DOCSLIB.ORG

Art @ Vance Hall

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Art @ Vance Hall The Art Collection of Vance Hall NATVAR BHAVSAR R-THA ACRYLIC ON CANVAS 92 x 96 INCHES LOCATION: VANCE HALL: STAIRWELL Natvar Bhasvar Biographical Statement Born 1934 in Gothava, India to a wealthy family, Natvar Bhavsar earned diplomas from Bombay State Higher Arts School in 1958 and 1959 and then earned a Bachelor of Arts degree from Gujarat University in 1960. Bhavsar earned a Master of Fine Arts degree from the University of Pennsylvania School of Design in 1965. Bhavsar attained prominence as an artist in India by age 19, working primarily in the Cubist vein. After moving to New York City, he became influenced by the freedom of abstract painting. His style evolved into abstract expressionism and color field painting, and his works often feature a hazy object (absent of direct lines or geometric shapes) in the center of a solid canvas, that projects an astral-like mass of color. Employing some techniques from the Indian tradition of sand painting, Bhavsar paints in an improvisational manner, "soaking the canvas with acrylic-based liquid binders that absorb and hold the fine pigment powder. He applies the base using a sifting technique with a screen, during which layers of fine, concentrated pigment are sprinkled and drizzled over the canvas (or paper), which is laid out on the floor so that the artist can walk around the painting and work on it from all sides." Bhavsar primarily shows his work at the Sundaram Tagore Gallery in New York and the ACP Viviane Ehrli Gallery in Zurich, Switzerland, along with Pundole Art Gallery in Bombay, India. He has been exhibiting his works in one-man shows since 1970. In 2007, the Jane Voorhees Zimmerli Art Museum at Rutgers University sponsored an exhibition of about 50 of Bhavsar’s works. It was the first United States university to hold a one- man show of a South Asian artist. Earlier in his career, Bhavsar was a John D. Rockefeller III Fund Fellow (1965 –1966), a Guggenheim Foundation Fellow (1975 – 1976), and an Instructor of Art at the University of Rhode Island (1967 – 1969). In 1980 and 1983, he participated in Executive Seminars at the Aspen Institute and, more recently, participated as a Cultural Leader at the World Economic Forums in Davos, Switzerland (2000) and New York (2002). Throughout his career, Bhavsar has associated with a number of acclaimed artists, most prominently, Mark Rothko (1903 – 1970) and Barnett Newman (1905 – 1970). DALE O. ROBERTS (b. 1959) RIVER’S EDGE, 2010 ENCAUSTIC ON PANEL 40 x 46 INCHES LOCATION: VANCE HALL:HOOVER LOUNGE Dale O. Roberts Biography Dale O. Roberts received his AAS from Rochester Institute and graduated Cum Laude with a BFA in Painting and Drawing from the Tyler School of Art at Temple University in Philadelphia. Dale is a representational artist whose specialty is encaustic painting, a hot wax medium. He has been painting for over twenty years. Encaustic is a painting medium dating back to Roman times. Beeswax, resin and dry pigment are combined, heated and applied warm to rigid panels. The final step is a "burning-in" which fuses the painting layers, resulting in a luminous, textured, cloisonne- like surface. It is a rich and sumptuous finish. Dale has been honing his skills in this medium for over twenty years and is a master of the process. Dale finds inspiration in the everyday objects and terrain of life and elevates them through his consummate skill with