DOCSLIB.ORG

Social Justice in the Misinformation Age August 27, 2019 -October 20,2019 Opening and Award Presentations Sunday, September 1, 2:00 -4:00P.M

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Social Justice in the Misinformation Age August 27, 2019 -October 20,2019 Opening and Award Presentations Sunday, September 1, 2:00 -4:00P.M National Juried Art Exhibition P R O S P E C T U S Social Justice in the Misinformation Age August 27, 2019 -October 20,2019 Opening and Award Presentations Sunday, September 1, 2:00 -4:00p.m. Freedman Gallery, Albright College Entries Accepted at: https://nationaljuriedartexhibition.artcall.org Description of Theme Social justice includes a variety of topics focused on inequality, including: gender, race, sexual orientation, ethnicity, socio-economic status; poverty; racial profiling; the criminal justice system; immigration; access to education and healthcare, child welfare, and more. Art can inspire, educate, spark discussion, transform lives, and engender change, so it is no surprise that social justice issues are frequently the subject matter and concern of artists. Eligibility & Media The exhibition is open to artists living in the U.S. and working in any and all media. Entries must represent original works of art or design, and should have a clear connection to the theme. The exhibition will include a range of traditional and non-traditional genre and media, including: video, sculpture, photography, painting, drawing and printmaking. Juror: Susan Crile Susan Crile is a painter and printmaker whose work has been featured in more than 50 solo exhibitions internationally, and whose work is in the collections of the Metropolitan Museum of Art, the Solomon R. Guggenheim Museum, the Brooklyn Museum of Art, and The Hirshhorn Museum, among others. She has taught at Princeton University and Sarah Lawrence College, and currently is a professor at Hunter College, CUNY, where she has been on faculty since 1982. Crile lives and works in New York City. About the Freedman Gallery & Albright College Established in 1976, the Freedman Gallery is dedicated to showcasing the best contemporary American art. Named after co-founder Doris Chanin Freedman (1928–1981), a trustee and alumna of Albright College, the Freedman Gallery is housed in the College's Center for the Arts. Each year, the gallery hosts approximately eight to ten exhibits and welcomes more than 3,500 visitors. Albright College is a nationally ranked, private, liberal arts college located in Reading, Pennsylvania, about 60 miles west of Philadelphia. Entry Fees & Awards Artists may submit up to three (3) works for consideration. The cost per entry is $10. As a grand prize, at least one person will be selected to receive a future, solo exhibition at the gallery. Additional cash and cash equivalent awards will be based on the overall number of entries. Awards will be announced at the reception on Sunday, September 1, 2019 from 2:00 – 4:00p.m. You do not need to be present to win an award. Entry Instructions & NotiFication oF Acceptance • All entry images should be submitted digitally via https://nationaljuriedartexhibition.artcall.org • Current Albright faculty and staff are not eligible to enter. • Submit only one image per entry. • Digital images should be high-resolution 300dpi but under 4MB file size and either .jpeg or .png file type. Our entry platform automatically resizes images, so, please use the highest resolution possible when uploading. • The following additional file formats for alternative media are acceptable and should be under 25 MB: .mp4, .mov, .avi, .wav, .mp3, or .aif. • Payment must be made using a credit/debit card at the time of entry and is processed using a secure server. Credit card information is not stored once the transaction is processed. • Entrants will be notified via email of the status of their respective submissions in the spring of 2019. SpeciFications • All 2D-3D work should weigh no more than 50 lbs. We recommend 2D works not exceed 96 inches in height/width. • Video must be in digital format that is compatible for play on a DVD/Blueray or Roku or projected on the wall itself. • Work must be available for the duration of the exhibition and installation/de-installation periods. • All work accepted into the exhibition must arrive ready to install. • Work that is accepted but arrives after the intake dates, that is not ready to install, or that differs significantly from the entry images will be excluded from the exhibit at the discretion of the gallery. The expense for the return of such work will be borne by the artist. • All 2D art should be wired securely. If the artist requests alternative hanging methods, detailed instructions and hardware must be included. • 3D work that requires a display device must include the device when shipping the artwork. The weight/dimension restrictions must include the device. Any device deemed