A Finding Aid to the Poindexter Gallery Records, 1931-1985, Bulk 1955-1978, in the Archives of American Art
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Peter Agostini Christopher Cairns Bruce Gagnier Jonathan Silver George Spaventa
Five Sculptors Peter Agostini Christopher Cairns Bruce Gagnier Jonathan Silver George Spaventa March 31 - April 30, 2006 Cantor Fitzgerald Gallery Haverford College wishes to acknowledge the loan of sculpture from the following individuals: Diane Agostini Richard Bechtel Mark and Johanna Chehi Jock Ireland Stanley Kunitz Lindsey Lawrence Deborah Masters Paul Resika Harriett Vicente Anita Shapolsky Gallery Elizabeth Harris Gallery The Jonathan and Barbara Silver Foundation Lori Bookstein Fine Arts This show has been organized by Alexis, Christopher, and Nicholas Cairns with assistance by Vita Litvak and Rebecca Strattan. Photo Credits: Christopher Cairns - 8, 9, 12, 16, 20; Chris Carone - 10, 13; Vita Litvak - 2, 4, 5, 6, 14, 17, 18, 21 Five Sculptors: One Aesthetic The five sculptors whose works are presented in this exhibition, Peter Agostini (1913-1993), George Spaventa (1918-1978), Jonathan Silver (1937-1992), Bruce Gagnier (b. 1941), and Christopher Cairns (b.1942) all lived and worked in New York City during a seminal period in each artist’s development. Their intersecting circumstances and interconnected experiences created a culture of creative energy, collaboration, and competition. The five formed a guild of sorts, based on a shared aesthetic of working from the figure, informing and influencing one another’s work while forging individual creative paths and lines of inquiry. They are not “figurative” artists in the current parlance, but artists whose subject is the figure. Their shared aesthetic is an extension of late 19th century and early modern European art as represented by Cezanne, Picasso, Braque, Giacometti, and deKooning. The works in this show – whose influences range from dreams to Abstract Expressionism to the Medici Chapel, from African masks to Leonardo’s horses – reveal the artists’ dedication to their subject. -
Oral History Interview with Ad Reinhardt, Circa 1964
Oral history interview with Ad Reinhardt, circa 1964 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 tape-recorded interview with Ad Reinhardt ca. 1964. The interview was conducted by Harlan Phillips for the Archives of American Art, Smithsonian Institution. The reader should bear in mind that he or she is reading a transcript of spoken, rather than written, prose. This is a rough transcription that may include typographical errors. Interview HARLAN PHILLIPS: In the 30s you were indicating that you just got out of Columbia. AD REINHARDT: Yes. And it was an extremely important period for me. I guess the two big events for me were the WPA projects easel division. I got onto to it I think in '37. And it was also the year that I became part of the American Abstract Artists School and that was, of course, very important for me because the great abstract painters were here from Europe, like Mondrian, Leger, and then a variety of people like Karl Holty, Balcomb Greene were very important for me. But there was a variety of experiences and I remember that as an extremely exciting period for me because - well, I was young and part of that - I guess the abstract artists - well, the American Abstract artists were the vanguard group here, they were about 40 or 50 people and they were all the abstract artists there were almost, there were only two or three that were not members. -
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Mapping the Pedagogy of the New York Studio School Jennifer Sachs Samet “Despite diverse aesthetic points of view as represented by individual artists on the faculty, the School represents a particular attitude toward the study of art…The study is demanding and difficult; it places emphasis on what is learned rather than what is produced, on deep rooted insight into art of the past as well as of the present, on individual authenticity rather than borrowed idioms of fashion...” —Mercedes Matter (1913-2001)1 “I was told, all my life, in art school and beyond, you’re not allowed to draw, you’re not allowed to paint; you certainly shouldn’t paint with images….The way I teach is the way I would have liked to have been taught.” —Graham Nickson2 The New York Studio