Themedium Volume 42, Number 1 (Spring 2016)
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Moma's RENOWNED COLLECTION of PAINTING and SCULPTURE
MoMA’S RENOWNED COLLECTION OF PAINTING AND SCULPTURE RETURNS TO VIEW IN ELEGANT AND EXPANSIVE GALLERIES Inaugural Installation in Newly Expanded Building Presents Key Movements, Artists, and Styles that Shaped the Evolution of Modern and Contemporary Art New York, November 15, 2004—The newly renovated and expanded Museum of Modern Art, opening on November 20, 2004, will present the Museum’s renowned collection of painting and sculpture in a completely new reinstallation that dynamically illustrates the movements, artists, and influences that have shaped modern and contemporary art over the last 125 years. Works from the collection will be exhibited on three floors of expansive galleries, including the Museum’s first galleries devoted exclusively to contemporary art. Architect Yoshio Taniguchi has designed suites of carefully calibrated spaces in which to trace the developments of art from the late 19th century to the present day, following a layout established by John Elderfield, The Marie-Josée and Henry Kravis Chief Curator of Painting and Sculpture, in collaboration with Jerome Neuner, Director of Exhibition Design and Production. Though works from the collection are exhibited in an essentially chronological sequence, the galleries’ distinctive design allows that progression to be non-linear, thus emphasizing how artists, movements, and styles coincided, competed with each other, and broke new ground in the evolution of modern art. Each gallery is a cohesive presentation relating an episode in the history of modern art; while each individual gallery constitutes an integral part of the larger narrative, it can also stand alone as a self-contained chapter within that story. “The most wonderful aspect of the new MoMA building from a curator’s point of view is that it allows us to look at the collection anew,” said Mr. -
Bustersimpson-Surveyor.Pdf
BUSTER SIMPSON // SURVEYOR BUSTER SIMPSON // SURVEYOR FRYE ART MUSEUM 2013 EDITED BY SCOTT LAWRIMORE 6 Foreword 8 Acknowledgments Carol Yinghua Lu 10 A Letter to Buster Simpson Charles Mudede 14 Buster Simpson and a Philosophy of Urban Consciousness Scott Lawrimore 20 The Sky's the Limit 30 Selected Projects 86 Selected Art Master Plans and Proposals Buster Simpson and Scott Lawrimore 88 Rearview Mirror: A Conversation 100 Buster Simpson // Surveyor: Installation Views 118 List of Works 122 Artist Biography 132 Maps and Legends FOREWORD WOODMAN 1974 Seattle 6 In a letter to Buster Simpson published in this volume, renowned Chinese curator and critic Carol Yinghua Lu asks to what extent his practice is dependent on the ideological and social infrastructure of the city and the society in which he works. Her question from afar ruminates on a lack of similar practice in her own country: Is it because China lacks utopian visions associated with the hippie ethos of mid-twentieth-century America? Is it because a utilitarian mentality pervades the social and political context in China? Lu’s meditations on the nature of Buster Simpson’s artistic practice go to the heart of our understanding of his work. Is it utopian? Simpson would suggest it is not: his experience at Woodstock “made me realize that working in a more urban context might be more interesting than this utopian, return-to-nature idea” (p. 91). To understand the nature of Buster Simpson’s practice, we need to accompany him to the underbelly of the city where he has lived and worked for forty years. -
A Brainy Timber Heiress with a Passion for Sculpture, Virginia Wright
