DOCSLIB.ORG

Marcia Tucker Papers, 1918-2007, Bulk 1957-2004

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Marcia Tucker Papers, 1918-2007, Bulk 1957-2004 http://oac.cdlib.org/findaid/ark:/13030/kt3f59r804 Online items available Finding aid for the Marcia Tucker papers, 1918-2007, bulk 1957-2004 Annette Leddy Finding aid for the Marcia Tucker 2004.M.13 1 papers, 1918-2007, bulk 1957-2004 Descriptive Summary Title: Marcia Tucker papers Date (inclusive): 1918-2007, bulk 1957-2005 Number: 2004.M.13 Creator/Collector: Tucker, Marcia Physical Description: 93.51 Linear Feet(205 boxes, 3 flat file folders) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles 90049-1688 [email protected] URL: http://hdl.handle.net/10020/askref (310) 440-7390 Abstract: Museum files, correspondence, writings and other materials pertinent to Marcia Tucker's career as curator at the Whitney Museum of American Art and founding director of the New Museum (New York, N.Y.). Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in English Biographical/Historical Note Marcia Tucker (1940-2006), American curator, art critic and museum director, studied art and art history at Connecticut College (B.A.) and New York University (M.A.) where she worked with Robert Goldwater. Starting out as an artist, she wrote reviews for art magazines, and cataloged and curated the private collections of Alfred and Margo Barr, and of William and Noma Copley. Finding she preferred the role of art interpreter and presenter, she accepted a position as curator at the Whitney Museum of American Art, where she soon distinguished herself as an innovator and advocate for the underrepresented American artists residing outside New York City, as well as for women artists, African American artists, folk artists, and other sorts of "outsiders." Insisting that the criteria for exhibiting contemporary art should never be those of the connoisseur, Tucker selected work that challenged, disturbed, and resisted interpretation. For this she was roundly criticized but not deterred from what she later called "a career built on bad reviews." Frequently traveling around the country and especially to California for studio visits, she developed friendships with artists whose work she exhibited, such as Terry Allen, John Baldessari, and Bruce Nauman. These unconventionally close relationships, and what is now seen as her groundbreaking exhibition on Richard Tuttle, possibly contributed to her being fired from the Whitney. In response, Tucker founded the first museum of contemporary art in New York, the New Museum. Working on a shoestring budget and with a small staff of like-minded individuals, Tucker experimented with presenting exhibitions that openly flaunted traditional art historical standards, such as "Bad" Painting (1978). At the same time, the museum was to be run as differently as possible from the hierarchical Whitney: all decisions were made collectively and by consensus. The challenges of maintaining this approach as the institution grew in size and budget made the New Museum, among other things, a laboratory for institutional innovation. The Museum soon acquired powerful supporters in Henry Luce III and Vera List, who helped to guide the institution toward greater financial stability. The museum's program continued to be focussed on the underrepresented, and perhaps less on the avant-garde per se. Among major exhibitions were the following: The Decade show (1984), Living Paintings (1988), Strange Attractors: Signs of Chaos (1989), Bad Girls (1994), and The Time of Our Lives (1999). Tucker retired in 2000 and died in 2006. Access Open for use by qualified researchers with the following exceptions: Marcia Tucker's manuscript, "A Short Life of Trouble," is sealed until 16 October 2106 (Box 72); Material in Series XIX (ADD 3) is restricted pending further evaluation by the estate. Audio visual material is unavailable until reformatting is complete. Contact the repository for information regarding access. Publication Rights Contact Library Reproductions and Permissions . Preferred Citation Marcia Tucker papers, 1957-2007. The Getty Research Institute, Los Angeles, Accession no. 2004.M.13 Finding aid for the Marcia Tucker 2004.M.13 2 papers, 1918-2007, bulk 1957-2004 http://hdl.handle.net/10020/cifa2004m13 Acquisition Information Acquired from Marcia Tucker, 2004. Processing