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Michael Boyd Offers Stunning Class in Color at Firestone Loft June 2, 2017 by Charles A
Michael Boyd Offers Stunning Class in Color at Firestone Loft June 2, 2017 by Charles A. Riley II A visit to the stunning Michael Boyd show at Eric Firestone Gallery Loft in New York might make visitors wish they had been pupils in the artist’s design class at Cornell. Exploring the studies along with the paintings in the glowing array gives the sense that the viewer might have dipped into any section of the course that dealt with color. The collective impact of these brilliantly hued abstract works, all produced during a marvelous creative jag from 1970 through 1972, is both contemplative and joyful. Michael Boyd (1936-2015) earned his art degree at the University of Northern Iowa and at one point lived in Ajijic, Mexico; the solar power of some of these canvases can be related to that stint. While teaching a popular Cornell course on design “cen- tered on ergonomics and environmental analysis” (according to a release from the gallery) he maintained a studio in a Soho “Michael Boyd: That’s How the Light Gets In: 1970 – 1972” at Eric loft. Firestone Loft. Courtesy of Eric Firestone Gallery. His earliest paintings were in the Abstract Expressionist mode, until just about the moment when he tightened down his composi- tions into the geometry of the work on view. His work is in the Al- bright Knox, Chrysler and Everson museums. The paintings in the Firestone Loft show were first seen in a solo exhibition at the Max Hutchinson Gallery in New York. The year was 1973. One of the most magnetic works in “Michael Boyd, That’s How the Light Gets In: 1970 - 1972” is Azimuth (1972), its glowing golden core retaining an elemental purity while the delicately modulat- ed lunar blue and lilac pulse around the periphery. -
Futurism's Photography
Futurism’s Photography: From fotodinamismo to fotomontaggio Sarah Carey University of California, Los Angeles The critical discourse on photography and Italian Futurism has proven to be very limited in its scope. Giovanni Lista, one of the few critics to adequately analyze the topic, has produced several works of note: Futurismo e fotografia (1979), I futuristi e la fotografia (1985), Cinema e foto- grafia futurista (2001), Futurism & Photography (2001), and most recently Il futurismo nella fotografia (2009).1 What is striking about these titles, however, is that only one actually refers to “Futurist photography” — or “fotografia futurista.” In fact, given the other (though few) scholarly studies of Futurism and photography, there seems to have been some hesitancy to qualify it as such (with some exceptions).2 So, why has there been this sense of distacco? And why only now might we only really be able to conceive of it as its own genre? This unusual trend in scholarly discourse, it seems, mimics closely Futurism’s own rocky relationship with photography, which ranged from an initial outright distrust to a later, rather cautious acceptance that only came about on account of one critical stipulation: that Futurist photography was neither an art nor a formal and autonomous aesthetic category — it was, instead, an ideological weapon. The Futurists were only able to utilize photography towards this end, and only with the further qualification that only certain photographic forms would be acceptable for this purpose: the portrait and photo-montage. It is, in fact, the very legacy of Futurism’s appropriation of these sub-genres that allows us to begin to think critically about Futurist photography per se. -
Recording of Marcel Duchamp’S Armory Show