A brainy timber heiress with a passion for sculpture, Virginia Wright brought some of the nation’s best contemporary artists Museum Whatcom Jack Carver by (’40); courtesyPhoto to Western’s Outdoor Sculpture Collection By Sheila Farr (’94) Virginia Wright (right) poses with Mark di Suvero as he assembles “For Handel” in 1974. Wright bought the soaring I-beam sculpture for Western after losing out on a different di Suvero work that would eventually resurface at Dartmouth College. ow much art can you buy with a million bucks? Those are qualities that set that Virginia Wright and her late That was the question Virginia Wright faced in 1969, husband, Bagley, apart from the crowd and made them a power whenH her father, Northwest timber baron Prentice Bloedel, couple whose impact on this region’s cultural life began well gave her a million dollar endowment and a mandate to buy before Prentice Bloedel endowed the Virginia Wright Fund. public artworks for the region. Their work has since extended far beyond it. Mr. Bloedel’s gift came as a surprise: He didn’t really like For starters, Bagley Wright was president of Pentagram, the contemporary art. But he knew what made his daughter tick corporation that built that quirky tower for the 1962 Century – and that she had the passion, the knowledge and the connec- 21 World’s Fair. Who knew the Space Needle would become tions to make his investment a pretty safe bet. Seattle’s premier landmark? At a time when Seattle’s theatrical He was right. Since that time, the Virginia Wright Fund scene was nearly non-existent, Bagley helped found the Seattle has reshaped the landscape of Northwest art and provided the Repertory Theater and served as its first president. -
The Artists' View of Seattle
WHERE DOES SEATTLE’S CREATIVE COMMUNITY GO FOR INSPIRATION? Allow us to introduce some of our city’s resident artists, who share with you, in their own words, some of their favorite places and why they choose to make Seattle their home. Known as one of the nation’s cultural centers, Seattle has more arts-related businesses and organizations per capita than any other metropolitan area in the United States, according to a recent study by Americans for the Arts. Our city pulses with the creative energies of thousands of artists who call this their home. In this guide, twenty-four painters, sculptors, writers, poets, dancers, photographers, glass artists, musicians, filmmakers, actors and more tell you about their favorite places and experiences. James Turrell’s Light Reign, Henry Art Gallery ©Lara Swimmer 2 3 BYRON AU YONG Composer WOULD YOU SHARE SOME SPECIAL CHILDHOOD MEMORIES ABOUT WHAT BROUGHT YOU TO SEATTLE? GROWING UP IN SEATTLE? I moved into my particular building because it’s across the street from Uptown I performed in musical theater as a kid at a venue in the Seattle Center. I was Espresso. One of the real draws of Seattle for me was the quality of the coffee, I nine years old, and I got paid! I did all kinds of shows, and I also performed with must say. the Civic Light Opera. I was also in the Northwest Boy Choir and we sang this Northwest Medley, and there was a song to Ivar’s restaurant in it. When I was HOW DOES BEING A NON-DRIVER IMPACT YOUR VIEW OF THE CITY? growing up, Ivar’s had spokespeople who were dressed up in clam costumes with My favorite part about walking is that you come across things that you would pass black leggings. -
Teresita Fernández
TERESITA FERNÁNDEZ Born Miami, FL, 1968 Lives Brooklyn, NY EDUCATION 1992 MFA, Virginia Commonwealth University, Richmond, VA 1990 BFA, Florida International University, Miami, FL HONORS AND DISTINCTIONS 2017 National Academician, National Academy Museum & School, New York, NY Mayoral Advisory Commission on City Art, Monuments, and Markers, New York, NY The Drawing Center 40th Anniversary Honoree, New York, NY 2016 Visionary Artist Honoree, Art in General, New York, NY 2013 Aspen Award for Art, The Aspen Art Museum, Aspen, CO 2011 Presidential Appointment to the U.S. Commission of Fine Arts (served until 2014) 2005 MacArthur Foundation Fellowship 2003 Guggenheim Fellowship, New York, NY 1999 Louis Comfort Tiffany Biennial Award American Academy in Rome, Affiliated Fellowship 1995 National Foundation for Advancement in the Arts, CAVA