unsecure or unsafe may result in the artwork being excluded from the exhibit. Shipping/Delivery • Once you have been notified of acceptance, artists may either hand deliver work or ship it. • For hand delivery, artists must make an appointment to drop off work. Intake dates will be: Monday, August 5—Saturday August 9, 2019. • All artwork that is initially dropped off, must be picked up on Monday October 21 – Saturday, October 26, 2019. • Shipping materials will be kept and reused for return. • Incoming work will be shipped at the expense of the artist. We recommend FedEx Ground or UPS. We also recommend insuring work during shipping through the carrier. Return shipping will be at the expense of the Gallery (within reasonable expense) and will be by FedEx or UPS. Insurance Works will be insured while on Gallery premises. Insurance covers theft, vandalism, or damage caused by gallery patrons or staff (in accordance with insurance policy). Insurance does not cover damage caused during shipping due to any reason, including mishandling by carrier or failure of packaging to protect works in transit. Also not covered is damage caused to work by failure of the work itself, its mounting systems installed by the artist, or disintegration/degradation due to the nature/quality of materials or craftsmanship. Publicity The Freedman Gallery reserves the right to use any and all images of artwork accepted into the exhibition for publicity purposes. By uploading images, artists agree to allow reproduction of their digital files and/or photographs taken of their art for educational, publicity, and archival purposes. Not all accepted artwork may be selected for reproduction. Sales & Commissions All work, unless indicated as not for sale (NFS), will be available for sale during the exhibition. A pricelist will be available at the desk during the run of the exhibition. The Freedman Gallery will retain a commission of 25% on all artwork sold during the exhibition. This fee will cover any credit card transaction fees and shipping/handling expenses. The Gallery accepts cash, check or debit/credit card (Visa or MasterCard). All payments to artists will be processed within 30 days of the closing of the exhibition. Dates to Remember Contact InFormation Entry deadline Mon., December 3,2018 Apply online at: NotiFication oF acceptance Spring 2019 https://nationaljuriedartexhibition.artcall. Intake (work must be received between) August 5—August 9 2018 org Exhibition dates August 27 – October 20, 2019 Shipping address: Award reception September 1, 2019. 2:00p.m. Freedman Gallery, Albright College Pick-up dates (by appointment) October 21 – October 26, 2019 1621 N. 13th St., Reading, PA 19604 Inquires only: (610) 921-7543 or [email protected] Label (please affix to all artwork accepted before delivery) Name: Phone: Title: Email: .
Load more

Recommended publications
  • Class of 1965 50Th Reunion
    CLASS OF 1965 50TH REUNION BENNINGTON COLLEGE Class of 1965 Abby Goldstein Arato* June Caudle Davenport Anna Coffey Harrington Catherine Posselt Bachrach Margo Baumgarten Davis Sandol Sturges Harsch Cynthia Rodriguez Badendyck Michele DeAngelis Joann Hirschorn Harte Isabella Holden Bates Liuda Dovydenas Sophia Healy Helen Eggleston Bellas Marilyn Kirshner Draper Marcia Heiman Deborah Kasin Benz Polly Burr Drinkwater Hope Norris Hendrickson Roberta Elzey Berke Bonnie Dyer-Bennet Suzanne Robertson Henroid Jill (Elizabeth) Underwood Diane Globus Edington Carol Hickler Bertrand* Wendy Erdman-Surlea Judith Henning Hoopes* Stephen Bick Timothy Caroline Tupling Evans Carla Otten Hosford Roberta Robbins Bickford Rima Gitlin Faber Inez Ingle Deborah Rubin Bluestein Joy Bacon Friedman Carole Irby Ruth Jacobs Boody Lisa (Elizabeth) Gallatin Nina Levin Jalladeau Elizabeth Boulware* Ehrenkranz Stephanie Stouffer Kahn Renee Engel Bowen* Alice Ruby Germond Lorna (Miriam) Katz-Lawson Linda Bratton Judith Hyde Gessel Jan Tupper Kearney Mary Okie Brown Lynne Coleman Gevirtz Mary Kelley Patsy Burns* Barbara Glasser Cynthia Keyworth Charles Caffall* Martha Hollins Gold* Wendy Slote Kleinbaum Donna Maxfield Chimera Joan Golden-Alexis Anne Boyd Kraig Moss Cohen Sheila Diamond Goodwin Edith Anderson Kraysler Jane McCormick Cowgill Susan Hadary Marjorie La Rowe Susan Crile Bay (Elizabeth) Hallowell Barbara Kent Lawrence Tina Croll Lynne Tishman Handler Stephanie LeVanda Lipsky 50TH REUNION CLASS OF 1965 1 Eliza Wood Livingston Deborah Rankin* Derwin Stevens* Isabella Holden Bates Caryn Levy Magid Tonia Noell Roberts Annette Adams Stuart 2 Masconomo Street Nancy Marshall Rosalind Robinson Joyce Sunila Manchester, MA 01944 978-526-1443 Carol Lee Metzger Lois Banulis Rogers Maria Taranto [email protected] Melissa Saltman Meyer* Ruth Grunzweig Roth Susan Tarlov I had heard about Bennington all my life, as my mother was in the third Dorothy Minshall Miller Gail Mayer Rubino Meredith Leavitt Teare* graduating class.
