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Oral History Interview with Ann Wilson, 2009 April 19-2010 July 12
Oral history interview with Ann Wilson, 2009 April 19-2010 July 12 Funding for this interview was provided by the Terra Foundation for American Art. 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 recorded interview with Ann Wilson on 2009 April 19-2010 July 12. The interview took place at Wilson's home in Valatie, New York, and was conducted by Jonathan Katz for the Archives of American Art, Smithsonian Institution. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview ANN WILSON: [In progress] "—happened as if it didn't come out of himself and his fixation but merged. It came to itself and is for this moment without him or her, not brought about by him or her but is itself and in this sudden seeing of itself, we make the final choice. What if it has come to be without external to us and what we read it to be then and heighten it toward that reading? If we were to leave it alone at this point of itself, our eyes aging would no longer be able to see it. External and forget the internal ordering that brought it about and without the final decision of what that ordering was about and our emphasis of it, other eyes would miss the chosen point and feel the lack of emphasis. -
Adolf Fleischmann (1892—1968)
ADOLF FLEISCHMANN (1892—1968) snoeck ADOLF FLEISCHMANN An American Abstract Artist? Themen, Kontext und Rezeption des US-amerikanischen Spätwerks 1952 bis 1967 Themes, Context and Reception of Fleischmann’s late American period 1952 to 1967 Herausgegeben von / Edited by Renate Wiehager für die / for the Daimler Art Collection D AC Vorwort 7 Preface 11 RENATE WIEHAGER Adolf Fleischmann. An American Abstract Artist? Themen, Kontext und Rezeption des amerikanischen Spätwerks 1952–1967 15 Themes, Context and Reception of Fleischmann’s Late American Period 1952–1967 39 Historische Texte zum Spätwerk 1952–1976 86 Historical Texts on the Late Period 1952–1976 177 JULIAN ALVARD / R.V. GINDERTAEL [1952] 86/177 MICHEL SEUPHOR [1952] 89/180 DARIO SURO [1955] 90/181 DARIO SURO [1956] 94/184 BENEDICT FRED DOLBIN [1957] 96/187 SANSON FLEXOR [1957] 98/188 MICHEL SEUPHOR [1959] 119/189 RAYMOND BAYER [1964] 120/190 KURT LEONHARD [1967] 130/196 ALBERT SCHULZE VELLINGHAUSEN [1967] 135/199 CARLO BELLOLI [1970] 136/201 EUGEN GOMRINGER [1971] 139/205 EUGEN GOMRINGER [1972] 141/206 MICHEL SEUPHOR [1976] 145/208 THOMAS SCHNALKE Anatomie in Bewegung. Annäherungen an den medizinischen Illustrator und abstrakten Künstler Adolf Fleischmann 163 Anatomy in Motion. Some Remarks on the Medical Illustrator and Abstract Artist Adolf Fleischmann 169 Biografie/Biography 213/220 Einzelausstellungen/Solo Exhibitions 254 Gruppenausstellungen/Group Exhibitions 255 Werke in öffentlichen Sammlungen/Works in Public Collections 263 Literaturverzeichnis/Bibliography 266 Impressum/Imprint 280 VORWORT Adolf Fleischmann (1892–1968), mit einer bedeutenden Werkgruppe in der Daimler Art Collection vertreten, ist einer der herausragenden abstrakten Maler in Deutsch- land und den USA nach 1945. -
Spring/Summer 2012 the Newsletter of the Department Loupe of Art and Art History Art.Ua.Edu/ | ANNUAL ALUMNI ISSUE
Keeping you in... Spring/Summer 2012 The newsletter of the Department Loupe of Art and Art History art.ua.edu/ | www.facebook.com/Uaart ANNUAL ALUMNI ISSUE STUDENT SPOTLIGHTS Fourth annual emerging artists exhibit at the Coastal arts Center of Orange Beach from May through July. Juli Jordan, Ua art http://art.ua.edu/site/resources/loupe/student-news/ alumnus and Visiting artists and Special exhibits administrator Ben Bailey, the department’s nominee for the arrowmont said,“The idea is to offer an opportunity School of arts and Crafts scholarship, won the award and for graduating visual arts students to will spend his summer in the Smokies! exhibit and sell their work dur- ing the peak season. it’s also an Graduate student MaRK BaRRy opportunity for the community won Best Sculpture in the Brook- and visitors to see what is lyn Waterfront artists Coalition emerging from our colleges (BWaC) third national juried and universities.” Craft sold art exhibition, Wide Open 3, all his work on display at the for his work, “Give and Take.” exhibit. Juror was Charlotta Kotik, Cura- tor emerita of Contemporary art BFa major JaCOB DaViDSOn was at the Brooklyn Museum of art. The named Full Moon emerging artist at show ran March 18 - april 1 in BWaC’s Kentuck in December 2011. He presented a solo exhibition of massive Civil War-era warehouse on the Red prints of his character, “Toaster Boy,” in the Georgine Clarke Hook waterfront in Brooklyn, ny. See more of Barry’s work here: Building. Davidson explained, “‘Toaster Boy’ and his contempo- http://art.subata.com/. -
