Mark Di Suvero

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Mark di Suvero MEDIUM Sculpture NATIONALITY American LIFE DATES Shanghai, China 1933 - Mark di Suvero was born Marco Polo di Suvero in Shanghai, China. His father, a naval attaché for the Italian government, relocated the family to San Francisco in 1941. Di Suvero attended San Francisco City College, and the University of California at Santa Barbara and Berkeley before receiving a BA in Philosophy in 1956. By this time, he had developed an interest in sculpture. In 1957, he moved to New York, where he encountered the work of Abstract Expressionst painting and the sculpture of David Smith. His earlier works were small pieces in cast bronze and unfinished wood. While working at a construction job in 1960, the year of his first solo exhibition at the Green Gallery, New York, he was critically injured and confined to a wheelchair for two years. He continued to work in steel and other industrial materials on works that dramatically increased in scale from mid-decade. Di Suvero co-founded Park Place Gallery, New York, an artists cooperative for new artists. He also established the Athena Foundation to fund individual artists and Socrates Sculpture Park in Queens. In 2005, he received the Heinz Award in the Arts and Humanities. He has been featured in many solo exhibitions at venues including the Whitney Museum of American Art, New York, and Storm King Sculpture Park in Mountainville, New York; in 1975, he was the first living artist to have his work shown at Le Jardin des Tuileries in Paris. His work is in the collections of National Gallery of Art, Washington D.C.; Courtauld Institute of Art, London; Hirshhorn Museum and Sculpture Garden, Washington D.C.; Storm King Art Center, Mountainville, New York; Walker Art Center, Minneapolis; and many other public institutions. His installations appear in many parks and public spaces in the United States and France. .

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P A U L A C O O P E R G A L L E R Y FOR IMMEDIATE RELEASE MARK DI SUVERO A public exhibition of Hugs (2011) 220 11th Avenue Opening October 6, 2018 NEW YORK—Paula Cooper Gallery in collaboration with the Moinian Group and Alex Brotmann Art Advisory are proud to announce the installation of Mark di Suvero’s monumental steel sculpture Hugs at 220 11th Avenue, New York. Organized on the occasion of the gallery’s fiftieth anniversary, the installation is located down the street from its new primary space at 524 W 26th Street. The presentation honors di Suvero’s long history with the gallery, having first collaborated with Cooper at Park Place Gallery (1965-67) and later at the Paula Cooper Gallery—including the second exhibition in 1968, and most recently in a one- person show in 2018. The sculpture will be on view from October 6, 2018, through winter 2019. Throughout his sixty-year career, di Suvero has created vibrant and dynamic works, which fuse vitality and improvisation with complex construction. Standing over fifty feet high, the pyramidal structure Hugs, is composed of steel I-beams whose three legs intersect in a central, curved form. Its expansive scale allows viewers to engage physically with the work, inducing a kinesthetic response as one walks under and around to perceive it from shifting vantages. Democratic accessibility and viewer participation have long been driving principles in di Suvero’s artistic practice: “When one is an artist, one wants to do art that is meaningful to a lot of people.
