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Donald Baechler Early Work 1980 to 1984 Opens Tuesday November 24 from 6–8 Pm Exhibition Continues Through December 30, 2015
PRESS RELEASE Donald Baechler Early Work 1980 to 1984 Opens Tuesday November 24 from 6–8 pm Exhibition continues through December 30, 2015 Cheim & Read is pleased to announce an exhibition of Donald Baechler’s early paintings and collages on paper. These works represent the genesis of the artist’s iconic vocabulary of symbols and techniques. The exhibition will be accompanied by a catalogue featuring an essay by David Rimanelli. Between 1980 and 1984, when Baechler was still in his mid-20s, his work was the subject of six solo exhibitions. By the end of the ’80s, his bold, expressive paintings were regarded as some of the most influential of their time—integral to the dialogue between a new generation of New York painters that included Jean-Michel Basquiat, Keith Haring, and Julian Schnabel. The works currently on view at Cheim & Read embody this pivotal moment in Baechler’s career, when he developed a signature iconography and rose to international renown. Three Figures (Wall Street Week) 1980 graphite, spray enamel and oil-based enamel on paper 42 x 42 in Baechler’s work is known for striking compositions that center big, buoyant, thickly outlined forms on layered surfaces, either built up with paint or dense with collage. His subjects are recognizable the world over— flowers, faces, houses, globes, and other familiar objects take center stage. Isolated and magnified on large-scale canvases, they become emblems for universal themes like identity, sexuality, community, and mortality. But they are also uniquely Baechler’s. There is no -
Acu.1203.Cor
18 | The Cooper Union for the Advancement of Science and Art Notes was in Mentors: The Mentoring of Artists , an exhibit honoring the Marriages and artist-mentor relationship, at the Firehouse Center for the Falcon Engagements Foundation in Portland, Maine, August to October 2011 . Derek Dalton Musa (BSE’ 03 ) and Gloria Corinne Cochrane Nippert are Frey Yudkin (A’ 48 ) continues to engaged and planning a 2012 wed - teach and is showing her work at Hewlett Library in March and April ding. Garrett Ricciardi (A’ 03 ) and Lindsay Ross were married in July 2012 . Alex Katz (A’ 49 ) had 2011 solo shows at Gavin Brown’s enter - Constance Ftera (A’53) was in the 2011 . Sara and Michael Kadoch prise and Senior & Shopmaker 4th National Juried Exhibition (BSE’ 05 ) married on June 12 , 2011 at Prince Street Gallery. Gallery. (A’ 49 ) had a in New York. Kristen Breyer (A’ 06 ) Henry Niese and (A’ 08 ) married Laura Miller Margolius (A’42) with solo show of paintings and drawings Jeff Castleman 1960 s as an international network on Saturday, September 3, 2011 , at one of her art pieces in her home in from the mid- 1950 s to present enti - of artists, composers and designers the UC Berkeley Botanical Gardens Bronxville, New York. tled The Painter’s Palette at Gold Leaf Rosyln Fassett (A’56), Cameroon employing a “do-it-yourself” atti - Earth, oil painting, 50 x 40 Redwood Grove in Berkely Studios in Washington, DC, private collections. Irving Lefkowitz tude and focusing on blurring California. Included in their wed - September to November 2011 . -
Critiquing Exhibits: Meanings and Realities
Index Sheet 1 _______________________________ 2 ____________________________ __ 3 _______________________________ 4 ____________________________ ___ ~ Royallmaging Worlcing documents in motion. www.RoyalImaging.com Vol. 19, No.2, Fall 2000 '1000 A journal of reJlective pmctice, pl/b/isbed by the Naliollal Association for Museum E:t:bibilioll (NAME) , Ibe Slanding Professional Committee on E.rbibilioll ofIb e American Associalion ofM useums Critiquing Exhibits: Meanings and Realities 5 Exhibits Newsline by Pby lfis Rabillell/J 9 Current Literature on Museum Exhibition Development and Design by jlllle Bedno 13 How Do We Look? Some Thoughts on Critical Reviews of Museum Exhibits by Roberl Arcbibaftl