Fellowship Metro-Dade Cultural Consortium Grant 1994 NEA Individual Artist's Grant, Visual Arts Cintas Fellowship COMMISSIONS AND SPECIAL PROJECTS 2019 Night Writing, Park Tower at Transbay, San Francisco, CA New Orleans Museum of Art Commission, New Orleans, LA 2015 Double Glass River, Grace Farms, New Canaan, CT Fata Morgana, Madison Square Park, New York, NY* 2014 Golden (Panorama), Aspen Art Museum, Elk Camp, Aspen, CO 2013 Nocturnal (Navigation), United States Coast Guard, Washington, D.C. 2012 Yellow Mountains, Louis Vuitton Shanghai, Shanghai, China Ink Sky, Louis Vuitton Place Vendôme, Paris, France 2010 Angel Building Commission, London, United Kingdom Louis Vuitton Commission, Biennale des Antiquaries, -
Oral History Interview with Jon Shirley, 2018 August 7-8
Oral history interview with Jon Shirley, 2018 August 7-8 Funding for this interview was provided by Barbara Fleischman. 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 Jon Shirley on August 7 and 8, 2018. The interview took place at the home of Jon Shirley in Medina, Washington, and was conducted by Mija Riedel for the Archives of American Art, Smithsonian Institution, and the Frick Collection. Jon Shirley and Mija Riedel have reviewed this transcript. Their corrections and emendations appear below in brackets with initials. 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 MIJA RIEDEL: This is Mija Riedel with Jon Shirley at his home in—Medina? JON SHIRLEY: Yes. MIJA RIEDEL: Medina, Washington, on August 7, 2018, for the Archives of American Art, Smithsonian Institution, and the Frick Collection. This is card number one. So, thank you for making time today and for showing me the extraordinary collection before we started. That was a real treat. JON SHIRLEY: Well, you're welcome. MIJA RIEDEL: So this house, as we were saying, was built in 2001 to house your collection. JON SHIRLEY: That's right. MIJA RIEDEL: Are the cars here as well? JON SHIRLEY: No, the cars are in a warehouse—that's about 12 minutes away. MIJA RIEDEL: Okay. -
Former Unocal Seattle Marketing Terminal, 3001 Elliott Avenue, Seattle, Washington
Imagine the result Chevron Environmental Management Company 2010 Summary Report and Risk Evaluation Former Unocal Seattle Marketing Terminal 3001 Elliott Avenue Seattle, Washington February 1, 2011 Table of Contents Acronyms and Abbreviations vi Executive Summary ES-1 1. Introduction 1 2. Site Background 2 2.1 Constituents of Concern 2 2.2 Elliott Avenue Area 3 2.3 Offsite Area 5 2.4 Geology and Hydrology 7 2.4.1 Elliott Avenue Area Geology 7 2.4.2 Offsite Area Geology 8 2.4.3 Groundwater Flow Direction and Gradient 8 2.4.4 Tidal Effects on Groundwater 9 2.5 Historical LNAPL Characterization 9 2.6 Second Semiannual Groundwater Monitoring Results 10 3. Subsurface Microbiological Characterization 11 4. Natural Attenuation Monitoring 13 4.1 Results 14 4.1.1 Elliott Avenue Area 14 4.1.2 Offsite Area 15 4.2 Capacity for Intrinsic Biodegradation of Petroleum Hydrocarbons 18 5. Piezometer Installation 20 5.1 Offsite Area Piezometer Installation 20 5.2 Elliott Avenue Piezometer Installation 21 5.3 Piezometer Installation Analytical Results 22 5.3.1 Offsite Area 22 5.3.2 Elliott Avenue Area 23 2010 Summary Report and Risk Evaluation_Former Unocal Seattle Marketing Terminal_020111 i Table of Contents 6. Well Development 24 6.1 New Piezometer Development 24 6.2 Existing Monitoring Well Redevelopment 25 7. Surfactant-Enhanced LNAPL Recovery Pilot Testing 26 7.1 Injection Methods 26 7.2 Injection Monitoring 26 7.3 Surfactant Extraction 28 7.4 Surfactant Monitoring Results 29 7.5 Surfactant-Enhanced LNAPL Recovery Pilot Test Conclusions 30 8. Hydraulic Conductivity Testing 31 8.1 Oil-Water Separator Maintenance 31 8.2 Pumping Tests 31 8.2.1 Step Drawdown Testing Field Methods and Results 31 8.2.2 Constant Rate Pumping Tests 35 8.3 Constant Rate Pumping Test Data Analysis 36 8.4 Constant Rate Pumping Test Results 37 8.5 MW-205 LNAPL Observation 40 9. -