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2017 2017 2017 2017 Fall Fall Fall Fall This content downloaded from 024.136.113.202 on December 13, 2017 10:53:41 AM All use subject to University of Chicago Press Terms and Conditions (http://www.journals.uchicago.edu/t-and-c). American Art SummerFall 2017 2017 • 31/3 • 31/2 University of Chicago Press $20 $20 $20 $20 USA USA USA USA 1073-9300(201723)31:3;1-T 1073-9300(201723)31:3;1-T 1073-9300(201723)31:3;1-T 1073-9300(201723)31:3;1-T reform reform reform reform cameras cameras cameras cameras “prints” “prints” “prints” “prints” and and and and memory memory memory memory playground playground playground playground of of of Kent’s of Kent’s Kent’s Kent’s guns, guns, guns, guns, abolitionism abolitionism abolitionism abolitionism art art art art and and and and the the the the Rockwell literary Rockwell Rockwell literary literary Rockwell issue literary issue issue issue Group, and Group, and Group, and Group, and in in in in this this this this Homer—dogs, Homer—dogs, Homer—dogs, Place Homer—dogs, Place Place Place In In In In nostalgia Park nostalgia nostalgia Park Park nostalgia Park Duncanson’s Duncanson’s Duncanson’s Duncanson’s Christenberry the Christenberry S. Christenberry the S. the S. Christenberry the S. Winslow Winslow Winslow Winslow with with with with Robert Robert Robert Robert Suvero, Suvero, Suvero, Suvero, William William William William di di di Technological di Technological Technological Technological Hunting Hunting Hunting Hunting Mark Mark Mark Mark Kinetics of Liberation in Mark di Suvero’s Play Sculpture Melissa Ragain Let’s begin with a typical comparison of a wood construction by Mark di Suvero with one of Tony Smith’s solitary cubes (fgs.
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“Life” — Sam Rein Solo Exhibition at Barrett Art Center by RAYMOND J
Inside: Raleigh on Film; Bethune on Theatre; Behrens on Music; Marvel’s ‘Art Byte’; th Critique: Sam Rein at Barrett Art Center; Year! Seckel on the Cultural Scene; Jeanne Heiberg & John Coyne ‘Speak Out’; Our 25 New Art Books; Short Fiction & Poetry; Extensive Calendar of Events…and more! ART TIMES Vol. 25 No. 6 Jan/Feb 2009 “Life” — Sam Rein Solo Exhibition at Barrett Art Center By RAYMOND J. STEINER IT’S ALWAYS A distinct pleasure sional surface alive not only to the for this viewer to come across a eye, but also to the spirit and soul. working artist from the “old school” A humanist with wit, perception, — you know, someone who can draw, and sensitivity, Sam Rein could not manipulate a paint-laden brush, have chosen a more fitting title for compose a motif, vary a ‘signature’, this solo exhibition* since “Life” so avoid a hackneyed formula that aptly reveals his long love affair with “sells”…in brief, bring a two-dimen- the pathos and bathos of the human River View Watercolor condition. This is an artist who not imagery (“Track Three”; “Table Talk only loves his craft, but who also is Al Fresco” — a charming genre piece in sympathy with the nature of be- of three oldsters conversing around ing — whether it be person, object, an outdoor table) is compelling, in- or landscape. viting the viewer to enter, to partici- Some thirty-seven works — pate in whatever is unfolding before charcoals, pastels, watercolors, the eye. Especially “present” in their gouaches, acrylics and even a pencil “thereness” — what the early Ger- drawing (“Reclining Nude, Head on man aestheticians referred to as the Hand”) — make up this show, more ding an sich (the thing in itself) — than enough to showcase Rein’s ver- are his studies of the female figure, satility in motif, genre, and in style.
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Landmarks, the Public Art Program of the University of Texas at Austin, Acquires Major Works by Marc Quinn and Ann Hamilton
Contact: Maria May, Resnicow and Associates (214) 207-6082, [email protected] Date: 7 July 2016 May Wijaya, Resnicow and Associates (212) 671-5167, [email protected] Landmarks, the public art program of The University of Texas at Austin, acquires major works by Marc Quinn and Ann Hamilton Landmarks' collection expands with the acquisition of a monumental sculpture by Marc Quinn and a newly commissioned project by Ann Hamilton AUSTIN, Texas — Landmarks, The University of Texas at Austin’s public art program, today announced two significant additions: the recent acquisition of Marc Quinn’s 2013 sculpture, Spiral of the Galaxy, to be unveiled in September 2016; and the commission of O N E E V E R Y O N E, a community-based photography project by Ann Hamilton (January 2017). Both works will be installed at the university’s Dell Medical School and are funded through a percent-for-art allocation that sets aside one-to-two percent of capital improvement projects for the acquisition of public art. The two acquisitions were initiated by Landmarks, one of the most important public art programs to emerge at an American university. On view throughout Austin’s 433-acre main campus, the collection includes works by Michael Ray Charles, Mark di Suvero, David Ellis, Sol LeWitt, Ben Rubin, Nancy Rubins, and James Turrell. Landmarks’ public art collection is broadly accessible and free to all, providing opportunities for students and visitors to engage with great works of art. “Adding Marc Quinn and Ann Hamilton to the diverse roster of artists represented by Landmarks is an honor,” said Andrée Bober, the founding director of the program.
