Checklist of Anniversary Acquisitions
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
La Huella Majistral for Divi
Majestic Impression La Huella Magistral September 22 through October 28, 2017 Curated by Nitza Tufiño Jaime Montiel Rini -Templeton This exhibition features the works of artists printmakers who are members of the ''Consejo Grafico '' (The Graphic Council), a national Latinx organization of ''Talleres'' printmaking workshops. The portfolio of prints is by selected artists, who have created original works honoring a master printmaker who has influenced him or her. The featured artists are Rene Arceo; Pepe Coronado; Francisco X Siqueiros; Marianne Sadowski; Kay Brown; Poli Marichal; Juan R Fuentes; Richard Xavier Serment; Ramiro Rodriguez; Joe Segura; Paul del Bosque; Sandra C Fernandez; Maceo Montoya; Lezlie Salkowitz Montoya; Malaquias Montoya; Loanda Lozano; Nitza Tufiño; Betty Cole; Eliezer Berrios; and Marcos Dimas. In addition, during this event, there will be an adjoining exhibit featuring the work from members of the Dominican York Proyecto GRAFICA (DYPG) and Taller Boricua’s Rafael Tufiño Printmaking Workshop. Since 2000, a group of independent printmaking workshops began to form a coalition, the CONSEJO GRÁFICO, to "advance Latino printmakers' capacity and legacy in the United States." This beautiful series of prints constitutes their third Portfolio Exchange. The Portfolio, an edition of 30, gathers 19 participating artists, each contributing to print MAJESTIC IMPRESIONS 2017 1 The Portfolio's title, LA HUELLA MAGISTRAL: HOMAGE TO MASTER PRINTMAKERS, reveals the charitable purpose of the participating artists: to honor their teachers — master printmakers who taught, mentored, or inspired them. These artists share moral values and social ideals with those who inspired them: the defense of poor and oppressed peoples, solidarity with workers, a commitment to public education. -
Annual Report 2018–2019 Artmuseum.Princeton.Edu
Image Credits Kristina Giasi 3, 13–15, 20, 23–26, 28, 31–38, 40, 45, 48–50, 77–81, 83–86, 88, 90–95, 97, 99 Emile Askey Cover, 1, 2, 5–8, 39, 41, 42, 44, 60, 62, 63, 65–67, 72 Lauren Larsen 11, 16, 22 Alan Huo 17 Ans Narwaz 18, 19, 89 Intersection 21 Greg Heins 29 Jeffrey Evans4, 10, 43, 47, 51 (detail), 53–57, 59, 61, 69, 73, 75 Ralph Koch 52 Christopher Gardner 58 James Prinz Photography 76 Cara Bramson 82, 87 Laura Pedrick 96, 98 Bruce M. White 74 Martin Senn 71 2 Keith Haring, American, 1958–1990. Dog, 1983. Enamel paint on incised wood. The Schorr Family Collection / © The Keith Haring Foundation 4 Frank Stella, American, born 1936. Had Gadya: Front Cover, 1984. Hand-coloring and hand-cut collage with lithograph, linocut, and screenprint. Collection of Preston H. Haskell, Class of 1960 / © 2017 Frank Stella / Artists Rights Society (ARS), New York 12 Paul Wyse, Canadian, born United States, born 1970, after a photograph by Timothy Greenfield-Sanders, American, born 1952. Toni Morrison (aka Chloe Anthony Wofford), 2017. Oil on canvas. Princeton University / © Paul Wyse 43 Sally Mann, American, born 1951. Under Blueberry Hill, 1991. Gelatin silver print. Museum purchase, Philip F. Maritz, Class of 1983, Photography Acquisitions Fund 2016-46 / © Sally Mann, Courtesy of Gagosian Gallery © Helen Frankenthaler Foundation 9, 46, 68, 70 © Taiye Idahor 47 © Titus Kaphar 58 © The Estate of Diane Arbus LLC 59 © Jeff Whetstone 61 © Vesna Pavlovic´ 62 © David Hockney 64 © The Henry Moore Foundation / Artists Rights Society (ARS), New York 65 © Mary Lee Bendolph / Artist Rights Society (ARS), New York 67 © Susan Point 69 © 1973 Charles White Archive 71 © Zilia Sánchez 73 The paper is Opus 100 lb. -
The School of Paris Catalogue