wax, pigment, color, line and composition to a level for further consideration by the viewer. Biography courtesy of The Rosenfeld Gallery ������������������������������������������������������������������������������������������ ART COLLECTION INVENTORY CONTROL ����NCE HALL INVENTORY 2011 0000.0141 THEATER IN CHESTNUT 0000.0142 PHILA HOSPITAL 0000.0143 JAIL IN WALNUT ST 0000.0774 JOHNSON EMORY P 1 ST PHILA 2 3 4 BIRCH WILLIAM BIRCH WILLIAM BIRCH WILLIAM MARCEAU GRA-ENG GRA-ENG GRA-ENG PHO 10 12 11 13 11 13 9 12 VANC VANC VANC VANC UNKN WAS SUITE 103 UNKN WAS SUITE 103 UNKN WAS SUITE 103 UNKN WAS BASEMENT COMMENTS COMMENTS COMMENTS COMMENTS 0000.0969 GREEN GRID 1000 0000.1949 SHIVA STORM 0000.2065 UNTITLED I 1975.0005 ZOOLOGICAL IGARDEN I I 5 6 7 8 MILLER HARRISON WOFFORD PHILLIP ROBBIN TONY JABLONSKY KAY (1935 - ) GRA-ETC ACR ACR GRA-ETC 18 14 26 22 98 115 152 71 15 DIA VANC VANC VANC VANC UNKN WASOUTSIDE STAIRWELL 1ST 2ND LANDING 1ST 2ND FL E UNKN WAS GRAD RM 111 LEVEL E STAIRWELL STAIRWELL ADMISSIONS SUITE COMMENTS COMMENTS COMMENTS COMMENTS 1984.0013.0001 HUNTRESS 1984.0014.0002 R-THA 0000.2620 DEFENSE WORKSI 0000.2821.0001 FIGURES I I I 9 10 11 12 WOFFORD PHILLIP BHAVSAR NATVAR MC LOUGHERY UNKN FROM GHANA ACR ACR ON CANVAS OIL SCU-WOD 84 84 92 96 92.5 96.5 19 15.5 25 21.5 VARIED VANC VANC VANC VANC 1ST FL LANDING E STAIRWELL 1ST RM 305 K PEARCY 3RD FL STORAGE STAIRWELLPHILLIP BASEMENT& LEVEL E WOFFORD STAIRWELL COMMENTS COMMENTS COMMENTS COMMENTS PHILLIP WOFFORD (b. 1935)2010.0001.0001 RIVERS EDGE 2010.0005.0001 HARKER PATRICK T I I I I HUNTRESS ACRYLIC ON13 CANVAS 14 84 x 84 INCHES LOCATION: VANCE HALL:STAIRWELL ROBERTS DALE O. DUFFY DANIEL MARK ENCAUSTIC ON PANEL OIL ON CANVAS 40 46 48 54 43 X 31 51 X 39 VANC VANC CORE 1ST FL HOOVER LOUNGE 3RD FLOOR COMMENTS COMMENTS I I ������������������������������������������������������������������������������������������ ART COLLECTION INVENTORY CONTROL ����NCE HALL INVENTORY 2011 0000.0141 THEATER IN CHESTNUT 0000.0142 PHILA HOSPITAL 0000.0143 JAIL IN WALNUT ST 0000.0774 JOHNSON EMORY P 1 ST PHILA 2 3 4 BIRCH WILLIAM BIRCH WILLIAM BIRCH WILLIAM MARCEAU GRA-ENG GRA-ENG GRA-ENG PHO 10 12 11 13 11 13 9 12 VANC VANC VANC VANC UNKN WAS SUITE 103 UNKN WAS SUITE 103 UNKN WAS SUITE 103 UNKN WAS BASEMENT COMMENTS COMMENTS COMMENTS COMMENTS 0000.0969 GREEN GRID 1000 0000.1949 SHIVA STORM 0000.2065 UNTITLED I 1975.0005 ZOOLOGICAL IGARDEN I I 5 6 7 8 MILLER HARRISON WOFFORD PHILLIP ROBBIN TONY JABLONSKY KAY (1935 - ) GRA-ETC ACR ACR GRA-ETC 18 14 26 22 98 115 152 71 15 DIA VANC VANC VANC VANC UNKN WASOUTSIDE STAIRWELL 1ST 2ND LANDING 1ST 2ND FL E UNKN WAS GRAD RM 111 LEVEL E STAIRWELL STAIRWELL ADMISSIONS SUITE COMMENTS COMMENTS COMMENTS COMMENTS PHILLIP WOFFORD (b. 1935) SHIVA STORM ACRYLIC ON CANVAS 98 x 115 INCHES 1984.0013.0001 HUNTRESS LOCATION: VANCE HALL:STAIRWELL1984.0014.0002 R-THA 0000.2620 DEFENSE WORKSI 0000.2821.0001 FIGURES I I I 9 10 11 12 WOFFORD PHILLIP BHAVSAR NATVAR MC LOUGHERY UNKN FROM GHANA ACR ACR ON CANVAS OIL SCU-WOD 84 84 92 96 92.5 96.5 19 15.5 25 21.5 VARIED VANC VANC VANC VANC 1ST FL LANDING E STAIRWELL 1ST RM 305 K PEARCY 3RD FL STORAGE STAIRWELLPHILLIP BASEMENT& LEVEL E WOFFORD STAIRWELL COMMENTS COMMENTS COMMENTS COMMENTS 2010.0001.0001 RIVERS EDGE 2010.0005.0001 HARKER PATRICK T I I I I 13 14 ROBERTS DALE O. DUFFY DANIEL MARK ENCAUSTIC ON PANEL OIL ON CANVAS 40 46 48 54 43 X 31 51 X 39 VANC VANC CORE 1ST FL HOOVER LOUNGE 3RD FLOOR COMMENTS COMMENTS I I.
Load more

Recommended publications