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HIRSHHORN MUSEUM and SCULPTURE GARDEN LIBRARY VIDEO COLLECTION Recordings May Not Be Usable in Current Format
HIRSHHORN MUSEUM AND SCULPTURE GARDEN LIBRARY VIDEO COLLECTION Recordings may not be usable in current format. Check with Library staff. Video materials are not circulated. (updated August 26, 2008) VHS TAPES 1. 41-10 Mr. & Mrs. Chagall, daughter, son-in-law 2. 74-60 HMSG Opening Ceremonies 3. 74-90 Visit of architect Gordon Bunshaft 4. 74-210 Hirshhorn Museum dedication ceremony 5. 75-00 Hirshhorn: Man and Museum-Camera 3 6. 76-20 A life of its own, v-1 7. 79-50 John Baldessari 8. 87-20 Mark Di Suvero: Storm King 9. 88-20 “Cornered” video Installation (Adrian piper piece) 10. 89-20 Buster Simpson (HMSG) 11. 90-30 Scenes and Songs from Boyd Webb (video documentary) 12. 92-80 Robert Irwin- In response 13. 93-20 Paul Reed Catalog #9-1936-1992 (artists’ work) 14. 93-30 Collection that Became a Museum (Smithsonian Film Transfer) 15. 93-30 Collection that Became a Museum (copy) 16. 93-50 A life of its own 17. 93-50 A life of its own 1976 18. 96-20 Thomas Eakins and the Swimming Picture 19. 96-60 Beverly Semmes 20. 97-10 Judith Zilczer interview on De Kooning 21. 97-80 Jeff Wall segment 22. 97-100 Willem De Kooning 23. 98-10 George Segal (HMSG) 24. 98-20 George Segal-Dialogue (HMSG) 25. 00-30 The Ephemeral is Eternal (De Stijl play) 26. 00-40 Gary Hill- Dig 27. 00-60 Willem De Kooning 28. 00-100 The collection that became a Museum-Ron J. Cavalier (HMSG) 29. 1974 Visit of Architect Bunshaft (HMSG) 30.
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Declaration by Artist Mark Di Suvero
Declaration By Artist Mark Di Suvero Febrile and Gordian Penn narcotises: which Richardo is convoluted enough? Tiddly and crosiered Redmond still freelanced his mechanical pitter-patter. Anurag cranch nationalistically. Mark Di Suvero Sculpture and Drawings January 2-March 12. You running this weekend that declaration by artists hall. His powerful presence against climate movement of artists walked to our sculptures by mark di suvero was. The fold is a hemisphere of major works of timetable and artists taught. Listed american artist mark centers for. Sculpture Art Exhibition Catalog at Grant everything in Chicago in 1974 Artist Collaboration. Complex prompted Mayor Giuliani to bestow it a permanent park strip in 199. The artists jasper johns, by interviews with him five acrylic, internal site selected by a fellow artists to consider their approach to expected noise. See these recent expose on Tumblr from disuvero-declaration about and-di-suvero-declaration Discover more posts about mark-di-suvero-declaration. Declaration Sculpture Los Angeles 2021 All deer Need to. Wall text labels Artists Respond to Art yet the. The artist and the gallery have come bring a legacy agreement to de-install. Moody center recommended advisory board have a building of our sculptures selected by mark di suvero sculpture and wanderer draw on any kind of facilities and marcel duchamp at them. Declaration Mark di Suvero Venice Beach Los Angeles First installed in 2001 for a young art not a 60-foot-tall steel sculpture by Mark di. You looking for personal. He leading it is subsequently selected by! Among cast by! Ordre des arts network presents a comment was chosen to artists against their work by! Mark di Suvero installs Declaration for island Art Walk benefiting the Venice Family.