History Annette Leddy processed and arranged the papers and wrote the finding aid in 2005. She also processed five shipments of additional materials. The first two additions, received in 2005, were integrated into the rest of the archive; a third addition, received in 2008, was not integrated and comprises Series XIX; a fourth ADD, received in 2012, forms Series XX, a fifth, consisting of a single DVD,was integrated into the DVDs in Series XIX (Box 23, DVD 12). Digitized Material Selected audio recordings have been digitized. Access is available on-site only: http://hdl.handle.net/10020/2004m13av Separated Material 200 monographs and circa 30 serials were transferred to the library. Scope and Content of Collection The collection documents Marcia Tucker's uniquely intertwined personal and professional activity from the beginning of her work as a curator at the Whitney Museum of American Art in 1968 through her retirement from the Founding Directorship of the New Museum in 2000. Museum files from the Whitney, comprising acquisitions, studio visits, interoffice memos, and minutes of meetings, reflect the institutional practices and aesthetic standards that Tucker ebulliently questioned. Her firing from the Whitney is portrayed in correspondence and clippings, as is her subsequent creation of an experimental institution, the New Museum. The evolution of Tucker's prescient, influential ideas about contemporary art, art exhibition, and museum management is evident in exhibition files, writings, lectures, and in her collection of writings by others. Correspondence reveals her close connection with artists throughout the U.S., and her exceptional capacity to inspire and relate to various types of people. There are relatively large files of letters from the artists Nicholas Africano, Terry Allen, John Baldessari, Bruce Nauman, Pat Steir, Jack Tworkov and Ree Morton. There is also a good amount of correspondence with Henry Luce III, whose support was critical to the New Museum's success. From the period prior to Tucker's term at the Whitney are letters from employers Margo Barr and William and Noma Copley, and a file of letters from Tucker's first husband, Michael Tucker. Arrangement note Arranged in 18 series: Series I. Museum files, 1965-2001 Series II. Correspondence, 1960-2003 Series III. Exhibitions, 1969-1999 Series IV. Artists' files, 1965-1999 Series V. Writings, 1957-2004 Series VI. Lectures, 1965-2002 Series VII. Teaching files, 1967-1978 Series VIII. Theater files, 1976-2000 Series IX. Notebooks, circa 1960-2004 Series X. Personal, 1960-2005 Series XI. Writings by others, circa 1964-2003 Series XII. Printed matter, 1967-2000 Series XIII. Visitor books, 1996,1999 Series XIV. Artwork, 1960-1993 Series XV. Slides, negatives and color photographs, circa 1968-2002 Series XVI. Videos, 1980-2003 Series XVII. Audio recordings, 1970-1993 Series XVIII. Diskettes, 1985-2001Series XIX. ADD3, 1918-2006 Series XX. ADD4, 1955-2007. Subjects - Names Tucker, Marcia Subjects - Corporate Bodies Whitney Museum of American Art New Museum of Contemporary Art (New York, N.Y.) Subjects - Topics Feminism and art -- United States Artists -- United States -- Correspondence Art, American-20th century Art museum curators-United States-Professional relationships Art critics-United States-Correspondence Museum curators -- United States -- Correspondence Exhibitions Genres and Forms of Material Sound recordings Paintings Phonograph records Finding aid for the Marcia Tucker 2004.M.13 3 papers, 1918-2007, bulk 1957-2004 Compact disks Drawings Videocassettes Photographic prints Audiocassettes Contributors Africano, Nicholas, 1948- Allen, Jo Harvey, 1942- Allen, Terry, 1943- Baldessari, John, 1931- Copley, Noma Luce, Henry, III, 1925-2005 Copley, William Nelson, 1919-1996 Nauman, Bruce, 1941- Morton, Ree, 1936-1977 Tucker, Marcia Tuttle, Richard, 1941- Tucker, Michael Tworkov, Jack Series I. Museum files, 1965-2001 Physical Description: 27 boxes Physical Description: 11.26 linear feet Scope and Content Note Files relating to the organization and management of museums, from the Whitney, where Tucker was a curator, to the New Museum, where she was the founding Director, and files of material regarding her travel arrangements for lectures and studio visits. Arranged in three subseries by date. Series I.A. Whitney Museum files, 1965-1977 