Oral History Interview with Nicholas Krushenick, 1968 Mar. 7-14
Oral history interview with Nicholas Krushenick, 1968 Mar. 7-14 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 Nicholas Krushenick on March 7, 1968. The interview was conducted in New York by Paul Cummings for the Archives of American Art, Smithsonian Institution. Interview PAUL CUMMINGS: This is March 7, 1968. Paul Cummings talking to Nicholas Krushenick. You’re a rare born New Yorker? NICHOLAS KRUSHENICK: Yes. One of the last. PAUL CUMMINGS: Let’s see, May 31, 1929. NICHOLAS KRUSHENICK: Very Young. PAUL CUMMINGS: That’s the year to do it. NICHOLAS KRUSHENICK: That’s the year of the zero, the crash. PAUL CUMMINGS: Well, why don’t you tell me something about your family, what part of New York you were born in. NICHOLAS KRUSHENICK: I was born up in the Bronx in a quiet little residential neighborhood. Luckily enough my father actually brought me into the world. The doctor didn’t get there soon enough and my father did the operation himself; he ties the knot and the whole thing. When the doctor got there he said it was a beautiful job. And I went to various public schools in the Bronx. PAUL CUMMINGS: You have what? –one brother? More brothers? Any sisters? NICHOLAS KRUSHENICK: Just one brother. PAUL CUMMINGS: What did you live in – a house? Or an apartment? NICHOLAS KRUSHENICK: No. Actually it was the Depression days. And we were the superintendents of a building. -
Hans Hofmann (German-American Painter, 1880-1966)
237 East Palace Avenue Santa Fe, NM 87501 800 879-8898 505 989-9888 505 989-9889 Fax [email protected] Hans Hofmann (German-American Painter, 1880-1966) Hans Hofmann is one of the most important figures of postwar American art. Celebrated for his exuBerant, color-filled canvases, and renowned as an influential teacher for generations of artists— first in his native Germany, then in New York and Provincetown—Hofmann played a pivotal role in the development of ABstract Expressionism. As a teacher he Brought to America direct knowledge of the work of a celebrated group of European modernists (prior to World War I he had lived and studied in Paris) and developed his own philosophy of art, which he expressed in essays which are among the most engaging discussions of painting in the twentieth century, including "The Color ProBlem in Pure Painting—Its Creative Origin." Hofmann taught art for over four decades; his impressive list of students includes Helen Frankenthaler, Red Grooms, Alfred Jensen, Wolf Kahn, Lee Krasner, Louise Nevelson and Frank Stella. As an artist Hofmann tirelessly explored pictorial structure, spatial tensions and color relationships. In his earliest portraits done just years into the twentieth century, his interior scenes of the 1940s and his signature canvases of the late 1950s and the early 1960s, Hofmann brought to his paintings what art historian Karen Wilkin has descriBed as a "range from loose accumulations of Brushy strokes…to crisply tailored arrangements of rectangles…But that somehow seems less significant than their uniform intensity, their common pounding energy and their consistent physicality." Hofmann was Born Johann Georg Hofmann in WeissenBerg, in the Bavarian state of Germany in 1880 and raised and educated in Munich. -
Art in America
