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The Museum of Modern Art for Immediate Release July 1993
The Museum of Modern Art For Immediate Release July 1993 A PRINT PROJECT BY CHUCK CLOSE July 24 - September 28, 1993 An exhibition presenting American artist Chuck Close's most recent print project, Alex/Reduction Block, opens at The Museum of Modern Art on July 24, 1993. Organized by Andrea Feldman, curatorial assistant, Department of Prints and Illustrated Books, A PRINT PROJECT BY CHUCK CLOSE comprises fifteen large- scale screenprints that depict Close's friend and fellow artist Alex Katz. The screenprints replicate all stages of what was originally a reduction linoleum-cut print. The exhibition, on view through September 28, examines the complex process of printmaking and offers an in-depth view of Close's artistic conception. The reduction linoleum-cut technique requires the artist to use a single block for the entire printing process, in contrast to the conventional method of cutting separate blocks for each color in the print. Close became intrigued by the process after studying prints made by Picasso in the late 1950s. When Close anticipated problems with the paper he had chosen for his reduction linoleum-cut project, he printed a set of the states of the work on mylar, which he later used as templates for the screenprints on view in the exhibition. Ms. Feldman states, "Over the two year period that it took to complete this impressive project, Close ran into many technical problems that he transformed into artistic challenges. Without a flaw, Close maneuvered through the obstacle course that the project presented and created an image of enormous power and intensity. -
Beat Streuli Living Room
Beat Streuli Living Room September 3 to October 8, 2014 Yumiko Chiba Associates viewing room shinjuku Gallery Talk & Opening Reception: Saturday, September 6 (Gallery Talk will be held in HILLSIDE TERRACE café at Daikanyama Hillside Terrace.) ©Beat Streuli, Courtesy of Yumiko Chiba Associates Yumiko Chiba Associates viewing room shinjuku is pleased to present a solo exhibition by Beat Streuli, ‘Living Room’, from September 3 to October 8, 2014. Beat Streuli, a Swiss photographer who started working in the 1980s, has presented his works in cities around the globe. Presently based in Zurich and Brussels, he has been actively working all over Europe and in many other parts of the world. He first received attention for his series from the early 1990s; some of this work was photographed in Rome, Paris, and New York. Streuli takes photographs of local people in public places, often with a telephoto lens, focusing on them and their ordinary lives. He has begun to work more outside of Europe and the United States, in both Western and non-Western countries. Recently, his work has started to include more non-figurative, almost abstract elements. At the beginning of his career, Streuli produced and presented his works as small format and black and white photographs, but in the early 1990s, he developed new forms of presentation, working with floor to ceiling, multi-screen slide and video projections. He also started working with large scale images installed on the façades of public buildings in various cities, and with monumental billboard installations. For the past twenty years, Streuli's work has been frequently exhibited around the world; he has also realized many temporary and permanent projects in public spaces. -
Download Lot Listing
IMPRESSIONIST & MODERN ART POST-WAR & CONTEMPORARY ART Wednesday, May 10, 2017 NEW YORK IMPRESSIONIST & MODERN ART EUROPEAN & AMERICAN ART POST-WAR & CONTEMPORARY ART AUCTION Wednesday, May 10, 2017 at 11am EXHIBITION Saturday, May 6, 10am – 5pm Sunday, May 7, Noon – 5pm Monday, May 8, 10am – 6pm Tuesday, May 9, 9am – Noon LOCATION Doyle New York 175 East 87th Street New York City 212-427-2730 www.Doyle.com Catalogue: $40 INCLUDING PROPERTY CONTENTS FROM THE ESTATES OF IMPRESSIONIST & MODERN ART 1-118 Elsie Adler European 1-66 The Eileen & Herbert C. Bernard Collection American 67-118 Charles Austin Buck Roberta K. Cohn & Richard