  • NATVAR BHAVSAR Claiming 'Color' As His Medium, Natvar Bhavsar Has Explored the Sensual, Emotional, and Intellectual Resonance of Color for Over 50 Years
    NATVAR BHAVSAR Claiming 'color' as his medium, Natvar Bhavsar has explored the sensual, emotional, and intellectual resonance of color for over 50 years. Born in 1934, Gothava, India, Natvar Bhavsar studied at the Seth CN College of Fine Arts in Ahmedabad. At the same time, he obtained a degree in English Literature from Gujarat University. He continued his education in America, at the University of Pennsylvania’s Graduate School of Fine Arts, where he received his MFA in 1965. Upon graduating, Bhavsar received a John D. Rockefeller III Fund Fellowship, after which he taught for a few years at the University of Rhode Island. Bhavsar has shown widely in New York where he has been a longtime resident and central figure in the art world – one of the few remaining original artists from the SoHo school – along with a variety of gallery and museum exhibitions internationally. His paintings evince influences from his childhood in India, surrounded by vivid textiles, practicing rangoli, and witnessing the Holi Festival, and adulthood in New York in the 1970s. The artist is included in numerous public collections and institutions including the Philadelphia Museum of Art, Boston Museum of Fine Arts, Solomon R. Guggenheim Museum, Metropolitan Museum of Art, the Museum of Contemporary Art in Sydney and the National Gallery of Australia. He also features in notable private collections in the US, Germany, France, India, Australia and the Middle East. Throughout his career, Bhavsar has been associated with a number of acclaimed artists, most prominently,
    [Show full text]
  • Poetics of Color Natvar Bhavsar
    Poetics of Color Natvar Bhavsar Sundaram Tagore Gallery Poetics of Color Natvar Bhavsar Acknowledgements Ajay Bhavsar Janet Bhavsar Rajeev Bhavsar Janice Bouley First published in the United States of America in 2006 Rebecca Costanzo by Sundaram Tagore Gallery 547 West 27th Street Devika Daulet-Singh New York, New York 10001 Rukminee Guha Thakurta Tel 212 677 4520 Fax 212 677 4521 Barbara Eagle Email [email protected] Faina Goldstein www.sundaramtagore.com Gina Im Text © Sundaram Tagore Gallery Aranka Israni Photographs © Natvar Bhavsar Susan McCaffrey All rights reserved under international copyright conventions. Carter Ratcliff No part of this book may be reproduced or transmitted Naomi Rivas in any form or by any means, electronic or mechanical, George Schmidt including photocopy, recording, or any other information Emily Steiger storage and retrieval system, without prior permission in writing from the publisher. Kelly Tagore Sundaram Tagore Design Rukminee Guha Thakurta/Photoink Gad Zehavi Printer Pragati Offset Pvt. Ltd. Gallery Statement Since our inception in 2000, we have devoted ourselves to bringing together artists of various disciplines who are exploring the confluence of Western and non-Western cultures. In addition to showing the work of our international roster of visual artists, we have been privileged to host numerous nonprofit cultural events. We strongly believe in the inseparable nature of art and will continue to stimulate the exchange of ideas and push intellectual, artistic and cultural boundaries by helping artists of all kinds exhibit, perform, and produce their work. Sundaram Tagore Executive Director 7 Natvar Bhavsar To say how Natvar Bhavsar’s paintings look, you have to say what his colors do.