MAGAZINE NOV. 01, 2013 THE PARSONS EFFECT by Judith E. Stein, Helène Aylon Betty Bierne Pierson, the rebellious, selfassured offspring of an old New York family, was 13 when she visited the historic Armory Show in 1913 and set her course on becoming an artist. Her conservative parents acquiesced to art lessons but drew the line at higher education for women. At 20, she married Schuyler Livingston Parsons, a man of wealth and social standing. He proved to be as captivated by men Betty Parsons, 1963. as she was by women, and a gambler and an alcoholic to boot. The Photo Alexander Liberman. The Getty couple divorced amicably in Paris, where she spent the 1920s in Research Institute, Los comfort, sharing her life with Adge Baker, a British art student, and Angeles. © J. Paul Getty Trust. taking classes with Ossip Zadkine and Antoine Bourdelle, among others. Her friends included expatriate Americans Hart Crane, Man Ray, Alexander Calder, and Gerald and Sara Murphy, as well as lesbian literati Gertrude Stein, Natalie Barney and Janet Flanner. Disinherited after her divorce, Parsons also lost her alimony support when the stock market crashed. Generous girlhood friends aided her return to the U.S. in 1933, first to Hollywood, where her acquaintances numbered Greta Garbo, Marlene Dietrich, Tallulah Bankhead, Dorothy Parker and Robert Benchley. She then lived in Santa Barbara, teaching art, painting portraits and consulting on French wines at a liquor store. In 1935, she funded a move to New York by selling her engagement ring. Parsons's loyal circle supplemented the slender income she earned from sales of her own art and from commissions by dealers such as Mrs. -
Exhibition Brochure, Alfred Jensen, Concordance.Pdf
Alfred Jensen Concordance September 20, 2001-June 16, 2002 site map and checklist Born in 1903 in Guatemala City, Alfred Jensen studied fine art in San Diego ( ( (1924-1925), Munich (1926-1927), and Paris (1929). After traveling extensively 14 throughout Europe and northern Africa, Jensen took up residency in New York in the early 1950s, after which he devoted himself to painting full time. He exhibited widely 7. Das Bild der Sonne: The Square's Duality, following his first solo show at John Heller Gallery in New York in 1952. Among 13 Progression and Growth, and Squaring the 360 Day Calendar, 1 966 numerous group exhibitions, he was included in the Venice Biennial (1964), oil on canvas Documenta IV (1968) and Documenta V (1972), the Whitney Biennial (1973, 1977), 7 110 84 x 336 inches 12 Collection of Michael and Judy Ovitz, the Sii.o Paulo Biennial (1977), and "Bilderstreit" (1989). One-person exhibitions Los Angeles included venues such as the Guggenheim Museum, New York ( 1961 ), Stedelijk 8. The Sun Rises Twice, Per I-Per IV, 1 973 Museum, Amsterdam (1964), Kunsthalle Basel (1975), and the Newark Art Museum 11 oil on canvas (1994). Traveling retrospective tours were organized in 1973 by the Kestner 96 x 192 inches Collection of the Hirshhorn Museum and Gesellschaft, Hannover (traveled to Humlebaek, Baden-Baden, Dusseldorf, and Bern), Sculpture Garden, Smithsonian Institution, Washington. Joseph H. Hirshhorn Purchase and in 1978 by the Albright-Knox Gallery, Buffalo (traveled to New York, Chicago, La Fund, 1990. Jolla, Boulder, and San Francisco). Four years after Jensen's death in 1981, the 9. -
Contemporary American Painting and Sculpture
AT UR8ANA-GHAMPAIGN ARCHITECTURE The person charging this material is responsible for .ts return to the library from which it was withdrawn on or before the Latest Date stamped below '"" """"""'"9 "< "ooks are reason, ™racTo?,'l,°;'nary action and tor di,elpl(- may result in dismissal from To renew the ""'*'e™«y-University call Telephone Center, 333-8400 UNIVERSITY OF ILLINOIS LIBRARY AT URBANA-CHAMPAIGN I emp^rary American Painting and Sculpture University of Illinois Press, Urbana, 1959 Contemporary American Painting and Scuipttfre ^ University of Illinois, Urbana March 1, through April 5, 195 9 Galleries, Architecture Building College of Fine and Applied Arts (c) 1959 by the Board of Trustees of the University of Illinois Library of Congress Catalog Card No. A4 8-34 i 75?. A^'-^ PDCEIMtBieiiRr C_>o/"T ^ APCMi.'rri'Ht CONTEMPORARY AMERICAN PAINTING AND SCULPTURE DAVID D. HENRY President of the University ALLEN S. WELLER Dean, College of Fine and Applied Arts Chairman, Festival of Contemporary Arts N. Britsky E. C. Rae W. F. Doolittlc H. A. Schultz EXHIBITION COMMITTEE D. E. Frith J. R. Shipley \'. Donovan, Chairman J. D. Hogan C. E. H. Bctts M. B. Martin P. W. Bornarth N. McFarland G. R. Bradshaw D. C. Miller C. W. Briggs R. Perlman L. R. Chesney L. H. Price STAFF COMMITTEE MEMBERS E. F. DeSoto J. W. Raushenbergcr C. A. Dietemann D. C. Robertson G. \. Foster F. J. Roos C. R. Heldt C. W. Sanders R. Huggins M. A. Sprague R. E. Huh R. A. von Neumann B. M. Jarkson L. M. Woodroofe R. Youngman J. -
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. -
Al Sella Reaping His Rewards Welcome Back!