THE SCHOOL OF PARIS 12 MARCH - 28 APRIL 2016 Francis Bacon (1909 - 1992) Title: Woodrow Wilson, Paris, 1919, from Triptych (1986-1987) Medium: Original Etching and aquatint in colours, 1986/8, on wove paper, with full margins, signed by the artist in pencil Edition: 38/99 - There were also 15 Hors Commerce copies There were also 15 artists proofs in Roman numerals. Literature: Bruno Sabatier, "Francis Bacon: Oeuvre Graphique-Graphic Work. Catalogue Raisonné", JSC Modern Art Gallery, París 2012 Note: The present work is taken from an old press cutting of Woodrow Wilson in Paris for the Peace Conference of 1919. It was originally part of a triptych of works which included a study for the portraits of John Edwards and a Photograph of Totsky studio in Mexico in 1940. Woodrow Wilson (1856 - 1924) was the 28th President of the United States, elected President in 1912 and again in 1916. Published by: Editions Poligrafa, Barcelona, Spain Size: P. 25½ x 19¼ in (648 x 489 mm.) S. 35¼ x 24½ in. (895 x 622 mm.) George Braque (1882 - 1963) Title: Feuillage en couleurs Foliage in colours Medium: Etching in colours, circa 1956, on BFK Rives watermarked paper, signed by the artist in pencil, with blindstamp "ATELIER CROMMELYNCK PRESSES DUTROU PARIS" Size: Image size: 440 x 380 MMS ; Paper size 500 X 670 mms Edition: XVI/XX Publisher: The Society des Bibliophiles de France, Paris Note: There was also a version of this in Black and White which was possibly a state of our piece (Vallier 106) Reference: Dora Vallier “Braque: The Complete Graphics” Number 105 after George Braque (1882 - 1963) Title: Les Fleurs Violets Bouquet des Fleurs Medium: Etching and Aquatint in colours, circa 1955/60, on Arches watermarked paper, signed by the artist in pencil, with blindstamp "ATELIER CROMMELYNCK PARIS" Size: Image size: 19 in x 11 5/8 in (48.3 cm x 29.5 cm) ; Paper size 26 in x 19 3/4 in (66 cm x 50.2 cm) Edition: 92/200 - There was also an edition of 50 on Japan paper. -
SCHEMA 2019 to 2020.Pdf
schema / 2019–2020 the year in review THE YEAR IN REVIEW 2019–2020 schema 2019–2020 THE YEAR IN REVIEW 4 SCMA100 \ the making of a museum From the Director Diversity, Equity, Accessibility and Inclusion at SCMA Faculty Perspective: Matt Donovan 18 connecting people to art ON VIEW July 2019–June 2020 The smith college Younès Rahmoun: Scholarly Convening and Performance Defiant Vision: Prints & Poetry by Munio Makuuchi museum of art A Dust Bowl of Dog Soup: Picturing the Great Depression Buddhas | Buddhisms: Across and Beyond Asia cultivates inquiry Black Refractions: Highlights from The Studio Museum in Harlem Museum Studies Course and reflection Program Highlights by connecting people to art, The Ancient World Gallery: A Reinstallation 36 connecting people to ideas ideas and each other A Place for Connection Academic Engagement: Teaching and Learning with the Collection Museums Concentration Museums Today Student Engagement: Remote Internship Program Student Perspective: Molly McGehee ‘21 Tryon Prizes for Writing and Art 2020 Student Perspective: Hannah Gates ‘22 Dancing the Museum Amanda Williams: 17th Annual Miller Lecturer in Art and Art History 50 connecting people to each other Member Engagement Membership Program Highlights Student Perspective: Emma Guyette ‘20 SCMA100 Gala Supporters Advisory Groups Gifts to the Museum Honoring Joan Lebold Cohen ‘54 66 art acquisition highlights 72 gifts and purchases of art 84 parting words and more Parting Words SCMA by the Numbers Museum Staff/Student Assistants the making of a museum from the director THE MAKING OF A MUSEUM is as layered as the works inside its walls. It raises questions about who we are and who we want to be; what we do and why we do it; who our audiences are and how best to serve them. -
The Wood Turning Center Is a Non-Profit Arts Institution Dedicated