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The Crazy Wisdom Communityjournal
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WHITNEY BIENNIAL 2006: DAY for NIGHT to OPEN Signature Survey Measuring the Mood of Contemporary American Art, March 2-May 28, 2006
Press Release Contact: Jan Rothschild, Stephen Soba, Meghan Bullock (212) 570-3633 or [email protected] www.whitney.org/press February 2006 WHITNEY BIENNIAL 2006: DAY FOR NIGHT TO OPEN Signature survey measuring the mood of contemporary American art, March 2-May 28, 2006 Peter Doig, Day for Night, 2005. Private Collection; courtesy Contemporary Fine Arts, Berlin. The curators have announced their selection of artists for the 2006 Whitney Biennial, which opens to the public on March 2, and remains on view at the Whitney Museum of American Art through May 28, 2006. The list of participating artists appears at the end of this release. Whitney Biennial 2006: Day for Night is curated by Chrissie Iles, the Whitney’s Anne & Joel Ehrenkranz Curator, and Philippe Vergne, the Deputy Director and Chief Curator of the Walker Art Center in Minneapolis. The Biennial’s lead sponsor is Altria. "Altria Group, Inc. is proud to continue its forty year relationship with the Whitney Museum of American Art by sponsoring the 2006 Biennial exhibition," remarked Jennifer P. Goodale, Vice President, Contributions, Altria Corporate Services, Inc. "This signature exhibition of some of the most bold and inspired work coming from artists' studios reflects our company's philosophy of supporting innovation, creativity and diversity in the arts." Whitney Biennial 2006: Day for Night takes its title from the 1973 François Truffaut film, whose original French name, La Nuit américaine, denotes the cinematic technique of shooting night scenes artificially during the day, using a special filter. This is the first Whitney Biennial to have a title attached to it.
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Suffolk University Newsletter (SUN), Vol. 37, No. 1, 2011
Suffolk University Digital Collections @ Suffolk Suffolk University Newsletter (SUN) Suffolk University Publications 2011 Suffolk University Newsletter (SUN), vol. 37, no. 1, 2011 Suffolk University Office of Public Affairs Follow this and additional works at: https://dc.suffolk.edu/sun Recommended Citation Suffolk University Office of Public Affairs, "Suffolk University Newsletter (SUN), vol. 37, no. 1, 2011" (2011). Suffolk University Newsletter (SUN). 41. https://dc.suffolk.edu/sun/41 This Newsletter is brought to you for free and open access by the Suffolk University Publications at Digital Collections @ Suffolk. It has been accepted for inclusion in Suffolk University Newsletter (SUN) by an authorized administrator of Digital Collections @ Suffolk. For more information, please contact [email protected]. The Suffolk University News SUN March 2011 Vol. 37, No. 1 Working Together for a Better Campus & Community Collecting Evidence in Support of Self-Study Carnegie Classification Recognizes Service More than 100 members of the University community are directly The University has earned the Carnegie Foundation’s involved in preparing for the New England Association of Schools Community Engagement Classification, which recognizes “the and Colleges reaccreditation, which offers the University an op- mutually beneficial exchange of knowledge and resources” portunity to reflect on its accomplishments and challenges since between the institution and the community. its 2002 NEASC accreditation. “This achievement is the result of a University-wide effort,” The NEASC review process has become more stringent in the said Carolina Garcia, director of the S.O.U.L.S. Community intervening years due to increased concerns expressed by the public, Service and Service Learning Center., who, with University policy makers and educators on the quality of higher education, Archivist and Moakley Institute Director Julia Howington, according to Vice President for Academic Affairs Janice Griffith.