Eun Sun Kim Conducts Prokofiev Price & Tchaikovsky
MARCH 2020 THOMAS DAUSGAARD, MUSIC DIRECTOR EUN SUN KIM CONDUCTS PROKOFIEV PRICE & TCHAIKOVSKY DAUSGAARD CONDUCTS STRAUSS’ SALOME ALSO THIS MONTH AUBREY LOGAN COUNT BASIE ORCHESTRA Trim: 8.375” x 10.875” Bleed: 8.625” x 11.125” My legacy. My partner. You have dreams. Goals you want to achieve during your lifetime and a legacy you want to leave behind. The Private Bank can help. Our highly specialized and experienced wealth strategists can help you navigate the complexities of estate planning and deliver the customized solutions you need to ensure your wealth is transferred according to your wishes. Take the first step in ensuring the preservation of your wealth for your lifetime and future generations. To learn more, please visit unionbank.com/theprivatebank or contact: Bjorn Stehr Director, Private Wealth Advisor 206-793-4120 [email protected] Wills, trusts, foundations, and wealth planning strategies have legal, tax, accounting, and other implications. Clients should consult a legal or tax advisor. ©2020 MUFG Union Bank, N.A. All rights reserved. Member FDIC. Union Bank is a registered trademark and brand name of MUFG Union Bank, N.A. CONTENTS MARCH 2020 4 / Calendar 6 / The Orchestra 54 / Benaroya Hall Guide FEATURES 5 / Community Connections 7 / Meet the Musicians 10 / On a High Note 12 / In Conversation with Thomas Dausgaard 55 / The Lis(z)t CONCERTS 14 / March 3 Aubrey Logan with the Seattle Symphony 17 / March 6 & 7 Bach & Telemann 23 / March 8 Celebrate Asia 26 / March 12 & 14 Tchaikovsky Symphony No. 5 AUBREY LOGAN 31 / March 13 14 Tchaikovsky Untuxed 33 / March 19 & 21 R. -
The Museum of Modern Art NO
"^ M \ The Museum of Modern Art NO. 119 11 west 53 Street, New York, N.Y. 10019 Tel. 956-6100 Cable: Modernart FOR RELEASE: OCT. 21, 1971 PRESS PREVIEW: OCT. 19,1971 11 am - 4 pm FIRST BARNETT NEWMAN RETROSPECTIVE AT THE MUSEUM OF MODERN ART The first major retrospective exhibition of work by Barnett Newman (1905-1970), one of the most original and influential of the band of artists that emerged in the decade after World War II, will be on view at The Museum of Modern Art from October 21 through January 10, 1972. The large size of certain of his pioneering canvases, the purity and drama of his color, and above all the immediacy and simple splendor of his art especially re commended it to the younger abstract painters who were searching for their ovm styles in the late 1950s and early 1960s. This exhibition of more than 160 works traces his development from the lyrical "cosmic landscapes" of the early years through the monumen tal, color-saturated canvases of his breakthrough period, including Vir Heroicus Sublimis, (1950-1951 )and Cathedra (1951) . Among the 77 paintings, dating from 1945 through 1970, are four important late canvases never before shown: Who's Afraid of Red, Yellow and Blue IV of 1969-70, and Midnight Blue, Be I (Second Version)and Untitled, all of 1970. All 14 paintings in The Stations of the Cross series are included, as well as Newman's six sculptures, together for the first time, and installed in the Museum Garden. His largest, the monumental Broken Obelisk, was given to the Museum on the occasion of the opening. -
Themenilcollection
To S. Shepherd 1.5 miles West Alabama west Parking n o t s u o MENIL BISTRO H A John & Dominique , MENIL TH E COLLECTION n BOOKS TORE o s t r de Menil e Sul Ros s b o R - e y e e MENIL y k l s The story of the Menil c Rothko i r l D E F n Guide H o r e Chapel : r o e G d m Universi ty of t Collection begins in France o B C p b t n t n l o u a St. Thomas b o u THE MENI L Y with the 1931 marriage of o s t i r M M M p COL LECTI ON a o P H t , John de Menil (190 4–73 ), , P s h G p A a r Branard D a young banker from a g A o / t o k k h CY TWOMBLY r P o r mili tary family, and Y a GALLERY w John and Dominique de Menil, 1967 t BYZANTINE n e o s t N Dominique Schlumberger s FRESCO , u u ) o S a R CHAPEL H West Mai n r , A (1908–97), daughter of Conrad Schlum berger, one of the ( n o y G s o t t e t r Parking i e c t founders of the oil services company Schlumberger, Ltd. b o S e o R s r t Max Ernst, - y h o The de Menils left France during World War II, making e g i k R c L Le surreálisme et i Col quitt s H t s : Col quitt i their way to Houston, where John would eventually direct la peinture (Surrealism t h r p A a and Painting ), 1942 r 5 g 1 Schlumberger’s worldwide operations. -