alltl Nicola longford 18 Through the Looking Glass and Back by Marlene Chambers 23 Science City: Is It a New Adventure? by Patrlcill Simmolls 30 Wait a Minute! by james Sims 35 FEEDBACK 38 Meaning Making: the Conversation Continues A cyber-forlllll 1lI11iJ Ted AllsbaciJer, George lIein, KtJlhleell Mclean, jay ROUllds and Mld/ael Spack 48 The Thirteenth Annual Exhibition Competition "Still We ," Mark Tansey, 1982. All rigbts resenJed, Metropolitall MI"felllll ofArt . How Can NAME Better Serve Its Community? he cool nights and brisk mornings have settled in on Buzzards Bay. Soon the last of the summer tourists will pack up and depart, and the lean months of the off-season will Tdescend on Wareham. By the time this issue of the Exhibiti01zist reaches each of you , the Wareham Historical Society will have closed its buildings for the winter. Thinking about all of this raises questions about how the Society could better serve its community, year-round. It is the same question that I ask myself when I think about NAME. -
Landmarks Preservation Commission November 22, 2016, Designation List 490 LP-2579
Landmarks Preservation Commission November 22, 2016, Designation List 490 LP-2579 YALE CLUB OF NEW YORK CITY 50 Vanderbilt Avenue (aka 49-55 East 44th Street), Manhattan Built 1913-15; architect, James Gamble Rogers Landmark site: Borough of Manhattan Tax Map Block 1279, Lot 28 On September 13, 2016, the Landmarks Preservation Commission held a public hearing on the proposed designation of the Yale Club of New York City and the proposed designation of the related Landmark Site. The hearing had been duly advertised in accordance with provisions of law. Six people spoke in support of designation, including representatives of the Yale Club of New York City, Manhattan Borough President Gale A. Brewer, Historic Districts Council, New York Landmarks Conservancy, and the Municipal Art Society of New York. The Real Estate Board of New York submitted written testimony in opposition to designation. State Senator Brad Hoylman submitted written testimony in support of designation. Summary The Yale Club of New York City is a Renaissance Revival-style skyscraper at the northwest corner of Vanderbilt Avenue and East 44th Street. For more than a century it has played an important role in East Midtown, serving the Yale community and providing a handsome and complementary backdrop to Grand Central Terminal. Constructed on property that was once owned by the New York Central Railroad, it stands directly above two levels of train tracks and platforms. This was the ideal location to build the Yale Club, opposite the new terminal, which serves New Haven, where Yale University is located, and at the east end of “clubhouse row.” The architect was James Gamble Rogers, who graduated from Yale College in 1889 and attended the Ecole des Beaux Arts in Paris during the 1890s. -
Building Cultures by Designing Buildings: Corporatism, Eero Saarinen, and Thevivian Beaumont Repertory Theater at the Lincoln Center for the Performing Arts
85TH ACSA ANNUAL MEETING ANDTECHNOLOGY CONFERENCE 457 Building Cultures by Designing Buildings: Corporatism, Eero Saarinen, and theVivian Beaumont Repertory Theater at the Lincoln Center for the Performing Arts WESLEY R. JANZ, AIA Ball State University In 1964, the inaugural production of the Lincoln Center the temporary facility. The second considers the architec- repertory company opened to critical acclaim. The debut of tural intentions of these non-architects as they gave physical Arthur Miller's play After The Fall was "an impressive start" form to the preeminent culture they envisioned. (chapman); one that would "arouse an audience and enrich a season" (Nadel). The cast, which included Faye Dunaway, THE CAMPUS OF THE LINCOLN CENTER FOR Hal Holbrook, and leading man Jason Robards, Jr. was THE PERFORMING ARTS lauded: "no performance was less than compelling," stated Lincoln Center was the focus of the eighteen-block Lincoln Howard Taubman, the theater critic of the New York Times. Square Urban