School was founded in 1964 by Mercedes Matter, in collaboration with a group of students and faculty, during a time of cultural ferment. To this day, it is bound by a sense of mission, one that has often stood in counterpoint to the prevailing tastes of the art world. During the heyday of Pop, conceptual art, and minimalism, the School emphasized drawing, working from life, and a sustained studio practice. To delve into the history, however, is to become aware of the contradictions inherent in a school run by some of the most passionate minds of the New York art world. This essay represents a first attempt to trace a pedagogical map of the New York Studio School, one that connects the school’s teaching to a multiplicity of influences. -
Brick Walk & Harvey
BRICK WALK & HARVEY catalog of works for sale Summer 2 0 0 9 Front cover: Earl Kerkam Head (Self-Portrait with Head on verso) 1950 (detail) Oil on canvasboard 28 x 22 inches Peter Acheson Lennart Anderson Richard Baker Chuck Bowdish Katherine Bradford Gandy Brodie Pat de Groot John Heliker Peter Joyce Earl Kerkam Kurt Knobelsdorf Robert Kulicke Sangram Majumdar Ruth Miller Graham Nickson Seymour Remenick Paul Resika EM Saniga Stuart Shils BRICK WALK & HARVEY Catalog of Works for Sale summer 2009 All right. I may have lied to you and about you, and made a few pronouncements a bit too sweeping, perhaps, and possibly forgotten to tag the bases here or there, And damned your extravagance, and maligned your tastes, and libeled your relatives, and slandered a few of your friends, O.K., Nevertheless, come back. - Kenneth Fearing from Love 20 cents the First Quarter Mile All works are for sale, please inquire to: BW&H .......Contact Kevin Rita BW&H .......Contact Steven Harvey Steven Harvey Steven Harvey Fine Art Projects LLC 780 Riverside Drive, #5aa New York, NY 10032 212-281-2281 [email protected] www.shfap.com or Kevin Rita Brick Walk Fine Art 322 Park Road West Hartford, Ct 06119 860-233-1730 [email protected] www.artnet.com: Brick Walk Fine Art Welcome to the second Brick Walk & Harvey catalog of works for sale. Brick Walk & Harvey is a collaboration between Steven Harvey of steven harvey fine art projects in New York and Kevin Rita of Brick Walk Fine Art in West Hartford, Connecticut. Our mission is to bring works of interest to your attention. -
Fine Modernmodern Artart
FINEFINE MODERNMODERN ARTART Wednesday, March 6,2, 2019 NEW YORK FINE MODERN ART AUCTION Wednesday, MARCH 6, 2019 at 10am EXHIBITION Saturday, March 2, 10am – 5pm Sunday, March 3, Noon – 5pm Monday, March 4, 10am – 6pm LOCATION DOYLE 175 East 87th Street New York City 212-427-2730 www.Doyle.com FINE PAINTINGS AUCTION Tuesday, MARCH 12, 2019 at 10am EXHIBITION Saturday, March 9, 10am – 5pm Sunday, March 10, Noon – 5pm Monday, March 11, 10am – 6pm LOCATION DOYLE 175 East 87th Street New York City 212-427-2730 www.Doyle.com FINE MODERN ART INCLUDING PROPERTY FROM THE ESTATES OF Hilda U. and Rudolph Forchheimer FINE MODERN ART Jeanne Frank A Gentleman, Park Avenue and Southampton, New York Sidney B. Jacques Wednesday, March 6, 2019 at 10am Carl Lesnor Dorothy Lewis 2013 Irrevocable Trust Peter Mayer CONTENTS A Distinguished New York Collector J. Robert and Gladys Rosenthal FINE MODERN ART - MARCH 6 1001-1155 Bernice and Jules Teck FINE PAINTINGS - MARCH 12 2001-2127 INCLUDING PROPERTY FROM A Beekman Place Apartment A Collector Glossary I A Short Hills, New Jersey Private Collector Conditions of Sale II Terms of Guarantee IV Information on Sales & Use Tax V Buying at Doyle VI Selling at Doyle VIII Auction Schedule IX Company Directory X Absentee Bid Form XII FINE PAINTINGS INCLUDING PROPERTY FROM THE ESTATES OF An East Hampton Collection David Follett A Gentleman, Park Avenue and Southampton, New York Sidney B. Jacques Property of a Lady Peter Mayer Lucille and Charles Plotz Romulo M. Prudente Marianne Schaller INCLUDING PROPERTY FROM A Bedminster, New Jersey Collector Property to be Sold for the Benefit of the Philanthropic Programs of the Heckscher Foundation for Children A New York Collector The Collection of Faith Stewart-Gordon A Short Hills, New Jersey Private Collector Lot 1034 1001 1005 1006 1003 1002 1008 1007 1004 1001 1002 1003 1004 1005 1006 1007 1008 Carol Anthony David Aronson Sally Michel Avery Sally Michel Avery Theresa Bernstein Jean-Charles Blais Oscar Bluemner Angel Botello American, b. -
