A Finding Aid to the Tibor De Nagy Gallery Records, 1941-2016, in the Archives of American Art
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Borderline Research
Borderline Research Histories of Art between Canada and the United States, c. 1965–1975 Adam Douglas Swinton Welch A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of Art University of Toronto © Copyright by Adam Douglas Swinton Welch 2019 Borderline Research Histories of Art between Canada and the United States, c. 1965–1975 Adam Douglas Swinton Welch Doctor of Philosophy Department of Art University of Toronto 2019 Abstract Taking General Idea’s “Borderline Research” request, which appeared in the first issue of FILE Megazine (1972), as a model, this dissertation presents a composite set of histories. Through a comparative case approach, I present eight scenes which register and enact larger political, social, and aesthetic tendencies in art between Canada and the United States from 1965 to 1975. These cases include Jack Bush’s relationship with the critic Clement Greenberg; Brydon Smith’s first decade as curator at the National Gallery of Canada (1967–1975); the exhibition New York 13 (1969) at the Vancouver Art Gallery; Greg Curnoe’s debt to New York Neo-dada; Joyce Wieland living in New York and making work for exhibition in Toronto (1962–1972); Barry Lord and Gail Dexter’s involvement with the Canadian Liberation Movement (1970–1975); the use of surrogates and copies at the Nova Scotia College of Art and Design (1967–1972); and the Eternal Network performance event, Decca Dance, in Los Angeles (1974). Relying heavily on my work in institutional archives, artists’ fonds, and research interviews, I establish chronologies and describe events. By the close of my study, in the mid-1970s, the movement of art and ideas was eased between Canada and the United States, anticipating the advent of a globalized art world. -
Reinventing, Downtown
Reinventing, Downtown By XICO GREENWALD | June 24, 2017 Abstract Expressionists Willem de Kooning, Jackson Pollock and Franz Kline urged a pair of friends to start an art gallery. Tibor de Nagy and John Bernard Myers followed their advice and, in 1950, on East 53rd Street, they opened the Tibor de Nagy Gallery. MEDRIE MACPHEE A Dream of Peace, 2017 oil and mixed media on canvas, 60 x 78 inches In the years to come, Mr. Myers and Mr. de Nagy would exhibit works by a number of second-generation Abstract Expressionists, including Alfred Leslie, Grace Hartigan, Robert Goodnough and Helen Frankenthaler. They also showed figurative paintings by the likes of Larry Rivers, Jane Freilicher, Fairfield Porter and Red Grooms. And Tibor de Nagy editions, the gallery’s book imprint, published poetry by Frank O’Hara, John Ashbery, Barbara Guest and others. Mr. Myers left the gallery in 1970. By that time, Tibor de Nagy had relocated to the 57th Street gallery district. When Mr. de Nagy died in 1993, he bequeathed his business to two young gallery assistants, Eric Brown and Andrew Arnot. Over the next 24 years, Mr. Arnot and Mr. Brown built on the gallery’s legacy together, exhibiting New York School pictures alongside works by select contemporary artists influenced by New York School poets and painters. But in the fast-paced New York art world, perhaps the only constant is change. Mr. Brown departed from the gallery this year. And now Mr. Arnot has relocated Tibor de Nagy to the Lower East Side, partnering with Betty Cuningham Gallery in a space-sharing agreement. -
Heretics Proposal.Pdf