Physical Description: 3 boxes Physical Description: 1.5 linear feet Scope and Content Note Minutes of meetings, records of studio visits, interoffice memos, acquisition lists, exhibition schedules. box 1, folder 1 Print acquisitions, 1965-1968 Physical Description: circa 20 pp. box 1, folder 2 Acquisitions, 1968 Physical Description: circa 30 pp. box 1, folder 3 Press releases, 1968-1969 Physical Description: circa 20 pp. 1969 Physical Description: 5 folders Finding aid for the Marcia Tucker 2004.M.13 4 papers, 1918-2007, bulk 1957-2004 Series I.Museum files, 1965-2001 Series I.A.Whitney Museum files, 1965-1977 box 1, folder 4 Print acquisitions committee Physical Description: circa 40 pp. box 1, folder 5 Acquisitions Physical Description: circa 40 pp. box 1, folder 6 Permanent
Load more

Recommended publications
  • Extended Sensibilities Homosexual Presence in Contemporary Art
    CHARLEY BROWN SCOTT BURTON CRAIG CARVER ARCH CONNELLY JANET COOLING BETSY DAMON NANCY FRIED EXTENDED SENSIBILITIES HOMOSEXUAL PRESENCE IN CONTEMPORARY ART JEDD GARET GILBERT & GEORGE LEE GORDON HARMONY HAMMOND JOHN HENNINGER JERRY JANOSCO LILI LAKICH LES PETITES BONBONS ROSS PAXTON JODY PINTO CARLA TARDI THE NEW MUSEUM FRAN WINANT EXTENDED SENSIBILITIES HOMOSEXUAL PRESENCE IN CONTEMPORARY ART CHARLEY BROWN HARMONY HAMMOND SCOTT BURTON JOHN HENNINGER CRAIG CARVER JERRY JANOSCO ARCH CONNELLY LILI LAKICH JANET COOLING LES PETITES BONBONS BETSY DAMON ROSS PAXTON NANCY FRIED JODY PINTO JEDD GARET CARLA TARDI GILBERT & GEORGE FRAN WINANT LE.E GORDON Daniel J. Cameron Guest Curator The New Museum EXTENDED SENSIBILITIES STAFF ACTIVITIES COUNCJT . Robin Dodds Isabel Berley HOMOSEXUAL PRESENCE IN CONTEMPORARY ART Nina Garfinkel Marilyn Butler N Lynn Gumpert Arlene Doft ::;·z17 John Jacobs Elliot Leonard October 16-December 30, 1982 Bonnie Johnson Lola Goldring .H6 Ed Jones Nanette Laitman C:35 Dieter Morris Kearse Dorothy Sahn Maria Reidelbach Laura Skoler Rosemary Ricchio Jock Truman Ned Rifkin Charles A. Schwefel INTERNS Maureen Stewart Konrad Kaletsch Marcia Thcker Thorn Middlebrook GALLERY ATTENDANTS VOLUNTEERS Joanne Brockley Connie Bangs Anne Glusker Bill Black Marcia Landsman Carl Blumberg Sam Robinson Jeanne Breitbart Jennifer Q. Smith Mary Campbell Melissa Wolf Marvin Coats Jody Cremin This exhibition is supported by a grant from the National Endowment for BOARD OF TRUSTEES Joanna Dawe the Arts in Washington, D.C., a Federal Agency, and is made possible in Jack Boulton Mensa Dente part by public funds from the New York State Council on the Arts. Elaine Dannheisser Gary Gale Library of Congress Catalog Number: 82-61279 John Fitting, Jr.
    [Show full text]
  • Museum of Arts and Design
    SPRING/SUMMER BULLETIN 2011 vimuseume of artsws and design Dear Friends, Board of Trustees Holly Hotchner LEWIS KRUGER Nanette L. Laitman Director Chairman What a whirlwind fall! Every event seemed in some way or another a new milestone for JEROME A. CHAZEN us all at 2 Columbus Circle. And it all started with a public program that you might have Chairman Emeritus thought would slip under the radar—Blood into Gold: The Cinematic Alchemy of Alejandro BARbaRA TOBER Chairman Emerita Jodorowsky. Rather than attracting a small band of cinéastes, this celebration of the Chilean- FRED KLEISNER born, Paris-based filmmaker turned into a major event: not only did the screenings sell Treasurer out, but the maestro’s master class packed our seventh-floor event space to fire-code LINDA E. JOHNSON Secretary capacity and elicited a write-up in the Wall Street Journal! And that’s not all, none other HOllY HOtcHNER than Debbie Harry introduced Jodorowsky’s most famous filmThe Holy Mountain to Director filmgoers, among whom were several downtown art stars, including Klaus Biesenbach, the director of MoMA PS1. A huge fan of this mystical renaissance man, Biesenbach was StaNLEY ARKIN DIEGO ARRIA so impressed by our series that beginning on May 22, MoMA PS1 will screen The Holy GEORGE BOURI Mountain continuously until June 30. And, he has graciously given credit to MAD and KAY BUckSbaUM Jake Yuzna, our manager of public programs, for inspiring the film installation. CECILY CARSON SIMONA CHAZEN MICHELE COHEN Jodorowsky wasn’t the only Chilean artist presented at MAD last fall. Several had works ERIC DObkIN featured in Think Again: New Latin American Jewelry.