Recording of Marcel Duchamp’s Armory Show Lecture, 1963 [The following is the transcript of the talk Marcel Duchamp (Fig. 1A, 1B)gave on February 17th, 1963, on the occasion of the opening ceremonies of the 50th anniversary retrospective of the 1913 Armory Show (Munson-Williams-Procter Institute, Utica, NY, February 17th – March 31st; Armory of the 69th Regiment, NY, April 6th – 28th) Mr. Richard N. Miller was in attendance that day taping the Utica lecture. Its total length is 48:08. The following transcription by Taylor M. Stapleton of this previously unknown recording is published inTout-Fait for the first time.] click to enlarge Figure 1A Marcel Duchamp in Utica at the opening of “The Armory Show-50th Anniversary Exhibition, 2/17/1963″ Figure 1B Marcel Duchamp at the entrance of the th50 anniversary exhibition of the Armory Show, NY, April 1963, Photo: Michel Sanouillet Announcer: I present to you Marcel Duchamp. (Applause) Marcel Duchamp: (aside) It’s OK now, is it? Is it done? Can you hear me? Can you hear me now? Yes, I think so. I’ll have to put my glasses on. As you all know (feedback noise). My God. (laughter.)As you all know, the Armory Show was opened on February 17th, 1913, fifty years ago, to the day (Fig. 2A, 2B). As a result of this event, it is rewarding to realize that, in these last fifty years, the United States has collected, in its private collections and its museums, probably the greatest examples of modern art in the world today. It would be interesting, like in all revivals, to compare the reactions of the two different audiences, fifty years apart. -
Chapter 12. the Avant-Garde in the Late 20Th Century 1
Chapter 12. The Avant-Garde in the Late 20th Century 1 The Avant-Garde in the Late 20th Century: Modernism becomes Postmodernism A college student walks across campus in 1960. She has just left her room in the sorority house and is on her way to the art building. She is dressed for class, in carefully coordinated clothes that were all purchased from the same company: a crisp white shirt embroidered with her initials, a cardigan sweater in Kelly green wool, and a pleated skirt, also Kelly green, that reaches right to her knees. On her feet, she wears brown loafers and white socks. She carries a neatly packed bag, filled with freshly washed clothes: pants and a big work shirt for her painting class this morning; and shorts, a T-shirt and tennis shoes for her gym class later in the day. She’s walking rather rapidly, because she’s dying for a cigarette and knows that proper sorority girls don’t ever smoke unless they have a roof over their heads. She can’t wait to get into her painting class and light up. Following all the rules of the sorority is sometimes a drag, but it’s a lot better than living in the dormitory, where girls have ten o’clock curfews on weekdays and have to be in by midnight on weekends. (Of course, the guys don’t have curfews, but that’s just the way it is.) Anyway, it’s well known that most of the girls in her sorority marry well, and she can’t imagine anything she’d rather do after college. -
Bright Futures
the exchange , 1942, TRUE COLORS Clockwise from left: c reative brief Anni and Josef Albers TENAYUCA I TENAYUCA at Black Mountain College in 1938; Anni’s first wall hanging, BRIGHT FUTURES from 1924, at the Josef and Anni Albers Foundation in Bethany, How modernist pioneers Anni and Josef Albers Connecticut; Josef’s furniture in the foun- became art stars for the 21st century. dation’s Trunk gallery; one of Anni’s looms. Opposite: A 1964 BY CAROL KINO study for Josef’s Hom- PHOTOGRAPHY BY DANILO SCARPATI age to the Square series (left) and his newly rediscovered 1942 work Tenayuca I. OW DO YOU MAKE an artist into a key fig- Albers shows in Europe and New York, including Anni ranging from $300,000 to over $2 million. (Zwirner is opens next June in Düsseldorf and travels to London suddenly contacted the gallery about the work. “I got prints, as well as her jewelry, inspired by pre-Colum- ure of art history? Take the case of Josef Albers: Touching Vision, opening October 6 at the doing its part too, with a show opening September 20 that October. “Altogether they seem to know every- one look at it and said, ‘We will buy it,’ ” Fox Weber bian adornments but made with dime-store finds like and Anni Albers, today considered lead- Guggenheim Museum Bilbao—the artist’s first ret- called Josef and Anni and Ruth and Ray, pairing the thing about these artists. And Nick Weber, he tells says. “It’s an extraordinary painting, in mint condi- washers, safety pins and ribbon. -