A New Feature Film Directed by Joan Braderman Produced by Crescent Diamond OVERVIEW ry in the first person because, in 1975, when we started meeting, I was one of 21 women who THE HERETICS is a feature-length experimental founded it. We did worldwide outreach through documentary film about the Women’s Art Move- the developing channels of the Women’s Move- ment of the 70’s in the USA, specifically, at the ment, commissioning new art and writing by center of the art world at that time, New York women from Chile to Australia. City. We began production in August of 2006 and expect to finish shooting by the end of June One of the three youngest women in the earliest 2007. The finish date is projected for June incarnation of the HERESIES collective, I remem- 2008. ber the tremendous admiration I had for these accomplished women who gathered every week The Women’s Movement is one of the largest in each others’ lofts and apartments. While the political movement in US history. Why then, founding collective oversaw the journal’s mis- are there still so few strong independent films sion and sustained it financially, a series of rela- about the many specific ways it worked? Why tively autonomous collectives of women created are there so few movies of what the world felt every aspect of each individual themed issue. As like to feminists when the Movement was going a result, hundreds of women were part of the strong? In order to represent both that history HERESIES project. We all learned how to do lay- and that charged emotional experience, we out, paste-ups and mechanicals, assembling the are making a film that will focus on one group magazines on the floors and walls of members’ in one segment of the larger living spaces. -
The Artist and the American Land
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sheldon Museum of Art Catalogues and Publications Sheldon Museum of Art 1975 A Sense of Place: The Artist and the American Land Norman A. Geske Director at Sheldon Memorial Art Gallery, University of Nebraska- Lincoln Follow this and additional works at: https://digitalcommons.unl.edu/sheldonpubs Geske, Norman A., "A Sense of Place: The Artist and the American Land" (1975). Sheldon Museum of Art Catalogues and Publications. 112. https://digitalcommons.unl.edu/sheldonpubs/112 This Article is brought to you for free and open access by the Sheldon Museum of Art at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Sheldon Museum of Art Catalogues and Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. VOLUME I is the book on which this exhibition is based: A Sense at Place The Artist and The American Land By Alan Gussow Library of Congress Catalog Card Number 79-154250 COVER: GUSSOW (DETAIL) "LOOSESTRIFE AND WINEBERRIES", 1965 Courtesy Washburn Galleries, Inc. New York a s~ns~ 0 ac~ THE ARTIST AND THE AMERICAN LAND VOLUME II [1 Lenders - Joslyn Art Museum ALLEN MEMORIAL ART MUSEUM, OBERLIN COLLEGE, Oberlin, Ohio MUNSON-WILLIAMS-PROCTOR INSTITUTE, Utica, New York AMERICAN REPUBLIC INSURANCE COMPANY, Des Moines, Iowa MUSEUM OF ART, THE PENNSYLVANIA STATE UNIVERSITY, University Park AMON CARTER MUSEUM, Fort Worth MUSEUM OF FINE ARTS, BOSTON MR. TOM BARTEK, Omaha NATIONAL GALLERY OF ART, Washington, D.C. MR. THOMAS HART BENTON, Kansas City, Missouri NEBRASKA ART ASSOCIATION, Lincoln MR. AND MRS. EDMUND c. -
Kenneth Noland
! KENNETH NOLAND BIOGRAPHY Born in 1924 in Asheville, North Carolina US Died in 2010 in Port Clyde, Maine US EDUCATION & TEACHING 1985-90 Serves on the Board of Trustees, Bennington College, Bennington Vermont US 1985 Named Milton Avery Professor of the Arts, Bard College, Annandale-on-Hudson, New York US 1952-56 Taught at the Washington Workshop Center for the Arts US 1951-60 Taught at the Catholic University of America, Washington D.C. US 1949-51 Taught at the Institute of Contemporary Art, Washington D.C. US 1948-49 Studies with Ossip Zadkine in Paris FR 1946-48 Studies at Black Mountain College, North Carolina US SELECTED SOLO EXHIBITIONS 2019 Kenneth Noland, Almine Rech, Paris FR 2017 Kenneth Noland: Cicles - Early + Late, Yares Art, New York US Kenneth Noland, Pace Prints, New York US Kenneth Noland: Into the Cool, Pace Gallery, New York US 2016 Kenneth Noland: Unbalanced, Paul Kasmin Gallery, New York US 2015 Kenneth Noland: Color and Shape 1976–1980, Castelli, New York US Kenneth Noland: selected Works 1958-1980, Cardi Gallery, Milan IT ! ! ! 2014 Kenneth Noland: Handmade Paper and Monoprints 1978-1984, Meredith Long & Company, Houston US Kenneth Noland: Paintings 1975-2003, Pace Gallery, New York US 2012 Kenneth Noland: Mysteries, Full Circle, Yares Art Projects, Santa Fe US 2011 Kenneth Noland: Paintings 1958-1968, Mitchell-Innes & Nash, New York US 2010 Kenneth Noland, 1924-2010: A Tribute, Solomon R. Guggenheim Museum, New York US Kenneth Noland: A Tribute, Museum of Fine Arts, Houston US 2009 Kenneth Noland: Shaped Paintings -