    [Show full text]
  • Museum Show May 12–August 26, 2018
    5216 Montrose Boulevard Houston, Texas 77006 CAMH.ORG | #atCAMH Press Release Exhibition Cary Leibowitz: Museum Show May 12–August 26, 2018 Installation view of Cary Leibowitz: Museum Show (January 26–June 25, 2017) at The Contemporary Jewish Museum, San Francisco, California. Image courtesy The Contemporary Jewish Museum. Photo by JKA Photography. HOUSTON, TX (April 4, 2018)—The Contemporary Arts Museum Houston (CAMH) is #CaryLeibowitzCAMH pleased to present Cary Leibowitz: Museum Show, the first comprehensive career survey #atCAMH and solo museum exhibition of Leibowitz’s work. The exhibition features nearly 350 original @camhouston artworks from 1987 to the present, including paintings, fabric works, multiples, installations, documentation, photography, and ephemera. Cary Leibowitz: Museum Show has an opening reception on the evening of May 11 and will remain on view through August 26, 2018. New York–based artist Cary Leibowitz (b. 1963) creates bold, brightly colored, and comically self-effacing text-based works which draw on both a gay and Jewish perspective in order to address issues of identity, kitsch, modernist critique, and queer politics. Included in the exhibition are paintings that read, “Here I am please don’t be mean” and “I just got a pair of Gucci for Bergdorfs loafers for 50% off and I really do feel better.” A white porcelain fish- shaped dish reads, “Fucked up homo bar-mitzvah gay boy worries too much about what 1 5216 Montrose Boulevard Houston, Texas 77006 CAMH.ORG | #atCAMH Press Release his mother will wear.” Additionally,
    [Show full text]
  • Barbara Kruger Born 1945 in Newark, New Jersey
    This document was updated February 26, 2021. For reference only and not for purposes of publication. For more information, please contact the gallery. Barbara Kruger Born 1945 in Newark, New Jersey. Lives and works in Los Angeles and New York. EDUCATION 1966 Art and Design, Parsons School of Design, New York 1965 Syracuse University, Syracuse, New York SELECTED SOLO EXHIBITIONS 2021-2023 Barbara Kruger: Thinking of You, I Mean Me, I Mean You, Art Institute of Chicago [itinerary: Los Angeles County Museum of Art; The Museum of Modern Art, New York] [forthcoming] [catalogue forthcoming] 2019 Barbara Kruger: Forever, Amorepacific Museum of Art (APMA), Seoul [catalogue] Barbara Kruger - Kaiserringträgerin der Stadt Goslar, Mönchehaus Museum Goslar, Goslar, Germany 2018 Barbara Kruger: 1978, Mary Boone Gallery, New York 2017 Barbara Kruger: FOREVER, Sprüth Magers, Berlin Barbara Kruger: Gluttony, Museet for Religiøs Kunst, Lemvig, Denmark Barbara Kruger: Public Service Announcements, Wexner Center for the Arts, Columbus, Ohio 2016 Barbara Kruger: Empatía, Metro Bellas Artes, Mexico City In the Tower: Barbara Kruger, National Gallery of Art, Washington, DC 2015 Barbara Kruger: Early Works, Skarstedt Gallery, London 2014 Barbara Kruger, Modern Art Oxford, England [catalogue] 2013 Barbara Kruger: Believe and Doubt, Kunsthaus Bregenz, Austria [catalogue] 2012-2014 Barbara Kruger: Belief + Doubt, Hirshhorn Museum and Sculpture Garden, Washington, DC 2012 Barbara Kruger: Questions, Arbeiterkammer Wien, Vienna 2011 Edition 46 - Barbara Kruger, Pinakothek
    [Show full text]
  • Fall 2000 the Wallace Stevens Journal