Die Brücke Der Blaue Reiter Expressionists
THE SAVAGES OF GERMANY DIE BRÜCKE DER BLAUE REITER EXPRESSIONISTS 22.09.2017– 14.01.2018 The exhibition The Savages of Germany. Die Brücke and Der DIE BRÜCKE (“The Bridge” in English) was a German artistic group founded in Blaue Reiter Expressionists offers a unique chance to view the most outstanding works of art of two pivotal art groups of 1905 in Dresden. The artists of Die Brücke abandoned visual impressions and the early 20th century. Through the oeuvre of Ernst Ludwig idyllic subject matter (typical of impressionism), wishing to describe the human Kirchner, Emil Nolde, Wassily Kandinsky, August Macke, Franz Marc, Alexej von Jawlensky and others, the exhibition inner world, full of controversies, fears and hopes. Colours in their paintings tend focuses on the innovations introduced to the art scene by to be contrastive and intense, the shapes deformed, and the details enlarged. expressionists. Expressionists dedicated themselves to the Besides the various scenes of city life, another common theme in Die Brücke’s study of major universal themes, such as the relationship between man and the universe, via various deeply personal oeuvre was scenery: when travelling through the countryside, the artists saw an artistic means. opportunity to depict man’s emotional states through nature. The group disbanded In addition to showing the works of the main authors of German expressionism, the exhibition attempts to shed light in 1913. on expressionism as an influential artistic movement of the early 20th century which left its imprint on the Estonian art DER BLAUE REITER (“The Blue Rider” in English) was another expressionist of the post-World War I era. -
Education and Public Programs SPRING 2021
1 THE GUIDE Education and Public Programs ^ SPRING 2021 4 special events welcome 6 ADULT PROGRAMS 9 Music programs 10 Film programs This spring, LACMA’s programming is overflowing with 12 Activity exciting blends of art and culture. Discover new musicians, watch a film, experiment with intriguing ways to use art materials, and more! 14 Family Programs Our programs for adults are rich with international themes this season. Listen to the rhythms of Brazil and Cuba during 16 Art Classes Latin Sounds, enjoy a Fijian dance performance on our YouTube channel, or take a virtual cooking class that will 20 community transport you to Japan as you learn to prepare a traditional dish inspired by artist Yoshitomo Nara. For additional hands-on programs experiences, sign up for one of our virtual art classes. Jewelry-making, painting, drawing, and digital art are all 22 School and on the calendar this spring, as well as our Bon Vivant series, which offers a fun way to enjoy a virtual happy hour while Teacher Programs exploring ways to create at home. Families are encouraged to spend time together making art with a variety of materials. Kids can try yarn painting or using acrylics, colored pencils, collage, and recycled materials to create unique pieces. Teens interested in comics can learn to compose their very own! I hope you and your families will join us this season to connect and create. Warmly, Naima J. Keith Vice President, Education and Public Programs Image credit: Installation photograph, Yoshitomo Nara, Los Angeles County Museum of Art, 2020–21, art © Yoshitomo Nara, photo © Museum Associates/LACMA 2 3 This spring, LACMA and Snap Inc. -
Futurism-Anthology.Pdf