Extended Sensibilities Homosexual Presence in Contemporary Art
CHARLEY BROWN SCOTT BURTON CRAIG CARVER ARCH CONNELLY JANET COOLING BETSY DAMON NANCY FRIED EXTENDED SENSIBILITIES HOMOSEXUAL PRESENCE IN CONTEMPORARY ART JEDD GARET GILBERT & GEORGE LEE GORDON HARMONY HAMMOND JOHN HENNINGER JERRY JANOSCO LILI LAKICH LES PETITES BONBONS ROSS PAXTON JODY PINTO CARLA TARDI THE NEW MUSEUM FRAN WINANT EXTENDED SENSIBILITIES HOMOSEXUAL PRESENCE IN CONTEMPORARY ART CHARLEY BROWN HARMONY HAMMOND SCOTT BURTON JOHN HENNINGER CRAIG CARVER JERRY JANOSCO ARCH CONNELLY LILI LAKICH JANET COOLING LES PETITES BONBONS BETSY DAMON ROSS PAXTON NANCY FRIED JODY PINTO JEDD GARET CARLA TARDI GILBERT & GEORGE FRAN WINANT LE.E GORDON Daniel J. Cameron Guest Curator The New Museum EXTENDED SENSIBILITIES STAFF ACTIVITIES COUNCJT . Robin Dodds Isabel Berley HOMOSEXUAL PRESENCE IN CONTEMPORARY ART Nina Garfinkel Marilyn Butler N Lynn Gumpert Arlene Doft ::;·z17 John Jacobs Elliot Leonard October 16-December 30, 1982 Bonnie Johnson Lola Goldring .H6 Ed Jones Nanette Laitman C:35 Dieter Morris Kearse Dorothy Sahn Maria Reidelbach Laura Skoler Rosemary Ricchio Jock Truman Ned Rifkin Charles A. Schwefel INTERNS Maureen Stewart Konrad Kaletsch Marcia Thcker Thorn Middlebrook GALLERY ATTENDANTS VOLUNTEERS Joanne Brockley Connie Bangs Anne Glusker Bill Black Marcia Landsman Carl Blumberg Sam Robinson Jeanne Breitbart Jennifer Q. Smith Mary Campbell Melissa Wolf Marvin Coats Jody Cremin This exhibition is supported by a grant from the National Endowment for BOARD OF TRUSTEES Joanna Dawe the Arts in Washington, D.C., a Federal Agency, and is made possible in Jack Boulton Mensa Dente part by public funds from the New York State Council on the Arts. Elaine Dannheisser Gary Gale Library of Congress Catalog Number: 82-61279 John Fitting, Jr. -
Patricia Hills Professor Emerita, American and African American Art Department of History of Art & Architecture, Boston University [email protected]
1 Patricia Hills Professor Emerita, American and African American Art Department of History of Art & Architecture, Boston University [email protected] Education Feb. 1973 PhD., Institute of Fine Arts, New York University. Thesis: "The Genre Painting of Eastman Johnson: The Sources and Development of His Style and Themes," (Published by Garland, 1977). Adviser: Professor Robert Goldwater. Jan. 1968 M.A., Hunter College, City University of New York. Thesis: "The Portraits of Thomas Eakins: The Elements of Interpretation." Adviser: Professor Leo Steinberg. June 1957 B.A., Stanford University. Major: Modern European Literature Professional Positions 9/1978 – 7/2014 Department of History of Art & Architecture, Boston University: Acting Chair, Spring 2009; Spring 2012. Chair, 1995-97; Professor 1988-2014; Associate Professor, 1978-88 [retired 2014] Other assignments: Adviser to Graduate Students, Boston University Art Gallery, 2010-2011; Director of Graduate Studies, 1993-94; Director, BU Art Gallery, 1980-89; Director, Museum Studies Program, 1980-91 Affiliated Faculty Member: American and New England Studies Program; African American Studies Program April-July 2013 Terra Foundation Visiting Professor, J. F. Kennedy Institute for North American Studies, Freie Universität, Berlin 9/74 - 7/87 Adjunct Curator, 18th- & 19th-C Art, Whitney Museum of Am. Art, NY 6/81 C. V. Whitney Lectureship, Summer Institute of Western American Studies, Buffalo Bill Historical Center, Cody, Wyoming 9/74 - 8/78 Asso. Prof., Fine Arts/Performing Arts, York College, City University of New York, Queens, and PhD Program in Art History, Graduate Center. 1-6/75 Adjunct Asso. Prof. Grad. School of Arts & Science, Columbia Univ. 1/72-9/74 Asso. -
Dana Hoey, Miss Tessa 1, 2015, Archival Inkjet Print, 17 X 22', Ed. 3