A Catalogue of the Collection of American Paintings in the Corcoran Gallery of Art
This page intentionally left blank This page intentionally left blank A Catalogue of the Collection of American Paintings in The Corcoran Gallery of Art Volume 2 Painters born from 1850 to 1910 This page intentionally left blank A Catalogue of the Collection of American Paintings in The Corcoran Gallery of Art Volume 2 Painters born from 1850 to 1910 by Dorothy W. Phillips Curator of Collections The Corcoran Gallery of Art, Washington D.G. 1973 Library of Congress Catalogue Card Number N 850. A 617 Designed by Graham Johnson/Lund Humphries Printed in Great Britain by Lund Humphries Contents Foreword by Roy Slade, Director vi Introduction by Hermann Warner Williams, Jr., Director Emeritus vii Acknowledgments ix Notes on the Catalogue x Catalogue i Index of titles and artists 199 This page intentionally left blank Foreword As Director of the Corcoran Gallery of Art, I am pleased that Volume II of the Catalogue of the American Paintings in the Corcoran Gallery of Art, which has been in preparation for some five years, has come to fruition in my tenure. The second volume deals with the paintings of artists born between 1850 and 1910. The documented catalogue of the Corcoran's American paintings carries forward the project, initiated by former Director Hermann Warner Williams, Jr., of providing a series of defini• tive publications of the Gallery's considerable collection of American art. The Gallery intends to continue with other volumes devoted to contemporary American painting, sculpture, drawings, watercolors and prints. In recent years the growing interest in and concern for American paint• ing has become apparent. -
20Th – 21St Centuries Charles White
th st 20 – 21 Centuries Charles White (American, 1918-1979) Birth of Spring, 1961 Charcoal drawing 63.33 Gift of the Childe Hassam Fund of the American Academy of Arts and Letters, New York A Chicago native, Charles White was born in 1918, the son of working class parents. He participated in the “Chicago Renaissance,” a mid-western movement of the 1930s, 40s and 50s that, like the earlier “Harlem Renaissance,” was characterized by socially critical cultural expressions by African Americans. In the late 1940s White began to devote his attention to the creation of monumental finished drawings in charcoal, wash, and ink. His large drawings often took months to complete, and his imagery focused on the social and spiritual lives of African Americans. The Birth of Spring was created in 1961, during the early years of the American Civil Rights movement. The woman’s somber face and weathered hands testify to a life of physical and emotional pain, yet she rises out of the darkness into the open space above. Historian Peter Clothier described the figure as an “ancestral presence” removed from time and place, “existing somewhere between America and Africa.” (MAA 2/06) MAA 6/2012 Docent Manual Volume 2 20th – 21st Centuries 1 th st 20 – 21 Centuries Robert Natkin (American, b. 1930) Beyond the Sapphire and Sound, 1963 Oil on Canvas 63.34 Gift of Mr. David Dolnick Born in Chicago, Robert Natkin traveled to New York City in the 1950s, where he moved in the same circles as the Abstract Expressionists Willem de Kooning and Mark Rothko. -
Abstract Expressionism 1 Abstract Expressionism
Abstract expressionism 1 Abstract expressionism Abstract expressionism was an American post–World War II art movement. It was the first specifically American movement to achieve worldwide influence and put New York City at the center of the western art world, a role formerly filled by Paris. Although the term "abstract expressionism" was first applied to American art in 1946 by the art critic Robert Coates, it had been first used in Germany in 1919 in the magazine Der Sturm, regarding German Expressionism. In the USA, Alfred Barr was the first to use this term in 1929 in relation to works by Wassily Kandinsky.[1] The movement's name is derived from the combination of the emotional intensity and self-denial of the German Expressionists with the anti-figurative aesthetic of the European abstract schools such as Futurism, the Bauhaus and Synthetic Cubism. Additionally, it has an image of being rebellious, anarchic, highly idiosyncratic and, some feel, nihilistic.