    [Show full text]
  • Captivating Color: Natvar Bhavsar at Sundaram Tagore in Beverly Hills
    ArtsÉtoile 1/14/09 10:52 AM ArtsÉtoile Journalism Newsletter About Captivating Color: Natvar Bhavsar at Sundaram Tagore in Beverly Hills 14Jan09 VEEDHEE by Natvar Bhavsar, 2005, Pure pigment of canvas, 75 x 68 in By Emily Waldorf Natvar Bhavsar’s mesmerizing exhibition, Rang, just opened at the Beverly Hills Sundaram Tagore gallery and is well worth a visit. Bhavsar’s large scale paintings are bold, bright, beautiful and reminiscent of the abstract expressionists and color field painters of yore but with an undeniably original Indian influence. In order to achieve his signature style, Bhavsar carefully and deliberately sifts layers of pure pigment powder onto canvas using different tools such as sieves and screens. Bhavsar’s work draws the viewer in, commanding serious contemplation. After a few minutes you can almost feel rich textiles, constellations and cloud-like patterns emerging from the mesmerizing layers of thick color. http://artsetoile.com/ Page 1 of 21 ArtsÉtoile 1/14/09 10:52 AM AKSHYAA by Natvar Bhavsar, 1993, Pure pigment on canvas, 66 x 90 in According to gallerist Sundaram Tagore, “Bhavsar’s work is striking and luminous—the colors expand and contract and there is an endless alternation of light and dark. He evokes the feeling of fluctuation with static images. Bhavsar’s style has evolved over decades, and his technique of painting with dry pigment is groundbreaking and unique…Bhavsar was touched by the visual impact of Holi and Rangoli, during which festival goers throw bright pigments on each other in celebration. This inspired Bhavsar to explore the language of color-field painting.” http://artsetoile.com/ Page 2 of 21 ArtsÉtoile 1/14/09 10:52 AM BHADRA III by Natvar Bhavsa, 2005, Pure pigment on canvas, 75 x 68.5 in Bhavsar was born in Gujarat, India in 1934.