A. Cohn, Ltd. POST-WAR & CONTEMPORARY ART 119-235 A Connecticut Collector Post-War 119-199 Claudia Cosla, New York Contemporary 200-235 Ronnie Cutrone EUROPEAN ART Mildred and Jack Feinblatt Glossary I Dr. Paul Hershenson Conditions of Sale II Myrtle Barnes Jones Terms of Guarantee IV Mary Kettaneh Information on Sales & Use Tax V The Collection of Willa Kim and William Pène du Bois Buying at Doyle VI Carol Mercer Selling at Doyle VIII A New Jersey Estate Auction Schedule IX A New York and Connecticut Estate Company Directory X A New York Estate Absentee Bid Form XII Miriam and Howard Rand, Beverly Hills, California Dorothy Wassyng INCLUDING PROPERTY FROM A Private Beverly Hills Collector The Collection of Mr. and Mrs. Raymond J. Horowitz sold for the benefit of the Bard Graduate Center A New England Collection A New York Collector The Jessye Norman ‘White Gates’ Collection A Pennsylvania Collection A Private -
Alex Katz on 10 Artists Who Inspire Him
Search by artist, gallery, etc. Art Alex Katz on 10 Artists Who Inspire Him Alex Katz Nov 1, 2018 2:30 pm Portrait of Alex Katz. Photo by Ander Gillenea/AFP/Getty Images. “A lot of art books are very tiresome to most people,” admitted Alex Katz who, at 91 years young, is one of our most prominent living painters. ere’s nothing tiresome about Looking At Art With Alex Katz, a new volume in which the artist shares relatable, off-the-cuff impressions of dozens of his favorite artists, poets, and creatives, from Fra Angelico to Frank Lloyd Wright. “Everyone gets art on their own level,” he said in a recent interview with Artsy. “If you don’t know a lot about art history and you look at a picture, you’re not seeing the same picture that someone who knows something about art history sees. But that doesn’t mean you receive less from the picture. Art is very multifaceted that way.” Below, we share excerpts from the book that highlight nine eclectic artists who have amazed and inspired Katz over the years. Louise Bourgeois Follow Louise Bourgeois Spider, 1997 Louise Bourgeois Fée Couturière "… Sotheby's: Contemporary Art Day Auction “I rst heard Louise Bourgeois and Louise Nevelson on a Sunday afternoon in 1950, when I had just come to Manhattan. ey spoke in a loft on 10th Street and 4th Avenue. ey seemed arty and quite irresponsible, as they kept talking about the fth, sixth and seventh dimensions. However, when one looks at the body of work by Louise Bourgeois, one cannot help but admire the energy to go out and at the same time to reveal what is inside of her. -
KS3-KS5 Summer Season 19 May – 23 September 2012
Teacher Resource Notes – KS3-KS5 Summer Season 19 May – 23 September 2012 Alex Katz: Give Me Tomorrow Alex Katz On The Tate Collection 1928: A Cornish Encounter These notes are designed to support KS3-5 teachers in engaging students as they explore the art work. As well as factual information they provide starting points for discussion, ideas for simple practical activities and suggestions for extended work that could stem from a gallery visit. To book a gallery visit for your group call 01736 796226 or email [email protected]. Season Overview This season Tate St Ives is showing paintings and collages by Alex Katz, plus an eclectic display of works which Katz has chosen from the Tate Collection in Lower Gallery 2. In the Studio there is a one-room archival display 1928: A Cornish Encounter, which documents this important year in the history of St Ives art. The display of Katz's work is a selected survey from the mid 1950s to 2011. Alex Katz is 85 and had his first solo show in New York in 1954. His paintings at Tate St Ives explore themes including family portraits, friends and social relationships, style and the American Dream, flowers, seascapes and beach life. Katz's process involves making small studies from life, which he scales up using the traditional charcoal cartoon and pin- hole 'pouncing' method, then paints the final large scale work in one go, working wet on wet. Katz's paintings can be regarded as an antithesis to his contemporary American Abstract Expressionists; Katz chose to represent the cultural context of New York style, fashion and glamour. -