Chronological List of Exhibitions & Publications The Center for Art in Wood 141 N. 3rd Street | Philadelphia, PA 19106 | 215-923-8000 Exhibitions in italics were accompanied by publications. Title of exhibition catalogue is listed with its details. 2012 Hooked on Wood: The Allure of the Fish Decoy, The Center for Art in Wood, May 18 – July 21, 2012, Curated by Dick Walters, Adviser Gene Kangas. Hooked on Wood, showcases modern wood fish decoys and highlights historical works as early as 3000 years ago. Today fish decoys are appreciated for their beauty as polychrome sculptures and are evaluated on their ability to move in the water to attract real fish. Families and people of all ages will be astonished and delighted at the utter creativity and craftsmanship in this exhibit. Over 100 fish decoys are on display: Ice spearing decoys – a handmade utilitarian tool, trophy fish – decorative piscatorial portraits, and folk sculpture. 2012 Life Aquatic, The Center for Art in Wood, May 18 – July 21, 2012. In conjunction with Hooked on Wood, The Center invited six artists to exhibit work inspired by and in response to themes of sea life. Pulling inspiration from water, sea animals and plants the artists produced captivating sculptures, wall hangings, and even imaginative creatures that may lurk in the abyss. Exhibited Artists: Michael De Forest, Satoshi Fujinuma, Michael Hosulak, Janel Jacobson, Merryll Saylan, and David Sengel. 2011 Turning to Art in Wood: A Creative Journey, The Center for Art in Wood, November 4, 2011 – April 21, 2012. Curator: Gerard Brown. Celebrating the 25th anniversary of Philadelphia’s renowned Wood Turning Center as it takes a new name—The Center for Art in Wood—and moves to an exciting new location among the art galleries in Old City. -
2013 Issue #5
Flint Institute of Arts fiamagazineNOV–DEC 2013 Website www.flintarts.org Mailing Address 1120 E. Kearsley St. contents Flint, MI 48503 Telephone 810.234.1695 from the director 2 Fax 810.234.1692 Office Hours Mon–Fri, 9a–5p exhibitions 3–4 Gallery Hours Mon–Wed & Fri, 12p–5p Thu, 12p–9p video gallery 5 Sat, 10a–5p Sun, 1p–5p art on loan 6 Closed on major holidays Theater Hours Fri & Sat, 7:30p featured acquisition 7 Sun, 2p acquisitions 8 Museum Shop 810.234.1695 Mon–Wed, Fri & Sat, 10a–5p Thu, 10a–9p films 9–10 Sun, 1p–5p calendar 11 The Palette 810.249.0593 Mon–Wed & Fri, 9a–5p Thu, 9a–9p news & programs 12–17 Sat, 10a–5p Sun, 1p–5p art school 18–19 The Museum Shop and education 20–23 The Palette are open late for select special events. membership 24–27 Founders Art Sales 810.237.7321 & Rental Gallery Tue–Sat, 10a–5p contributions 28–30 Sun, 1p–5p or by appointment art sales & rental gallery 31 Admission to FIA members .............FREE founders travel 32 Temporary Adults .........................$7.00 Exhibitions 12 & under .................FREE museum shop 33 Students w/ ID ...........$5.00 Senior citizens 62+ ....$5.00 cover image From the exhibition Beatrice Wood: Mama of Dada Beatrice Wood American, 1893–1998 I Eat Only Soy Bean Products pencil, color pencil on paper, 1933 12.0625 x 9 inches Gift of Francis M. Naumann Fine Art, LLC, 2011.370 FROM THE DIRECTOR 2 I never tire of walking through the sacred or profane, that further FIA’s permanent collection galleries enhances the action in each scene. -
Ammi Phillips's Portraits with Animals
Atntni Phillips's Portraits with Anitnals by Leigh Rehner Jones and Shirley A. Mearns mmi Phillips (1788-1865), the nineteenth-century portrait artist, spent most of his working life in the Hudson Valley, where he painted its people-and yes, a few of its animals , too. Two years ago, his POTtrait of a GiTl in a Red DTess sold A I for $682,000, a record price for a work by this extraordinarily pro lific artist who painted more than five hundred portraits during a career spanning at least fifty years. 2 Nineteen of the surviving portraits by Ammi Phillips depict ani mals, and these are some of the most appealing works by the Con necticut-born artist. The child he painted in Portrait of a Gid in a Red DTess is charming; equall y charming is the brown-and-white beagle like dog at her feet. Together they make an especiall y winning double portrait. While the people in Phillips's portraits are sometimes identified, more frequently their names are unknown. This anonym ity extends as we ll to the animals in his paintings. Cats and dogs are nearly always found with child ren, but in two portraits of adults, a horse and a team of oxen are painted which are undoubtedly clues to the sitters' professions. 62 The Hudson Valley Regional Review, September 1987, Volu me 4, Number 2 D r. Cornelius Allerton (1779-1855) was painted about 1825 in Pine Plains, Dutchess County, New York, where he practiced medicine. He was recalled later as having "perceptive faculties of high order" and as "quick and correct in diagnosis, and a bold yet carefuI prac titioner. -