    [Show full text]
  • 2015 Five Decades, Natvar Bhavsar
    FIVE DECADES NATVAR BHAVSAR NATVAR BHAVSAR: FIVE DECADES OCTOBER 21 - DECEMBER 12 2015 Cover: VAATRI, 1979, Pure Pigment, Oil & Acrylic on Canvas, 108x192in. (Detail) CONTENTS Page 5 Foreword Page 13 Interview Page 15 Works Page 63 Biography Installation View of Natvar Bhasvar: Five Decades, 2015 3 4 Natvar Bhavsar’s Threshold of Purity Influences in the Pursuit of Painting Robert C. Morgan Bhavsar recalls his early influences while growing up in Gujarat more than a decade before landing in the United States An exemplary artist and prolific painter, Natvar Bhavsar is readily known for the manner in which he ap- in 1962. There were two sources: One, the multiplicity of bril- plies the spectrum of color to his superbly crafted paintings. Color is the mainstay of his art. Metaphorically liant textiles, dyed and sewn, spread out on the grass, when he speaking, his paintings evoke the life-breath that resonates through India’s centuries old poetic masterpiece, visited his grandparent’s village; and two, the festival of Holi, the Bhagavad Gita – a text that gives spiritual credibility to the ongoing mythical legacies of India. Bhavsar’s celebrated once a year for two days in March. The function paintings depend on a keen ability to sustain the complex maneuvering of pure mineral pigments. Every motion of Holi is to celebrate the ancient, mythical story, known as Ra- of the hand and arm is carefully intuited. His attention is perpetually focused on integrating the tactile, intel- mayana. The drama is a reenactment of the story in which Sita, lectual, and spiritual attributes that hover in the mysterious zone between art and life.
    [Show full text]
  • The Metaphysics of Expression: a Conversation with Natvar Bhavsar
    i n t SOUTH ASIA JOURNAL April 2012 Issue 4 e r v i e w The Metaphysics of Expression A Conversation with Natvar Bhavsar “Change is the only constant. "e soul is dyed the color of its thoughts.” Heraclitus Photo by Janet Bhavsar "rst met Natvar Bhavsar in the middle of February at his sizable SoHo lo# in Lower Manhattan. He is, in the words of art critic Jay Jacobs, “the best known and I most successful Indian born contemporary artist on the planet”, an important "gure in the New York Color Field movement credited with having substantively advanced the technical and conceptual possibilities of paint on canvas. Born in the Northwestern Indian state of Gujarat in 1934, he has lived and operated in the United States for over 50 years. At 77 he still evinces a lean, youthful physique. Save for the carefully shaped rectangle of white bristles resting above his upper lip, he could easily pass for a man "#een to twenty years younger. On the day we met he’d just returned from a successful opening in Cleveland, Ohio at the Contessa Gallery. “It’s a great space with handsome presentation” he says to me reassuringly, “%ey’ve shown lots of big name artists like Chuck Close and [James] Rosenquist.” %ough our interview was spread out over several weeks, and was conducted in 38 SOUTH ASIA JOURNAL April 2012 Issue 4 person, on the phone, and over email, it is in this initial conversation where the connection between his beliefs, his personality, and his art became most apparent.
    [Show full text]
  • Asian Cultural Council ANNUAL REPORT 6 West 48Th Street, 12Th Floor New York, NY 10036-1802 212 843 0403 Tel 212 843 0343 Fax [email protected] New York
    2011 asian cultural council ANNUAL REPORT 6 West 48th Street, 12th Floor New York, NY 10036-1802 212 843 0403 tel 212 843 0343 fax [email protected] new york Room 702, Hong Kong Arts Centre 2 Harbour Road, Wanchai Hong Kong +852 2895 0407 tel +852 2576 7206 fax hong kong [email protected] Suite 504 National Life Building 6762 Ayala Avenue, Makati City 1226 Philippines +632 757 3006 tel/fax [email protected] manila Unit 2, 10th Floor 303 Chung-Hsiao East Road Sec. 4 Taipei, Taiwan +866 2 8771 8836 tel taipei +866 2 8771 8844 fax [email protected] Toka Building, 8F 1-16-1 Ginza Chuo-ku, Tokyo 104-0061 Japan +81 3 3535 0287 tel tokyo +81 3 3535 5565 fax [email protected] asian cultural council 2011 ANNUAL REPORT Asian Cultural Council supports of each of its grant recipients and transformative cultural exchange fosters ongoing dialogue between by awarding grants to artists, and among its grantees and scholars, and arts and humanities artists, scholars, and specialists professionals, as well as through a robust network of organizations and educational contacts across disciplines and institutions from the United States across the globe. ACC supports and Asia for research, study, and its efforts by seeking funding creative work in the United States from individuals, foundations, and and Asia and within the countries corporations with an interest in of Asia. To achieve this goal, ACC and dedication to strengthening develops programs specifically ties between the United States tailored to the needs and interests and the countries of Asia.