FUTURISM FUTURISM AN ANTHOLOGY Edited by Lawrence Rainey Christine Poggi Laura Wittman Yale University Press New Haven & London Disclaimer: Some images in the printed version of this book are not available for inclusion in the eBook. Published with assistance from the Kingsley Trust Association Publication Fund established by the Scroll and Key Society of Yale College. Frontispiece on page ii is a detail of fig. 35. Copyright © 2009 by Yale University. All rights reserved. This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publishers. Designed by Nancy Ovedovitz and set in Scala type by Tseng Information Systems, Inc. Printed in the United States of America by Sheridan Books. Library of Congress Cataloging-in-Publication Data Futurism : an anthology / edited by Lawrence Rainey, Christine Poggi, and Laura Wittman. p. cm. Includes bibliographical references and index. ISBN 978-0-300-08875-5 (cloth : alk. paper) 1. Futurism (Art) 2. Futurism (Literary movement) 3. Arts, Modern—20th century. I. Rainey, Lawrence S. II. Poggi, Christine, 1953– III. Wittman, Laura. NX456.5.F8F87 2009 700'.4114—dc22 2009007811 A catalogue record for this book is available from the British Library. This paper meets the requirements of ANSI/NISO Z39.48–1992 (Permanence of Paper). 10 9 8 7 6 5 4 3 2 1 CONTENTS Acknowledgments xiii Introduction: F. T. Marinetti and the Development of Futurism Lawrence Rainey 1 Part One Manifestos and Theoretical Writings Introduction to Part One Lawrence Rainey 43 The Founding and Manifesto of Futurism (1909) F. -
Anni and Josef Albers: Mexican Travels
ANNI AND JOSEF ALBERS: MEXICAN TRAVELS, TOURISTIC EXPERIENCES, AND ARTISTIC RESPONSES by Kathryn Fay Submitted to the Faculty of the College of Arts and Sciences of American University in Partial Fulfillment of the Requirements for the Degree of Master of Arts In Art History Chair: Helen Langa, Ph.D. Juliet Bellow, Ph.D. Dean of the College of Arts and Sciences Date 2014 American University Washington, D.C. 20016 © COPYRIGHT by Kathryn Fay 2014 ALL RIGHTS RESERVED i ANNI AND JOSEF ALBERS: MEXICAN TRAVELS, TOURISTIC EXPERIENCES, AND ARTISTIC RESPONSES BY Kathryn Fay ABSTRACT Anni and Josef Albers made fourteen trips to Mexico between 1935 and 1967. These visits inspired in a prodigious amount of work, including photo collages, published essays, paintings, drawings, prints, and weavings. Investigating these artistic responses to their experiences in Mexico reveals how Josef and Anni negotiated the cross-cultural inspiration they gained from their travels to create work which they felt matched their Bauhaus-influenced ideals. Examining the subjects that captivated the Alberses, and how they incorporated their experiences into their artistic production, also discloses how they wanted to be understood as artists. As husband and wife, and travel companions, their respective works of art show an interplay of shared opinions and experiences, but also demonstrate what resonated with each artist individually and how each one integrated these influences into their own works of modern, abstract art. ii ACKNOWLEDGMENTS I would first like to thank my advisor, Dr. Helen Langa for her enthusiasm, patience, and guidance which helped shaped this thesis in countless ways. I am also grateful to Dr. -
Suzanne Preston Blier Picasso’S Demoiselles
Picasso ’s Demoiselles The Untold Origins of a Modern Masterpiece Suzanne PreSton Blier Picasso’s Demoiselles Blier_6pp.indd 1 9/23/19 1:41 PM The UnTold origins of a Modern MasTerpiece Picasso’s Demoiselles sU zanne p res T on Blie r Blier_6pp.indd 2 9/23/19 1:41 PM Picasso’s Demoiselles Duke University Press Durham and London 2019 Blier_6pp.indd 3 9/23/19 1:41 PM © 2019 Suzanne Preston Blier All rights reserved Printed in the United States of America on acid- free paper ∞ Cover designed by Drew Sisk. Text designed by Mindy Basinger Hill. Typeset in Garamond Premier Pro and The Sans byBW&A Books Library of Congress Cataloging- in- Publication Data Names: Blier, Suzanne Preston, author. Title: Picasso’s Demoiselles, the untold origins of a modern masterpiece / Suzanne Preston Blier. Description: Durham : Duke University Press, 2019. | Includes bibliographical references and index. Identifiers: LCCN 2018047262 (print) LCCN 2019005715 (ebook) ISBN 9781478002048 (ebook) ISBN 9781478000051 (hardcover : alk. paper) ISBN 9781478000198 (pbk. : alk. paper) Subjects: LCSH: Picasso, Pablo, 1881–1973. Demoiselles d’Avignon. | Picasso, Pablo, 1881–1973—Criticism and interpretation. | Women in art. | Prostitution in art. | Cubism—France. Classification: LCC ND553.P5 (ebook) | LCC ND553.P5 A635 2019 (print) | DDC 759.4—dc23 LC record available at https://lccn.loc.gov/2018047262 Cover art: (top to bottom): Pablo Picasso, Les Demoiselles d’Avignon, detail, March 26, 1907. Museum of Modern Art, New York (Online Picasso Project) opp.07:001 | Anonymous artist, Adouma mask (Gabon), detail, before 1820. Musée du quai Branly, Paris. Photograph by S. P. -