Keeping you in... The newsletter of the Department of Art and Art History Box 870270 Tuscaloosa, Alabama http://art.ua.edu The Loupe is the newsletter of the DepartmentThe of Art and Art History,Loupe a NASAD-accred ited department in The University of Alabama’s College of Arts and Sciences, published in the fall, spring, and summer semesters. Fall 2009 Please send correspondence to Rachel Dobson, Visual Resources Curator, [email protected]. AL SELLA REAPING HIS REWARDS WELCOME BACK! Alvin Sella, professor emeritus of Welcome to all our students, faculty, and staff, new painting, received two awards this and returning. New graduate students in art history spring recognizing his long and distin- are Emi Arnold, Mary Benefield, Christopher Lang- guished career in art and teaching. In ley, Brandi Moore, and Angela Scott. New incoming April, the Arts Council of Tuscaloosa graduate students in studio art are Amy Feger and presented him with the Druid Arts Aynslee Moon. Please also welcome our new art Award - his second from them - in the history instructor, Jenny Blount, who received her visual artist category. To paraphrase MA from UAB in the spring, and is taking Mary Anna the criteria, the award recognized Brown’s place. the quality of his body of work, his Welcome to our new studio faculty! Chris Jordan, contributions to his community and our new digital media professor, comes from Sage to his art form, and the recognition College in Albany, New York. Besides teaching, he he has brought to the arts in Tusca- is owner of Jordan Photographic and cofounder of loosa County. -
Tarble Arts Center Newsletter July 1988 Tarble Arts Center
Eastern Illinois University The Keep Tarble Arts Center Newsletter Tarble Arts Center 7-1-1988 Tarble Arts Center Newsletter July 1988 Tarble Arts Center Follow this and additional works at: http://thekeep.eiu.edu/tarble_newsletter Recommended Citation Tarble Arts Center, "Tarble Arts Center Newsletter July 1988" (1988). Tarble Arts Center Newsletter. 7. http://thekeep.eiu.edu/tarble_newsletter/7 This Article is brought to you for free and open access by the Tarble Arts Center at The Keep. It has been accepted for inclusion in Tarble Arts Center Newsletter by an authorized administrator of The Keep. For more information, please contact [email protected]. TARBLE ARTS CENTER . ·" ~i~~\li, . ~ mmDODUIIIIII ~IDDIIIIIIIIIIIlllitlhDUIQIDII J Newsletter July 198.8 EXHIBITIONS WORKS ON PAPER: SELECTIONS FROM THE PERMANENT COLLECTION -- through July 17, Main Galleries This exhibition of original prints and watercolors was selected from the Tarble Arts Center's permanent collection, and, with a few exceptions, presents works which have not been exhibited for a number of years. Recent past exhibitions from the collection have focused on specific artists (Paul T. Sargent, Herbert Fink), movements (American Scene prints), suites (Fred Jones' "A Midwest Portfolio"),· or other special collections (Folk Arts, Plucked Chicken Press prints). This exhibition draws on works which share the same supporting. medium as a means to highlight works which, in most cases, are not part of developed collection sub-divisions, but play a meaningful role in the building of a teaching collection. The pieces displayed range fro~ exemplary works produced by students when completing their masters degrees in Art at EIU, such as "Fins" by Nancy Graham and "Fat Tuesday" by Gary Kott, to minor works by major artists, like the lithographs by Marcel Duchamp/Jaques Villon and Jasper Johns. -
Oral History Interview with Clark Richert, 2013 August 20-21
Oral history interview with Clark Richert, 2013 August 20-21 Funding for this interview was provided by the Stoddard-Fleischman Fund for the History of Rocky Mountain Area Artists. 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 recorded interview with Clark Richert on August 20-21, 2013. The interview took place in Denver, Colo., and was conducted by Elissa Auther for the Archives of American Art, Smithsonian Institution. This interview is part of the Stoddard-Fleischman History of Rocky Mountain Area Artists project. [Narrator] and the [Interviewer] have reviewed the transcript. Their corrections and emendations appear below in brackets appended by initials. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview ELISSA AUTHER: This is Elissa Auther interviewing Clark Richert at the Museum of Contemporary Art, Denver, on August 20th, for the Smithsonian Institution, Archives of American Art, card one. Clark, when did you decide to become an artist and what led up to that decision? CLARK RICHERT: I think I know almost the exact moment when I decided to become an artist. I was living in Wichita, Kansas, going to high school, Wichita East High, and was at a local bookstore perusing the books and I saw this book on the shelf that really puzzled me. The name of it was the Dictionary of Abstract Art. And I opened up the book and flipped through the pages, and I came to this painting by Rothko which really puzzled me.