    [Show full text]
  • Beginnings & Sublime Light
    Natvar Bhavsar BEGINNINGS & SUBLIME LIGHT AICON ART Natvar Bhavsar BEGINNINGS & SUBLIME LIGHT AICON ART | 35 GREAT JONES ST | NEW YORK, NY 10012 Primordial Energy by Carter Ratcliff 4 Beginnings + Sublime Light by Hussain Khanbhai 8 An Artist for Our Time by Barbara Pollack 10 Beginnings Works 14 Beginnings Exhibition 46 Sublime Light Works 55 Sublime Light Exhibition 76 About 90 Acknowledgements 96 2 3 Primodrial Energy: The Art of Natvar Bhavsar By Carter Ratcliff Natvar Bhavsar: Sublime Light, Works from 1975 to Valabhee orange turns an icy white in Shamana (1984) achieved it without the support those 1985 continues the story of the artist’s evolution launched though icy is not quite the right word, for this painting’s bright, painters gave one another. Bhavsar in 2019 with the Aicon Art selection of paintings from 1967 almost glaring passages shade off into warm grays. Shama- was and continues to be friends with to the early 1970s, the years in which the artist first be- na is both icy and warm, expansive and contained. Ordinari- many artists and others in the New came known to the New York art world. During that peri- ly, these paired qualities would be contraries. In Bhavsar’s York art world, yet he has always gone od, Bhavsar divided his canvases into rectilinear zones and art, they co-exist without paradox, so capacious is the space it alone on the plane of the aesthetic. filled them with glinting colors. One could see in these di- of the imagination that he opens up with his color-spreading Clyfford Still once said that he visions faint echoes of the Cubism that influenced his ear- gestures.
    [Show full text]
  • Natvar Bhavsar Beginnings
    Natvar Bhavsar Beginnings Aicon Gallery Exhibition: March 1 – April 6, 2019 Press Preview & V.I.P Reception: Friday, March 1, 2019 35 Great Jones St, New York NY 10012 We are delighted to present Beginnings, Aicon Art’s debut solo exhibition of the early work of seasoned New York artist Natvar Bhavsar. Claiming 'color' as his medium, Bhavsar has been exploring the sensual, emotional, and intellectual resonance of color since the early 1960s. His paintings evince influences from his childhood in India, surrounded by vivid textiles, practicing rangoli, and witnessing the Holi Festival, and adulthood in New York in the Natvar Bhavsar, BEGIN, 1968 1960s and '70s, The current Pigments and acrylic medium on linen, 97.5 x 144 in. exhibition explores the latter influence - works created during Bhavsar's early foray into New York, in a milieu that included Andy Warhol, Merce Cunningham, and fellow Abstract Expressionists like Mark Rothko. In his essay on the artist, art critic Irving Sandler notes, "Indeed, what Bhavsar has drawn from Indian life and culture, what he prizes in it, makes his art distinctive and valuable. In sum, Bhavsar has a personal vision that both continues American color-field painting and embodies his Indian heritage." The immediacy in Bhavsar’s works is a result of the ‘controlled spontaneity’ of his artistic process. The works are constructed using dry pigment that is often sifted, poured or otherwise dispersed onto eagerly prepared surfaces. Each gesture marks a specific distance from the work’s surface, a particular density of color and a measured movement of the body.