Edward Tyler Nahem Fine Art to Exhibit Exemplary Sam Francis Work at Abu Dhabi Art
FINE ART L.L.C. EDWARD TYLER NAHEM October 22, 2014 For Immediate Release Edward Tyler Nahem Fine Art to Exhibit Exemplary Sam Francis Work At Abu Dhabi Art (New York, NY) Edward Tyler Nahem Fine Art will exhibit a rare work by the late American abstract painter Sam Francis as the centerpiece of its stand at this year’s Abu Dhabi Art fair (November 5-8, 2014). Untitled 1979-80 is a more than 10 by 20 foot (313 x 630 cm) example of the artist’s Matrix paintings. This painting’s rich palette, grid-based composition, and grand scale evoke a Rorschach test. The few similarly scaled Matrix paintings can be found in the collections of The Museum of Contemporary Art, Los Angeles, the Idemitsu Museum of Arts, Tokyo, and the Louisiana Museum of Modern Art, Humlebaek, Denmark. The work being shown by the gallery belonged to the late Japanese entrepreneur, collector, and novelist/poet, Seiju Tsutsumi. During his lifetime, Tsutsumi was instrumental in bringing the best of Western art to Japan. He mounted his exhibitions in his Seibu, Nagano and Funabashi department stores where he spared no expense and brought seminal works by Marcel Duchamp, Edvard Munch, Jasper Johns, Paul Klee, and Egon Schiele to these museum-like venues. According to Nahem “Many consider Matrix paintings to be one of the high points of Francis’ career, combining the architectonic structure of the grid with a free flowing, painterly application of color and a zen-like quality, likely inspired by Francis’ years spent in Japan. Given its long horizontal format, the painting maintains an enigmatic and energetic vortex, drawing the eye in and out of its various layers. -
Federico Luisetti, “A Futurist Art of the Past”, Ameriquests 12.1 (2015)
Federico Luisetti, “A Futurist Art of the Past”, AmeriQuests 12.1 (2015) A Futurist Art of the Past: Anton Giulio Bragaglia’s Photodynamism Anton Giulio Bragaglia, Un gesto del capo1 Un gesto del capo (A gesture of the head) is a rare 1911 “Photodynamic” picture by Anton Giulio Bragaglia (1890-1960), the Rome-based photographer, director of experimental films, gallerist, theater director, and essayist who played a key role in the development of the Italian Avant- gardes. Initially postcard photographs mailed out to friends, Futurist Photodynamics consist of twenty or so medium size pictures of small gestures (greeting, nodding, bowing), acts of leisure, work, or movements (typing, smoking, a slap in the face), a small corpus that preceded and influenced the experimentations of European Avant-garde photography, such as Christian Schad’s Schadographs, Man Ray’s Rayographs, and Lazlo Moholy-Nagy’s Photograms. Thanks to historians of photography, in particular Giovanni Lista and Marta Braun, we are familiar with the circumstances that led to the birth of Photodynamism, which took on and transformed the principles proclaimed in the April 11, 1910 Manifesto tecnico della pittura futurista (Technical Manifesto of Futurist Painting) by Umberto Boccioni, Carlo Carrà, Luigi Russolo, Giacomo Balla, and Gino Severini, where the primacy of movement and the nature of “dynamic sensation” challenge the conventions of traditional visual arts: “The gesture which we would reproduce on canvas shall no longer be a fixed moment in universal dynamism. It shall simply be 1 (A Gesture of the Head), 1911. Gelatin silver print, 17.8 x 12.7 cm, Gilman Collection, The Metropolitan Museum of Art, New York].