Minimal Art and Body Politics in New York City, 1961-1975 By
Minimal Art and Body Politics in New York City, 1961-1975 by Christopher M. Ketcham M.A. Art History, Tufts University, 2009 B.A. Art History, The George Washington University, 1998 SUBMITTED TO THE DEPARTMENT OF ARCHITECTURE IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN ARCHITECTURE: HISTORY AND THEORY OF ART AT THE MASSACHUSETTS INSTITUTE OF TECHNOLOGY SEPTEMBER 2018 © 2018 Christopher M. Ketcham. All rights reserved. The author hereby grants to MIT permission to reproduce and to distribute publicly paper and electronic copies of this thesis document in whole or in part in any medium now known or hereafter created. Signature of Author:__________________________________________________ Department of Architecture August 10, 2018 Certified by:________________________________________________________ Caroline A. Jones Professor of the History of Art Thesis Supervisor Accepted by:_______________________________________________________ Professor Sheila Kennedy Chair of the Committee on Graduate Students Department of Architecture 2 Dissertation Committee: Caroline A. Jones, PhD Professor of the History of Art Massachusetts Institute of Technology Chair Mark Jarzombek, PhD Professor of the History and Theory of Architecture Massachusetts Institute of Technology Tom McDonough, PhD Associate Professor of Art History Binghamton University 3 4 Minimal Art and Body Politics in New York City, 1961-1975 by Christopher M. Ketcham Submitted to the Department of Architecture on August 10, 2018 in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Architecture: History and Theory of Art ABSTRACT In the mid-1960s, the artists who would come to occupy the center of minimal art’s canon were engaged with the city as a site and source of work. -
View Brochure (PDF)
A NORTHWEST SUMMER MAY 4–OCTOBER 15, 2006 6 EXHIBITIONS * 1 CELEBRATION A NORTHWEST SUMMER Public Opening Celebration Saturday, May 6, 10 a.m.–5 p.m. The Northwest offers a great way of life and remarkable history that deserves to be appreciated in a big way. Our special exhibit, A Northwest Summer, will do just that. To kick off the tribute, we’re hosting a fusion of art activities and entertainment that contribute to making this region special. Come join the celebration—enjoy an art activity, watch an Asian art demonstration, listen to live music and shop the eclectic, uniquely Northwest crafts of “I Heart Rummage.” For more information, check out seattleartmuseum.org. Director’s Welcome As we look forward—to the opening of above: Trimpin, U.S.A., born Germany 1951, drawing for Picnics, Rhythms and Vacations installation, 2006; cover: Trimpin, The Orange Piano, Lake Union, the Olympic Sculpture Park this fall and Seattle, 2003. Photo: Theo Bernardi. In this work, a hydrophone records underwater sound pollution, creating an audio signal, which becomes information played automatically by the piano. to the re-opening of the expanded downtown museum next spring—we have naturally looked back, reflecting on the amazing seventy-five years of growth that Trimpin: Picnics, Rhythms and Vacations the Seattle Art Museum has experienced. August 8–October 15, 2006 Milestones of that history are noted in the timeline, putting the past in context for Picnics, Rhythms and Vacations, 2006, a new installation by musician, sculptor and composer Trimpin, the celebrations in Volunteer Park this will be presented at the Seattle Asian Art Museum.