    [Show full text]
  • Table of Contents
    In This Issue Rebecca M. Brown 5 to come Features Rozita Sharafjahan, Anahita Ghabaian, Maryam Majd, Masoumeh Mozaffari, Table of Combiz Moussavi-Aghdam, and Keivan Moussavi-Aghdam 6 Inside Tehran: A Conversation with Iranian Gallerists Contents Kay Wells 00 Laboring Under Globalization: Tapestries by Contemporary Artists Forum Nora A. Taylor and Karin Zitzewitz 00 History as a Figure of Thought in Contemporary Art in South and Southeast Asia Koh Nguang How 00 Artist’s Project: Early Performance Works by Tang Da Wu in Singapore Kevin Chua 00 Archive as Figure in Singapore Contemporary Art Nora A. Taylor 00 The Document as Event: Vietnamese Artists’ Engagements with History Pamela N. Corey 00 Siting the Artist’s Voice Karin Zitzewitz 00 The Archive in Real Time: Gossip and Speculation in the World of South Asian Art Hammad Nasar and Karin Zitzewitz 00 Art Histories of Excess: Hammad Nasar in Conversation with Karin Zitzewitz Shilpa Gupta 00 Artist’s Project: That Photo We Never Got Reviews 00 Lindsay Nixon on Jessica L. Horton, Art for an Undivided Earth: The American Indian Movement Generation; Sophia Powers on India/Contemporary Photographic and New Media Art, exhibition and accompanying book; Sarah Montross on Christina Bryan Rosenberger, Drawing the Line: The Early Work of Agnes Martin, and Suzanne Hudson, Agnes Martin: Night Sea; and Ace Lehner on Alpesh Kantilal Patel, Productive Failure: Writing Queer Transnational South Asian Art Histories Hudson begins the second chapter by canvas—in Jungian terms, as a way to push Ace Lehner noting that 1963, the year Martin painted past one’s ego, the aggressive square, while Night Sea, was also crucial in the broader also submitting to its perfection.
    [Show full text]
  • The Art Collection Of
    The Art Collection of Dear Colleagues, Over the past several years the Wharton School, with input from our faculty, students and staff have expanded the school's art collection. Many of the pieces, in support of Philadelphia and its arts culture, were purchased from local galleries and depict local scenes. As the collection evolved, several works by University of Pennsylvania Alumni were included and its scope broadened to include mixed media works as well as international artists. This catalogue is intended to serve as a summary of the works collected to date. We hope you find inspiration and enjoyment in the collection. Regards, Maria O'Callaghan-Cassidy TABLE OF CONTENTS (Click on the artist’s name) JAMES B. ABBOTT ERIK CHMIL TOM APPELQUIST MATTHEW CUSICK YOSHITO ARICHI JAMES DUPREE MARTHA ARMSTRONG H.G.ESCH MICHAEL R. BARTMANN STEFAN FAHRNLANDER LEONARD BASKIN ALINE FELDMAN NATVAR BHAVSAR STEVEN FORD STANLEY BIELEN BERNARD GASTNER JULIUS BLOCH MIKE GENO MOE BROOKER HOWARD GREENBERG MARKUS BRUGGISSER ANTONIA GUZMAN PAUL BRUHWILLER JENNIFER HAGER THOMAS BRUMMETT KATSUNORI HAMANISHI DAVID BURDENY RALPH HARGARTEN DIANE BURKO YOKO HARU LISA CALL SIDNEY HURWITZ JOHN CARLANO WERNER JERKER GEORGE CHEMECHE WEI JIA CHUO XIN-WEN DEBORAH KAHN TABLE OF CONTENTS (Click on the artist’s name) CHARLES KALICK RON RUMFORD MICHAEL KESSLER OTMAR SATTEL HENGKI KOENTJORO CHARLES SEARLES SHIGEKI KURODA SHAO QI-HUA LI-LIAN DAVID SHAPIRO LIN DUN-XI JOHN SHUETZ MAX MASON ELKE & JOACHIM SIMON ANDREW MILLNER JULIAN STORY GREGORY W. MILNE TAO LING-DING MARIANNE MITCHELL N TROXLER CHRIS NISSEN NICK VIDNOVIC MICHAEL PENN PHILLIP WOFFORD LIZ PRICE ZUBAR KEITH RAGONE ION ZUPCU TREY RATCLIFF ROBERT ROACH DALE O.
