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MASTER PLAN DOCUMENT.Indd
Master Plan for the RICHARDSON OLMSTED COMPLEX Buffalo, NY September 2009 9.29.09 Prepared For: THE RICHARDSON CENTER CORPORATION By: CHAN KRIEGER SIENIEWICZ CKS ARCHITECTURE AND URBAN DESIGN in collaboration with: Richardson Center Corporation (RCC) Richardson Architecture Center, Inc Reed Hilderbrand *Stanford Lipsey, Chairman Peter J. Atkinson - Capital Projects Manager, Landscape Architecture Publisher, The Buffalo News Harvard University Art Museums Watertown, MA *Howard Zemsky, Vice Chairman Anthony Bannon - Director, Urban Design Project President, Taurus Capital Partners, LLC. George Eastman House Public Process URBAN DESIGN PROJECT Buffalo, NY *Christopher Greene, Secretary Barbara A. Campagna, FAIA, LEED AP - Graham Gund Architect of the Partner, Damon & Morey, LLP National Trust for Historic Preservation City Visions/ City Properties Real Estate Development *Paul Hojnacki, Treasurer Brian Carter, Ex Offi cio - Dean and Professor, Louisville, KY President, Curtis Screw Company University at Buffalo School of Architecture and Planning Clarion Associates Carol Ash, Commissioner Louis Grachos - Director, Economic Modeling NYS Offi ce of Parks, Recreation, and Historic Preservation Albright-Knox Art Gallery Chicago, Il *Clinton Brown, President Robert Kresse – Attorney, Parsons Brinckerhoff Clinton Brown Co. Architecture, PC Hiscock & Barclay, LLP Permitting Buffalo, NY Paul Ciminelli, President & CEO Lynn J. Osmond - President and CEO, Ciminelli Development Company Chicago Architecture Foundation Bero Architecture Historic Preservation -
The Greatest Artists of the Twentieth Century
This PDF is a selection from a published volume from the National Bureau of Economic Research Volume Title: Conceptual Revolutions in Twentieth-Century Art Volume Author/Editor: David W. Galenson Volume Publisher: Cambridge University Press Volume ISBN: 978-0-521-11232-1 Volume URL: http://www.nber.org/books/gale08-1 Publication Date: October 2009 Title: The Greatest Artists of the Twentieth Century Author: David W. Galenson URL: http://www.nber.org/chapters/c5785 Chapter 2: The Greatest Artists of the Twentieth Century Introduction The masters, truth to tell, are judged as much by their influence as by their works. Emile Zola, 18841 Important artists are innovators: they are important because they change the way their successors work. The more widespread, and the more profound, the changes due to the work of any artist, the greater is the importance of that artist. Recognizing the source of artistic importance points to a method of measuring it. Surveys of art history are narratives of the contributions of individual artists. These narratives describe and explain the changes that have occurred over time in artists’ practices. It follows that the importance of an artist can be measured by the attention devoted to his work in these narratives. The most important artists, whose contributions fundamentally change the course of their discipline, cannot be omitted from any such narrative, and their innovations must be analyzed at length; less important artists can either be included or excluded, depending on the length of the specific narrative treatment and the tastes of the author, and if they are included their contributions can be treated more summarily. -
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Jack Goldstein; Distance Equals Control by David SaZZe This essay is offered as a compliment to the exhibition rather than an explication of specific works. The language used in this text is somewhat more general and anecdotal, and more given to metaphoric comparisons than what we have come to expect from art writing. I don't in this essay attempt to dissect a single ' - exemplar work, nor do I spend much time detailing the visual ,+ attributes of the works. This essay attempts instead to give a brief description of an ongoing process: the play of private fan- tasy, which itself grows out of the intersection of psychic necessity (desire)with the culturally available forms in which to voice that necessity (automaticity)becoming linked in a work of art to everyday, public images which then reenter and submerge themselves, via the appropriative nature of our attention, into a clouded pool of personal symbols. This three part process yields a two part result; a sense of control over what one has effected distance from, which is ironically expressed in a sense of anxiety embedded in the image used in a given work, and also a sense of sadness because of the loss one feels for the thing distanced. The result of this process is nostalgia for the present, which is the name given to a complex texture of imagizing in which mediation between extremes (differentiation) leads to a liberated use of symbol rather than more limited narrative notion of emblem. To consider this work at all involves thinking about a way to stand in relation to the use of images both rooted in and somewhat distanced from cultural seeing. -