    [Show full text]
  • Artists and Social Change Curtis Carter Marquette University, [email protected]
    Marquette University e-Publications@Marquette Philosophy Faculty Research and Publications Philosophy, Department of 1-1-2009 Artists and Social Change Curtis Carter Marquette University, [email protected] Published version. International Yearbook of Aesthetics, Vol. 13 "Art and Social Change" (2009): 19-38. Publisher Link. © 2009 International Association of Aesthetics. Used with permission. Artists and Social Change Curtis L. Carter I. Introduction When exploring the topic of the arts as a force in social change, one is immediately confronted with a long history, beginning in the West with ancient Greece; as well, other parts of the world foster their own respective histories of art and social change. Pericles‘s vision for transforming the world‘s view of Athens from a small Greek city state, one among others, to a world power embodying the principles of democracy, employed the arts as the image of the new Athens. Architecture, sculpture, theatre arts including drama and dance, as well as poetry, all were marshalled in the service of changing the image of this ancient Classical city. Architecture and sculpture were especially important in creating the new image required to symbolize the cultural and political aims of Pericles. The results significantly helped shape the history of the Classical Western Arts and remain a benchmark of civilization for all times. Influences from this Classical model for the arts recur again and again throughout history in Roman art, European art of the Renaissance, and extending to the Neo-classical era of the Nineteenth and Twentieth centuries. The philosopher Hegel, writing in the Nineteenth century, named one of three main ontological and historical categories in his examination of the philosophy of art after the Classical art of ancient Greece.1 1 Some interpreters of Hegel‘s Philosophy of Fine Art believe that he found in Classical arts of Ancient Greece, especially sculpture, art‘s highest achievements.
    [Show full text]
  • 1 Ann Messner CV December 2019 Public Projects | Installations 2014
    Ann Messner CV December 2019 Public Projects | Installations 2014 - current abovegroundcollective, collaborative building of multi-purpose public meeting hall, Brooklyn Sunset Park, public debut winter 2020 2018 the free library and other histories, site-specific public project, commissioned by Franklin Furnace and the Pratt Institute Library, installations at Pratt Institute Brooklyn Campus and the Jefferson Market Branch New York Public Library, NY. Additional distribution of tabloid through the Lower Manhattan Network of New York Public Libraries. 2015 the underground potato, single day deployment, Essex Street Market, commissioned by Artists Alliance, New Museum’s Ideas City; a collaborative project with Laurie Arbeiter 2014 the underground potato, public project, food media-media vending cart, installed in the Essex Street Market in conjunction with The Real Estate Show: Was Then: 1980; What Next 2014?, Cuchifritos Gallery, (in the Essex Street Market), New York, NY 2013 DuBois_the FBI files, public project for Du Bois in Our Time, University Museum of Contemporary Art, UMASS, Amherst, MA 2009 who gets to speak?, speakers corner for public events, Revolution Books, New York 2008 mobile home, a public installation, Munson Williams Proctor Arts Institute, Utica, NY 2007 petition to congress for redress of grievances, site specific offset tabloid (20 pages, edition of 5,000) delivered to Congress and the general public, April 25, 2007, Wash DC 2006 penitentiary, offset tabloid project for Eastern State Penitentiary, Philadelphia, PA. Distributed for free through vending machine on site 2006-7 season, edition of 40,000. 2005 disarming images, a 3-channel 60 minute DVD project. Ann Messner was the creative director of the project, produced by Artists Against the War.