[2] Jackson Pollock, No. 5, 1948, oil on fiberboard, 244 x 122 cm. (96 x 48 in.), private collection. Style Technically, an important predecessor is surrealism, with its emphasis on spontaneous, automatic or subconscious creation. Jackson Pollock's dripping paint onto a canvas laid on the floor is a technique that has its roots in the work of André Masson, Max Ernst and David Alfaro Siqueiros. Another important early manifestation of what came to be abstract expressionism is the work of American Northwest artist Mark Tobey, especially his "white writing" canvases, which, though generally not large in scale, anticipate the "all-over" look of Pollock's drip paintings. -
Oral History Interview with Sol Lewitt
Oral history interview with Sol LeWitt 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. Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 General............................................................................................................................. 2 Scope and Contents........................................................................................................ 1 Scope and Contents........................................................................................................ 2 Scope and Contents........................................................................................................ 2 Biographical / Historical.................................................................................................... 1 Names and Subjects ...................................................................................................... 2 Container Listing ...................................................................................................... Oral history interview with Sol LeWitt AAA.lewitt74 Collection -
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. -
Oral History Interview with Joseph Solman, 1981 May 6-8
Oral history interview with Joseph Solman, 1981 May 6-8 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 tape-recorded interview with Joseph Solman on May 6 and 8, 1981. The interview took place at his studio at 156 Second Avenue in New York, NY, and was conducted by Avis Berman as part of the Mark Rothko and His Times Oral History Project for the Archives of American Art, Smithsonian Institution. The reader should bear in mind that he or she is reading a transcript of spoken, rather than written, prose. Interview May 6, 1981 Avis Berman:…talking with Joseph Solman here in his house and studio at 156 Second Avenue. And I guess we want to start with the basics. I know you were born in Russia. Maybe you could start by talking about that. Joseph Solman: Yes. I was born in Russia in 1909. Our family came here in 1912, so I remember nothing of Russia. And we came to Jamaica, Long Island because we had some relatives there, like all immigrants land somewhere where they know somebody. I'd say that I was already drawing and painting in my teens - drawing mainly. The last year of high school I remember getting my first portrait commission from a black student. -
Oral History Interview with Gerald Nordland, 2004 May 25-26
Oral history interview with Gerald Nordland, 2004 May 25-26 Funding for this interview provided by the Goldsmith 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 digitally-recorded interview with Gerald Nordland on May 25-26, 2004. The interview took place in Chicago, Illinois, and was conducted by Susan Larsen for the Archives of American Art, Smithsonian Institution. Gerald Nordland and Susan Larsen have reviewed the transcript and have 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 MS. LARSEN: We’ll begin this. Okay, we have to wait until – MR. NORDLAND: Making a little noise. MS. LARSEN: Yes. Okay – MR. NORDLAND: Not nearly as big as my Walkman. MS. LARSEN: Yes. All right. I’m here with Gerald Nordland. MR. NORDLAND: Should we put it like this? MS. LARSEN: Sure, you’re the important one. I’m here with Gerald Nordland – art historian, curator, critic, museum director – and we’re in his home in – on Sheridan Avenue in Chicago, Illinois. It’s May 25th, 2004. And interviewer is Susan Larsen. So, good afternoon, Gerald. MR. NORDLAND: Hi. MS. LARSEN: Good to go. I’m going to be asking you some just basic questions about your life and about – and we’ll proceed chronologically for a little while if that’s okay.