Robert Morris, Minimalism, and the 1960S
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 1988 The Politics of Experience: Robert Morris, Minimalism, and the 1960s Maurice Berger Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1646 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] INFORMATION TO USERS The most advanced technology has been used to photograph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. -
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. -
James Skalman, M.F.A
JAMES SKALMAN work tel: 619.849.2618 fax: 619.849.7033 email: [email protected] website: www.jamesskalman.com EDUCATION 1984 Master of Fine Arts, Painting/Sculpture University of North Carolina, Chapel Hill, 1981 Bachelor of Arts, Painting/Printmaking San Diego State University TEACHING EXPERIENCE 1991 - present Point Loma Nazarene University, Professor Department of Art and Design, Chair 2000-2012 1986 - 1991 San Diego State University, Adjunct Instructor 1986 - 1987 Grossmont College, Visiting Instructor 1982 - 1984 University of North Carolina, Chapel Hill , Graduate T.A. SOLO EXHIBITIONS 2012-13 Las Vistas, a site-specific installation commissioned by San Diego State University for the SDSU downtown Gallery, San Diego, California 2001 Sudan Interior Mission: SNOW, a site-specific installation commissioned by BIOLA University, Los Angeles, California 1998 Water Level, an outdoor site-specific sculpture on the campus of the University of North Carolina, Chapel Hill 1995-96 "Samuel...?" , an installation, commissioned by the Museum of Contemporary Art, San Diego 1994-95 La Torre, an installation, commissioned by Installation Gallery as part of " inSITE94 " , La Torre de Tijuana , Tijuana, B.C. , Mexico 1991 Side Pockets, David Lewinson Gallery, Del Mar, CA. 1989 Field Plug, an installation commissioned by the University Gallery, University of Massachusetts at Amherst 1989 Hall, an outdoor sculptural project commissioned by Artpark, Lewiston, New York. 1988 Containment, an installation commissioned by the La Jolla Museum of Contemporary -
Grade Four Session One – the Theme of Modernism
Grade Four Session One – The Theme of Modernism Fourth Grade Overview: In a departure from past years’ programs, the fourth grade program will examine works of art in the collection of the Museum of Modern Art in preparation for and anticipation of a field trip in 5th grade to MoMA. The works chosen are among the most iconic in the collection and are part of the teaching tools employed by MoMA’s education department. Further information, ideas and teaching tips are available on MoMA’s website and we encourage you to explore the site yourself and incorporate additional information should you find it appropriate. http://www.moma.org/learn/moma_learning! To begin the session, you may explain that the designation “Modern Art” came into existence after the invention of the camera nearly 200 years ago (officially 1839 – further information available at http://www.metmuseum.org/toah/hd/dagu/hd_dagu.htm). Artists no longer had to rely on their own hand (painting or drawing) to realistically depict the world around them, as the camera could mechanically reproduce what artists had been doing with pencils and paintbrushes for centuries. With the invention of the camera, artists were free to break from convention and academic tradition and explore different styles of painting, experimenting with color, shapes, textures and perspective. Thus MODERN ART was born. Grade Four Session One First image Henri Rousseau The Dream 1910 Oil on canvas 6’8 1/2” x 9’ 9 ½ inches Collection: Museum of Modern Art, New York (NOTE: DO NOT SHARE IMAGE TITLE YET) Project the image onto the SMARTboard. -
Begleitheft Zur Ausstellung