Dana Hoey, Miss Tessa 1, 2015, archival inkjet print, 17 x 22’, ed. 3. Repeat Pressure Until Curated by Sheilah Wilson OpeninG Saturday, May 21 6-9pm May 21-June 19 Catherine Cartwright, Moyra Davey, Stacy Fisher, Hilary Harnischfeger, Pati Hill, Dana Hoey, Vera Iliatova, Hein Koh, Dani Leventhal, Carolyn Salas, Kim Waldron, Carmen Winant OrteGa y Gasset Projects is pleased to present Repeat Pressure Until, a material investigation into the spaces between the recognizable and the unknown. Artists in the show use inhaBitation and over-inhaBitation of both material and societal norms to transform perception and offer new proposals. We cannot avoid the material, social, and cultural worlds we live in. Utilizing understood reference points becomes radical because it implies that all knowns have the potential to be made strange. There is a space opened up when testing limits of ideas or materials. Insistence both strengthens through emphasis and falls apart through over-repetition. The gendered female Body is presented as Benignly understandable and simultaneously profane. The object is holding or is held. Dominant can Be overthrown. (Although unnerving, it is made palatable because it is beautiful and the chaos is momentary.) Artists in the show suggest ways for us to live inside the known world, while suBverting these knowns through the act of placing pressure. This exertion of energy can create new forms and functions out of recognizable tropes and materials. Artists use photography, painting, drawing, video, and sculpture as tactics towards newly imagined versions of that which we know. They shoot arrows of violence, oBsession, re-imagined sexuality, kinship, and motherhood into anything in the world around us to which the arrow can cling. -
ART Show 2011 March 1.2011 FINAL
THE ART SHOW ORGANIZED BY THE ART DEALERS ASSOCIATION OF AMERICA TO BENEFIT HENRY STREET SETTLEMENT March 2-6, 2011 New York City America’s Most Venerable Art Fair Returns with 70 Expert Art Dealers Held at the Park Avenue Armory, Park Avenue and 67th Street Gala Preview on March 1st to Benefit Henry Street Settlement New York, March 1, 2011 — The Art Show opens its doors as the country’s longest running national art fair March 2, 2011 at the Park Avenue Armory in New York City. Now in its 23rd year, The Art Show assembles the nation’s most influential and prominent art dealers to present museum quality exhibitions of art ranging from cutting- edge, 21st-century works, to museum-quality pieces from the 19th and 20th centuries. Organized by the Art Dealers Association of America (ADAA) to benefit Henry Street Settlement, the fair’s commitment to curatorial expertise and diversity is ever-present in the show’s conception, presentation, and execution. The 2011 Art Show will include outstanding solo and two-person exhibitions, including new work from Rachel Whiteread at Luhring Augustine and Jessica Stockholder at Mitchell-Innes & Nash. Ameringer|McEnery|Yohe will bring a collection of impressive works by Robert Motherwell, and Marian Goodman Gallery is mounting a remarkable solo show of Gabriel Orozco. Richard Gray Gallery and Galerie Lelong have collaborated and will unveil an unprecedented joint exhibition of work by Jaume Plensa at the fair. Dealers are also organizing exceptional group and thematic presentations such as Margo Leavin Gallery’s All Together Now! Curated by Allen Ruppersberg, Pavel Zoubok Gallery’s TEN: Redefining Collage, and Pace Prints & Pace Primitive’s Iconic Images - Matisse, Picasso, and African Art. -
Marianne Boesky Gallery Frank Stella
MARIANNE BOESKY GALLERY NEW YORK | ASPEN FRANK STELLA BIOGRAPHY 1936 Born in Malden, MA Lives and works in New York, NY EDUCATION 1950 – 1954 Phillips Academy (studied painting under Patrick Morgan), Andover, MA 1954 – 1958 Princeton University (studied History and Art History under Stephen Greene and William Seitz), Princeton, NJ SELECTED SOLO AND TWO-PERSON EXHIBITIONS 2021 Brussels, Belgium, Charles Riva Collection, Frank Stella & Josh Sperling, curated by Matt Black September 8 – November 20, 2021 [two-person exhibition] 2020 Ridgefield, CT, Aldrich Contemporary Art Museum, Frank Stella’s Stars, A Survey, September 21, 2020 – September 6, 2021 Tampa, FL, Tampa