Exhibition Explores the Inverse of the Landscape in My Room: Artists Paint the Interior 1950-Now Opens May 18, 2018
Exhibition Explores the Inverse of the Landscape In My Room: Artists Paint the Interior 1950-Now opens May 18, 2018 CHARLOTTESVILLE, Va. – The Fralin Museum of Art at the University of Virginia presents In My Room: Artists Paint the Interior 1950-Now, May 18-Sept. 30, 2018. The exhibition looks at the inverse of the landscape: the interior. Landscape painting, a common genre in western painting, is understood as a window onto the world thanks to artist and theorist Leon Battista Alberti and his ideas about the picture plane known as Alberti’s Window. After the Industrial Revolution, however, modern art erupted with the interior. Notably, modern artists began depicting windows into other rooms instead of painting views of the outside world. “The interior space has an ability to prompt the viewer to ask questions and to view a space with new perspective,” said Matthew McLendon, director and chief curator of the Fralin Museum of Art. “In an untitled work by Alex Katz, for example, a bed in disarray invites the questions whether someone has left in a rush, to where and why? Interior with Doorway by Richard Diebenkorn uses light and shadow in juxtaposition creating a sculptural feel to everyday objects.” Artists continued to paint indoor spaces throughout the 20th century for a variety of psychological, interpersonal and biographical reasons. Architecture, design and the still-life inform the paintings in this exhibition, as does the persistent theme of the artist’s studio. The exhibition raises myriad questions upon which to reflect and will address how representations of interior spaces have changed and evolved over time. -
Report of the Queensland Art Gallery Board of Trustees
REPORT OF THE QUEENSLAND ART GALLERY BOARD OF TRUSTEES 16 September 2009 The Honourable Anna Bligh, MP Premier of Queensland and Minister for the Arts PO Box 15185 City East Qld 4002 Dear Premier I am pleased to present the Annual Report 2008–09 for the Queensland Art Gallery. I certify that this Annual Report complies with: • the prescribed requirements of the Financial Accountability and Audit Act 1977 and the Financial Management Standard 1997, and • the detailed requirements set out in the Annual Reporting Guidelines for Queensland Government Agencies. A checklist outlining the annual reporting requirements can be accessed at www.qag.qld.gov.au. Yours sincerely Professor John Hay, AC Chair, Board of Trustees GALLERY PROFILE QUEENSLAND ART GALLERY ANNUAL REPORT 2008–09 3 CONTENTS COVER 5 GALLERY PROFILE Works from Ah Xian’s ‘Metaphysica’ series 2007 in ‘The China Project’ at GoMA. With the generosity of Tim Fairfax, AM, a group of six of 6 HIGHLIGHTS AND ACHIEVEMENTS the sculptures was acquired for the Collection. The ‘Metaphysica’ series was loaned by the artist for 9 CHAIR’S OVERVIEW ‘The China Project’. Ah Xian ‘Metaphysica’ series (detail) 2007 13 DIRECTOR’S OVERVIEW Bronze and brass 36 sculptures: dimensions variable 16 2008–09 — CONNECTING ART AND PEOPLE OPPOSITE Installation view of 17 TWO SITES, ONE VISION acquisitions in GoMA. Foreground: Tobias Putrih 21 CULTURAL TOURISM Connection 2004 Cardboard boxes 25 COLLECTION DEVELOPMENT Purchased 2008 with funds from Tim Fairfax, AM, through the 33 ACCESSIBILITY AND EDUCATION Queensland -
July 1, 2012–June 30, 2013 FY13: a LOOK BACK
Georgia Museum of Art Annual Report July 1, 2012–June 30, 2013 FY13: A LOOK BACK One of the brightest spots of FY13 was the On October 22, the museum celebrated inaugural UGA Spotlight on the Arts, a nine-day its official reaccreditation by the American festival held November 3–11, highlighting visual, Alliance of Museums (formerly the American performing, and literary arts all over campus, Association of Museums). Although the in which the museum participated eagerly. The museum is usually closed on Mondays, it was vision of vice-provost Libby Morris, the festival open to the public for the day. AAM director was planned by the UGA Arts Council, of which Ford Bell