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January 9 – February 15, 2020 Berggruen Gallery Is Proud to Present Mark Di Suvero: Sculpture, an Exhibition of Work from 1975
FOR IMMEDIATE RELEASE MARK DI SUVERO: SCULPTURE January 9 – February 15, 2020 Berggruen Gallery is proud to present Mark di Suvero: Sculpture, an exhibition of work from 1975–2019 by American, internationally renowned sculptor, Mark di Suvero. This show signifies di Suvero’s eighth solo exhibition with the gallery and will be on view January 9 through February 15, 2020. The gallery will host an opening reception for the artist on Thursday, January 16 from 5:00 to 7:00pm. The current exhibition presents an impressive breadth of di Suvero’s career, including some of the artist’s most quintessential, small and medium-scale steel structures. Mark di Suvero is primarily recognized for his monumental, outdoor sculptures; work that impresses not only due to their magnitude, but also for their complex fusion of geometric engineering with organic forms. Yet no matter the scale, all of di Suvero’s sculptures captivate by directly engaging the viewer. Perhaps this engagement is actually heightened when the artist decreases his scale, as viewer interaction becomes increasingly visceral when confronted with less mass yet equivalent dynamism. Rather than function as maquettes, di Suvero’s smaller-scale sculptures are fully realized works that offer an intimate entry into his oeuvre. Employing a skilled welding technique, di Suvero composes his sculptures of steel, scrap metal, and other found objects. Oftentimes his work includes components that move or appear to hang in precarious balance. Though feats of masterful engineering, di Suvero also works in the tradition of the Abstract Expressionist movement as he creates forms that are rhythmic, gestural, and energetic.
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Mark Di Suvero Biography
P A U L A C O O P E R G A L L E R Y MARK DI SUVERO Born: Shanghai, China, 1933 Immigrated to USA, 1941 Education: San Francisco City College, 1953-54 University of California, Santa Barbara, 1954-55 University of California, Berkeley, B.A. Philosophy, 1956 Awards 2019 Honarary Doctorate of Fine Arts, University of Michigan 2013 Gold Medal by Academy of Arts and Letters 2010 National Medal of Arts One-Person Exhibitions: 2020 “Mark di Suvero: Sculpture,” Berggruen Gallery, San Francisco, CA (1/9 – 2/15/20) 2019 “Mark di Suvero,” Galerie Mitterrand, Paris, France (9/19—11/09/19) “Mark di Suvero: Painting and Sculpture,” LA Louver, Los Angeles, CA (5/1—6/8/19) “Mark di Suvero: Paintbrush,” Pratt Institute, New York, NY (1/8/19— 1/2020) 2018 “Mark di Suvero: Hugs,” in collaboration with Paula Cooper Gallery, 220 11th Avenue, New York (10/10—9/20/19) “Mark di Suvero,” Paula Cooper Gallery, New York (1/6—2/3/18) 2016 “Mark di Suvero,” Paula Cooper Gallery, New York (11/3/16—12/10/16) 2014 “Mark di Suvero,” Paula Cooper Gallery, New York, NY (9/5 – 10/22/14) “Mark di Suvero: Sculptures and Drawings,” L.A. Louver, Venice, California (7/9 – 8/28/14) “Mark di Suvero: Tom Hanafan River’s Edge Park,” Joslyn Art Museum, Omaha, NE (6/7 – 9/7/14) “Mark di Suvero: The Imagination of Steel,” James Cohan Gallery, Shanghai, China (4/24 – 6/14/14) 2013 “Mark di Suvero at Crissy Field,” San Francisco Museum of Modern Art, CA (5/22/13 – 5/26/14) "Mark di Suvero: Selected Small Works," John Berggruen Gallery, San Francisco, CA (5/9/13 - 6/22/13) “Mark di Suvero:
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