    [Show full text]
  • Susan Crile COSMATTI 1988 Pastel on Paper 22 X 30 Inches Opening Bid: $2500
    Susan Crile COSMATTI 1988 Pastel on paper 22 x 30 inches Opening bid: $2500 Artist Statement: I had traveled as a teenager to the Middle East, Greece and Italy. I had been struck by the patterns in the architecture, paintings, pots, carpets and mosaic tiles, how different and powerful they were in each place. Although I arrived at Bennington College the spring of 1961 with aspirations to be a poet, it was art that allowed me to externalize these past, still haunting visual experiences into paintings and drawings. Pattern was more than decoration; It expressed something essential about human nature and the desire to make sense and beauty out of the world around us. Bennington College was where this could happen to a young woman: it opened up the world to us intellectually and creatively in unconventional ways. Biography: Susan Crile’s paintings move between the poles of beauty and horror. Her work is in the collections of many museums including the Metropolitan Museum of Art, New York NY, The Hirshhorn Musem & Sculpture Garden, Washington D.C., The Soloman R. Guggenheim Museum, New York, NY and the Cleveland Museum of Art, Cleveland, OH. She has exhibited at numerous museums in the US and Europe which include, Il Museo di Roma in Trastevere, Il Museo di Palazzo Mocinego in Venice, The phillips Collection in Washington DC and the St Louis Museum of Art. She has had over 50 one person exhibitions. Crile has received two National Endowment for the Arts awards, and Residency grants to The Bellagio Study and Conference Center, at The Rockefeller Foundation in Bellagio, Italy and to The American Academy in Rome.
    [Show full text]
  • New Art Resume 11/18/93
    LISA CORINNE DAVIS SOLO EXHIBITIONS___________________________________________________________________ 2018 “Turbulent Terrain”, Esther Massry Gallery, College of Saint Rose, Albany NY 2017 “No THERE there…, Zolla/Lieberman Gallery, Chicago, IL Galerie Gris, Hudson, NY Farmer Family Gallery, Ohio State University, Lima, Ohio 2015 “New Paintings”, Gerald Peters Gallery, New York, NY 2014 Galerie Gris, Hudson, NY 2012 Peter Marcelle Gallery, Bridgehampton, NY 2011 “Abstract Infidelities”, Gavin Spanierman, ltd, New York, NY 2010 “Bona Fide Disorder”, Lesley Heller Workspace, New York, NY. 2007 “Facts & Fiction”, June Kelly Gallery, New York, NY. 2005 “person, place or thing?”, June Kelly Gallery, New York, NY. 2002 ”New Work", June Kelly Gallery, New York, NY. 2001 “Index”, Lehman College Art Gallery, Bronx, NY. (catalogue with essay by Franklin Sirmans) 2000 “Ontologies”, June Kelly Gallery, New York, NY. 1998 "Chartings", June Kelly Gallery, New York, NY 1998 "Indirection", ALJIRA, A Center for Contemporary Art, Newark, NJ. 1997 "Essential Traits", Project Room, Bronx Council on the Arts, Longwood Gallery, Bronx, NY 1994 Dell Pryor Galleries, Detroit, Michigan. “Transparent Brown”, Halsey Gallery, School of the Arts, College of Charleston, Charleston, S.C. “Layered”, Municipal Gallery, Atlanta, GA 1993 Second Street Gallery, Charlottesville,VA “Mixed Media”, Print Club, Philadelphia, PA GROUP EXHIBITIONS (SELECTED)________________________________________________________ 2018 “The Nature Lab”, LABspace, Hillsdale, NY 2017 “Text/ure”, The Shirley Fiterman Art Gallery, The Borough of Manhattan Community College, New York, NY “Holding it Together”, 68 Jay Street, Brooklyn, NY “Taconic North” LABspace, Hillsdale, NY “The Bedroom”, Joyce Goldstein Gallery, Chatham NY “NEW NEW YORK: Abstract Painting in the 21st Century”, Curator’s Gallery, New York, NY 2016 “Alternative Dimension: Lisa Corinne Davis, Maureen Hoon”, Project Art Space.