Redevelopment Project on the Upper West The theater, a temporary facility that was designed and Side of New York City. Spearheading the Lincoln Center built under the guidance of co-producing directors Robert component were Coinmissioner Robert Moses, Dwight Whitehead and Elia Kazan, was also praised. The critic John Eisenhower, the President of the United States; Nelson A. McClain termed the playhouse "a quite fabulous structure," Rockefeller, the Governor of the State of New York; and the and Howard Clunnan agreed; "the moment you enter it your third John D. Rockefeller. The Center's unofficial title, the attention is riveted on the stage" (Hyams). -
Donald Lipski/Oral History
Donald Lipski/Oral History Southeastern Center for Contemporary Art January 22—April 17, 1994 Galerie Leiong May—June, 1994 In earlier times, whole communi- Donald Lipski's "Oral History" is the first exhibition in SECCA's pilot project, ties worked to produce the crop, Artist and the Community Conceived as an ongoing series, Artist and the and the farmer's entire family Community is a residency program that will result in the creation of new works actively participated in growing, to be exhibited at SECCA and elsewhere in the community. Participating curing, and preparing the tobacco artists will focus on specific aspects of life in Winston-Salem, from industry to for market. The intense commit- education and social welfare. ment demanded by the crop strengthened the bonds of family By structuring an interactive relationship with the resident artists. Artist and the and community Community aims to involve community members in the creative process, thus expanding SECCA's outreach in the community, and strengthening SECCA's ties with other local cultural, educational, and civic organizations. Upcoming projects for 1994 are Tim Rollins and K.O.S., who will work with the public school system to create a mural based on Stephen Crane's The Red Badge of Courage; and Fred Wilson, who will work with Winston-Salem's historical orga- nizations to interpret and trace the history of Winston-Salem's African- Americans, including his own ancestors. In 1995 Hope Sandrow and Willie Birch will be residents, working, respectively, with local college women and public school children. Donald Lipski began the first segment of Artist and the Community with a three-week residency in spring 1993. -
New Oral History Projects Launched!
BOARD OF DIRECTORS Anthony C. Wood, Chair Elizabeth R. Jeffe, Vice-Chair Stephen Facey, Treasurer Lisa Ackerman, Secretary Daniel J. Allen Eric Allison Michele H. Bogart Joseph M. Ciccone Susan De Vries Amy Freitag Shirley Ferguson Jenks Otis Pratt Pearsall Duane A. Watson NEWSLETTER SPRING 2012 Welcome to the sixteenth edition of the newsletter of the New York Preservation Archive Project. The mission of the New York Preservation Archive Project is to protect and raise awareness of the narratives of historic preservation in New York. Through public programs, outreach, celebration, and the creation of public access to information, the Archive Project hopes to bring these stories to light. New Oral History Projects Launched! The Archive Project Embarks Upon Ambitious Array of Interviews with Preservation Leaders The New York Preservation Archive Project is from the Robert A. and Elizabeth R. Jeffe range of cultural, historical, and architectural thrilled to announce the launch of our newest Foundation. aspects of the city. Each individual house has oral history initiative, Leading the Movement: * * * a distinctive preservation history and a unique Interviews with Preservationist Leaders in New For the first time in our organization’s history, set of people who ensured its survival, whether York’s Civic Sector. The goal of this project is the Archive Project is teaming up with New they were concerned citizens, directors of civic to record oral histories with 15 key leaders in York University’s Museum Studies Program organizations, or descendents of the houses’ the preservation civic sector, capturing their to produce a series of oral histories focused original inhabitants. -