    [Show full text]
  • Fré Ilgen(Ma)
    painter, sculptor, theorist, curator, author FRÉ ILGEN (MA) 1 BIOGRAPHY June 2019 Activities in various countries in Europe (West, Central, East), USA, Canada, South America, Middle East, various countries in Asia, Australia; 47 solo exhibitions, 130 group exhibitions, 19 museum group exhibitions, 53 international art fairs, 4 biennials (incl 56th Biennale Venice 2015 with the Tagore Foundation), 79 private, corporate and public commissioned art works, 20 catalogues, 4 books, 88 papers-texts-talks. 20 pages Fré Ilgen – extended biography 1956 Born in Winterswijk, the Netherlands; lives and works in Berlin, Germany; EDUCATION 1968-1974 Atheneum A, lyceum, the Netherlands; 1974-1975 studies psychology at the Royal University Leiden, Leiden, Netherlands; 1975-1978 studies teaching painting/sculpture at the NLO ZWN, Delft, Netherlands; 1978-1981 studies fine art at the Academy for Fine Arts Rotterdam (BA); 1988 MA painting/sculpture at the AIVE Art Department, the Netherlands; EMS (Engineering Modeling System) certificate, AIVE Eindhoven, the Netherlands; 1981 - .. self-study in art history, art theory, various fields of science, psychology, philosophy (both Occidental and Oriental philosophy), geopolitics, economy; ACTIVITIES 1978 meeting Jacqueline van Rooijen, ever since co-organizer of all events, co-editor of all papers and talks, director of the office, handling communication, shipments, accounting; 1983 marriage with Jacqueline van Rooijen; 1985-87 member of the board of several associations of artists, co-organizer of several exhibitions on sculpture; representative of these associations in several governmental art committees in The Hague and Utrecht; member of selection-committee for art in public spaces in Hazerswoude, Alphen a/d Rijn, Cromstrijen; Coordinator Studium Generale, Academy for Industrial Design Eindhoven, the Netherlands; In this capacity: concept, organization and moderation of symposia “Ethics in Industrial Design” (including speakers Prof.
    [Show full text]
  • Carter Ratcliff
    Mutability' and Metaphor Using dry pigments, intense hues and a meditative approach to the paintingprocess, NatvarBhavsar creates large compositions in which a cosmic vision emerges from lush materiality. BY CARTER RATCLIFF Prajnaa, 2001, oilon canvas, 55by 108 inches. ince the late 1960s, when Natvar Bhavsar first showed his paintings At in New York, his art has gone through a series of grand cycles. of the image is a field of color inflected only by the grain one extreme, floor. the pigments.Bhavsar sifts onto the canvas as it lies on the studio currents solidify1, one sees at _Next, swirls and eddies appear. As these ........... radiant grounds. least the suggestion of radiant forms against equally Then, before these shapes become definite, they dissolve back into the light. Thids surge toward form first occurred in the miid-1970s.1It recurred ~~~~~~~~inthe nmid-1980s and again in the early '90s. During the past two years or ........... ... colors has once again been coa- ... ..... .... ~~~~~~~~so,the powdery luminosity of Bhavsar's lescing, more urgently than ever. Chteeraai (2001) shows a golden oval on a dark field of warm, ultimately indescribable color. The oval's border is elusive, as is its interior configuration, for this shape,is woven of serenely writhing strands of color. Finally, it is not a shape so much as a concen- tration of energy. To trace the golden strands, with their dusting of red back into the swirl of incandescence that Mah)arBliavsar.2001, oil on canvas,andCheera, orange, is to see form flow has animnated Bhavsar's art from the beginning.
    [Show full text]