    [Show full text]
  • Acquisitions (869 KB PDF)
    Collections Every year is a special one for the museum when it comes to collecting art, but 2004 proved particularly noteworthy. The most widely publicized acquisition was the life-size Classical bronze statue Apollo Sauroktonos (Lizard-Slayer), called by the New York Times “the most significant ancient art acquisition by any American museum in the past 50 years.” The sculp- ture is consistent with the style of the great Praxiteles, who lived in the fourth century BC and influenced centuries of Greek and Roman artists to follow. A symposium in 2006 will explore the Cleveland statue and its relationship to Praxiteles. Other major acquisitions spanned the globe and millennia. Ju-hsi Chou had one more superb acquisition up his sleeve before he retired: the 13th-century 50-sheet Album of Daoist and Buddhist Themes (which he had first learned about while in graduate school) that had been assumed lost during World War II. An exquisite contemporary Japanese box, Red and White Plum Blossoms, made of glass, enamel, and metal foils by Kyohei Fujita, was given to the museum by the artist’s family and the Thomas R. Riley Galleries. China, Southern Song period. First leaf of Album of Daoist and Buddhist Themes, 1200s; ink on paper; 34.3 x 38.4 cm; John L. Severance Fund in honor of Dr. Ju-hsi Chou and Gift of various donors to the department of Asian Art (by exchange) 2004.1.1. 15 Edgar Degas (French, 1834–1917). Edgar Degas: Self-portrait, 1857; etching and drypoint; 23 x 14.5 cm; John L.
    [Show full text]
  • LISA CORINNE DAVIS Lisacorinnedavis.Com
    LISA CORINNE DAVIS SOLO EXHIBITIONS___________________________________________________________________ 2020 “All Shook Up”, Pamela Salisbury Gallery, Hudson, NY 2018 “Capricious Calculations”, Spanierman Modern, Miami, FL “Turbulent Terrain”, Esther Massry Gallery, College of Saint Rose, Albany NY 2017 “No THERE there…, Zolla/Lieberman Gallery, Chicago, IL Galerie Gris, Hudson, NY “Location…location…” Farmer Family Gallery, Ohio State University, Lima, Ohio 2015 “New Paintings”, Gerald Peters Gallery, New York, NY 2014 Galerie Gris, Hudson, NY 2012 Peter Marcelle Gallery, Bridgehampton, NY 2011 “Abstract Infidelities”, Gavin Spanierman, ltd, New York, NY 2010 “Bona Fide Disorder”, Lesley Heller Workspace, New York, NY. 2007 “Facts & Fiction”, June Kelly Gallery, New York, NY. 2005 “person, place or thing?”, June Kelly Gallery, New York, NY. 2002 ”New Work", June Kelly Gallery, New York, NY. 2001 “Index”, Lehman College Art Gallery, Bronx, NY. (catalogue with essay by Franklin Sirmans) 2000 “Ontologies”, June Kelly Gallery, New York, NY. 1998 "Chartings", June Kelly Gallery, New York, NY 1998 "Indirection", ALJIRA, A Center for Contemporary Art, Newark, NJ. 1997 "Essential Traits", Project Room, Bronx Council on the Arts, Longwood Gallery, Bronx, NY 1994 Dell Pryor Galleries, Detroit, Michigan. “Transparent Brown”, Halsey Gallery, School of the Arts, College of Charleston, Charleston, S.C. “Layered”, Municipal Gallery, Atlanta, GA 1993 Second Street Gallery, Charlottesville,VA “Mixed Media”, Print Club, Philadelphia, PA TWO & THREE PERSON
    [Show full text]
  • Bennington College Art Auction Sunday, November 5, 1978 Greenwich Country Club, Greenwich, Conn
    BENNINGTON COLLEGE ART AUCTION SUNDAY, NOVEMBER 5, 1978 GREENWICH COUNTRY CLUB, GREENWICH, CONN. FAIRFIELD COUNTY ART AUCTION FOR BENNINGTON COLLEGE SCHOLARSHIP FUND Sale conducted by Sotheby Parke Bernet John Edelmann, Auctioneer Bennington artists are among the most distinguished artists in America today. Consider just a few who taught and worked at the col- lege ... Kenneth Noland, Jules Olitski, Larry Poons, Anthony Caro, David Smith, Paul Feeley. Helen Frankenthaler is an alumna. This Sunday afternoon, November 5, 1978 collection is primarily work of the Bennington Faculty, past and pre- sent. Most are represented by major New York dealers and are in the world's important museums and collections. A number of the paintings Greenwich Country Club, Doubling Road and sculpture are being shown for the first time, including Kenneth Greenwich, Connecticut Noland's "Modest Georges Enesco," all three Isaac Witkin pieces and Pat Adams' "Nel Mezzo." Exhibition 2:30-4:00 P.M. Sale 4:00-5:30 P.M. Clearly there is a vitality and intelligence that permeates the deceptively simple, bucolic Vermont setting and this appears to at- ALUMNI ASSOCIATION COMMITTEE tract artists to the faculty who are passionately engaged in their own work and who recognize the need for an artistic dialogue. Pat MRS. HARTLEY CHAZEN, CHAIRMAN Adams, a member of the faculty for 12 years, has said, "As we looked Ms. Gillian Angle to our working reality as basis for our way of teaching ... we had Mrs. Walter Bareiss ourselves learned to attend to our own best sense, and that in listen- Mrs. Torrey Bosee ing to our lessons, our work moved ..