CURRICULA VITAE Name: Richard Scherr Address: 380 Rector Place
CURRICULA VITAE Name: Richard Scherr Address: 380 Rector Place, #18B New York, N.Y. 10280 Telephone: (212) 786-1632 E-Mail [email protected] EDUCATION Cornell University 9/67 - 5/72 B. Arch. Columbia University 9/72 - 5/73 M.S. Arch. (Spec. in Urban Design) TEACHING AND ADMINISTRATIVE EXPERIENCE June 1999- Director of Facilities Planning and Design, Jan 2014 Pratt Institute May 1999- Adjunct Professor of Architecture and Urban Design, Present Pratt Institute Sept. 1989 - Chairman and Professor, Graduate Programs May 1999* in Architecture and Urban Design, Pratt Institute Sept. 1986 - Professor of Architecture, School of May 1989** Architecture, The University of Texas at Arlington Sept. 1983 - Graduate Advisor, School of May 1986 Architecture, UTA Sept. 1980 - Associate Professor of Architecture May 1986 with Tenure, School of Architecture, UTA Sept 1975 - Assistant Professor, School of May 1980*** Architecture, UTA Sept 1973 - Instructor, Department of Architecture, May 1975 University of Texas at Arlington Sept. 1978 - ***Leave-of-Absence May 1979 Sept. 1987 - ** Leave-of-Absence May 1988 Feb. 1999- *Sabbatical June 1999 AWARDS May 1972 -Eidlitz Travelling Fellowship, Cornell University May 1975 -Organized Research Grant Award, UTA May 1976 -"Teacher of the Year", School of Architecture, UTA May 1976 -AMOCO Teaching Award, UTA (Honorable Mention) May 1977 -Organized Research Grant Award, UTA May 1980 -Organized Research Grant Award, UTA Apr. 1982 -Plaza Hotel Renovation, "Merit Award," Dallas A.I.A. (w/ Woodward & Assoc.) Sept. 1982 -
Postmodernist Poster Boy (And T&C Art Columnist) David Salle Has A
360 O I D TU S Postmodernist poster boy (and T&C art columnist) David Salle has a new show this month. He gives us an exclusive window into his light-filled retreat in East Hampton. By GEMMA SIEFF Photographs by FRANCOIS DISCHINGER NICE CUBE David Salle surveys his workspace in East Hampton, New York. DECEMBER 2013 | 207 THE artIST daVID SALLE IS A SLIGHT, handsome man of 61, with dark hair worn slicked back, accentuating his appearance of quickness and lightness, of being streamlined. His house inT Fort Greene, Brooklyn, used to be a Masonic lodge. It was transformed by the architect Chris- tian Hubert into a still sanctuary studded with just-so objets: spindly chairs by Giò Ponti, works by Mark Grotjahn, George Baselitz, and Amy Sillman. The front door funnels you straight upstairs, since Salle’s studio occupies the whole of the first floor. It’s capacious by any standard, but it’s still in New York City. His creativity blooms farther east, on the East End of Long Island, a place whose fabled light and seascapes have made it a haven for artists since the days of the Tile Club, a secret society formed in 1877 as part of the Aesthetic Movement, whose mem- bers included William Merritt Chase, Stanford White, and Francis Hopkinson Smith. Like the artist himself, Salle’s East Hampton house—or houses, for the property is a series ANGLE OF REPOSE of small buildings, some new, some from the Above: Salle’s Melting Away into Nothingness (2013). Below: The grounds were designed by Edwina von Gal. -
DONALD BAECHLER SCULPTURES and PAINTINGS
DONALD BAECHLER SCULPTURES and PAINTINGS ARTIST RECEPTION: THURSDAY, MARCH 24, 6-8 PM ON VIEW MARCH 24 - APRIL 30, 2011 "A sense of fun is an essential aspect of Donald's work. When you see his flat sculptures, I think it's very easy to smile." -excerpt from a conversation between Charles Stuckey and Donald Baechler McClain Gallery is pleased to present an exhibition of mixed media works by New York-based artist Donald Baechler. Well known for his brightly colored paintings with singular themed subjects from flowers, crowds to ice cream cones painted over heavily textured, multi- element backgrounds, this exhibition focuses on Baechler's exploration of flower motifs and follows their transition from drawings to paintings and their growth into