HARD FACTS and SOFT SPECULATION Thierry De Duve
THE STORY OF FOUNTAIN: HARD FACTS AND SOFT SPECULATION Thierry de Duve ABSTRACT Thierry de Duve’s essay is anchored to the one and perhaps only hard fact that we possess regarding the story of Fountain: its photo in The Blind Man No. 2, triply captioned “Fountain by R. Mutt,” “Photograph by Alfred Stieglitz,” and “THE EXHIBIT REFUSED BY THE INDEPENDENTS,” and the editorial on the facing page, titled “The Richard Mutt Case.” He examines what kind of agency is involved in that triple “by,” and revisits Duchamp’s intentions and motivations when he created the fictitious R. Mutt, manipulated Stieglitz, and set a trap to the Independents. De Duve concludes with an invitation to art historians to abandon the “by” questions (attribution, etc.) and to focus on the “from” questions that arise when Fountain is not seen as a work of art so much as the bearer of the news that the art world has radically changed. KEYWORDS, Readymade, Fountain, Independents, Stieglitz, Sanitary pottery Then the smell of wet glue! Mentally I was not spelling art with a capital A. — Beatrice Wood1 No doubt, Marcel Duchamp’s best known and most controversial readymade is a men’s urinal tipped on its side, signed R. Mutt, dated 1917, and titled Fountain. The 2017 centennial of Fountain brought us a harvest of new books and articles on the famous or infamous urinal. I read most of them in the hope of gleaning enough newly verified facts to curtail my natural tendency to speculate. But newly verified facts are few and far between. -
A Finding Aid to the Charles Henry Hart Autograph Collection, 1731-1918, in the Archives of American Art
A Finding Aid to the Charles Henry Hart Autograph Collection, 1731-1918, in the Archives of American Art Jayna M. Josefson Funding for the processing of this collection was provided by the Terra Foundation for American Art 2014 February 20 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Scope and Contents........................................................................................................ 2 Arrangement..................................................................................................................... 2 Biographical / Historical.................................................................................................... 2 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Charles Henry Hart autograph collection, 1731-1918............................... 4 Series 2: Unprocessed Addition, 1826-1892 and undated..................................... 18 Charles Henry Hart autograph collection AAA.hartchar Collection -
New Textiles Inspired by Ikat - by Christina Maschke Degree Project Master of Fine Arts in Fashion and Textile Design with Specialization in Textile Design
THE PATTERNED THREAD - new textiles inspired by ikat - by Christina Maschke Degree Project Master of Fine Arts in Fashion and Textile Design with Specialization in Textile Design Title The patterned thread - new textiles inspired by ikat Author Christina Maschke Supervisor Margareta Zetterbloom Opponent Malene Kristiansen Examiner Hanna Landin Report No. 2016.6.05 The Swedish School of Textiles University of Borås Sweden Abstract The work of this MA thesis develops a new ap- proach to hand weaving in which the design pro- cess is led by the technique of resistant dyeing. The process is inspired by the visual properties of traditional ikats. It follows the technical ikat procedure of primary resistant dyeing and sub- sequently weaving. Whithin the research a new way of weaving is