attended the event and spoke about museum director William U. Eiland is a member, the museum, followed by an ice cream social. and its subsidiary public relations arm (at Less than 5 percent of American museums are which Michael Lachowski and Hillary Brown accredited, and the process is not a simple one. represented the museum). The festival attracted Reaccreditation is a lengthy process, involving great attendance, especially from students, and a self-study that the museum worked on for demonstrated the administration’s commitment several years and a site visit lasting several days, to making the arts an essential part of the during which AAM representatives toured the university experience. Later in the fiscal year, the facility from top to bottom, met with university Arts Council began working on a strategic plan, upper administration, and interviewed staff with brainstorming meetings held by both the members, volunteers, students, and patrons of executive and PR committees in the museum’s the museum. -
A Brave New Brussels.Pdf
FOR A BRAVE NEW BRUS SEL S. Lab.01 Artistic Versus Technocentric Approaches On Smart Cities For a Brave New Brussels is an exhibition and discussion platform that Lab.01 stimulates the discourse around the future of our cities in times of technological revolution and ever-increasing global challenges. Con- Artistic Versus temporary cities are magnets that attract people, resources, ideas, Technocentric Approaches opportunities and knowledge. 50% of the world’s population already lives in cities and this percentage will rise to 70% by 2050. Today cities On Smart Cities have to respond to this speed of migration and concentration or they will become social ticking bombs. The reality of a city is never given, its evolution not immutably determined. How will they manage social From 22 until 26 October 2018, and democratic developments, but also technological, economic, and the Museum of Art, Architecture and Technology environmental issues in a global world? Each city will be confronted with different political, social, religious and ecological challenges that in Lisbon (PT) is hosting the exhibition For a Brave can only be solved by the engagement and collaboration between New Brussels. Lab.01 Artistic Versus Technocentric many different players. Approaches On Smart Cities. The initiative for this For a long time technology has been seen as a crucial element in project was taken by BOZAR, GLUON and the preparing cities for a turbulent future. Since its early days, the appli- curator Stéphanie Pécourt, with the support of cation of new digital technologies to the urban environment and pro- the Brussels-Capital Region, and is organised on cesses has been celebrated worldwide for its ability to increase the the occasion of the State visit to the Republic of quality of urban living, but this engagement has mostly been limited to a technocratic focus on energy efficiency, mobility and infrastructure. -
NEWS RELEASE Contact: Loretta Yarlow Or John Simpson 413-545-3670
NEWS RELEASE Contact: Loretta Yarlow or John Simpson 413-545-3670 Please Post Until End Date FOR IMMEDIATE RELEASE: 8/9/06 WHAT: Exhibition, Opening Reception: Beat Streuli/ Cities 2001-2005 WHEN: Wednesday, September 20, 2006, 6 – 8PM SPECIAL EVENT: In Conversation 7:00PM: Artist Beat Streuli and Fraser Stables, Assistant Professor, Smith College Department of Art, discuss photography and video within the context of this exhibition. WHERE: University Gallery, Fine Arts Center, UMass Amherst For more information please check the University Gallery website: www.umass.edu/fac/universitygallery The University Gallery takes great pleasure in announcing the opening of an exhibition of video work by the internationally acclaimed Swiss-born artist, BEAT STREULI, on WEDNESDAY, SEPTEMBER 20, 2006,from 6-8pm. Streuli has developed an impressive body of work in photography and video that documents the transient pedestrian activity of urban life. His images of people moving through and among one another blur the line between portraying anonymity and individuality. His art is fuelled by his interest in