three-dimensional volume as sculptures. The silhouette-like shapes of painted flowers arching out of a vase or a single bloom are complimented by Baechler's flat sculptural forms with mottled, irregular surfaces akin to the richly-collaged grounds of his paintings. An avid collector of images, he explores the potential of images after they are repeatedly used, seen or drawn - and in doing so evokes a universal language of cultural symbology. About Donald Baechler Born in Connecticut in 1956, Baechler lives and works in New York City. He studied art in both New York and Germany. He began exhibiting internationally in the early 1980s. His work can be found in over 40 public museum, university, corporate and municipal collections, including: The Museum of Fine Art, Houston; Museum of Modern Art, New -
YALE CLUB of NEW YORK CITY BUILDING
Landmarks Preservation Commission February 9, 2010, Designation List 426 LP-2379 (Former) YALE CLUB of NEW YORK CITY BUILDING (now PENN CLUB of NEW YORK), 30-32 West 44th Street, Manhattan Built 1900-01, [Evarts] Tracy & [Egerton] Swartwout, architect; upper stories 1992-94, [David P.] Helpern Architects. Landmark Site: Borough of Manhattan Tax Map Block 1259, Lot 54 On November 17, 2009, the Landmarks Preservation Commission held a public hearing on the proposed designation as a Landmark of the (former) Yale Club of New York City Building (now Penn Club of New York) and the proposed designation of the related Landmark Site (Item No.1). The hearing had been duly advertised in accordance with the provisions of law. Four people spoke in favor of designation, including representatives of the Penn Club, University of Pennsylvania, New York Assemblyman Richard Gottfried, and Historic Districts Council. Summary The former Yale Club of New York City Building is located along “clubhouse row,” West 44th Street between Fifth and Sixth Avenues, its neighbors including the Harvard Club, New York Yacht Club, Association of the Bar of the City of New York, and former City Club. This Beaux-Arts style building, constructed in 1900-01 by builder Marc Eidlitz & Son, was designed by [Evarts] Tracy & [Egerton] Swartwout, both Yale University graduates, Yale Club members, and former employees of McKim, Mead & White. It was one of the first high-rise clubhouse buildings in the city, with over half the floors devoted to bachelor apartments, during the era when bachelor apartment hotels were a necessity in the vicinity. -
DONALD BAECHLER New York, NY 10014
82 Gansevoort Street DONALD BAECHLER New York, NY 10014 p (212) 966 - 6675 Born 1956, Hartford, CT allouchegallery.com Lives and works in New York, NY 1978 - 1979 Staatliche Hochschule fuer Bildende Kuenste, “Staedelschule,” Frankfurt am main, Germany 1977 - 1978 Cooper Union, New York, NY; 1974 - 1977 Maryland Institute College of Art SELECTED SOLO EXHIBITIONS 2019 Recent Works, Boham-Knapper Gallery, Stockhom, Sweden 2018 Donald Baechler: Art in the Park XVI, Baur au Lac Hotel, Zurich, Switzerland 2017 Donald Baechler, Cheim & Read, New York, NY 2016 New Works, Galerie Alex Daniels, Reflex Gallery, Amsterdam, The Netherlands 2016 Early Works 1980-1984, Cheim & Read, New York, NY 2016 Early Works, Lars Boham, Stockholm, Sweden 2015 Donald Baechler, Pace Prints, New York, NY 2015 Recent Works, Sargent’s Daughters, New York, NY 2015 Black and White, Studio d’Arte Raffaelli, Trento, Italy 2015 Donald Baechler: The Planet of Memory, McClain Gallery, Houston, TX 2015 The Crayon Miscellany, curated by Julia Ryan, Omi International Arts Center, Ghent, NY 2014 Donald Baechler: New Paintings and Sculptures, Galerie Forsblom, Helsinki, Finland 2014 Donald Baechler: Sixteen Bad Neighbors, Arts + Leisure, New York, NY 2013 St. Moritz Art Masters, St. Mortiz, Switzerland 2012 Creature From the Blue Lagoon, curated by Bob Nickas, Martos Gallery, Bridgehampton, New York, NY 2012 New York Live Arts 2012 Mural, New York, NY 2012 Donald Baechler: Painting & Sculpture, Fisher Landau Center for Art, Long Island City, NY 2012 Donald Baechler: Paint Traveller,