    [Show full text]
  • Visual Arts Center of New Jersey Exhibition Timeline
    VISUAL ARTS CENTER OF NEW JERSEY EXHIBITION TIMELINE 1935 Exhibition Committee Chairperson: Junius Allen (Fall 1935 – Spring 1936) Oil and Watercolor Paintings by Carl Sprinchorn October 27 – November 9, 1935 3rd Annual Exhibition and Auction December 2 – 14, 1935 1936 Exhibition Committee Chairperson: Junius Allen (Fall 1935 – Spring 1936) Unknown (Fall 1936 – Spring 1937) Paintings by New York Artists: George Elmer Browne, John F. Carlson, George Pearse Ennis, Andrew Winter, Ernest Roth, and Ferdinand E. Warren January 20 – February 1, 1936 Offsite Exhibition: Summit Artists at the Summit Public Library February 16 – 29, 1936 Contemporary Prints October 18 – unknown date, 1936 Recent Paintings by Junius Allen November 8 – unknown date, 1936 1937 Paintings by Modern Artists of New Jersey January 3 – unknown date, 1937 Paintings, Drawings, and Prints by Fiske Boyd January 24 – unknown date, 1937 Antique Pictures and Early American Art from Private Collections March 14 – unknown date, 1937 Contemporary Prints October 18 – unknown date, 1937 Etchings and Dry Point Prints from Collections of Summit Residents November 7 – 24, 1937 1938 Oil and Pastel Paintings by Mary Bayne Bugbird January 9 – 26, 1938 Paintings from the Collection of the Whitney Museum of American Art January 30 – February 16, 1938 Photography by Summit Residents February 20 – March 9, 1938 Oil and Watercolor Paintings by Lesley Crawford March 13 – 30, 1938 Work of the Life Class April 24 – May 11, 1938 1939 Martha Berry, Art Director at Summit Public Schools Unknown date, 1939 Claire Boyd, Art Instructor at Kent Place School Unknown date, 1939 Collection of Bound Books Unknown date, 1939 New Jersey Painters: Junius Allen, T.
    [Show full text]
  • First Pairing of Collages & Sculpture by New York Abstract Expressionist
    Contact: Alyson Cluck 212/998-6782 or [email protected] First pairing of collages & sculpture by New York Abstract Expressionist artist Esteban Vicente Concrete Improvisations: Collages and Sculpture by Esteban Vicente on view at NYU’s Grey Art Gallery from January 11 to March 26, 2011 New York City (October 12, 2010)—The lyrical collages and polychrome sculptures by noted Abstract Expressionist painter Esteban Vicente are paired for the first time in a major American museum exhibition, opening January 11, 2011, at New York University’s Grey Art Gallery. Concrete Improvisations: Collages and Sculpture by Esteban Vicente reexamines the career of this “artist’s artist” on the tenth anniversary of his death in 2001. Concrete Improvisations features some 60 works on paper and 20 small-scale sculptures drawn from public and private collections in Spain and the United States. Following its debut in New York, the exhibition will travel to the Meadows Museum at Southern Methodist University, Dallas, and will conclude its tour at the Museo de Arte Contemporáneo Esteban Vicente in Segovia, Spain. Esteban Vicente was an integral member— and the only Spanish-born painter—of the first generation of New York Abstract Expressionist artists. His dedication to collage, as well as his considered, deliberate approach to the medium, set him apart from most of his New York School colleagues. Indeed, Vicente’s collages comprised half of the artist’s yearly output of finished works. As Lynn Gumpert, director of the Grey Art Gallery Orange, Red, Black, 1962. Colored paper on paper, and co-curator of the exhibition, notes, “Vicente mounted on cardboard, 19 7/8 x 25 7/8 in.