explored in which the dyed thread dictates the weaving process and therefore influences the weaving motif. In addition different design variables such as material, binding pattern and finishing are used to push forward the devel- oped concept. The aim of this work is to explore new aesthetic expressions between regular and irregular motifs through the application of design thinking. The result presents an innovative approach in the ikat technique in order to create random distrib- uted patterns and how they can be already influ- enced in the stage of yarn preparation. Keywords: ikat, indigo, resistant dyeing, craft, hand weaving 3 CONTENT 1 INTRODUCTION ....................................................................10 1.1 INTRODUCTION TO THE FIELD ......................................10 -
Old Ties and New Points
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 2000 Old Ties and New Points Keiko Kobayashi Ueno Gakuen Women’s College, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/tsaconf Kobayashi, Keiko, "Old Ties and New Points" (2000). Textile Society of America Symposium Proceedings. 806. https://digitalcommons.unl.edu/tsaconf/806 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Symposium Proceedings by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Old Ties and New Points Keiko Kobayashi This paper discusses the development and technical transfer of what is perhaps the world's tiniest double ikat, Kasuri, developed in Japan after the Meiji restoration of 1868. Around the early 20th century, Japanese Kasuri was at the zenith of its quality, in creating geometric as well as pictorial designs using a very advanced form of color and weave effect. There were three reasons for this development during this period. The first reason was in the improvement of the "Orijime" technique which is a uniquely Japanese method in making kasuri threads using the loom. The second reason was the importation of knowledge from Lyon, France, on how to use graph paper which greatly contributed to making the designs of the finished textile products more sophisticated and pictorial. The third reason was social in that during this period, there was a rise in the demand for clothing in Japan as the country was becoming modernized. -
Newsletter Fall 2011 DATED Decorative Arts Society Arts Decorative Secretary C/O Lindsy R
newsletter fall 2011 Volume 19, Number 2 Decorative Arts Society DAS Newsletter Volume 19 Editor Gerald W.R. Ward Number 2 Katharine Lane Weems Senior Curator Fall 2011 of American Decorative Arts and Sculpture The DAS Museum of Fine Arts, Boston The DAS Newsletter is a publication of Boston, MA the Decorative Arts Society, Inc. The pur- pose of the DAS Newsletter is to serve as a The Decorative Arts Society, Inc., is a not- forum for communication about research, Coordinator exhibitions, publications, conferences and Ruth E. Thaler-Carter in 1990 for the encouragement of interest other activities pertinent to the serious Freelance Writer/Editor in,for-profit the appreciation New York of,corporation and the exchange founded of study of international and American deco- Rochester, NY information about the decorative arts. To rative arts. Listings are selected from press pursue its purposes, the Society sponsors releases and notices posted or received Advisory Board meetings, programs, seminars, and a news- from institutions, and from notices submit- Michael Conforti letter on the decorative arts. Its supporters ted by individuals. We reserve the right to Director include museum curators, academics, col- reject material and to edit materials for Sterling and Francine Clark Art Institute lectors and dealers. length or clarity. Williamstown, MA The DAS Newsletter welcomes submis- Officers sions, preferably in digital format, submit- Wendy Kaplan President ted by e-mail in Plain Text or as Word Department Head and Curator, David L. Barquist attachments, or on a CD and accompanied Decorative Arts H. Richard Dietrich, Jr., Curator by a paper copy.