Museum of Art, Frank Stella: What You See, April 2 – September 27, 2020 Tampa, FL, Tampa Museum of Art, Frank Stella: Illustrations After El Lissitzky’s Had Gadya, April 2 – September 27, 2020 Stockholm, Sweeden, Wetterling Gallery, Frank Stella, March 19 – August 22, 2020 2019 Los Angeles, CA, Los Angeles County Museum of Art, Frank Stella: Selection from the Permanent Collection, May 5 – September 15, 2019 New York, NY, Marianne Boesky Gallery, Frank Stella: Recent Work, April 25 – June 22, 2019 Eindhoven, The Netherlands, Van Abbemuseum, Tracking Frank Stella: Registering viewing profiles with eye-tracking, February 9 – April 7, 2019 2018 Tuttlingen, Germany, Galerie der Stadt Tuttlingen, FRANK STELLA – Abstract Narration, October 6 – November 25, 2018 Los Angeles, CA, Sprüth Magers, Frank Stella: Recent Work, September 14 – October 26, 2018 Princeton, NJ, Princeton University -
DARBY BANNARD Born New Haven, CT Education Princeton University
DARBY BANNARD Born New Haven, CT Education Princeton University Solo Exhibitions 2012 Lowe Art Museum, Coral Gables, FL 2011 Galerie Konzette, Vienna, Austria Taubman Museum, Roanoke, Virginia Loretta Howard Gallery, New York, NY 2010 Center for Visual Communication, Miami, FL Rijksmuseum, Amsterdam, Netherlands 2009 Center for Visual Communication, Miami, FL 2007 Jacobson/Howard Gallery, New York, NY 2006 Rauschenberg Gallery, Edison College, Fort Meyers, FL Western Michigan University, Kalamazoo, MI 2002 The 1912 Gallery, Emory and Henry College, Emory, VA 1999 Lowe Art Museum, Coral Gables, FL 1997 Lee Scarfone Gallery, University of Tampa, Tampa, FL 1996 Dorsch Gallery, Miami, FL 1993 Farah Damji Gallery, New York, NY 1992 Jaffe Baker Gallery, Boca Raton, FL Jaffe Baker Gallery, Boca Raton, FL 1991 Montclair Museum of Art, Montclair, NJ Knoedler Gallery, London 1990 Greenberg/Wilson Gallery, New York, NY Ann Jaffe Gallery, Miami, FL Miami-Dade Community College, Miami, FL 1989 Greenberg Wilson Gallery, New York, NY Rider College Art Gallery, Lawrenceville, NJ 1988 Richard Love Gallery, Chicago, IL 1987 Brush Art Gallery, St. Lawrence University, Canton, NY 1986 Princeton Country Day School, Princeton, NJ Salander-O’Reilly Gallery, New York, NY Solo Exhibitions (cont’d): 1984 Knoedler Gallery, London Watson/de Nagy, Houston, TX 1983 Mint Museum of Art, Charlotte, NC Martin Gerard Gallery, Edmonton, Alberta, BC Edmonton Art Gallery, Edmonton, Alberta, BC 1982 Martin Gerard Gallery, Edmonton, Alberta, BC Knoedler Gallery, London Watson/de -
NINA YANKOWITZ , Media Artist , N.Y.C
NINA YANKOWITZ , media artist , N.Y.C. www.nyartprojects.com SELETED MUSUEM INSTALLATIONS 2009 The Third Woman interactive film collaboration,Kusthalle Vienna 2009 Crossings Interactive Installation Thess. Biennale Greece Projections, CD Yankowitz&Holden, Dia Center for Book Arts, NYC 2009 Katowice Academy of Art Museum, Poland TheThird Woman Video Tease, Karsplatz Ubahn, project space Vienna 2005 Guild Hall Art Museum, East Hampton, NY Voices of The Eye & Scenario Sounds, distributed by Printed Matter N.Y. 1990 Katonah Museum of Art, The Technological Muse Collaborative Global New Media Team/Public Art Installation Projects, 2008- 2009 1996 The Bass Museum, Miami, Florida PUBLIC PROJECTS 1987 Snug Harbor Museum, Staten Island, N.Yl 1985 Berkshire Museum, Pittsfield, MA Tile project Kanoria Centre for Arts, Ahmedabad, India 2008 1981 Maryland Museum of Fine Arts, Baltimore, MD 1973 Whitney Museum of American Art, NY, Biennia 1973 Brockton Museum, Boston, MA 1972 Larry Aldrich Museum, Ridgefield, Conn. Works on paper 1972 Kunsthaus, Hamburg, Germany, American Women Artists 1972 The Newark Museum, Newark, New Jersey 1972 Indianapolis Museum of Contemporary Art 1972 The Art Institute of Chicago, "American Artists Today" 1972 Suffolk Museum, Stonybrook, NY 1971 Akron Museum of Art, Akron, OH 1970 Museum of Modern Art, NY 1970 Larry Aldrich Museum, Ridgefield, Conn. "Highlights" 1970 Trinity College Museum, Hartford, Conn. ONE PERSON EXHIBITIONS 2005 Kiosk.Edu. Guild Hall Museum, The Garden, E. Hampton, New York 1998 Art In General, NYC. "Scale