    [Show full text]
  • Crile V. Commissioner, T.C. Memo. 2014-202
    T.C. Memo. 2014-202 UNITED STATES TAX COURT SUSAN CRILE, Petitioner v. COMMISSIONER OF INTERNAL REVENUE, Respondent Docket Nos. 9713-10, 29044-11. Filed October 2, 2014. Robert H. Baron, Micaela McMurrough, and Megan Y. Lew, for petitioner. Jane J. Kim and Michael J. De Matos, for respondent. MEMORANDUM FINDINGS OF FACT AND OPINION LAUBER, Judge: Petitioner is an artist and a tenured professor of studio art. With respect to her Federal income tax for 2004-2005 and 2007-2009, - 2 - [*2] respondent determined deficiencies in tax, accuracy-related penalties under section 6662(a), and additions to tax under section 6651(a)(1) in the following amounts:1 Penalty Addition to tax Year Deficiency sec. 6662(a) sec. 6651(a)(1) 2004 $14,575 $2,915 -0- 2005 13,865 2,773 -0- 2007 22,312 4,462 $574 2008 21,638 4,328 -0- 2009 9,254 1,851 -0- In support of these determinations respondent relies on two theories. First, he contends that petitioner’s activity as an artist is “an activity not engaged in for profit” within the meaning of section 183 and hence that she cannot claim deduc- tions in excess of the income she derived from that activity. Second, if petitioner was engaged in a trade or business during these years, respondent contends that many of the deductions she claimed are not, within the meaning of section 162(a), “ordinary and necessary expenses” incurred in carrying on that business. 1Unless otherwise indicated, all statutory references are to the Internal Revenue Code in effect for the tax years in issue.
    [Show full text]
  • Night Paintings the Art Museum at Florida International University Frost Art Museum the Patricia and Phillip Frost Art Museum
    Florida International University FIU Digital Commons Frost Art Museum Catalogs Frost Art Museum 1-13-1995 American Art Today: Night Paintings The Art Museum at Florida International University Frost Art Museum The Patricia and Phillip Frost Art Museum Follow this and additional works at: https://digitalcommons.fiu.edu/frostcatalogs Recommended Citation Frost Art Museum, The Art Museum at Florida International University, "American Art Today: Night Paintings" (1995). Frost Art Museum Catalogs. 21. https://digitalcommons.fiu.edu/frostcatalogs/21 This work is brought to you for free and open access by the Frost Art Museum at FIU Digital Commons. It has been accepted for inclusion in Frost Art Museum Catalogs by an authorized administrator of FIU Digital Commons. For more information, please contact [email protected]. Yvonne lacquette, Tokyo Street with Pachinko Parlor 1/, 1985, Oil on canvas, 861/2" x 55 1/4", Courtesy of Brooke Alexander Gallery, New York, NY American Art Today: Night Paintings January 13 - February 18, 1995 Leigh Behnke, Shadow Image, 1992, Oil on canvas, 34 1/4" x 24", Courtesy of Fischbach Gallery, New York, NY Essay by Barbara Oayer Gallati Curated by Dahlia Morgan for U[ru@ £[1U UM1J [lJ]@@[lJ]M AT FLORIDA INTERNATIONAL UNIVERSITY University Park, PC 110, S.W. 107th Ave. & 8th St. Miami, Florida 33199 (305) 348-2890 1 Director's Forward Since I have to and examine 1985, attempted identify significant financial concerns; Charlotte Moore for her typing and editing skills; of art. In I have focused on the aspects contemporary past years Lisa Gil de Lamadrid, Community Relations, who saw the catalog contemporary response to traditional themes in exhibitions of The through to completion; and Mercy Advocat, Office Manager, for her Narrative City ('90); Contemporary Landscape ('89); Painting ('88); overseeing all events related to the exhibit.
    [Show full text]