the movements of people in large cities around the world, in Asia, Europe, the U.S., Africa, and Australia. The dramatically slowed video images, which represent an ever-changing sea of pedestrians -- bodies and faces navigating through a given city -- offer a moving social portrait of contemporary society. "Streuli's images are typically suggestive and ambiguous, and precisely because they so often depict people in transition, they effectively conjure an entire rolling era marked by restlessness, wandering, speed, and displacement." -- Gregory Volk, independent curator and writer for "Art in America". Beat Streuli's exhibition at the University Gallery will be the artist's first exhibition in the U.S. -
Born in Brooklyn, New York, USA in 1927 Lives and Works in New York
ALEX KATZ Born in Brooklyn, New York, USA in 1927 Lives and works in New York Education 2000 The Cooper Union Annual Artist of the City Award 1994 Cooper Union Art School creates the Alex Katz Visiting Chair in Painting with the endowment provided by the sale of ten paintings donated by the artist 1949-50 Studies at Skowhegan School of Painting and Sculpture, Skowhegan, Maine 1946-49 Studies at the Cooper Union Art School, New York Selected Solo Exhibitions 2021 Voorlinden Museum, Wassenaar (upcoming) 2020 Gladstone Gallery, Roma Alex Katz - Retrospective, Museo Nacional Thyssen-Bornemisza, Madrid Fosun Foundation, Shanghai 2019 Monica De Cardenas, Zuoz Alex Katz: Flowers, Richard Gray Gallery, Chicago Alex Katz / Moby Dick, Colby Museum of Art, Waterville Focus on: Alex Katz, Dallas Museum of Art, Dallas Gavin Brown's Enterprise, New York Alex Katz, Daegu Art Museum, Daegu Red Dancers, Galerie Thaddaeus Ropac, Paris Contemporary Conterpoint / Alex Katz. Water Lilies - series Homage to Monet, 2009-2010, Musée de l'Orangerie, Paris Bigger is Better, Ludwig Museum, Koblenz 2018 Alex Katz, curated by Jacob Proctor, Museum Brandhorst, Munich Artist Rooms, Tate Liverpool, Liverpool Museum Brandhorst, Kunstareal, Munich Brand-New & Terrific: Alex Katz in the 1950s, Neuberger Museum of Art, Purchase, New York Alex Katz: Coca-Cola Girls, Timothy Taylor Gallery, London Alex Katz: Splits, Galeria Javier Lopez & Frances Fer, Madrid Dancers and Models, Lotte Museum of Art, Songpa-gu, Seoul Grass and Trees, Richard Gray Gallery, Chicago Small Paintings, -
Chuck Close Art Kaleidoscope Foundation
CHUCK CLOSE ART KALEIDOSCOPE FOUNDATION/Color/???/116 Mins./Not Rated Featuring: Chuck Close, Brice Marden, Robert Storr, Dorothea Rockburne, Lucas Samaras, Robert Rauschenberg, Philip Glass, Arne Glimcher, Kiki Smith, Elizabeth Murray, Alex Katz, Janet Fish, Kirk Varnedoe. Credits: Produced and directed by Marion Cajori. Directors of photography: Mead Hunt, Ken Kobland, David Leitner. Edited by Cajori, Kobland. Music by Philip Glass, performed b Bruce Levingston. An Art Kaleidoscope Foundation production. Through the famous portrait artist’s subjects, filmmaker Marion Cajori crafts a clever biographical documentary of Chuck Close. Marion Cajori died before completing Chuck Close, her documentary portrait of an artist known for his unique portraits and self-portraits. In what could only have been a conscious nod to her subject, Cajori’s cinematic construct cleverly imitates Close’s signature hieroglyphic boxes, which he paints and superimposes upon a photograph. Abstract artist Brice Marden says in the documentary that with Close’s portraits “you add up all the details and you get the soul,” and the same can be said for Cajori’s film—through a series of vignettes, interviews with Close’s friends and family, the filmmaker reveals the soul of the portraitist. Cajori pursues Close and his work in the same way that someone might approach one of his portraits, which are large canvases of his subject’s heads. She leans in to show Close bringing the brush to the paint, and Close painting an uneven line or a protozoa-like shape on the canvas. Then she steps back to show completed portraits, and the actual faces of Close’s subjects, and sometimes a long shot in the studio where Close, in a wheelchair, is the focal point of the shot.