeing, Mar- (c) (d) garet Livingstone writes The elements of art have long been held to Figure 1: Skilled artists can use isoluminant colors to be color, shape, texture, and line. But an even produce perceptual tension between the luminance and more fundamental distinction is between color color processing pathways of the human visual system. and luminance. Color (in addition to repro- In the sky of Impression Sunrise, Claude Monet selects ducing objects’ surface properties) can convey colors with radically different hues(a) but near constant emotion and symbolism, but luminance (what luminance(b).