Paul Sharits Eine Retrospektive DE Erdgeschoss Raum 1 Raum A 1 Transcription, 1990. Handkolorierter a Frozen Film Frame: N:O:T:H:I:N:G, 1968. Siebdruck, 35 × 27.9 cm 16-mm-Farbfilmstreifen zwischen 2 Replica Study I, 1975. Aquarellfarbe auf Plexiglasscheiben, 3-teilig, je Papier, 73 × 58 cm 155 × 216 cm 3 Frozen Film Frame, 1971–76. Siebdruck auf Plexiglas, 173 × 106.5 cm 4 Frozen Film Frame, 1971–76. Siebdruck auf Plexiglas, 173 × 107 cm 5 Location III: “The Forgetting of Impressions & Intentions”, 1978. Bleistift und Buntstift auf Millimeterpapier, 58.7 × 45.7 cm 6 Frozen Film Frame, 1973. Siebdruck auf Plexiglas, 43 × 35.4 cm 7 Frozen Film Frame, 1976. Sieb dr uck auf RAUM 2 RAUM 1 Plexiglas, 43 × 35.5 cm 8 Hypothetical Shutter Interface Series B/J1, 1976. 28 Tusche und Aquarellfarbe auf Papier, 12 58 × 73.5 cm 27 9 Hypothetical Shutter Interface Series B/D2, 1976. 26 22 18 Tusche und Aquarellfarbe auf Papier, 25 21 17 58 × 73.5 cm 10 Hypothetical Shutter Interface Series BL2, 1976. 24 20 16 14 Filzstift auf kariertem Papier, 23 19 15 13 58 × 73.5 cm 11 Hypothetical Shutter Interface Series B/I3, 1976. Tusche und Aquarellfarbe auf Papier, 58 × 73.5 cm 8 9 10 11 12 Dream Displacement, 1975–76. 16mm, Farbe, quadrophonischer Sound, Vierfachprojektion, unbegrenzte Dauer 5 6 7 3 4 Raum 2 13 Study for “Film Grain Analysis” /II, 1975. Tusche und Filzstift auf Millimeterpapier, 45,5 × 53 cm 2 14 Study for “Film Grain Analysis” /III, 1975. Tusche und Filzstift auf 1 Millimeterpapier, 45.5 × 53 cm 15 Study for Frozen Film Frame (pink modularity B), 1974. -
Education 2014 Virginia Commonwealth University, MFA
Erika Diamond 66 Panorama Dr., Asheville, NC 28806, 704.575.1493, [email protected] Education 2014 Virginia Commonwealth University, MFA Fiber 2000 Rhode Island School of Design, BFA Sculpture 1998 Edinburgh College of Art, The University of Edinburgh, Independent Study/Exchange Residencies 2019 UNC Asheville STEAM Studio, Asheville, NC 2018 Studio Two Three, Richmond, VA 2018 Platte Forum, Denver, CO 2016 ABK Weaving Center, Milwaukee, WI 2016 STARworks Center for Creative Enterprise, Star, NC 2014 Black Iris Gallery, Richmond, VA 2011 McColl Center for Visual Art, Charlotte, NC 2006-10 Little Italy Peninsula Arts Center, Mount Holly, NC 2006 McColl Center for Visual Art, Charlotte, NC Awards and Grants 2020 Artist Support Grant, Haywood County Arts Council, Waynesville, NC Artist Relief Grant, United States Artists, Chicago, IL Special Project Grant, Fiber Art Now, East Freetown, MA Mecklenburg Creatives Resiliency Grant, Arts & Science Council, NC 2019 American Craft Council, Conference Equity Award, Philadelphia, PA 2017 Adjunct Faculty Grant, VCU, School of the Arts, Richmond, VA 2016 American Craft Council, Conference Scholarship, Omaha, NE 2015 Regional Artist Project Grant, Arts & Science Council, Charlotte, NC 2014 VCU Arts Graduate Research Grant, VCU, Richmond, VA 2013 Graduate Assistantship Award, VCU, School of the Arts, Richmond, VA 2012 Graduate Assistantship Award, VCU, School of the Arts, Richmond, VA 2008 Cultural Project Grant, Arts & Science Council, Charlotte, NC 1996-20 RISD Alumni Scholarship, RISD, Providence, RI 1998-19 Leslie Herman Young Scholarship, RISD Sculpture Department, Providence, RI Exhibitions 2021 Armor, Center for Visual Art, Denver, CO (forthcoming) Amplify, Virginia Museum of Contemporary Art, Virginia Beach, VA (forthcoming) Summer Workshop Faculty Exhibition, Appalachian Center for Craft, Smithville, TN Imminent Peril – Queer Collection (Solo), Iridian Gallery, Richmond, VA Family Room, Form & Concept Gallery, Santa Fe, NM Queer Threads, Katzen Art Center, American University, Washington, D.C. -
Reassessing the Personal Registers and Anti-Illusionist Imperatives of the New Formal Film of the 1960S and ’70S
Reassessing the Personal Registers and Anti-Illusionist Imperatives of the New Formal Film of the 1960s and ’70s JUAN CARLOS KASE for David E. James I think it would be most dangerous to regard “this new art” in a purely structural way. In my case, at least, the work is not, for example, a proof of an experiment with “structure” but “just occurs,” springs directly from my life patterns which unpre- dictably force me into . oh well . —Paul Sharits, letter to P. Adams Sitney1 In the dominant critical assessments of Anglo-American film history, scholars have agreed that much of the avant-garde cinema of the late 1960s and early ’70s exhibited a collective shift toward increased formalism. From P. Adams Sitney’s initial canonization of “Structural Film” in 19692 to Malcolm Le Grice’s “New Formal Tendency” (1972)3 and Annette Michelson’s “new cinematic discourse” of “epistemological concern” (1972)4 to Peter Gidal’s “Structuralist/Materialist Film” (1975)5—as well as in recent reconceptualizations and reaffirmations of this schol- arship by Paul Arthur (1978, 1979, and 2004), David James (1989), and A. L. Rees 1. Collection of Anthology Film Archives. Letter is dated “1969??.” Roughly fifteen years later, Sharits reiterated his frustration with the critical interpretations of his work in a more public context, albeit in slightly different terms: “There was a problem in the ’60s and even in the ’70s of intimidating artists into avoiding emotional motivations for their work, the dominant criticism then pursued everything in terms of impersonal, formal, structural analysis.” Jean- Claude Lebensztejen, “Interview with Paul Sharits” (June 1983), in Paul Sharits, ed. -
The Emergence of Abstract Film in America Was Organized by Synchronization with a Musical Accompaniment
EmergenceFilmFilmFilmArchiveinArchivesAmerica, The Abstract Harvard Anthology Table of Contents "Legacy Alive: An Introduction" by Bruce Posner . ... ... ... ... ..... ... ... ... ... ............ ....... ... ... ... ... .... .2 "Articulated Light: An Appendix" by Gerald O'Grady .. ... ... ...... ... ... ... ... ... ... ... ...... ... ... ... ... ... .... .3 "Cinema as a An Form: Avant-Garde " Experimentation " Abstraction" by Vlada Petric .. ... 3 "A New RealismThe Object" by Fernand Leger ... ........ ... ... ... ...... ........ ... ... ... ... .... ... .......... .4 "True Creation" by Oskar Fischinger .. ..... ... ... ... ... .. ...... ... ....... ... ........... ... ... ... ... ... ....... ... ........4 "Observable Forces" by Harry Smith . ... ... ... ... ... ... ...... ... ... ... ... ......... ... ... ... .......... ...... ... ... ... ......5 "Images of Nowhere" by Raul Ruiz ......... ... ... ........ ... ... ... ... ... ...... ... ... ... ... ... ...... ... ... .... ... ... ... 5 `TIME. .. on dit: Having Declared a Belief in God" by Stan Brakhage ..... ...... ............. ... ... ... .. 6 "Hilla Rebay and the Guggenheim Nexus" by Cecile Starr ..... ... ...... ............ ... ... ... ... ... ... ... ...7 Mary Ellen Bute by Cecile Starr .. ... ... ... ... ...... ... ... ... ... ... ............ ... ...... ... ... ... ... ... ...... ... .............8 James Whitney studying water currents for Wu Ming (1973) Statement I by Mary Ellen Bute ... ... ... ... ... ... ... ... ... ... ... ...... ...... ... ... ...... ... ... ... ... .. -
Reflected in the Mirror There Was a Shadow Roy Lichtenstein Andy Warhol
REFLECTED IN THE MIRROR THERE WAS A SHADOW ROY LICHTENSTEIN ANDY WARHOL 1 2 3 4 REFLECTED IN THE MIRROR THERE WAS A SHADOW ROY LICHTENSTEIN ANDY WARHOL November 1 – December 23, 2011 LEO CASTELLI To confront a person with his shadow is to show him his own light. Once one has experienced a few times what it is like to stand judgingly between the opposites, one begins to understand what is meant by the self. Anyone who perceives his shadow and his light simultaneously sees himself from two sides and thus gets in the middle. (Carl Jung, Good and Evil in Analytical Psychology, 1959) Roy Lichtenstein’s new paintings based on mirrors show that he has taken on another broad challenge – that of abstract, invented forms. The Mirror paintings are close to being total abstractions. Nothing recognizable is “reflected” in them, but their surfaces are broken into curving shards of “light,” or angular refractive complexities. They are, in effect elaborately composed pictures of reflections of air. (…) The specific source for the “imagery” of the mirrors is the schematic denotation of reflections and highlights derived from cheap furniture catalogues or small glass company ads. However the distance of Lichtenstein's illusory Mirrors from their sources is so great that the interest is frankly elsewhere. Any tacky connotations (formerly to be cherished) are now dissipated in the paintings’ final fastidious grandeur. (Elizabeth Baker, “The Glass of Fashion and the Mold of Form,” ArtNews, April 1971) Roy Lichtenstein, Paintings: Mirror, 1984 Oil and Magna on canvas, 70 x 86 inches 4 To-morrow, and to-morrow, and to-morrow, Creeps in this petty pace from day to day To the last syllable of recorded time, And all our yesterdays have lighted fools This way to dusty death.