    The Wallace Stevens Journal Special Issue: Stevens in Late 20th-Century Culture A Publication of The Wallace Stevens Society, Inc. Volume 24 Number 2 Fall 2000 The Wallace Stevens Journal Volume 24 Number 2 Fall 2000 Special Issue: Stevens in Late 20th-Century Culture Edited by Angus Cleghorn Contents Charles Baxter, August Kleinzahler, Adrienne Rich: Contemporary Stevensians and the Problem of “Other Lives” —Stephen Burt 115 Mark Strand’s Inventions of Farewell —Christopher R. Miller 135 Wallace Stevens, Armand Schwerner, and “The The” —Norman Finkelstein 151 Wallace Stevens and A. R. Ammons as Men on the Dump —Gyorgyi Voros 161 Wallace Stevens’ “Second Selves”and the Nostalgia of Discursiveness —Willard Spiegelman 176 Wallace Stevens’ Influence on the Construction of Gay Masculinity by the Cuban Orígenes Group —Eric Keenaghan 187 The Theoretical Afterlife of Wallace Stevens —Anca Rosu 208 Poems 221 Reviews 225 News and Comments 228 Cover Art from “The Man on the Dump” Charcoal drawing by Alexis W. Serio The Wallace Stevens Journal EDITOR John N. Serio POETRY EDITOR ART EDITOR BOOK REVIEW EDITOR H. L. Hix Kathryn Jacobi George S. Lensing EDITORIAL ASSISTANTS EDITORIAL BOARD Thomas O. Hodgson Milton J. Bates A. Walton Litz Maureen Kravec Jacqueline V. Brogan James Longenbach Hope Steele Robert Buttel Glen MacLeod Eleanor Cook Marjorie Perloff TECHNICAL ASSISTANTS Alan Filreis Joan Richardson Richard Austin B. J. Leggett Melita Schaum Claudette J. VanEss George S. Lensing Lisa M. Steinman The Wallace Stevens Society, Inc. PRESIDENT ADVISORY BOARD John N. Serio Milton J. Bates Joseph Duemer Owen E. Brady Kathryn Jacobi Robert Buttel George S.
    [Show full text]
  • Gail Roberts
    Gail Roberts EDUCATION 1974 M.A., University of New Mexico, Albuquerque, NM 1973 Fellowship, Yale University Summer School of Music and Art, Norfolk, CT 1973 B.F.A., University of New Mexico, Albuquerque, NM SELECTED SOLO EXHIBITIONS 2013 Spiral, New Paintings by Gail Roberts, Scott White Contemporary Art, La Jolla, CA 2011 Entanglement, Carnegie Museum, Oxnard, CA Entanglement, Luis De Jesus Los Angeles, Santa Monica, CA 2010 Appellations, Gail Roberts & Sondra Sherman, Athenaeum Music & Arts Library, La Jolla, CA Gail Roberts & David Adey, Art San Diego Contemporary Art Fair, sponsored by San Diego Visual Arts Network, San Diego, CA 2009 Cell Series', Galeria Nacional, San Jose, Costa Rica 2008 Accumulation, Luis De Jesus Seminal Projects, San Diego, CA 2007 Natural Connection, Canon Art Gallery, Carlsbad, CA 2005 Nothing is the Same, David Zapf Gallery, San Diego, CA Squints, Keller Gallery, Pt. Loma Nazarene University, CA 2004 Focus Series, Museum of Contemporary Art, San Diego, La Jolla, CA 2003 Arrangement, David Zapf Gallery, San Diego, CA 2001 Reservoirs, David Zapf Gallery, San Diego, CA 2000 Tree Lines - Paintings and Objects, David Zapf Gallery, San Diego, CA 1997 High Yield - Paintings and Constructions, Hyde Gallery, Grossmont College, San Diego, CA 1993 Pond Series, Kay Garvey Gallery, Chicago, IL 1991 New Paintings, Kay Garvey Gallery, Chicago, IL 1990 Game Series, Conlon Gallery, Santa Fe, NM 1988 Cultivation Series, Shidoni Contemporary Gallery, Santa Fe, NM 1987 L.A. Artcore, Los Angeles, CA 1986 Tower Guards, Conlon
    [Show full text]
  • ERIK D'azevedo 1649-10Th Street Berkeley, CA
    ERIK d’AZEVEDO 1649-10th Street Berkeley, CA 94710 Telephone: 510/527-3877 E-mail; [email protected] Born in Oakland, California, attended schools and grew up in many parts of the United States. Included in early life experiences was exposure to many culturally diverse peoples. Among these, were the Washoe Indians of Western Nevada and Eastern California, many of whom were members of the Native American Peyotist Church. Traveling with parents, doing fieldwork as anthropologists, the family traveled and lived among Washoe and other Indian tribes of the Great Basin, providing a rich and intimate glimpse of these people’s lives. Following this period, were several years living in Liberia, West Africa, among the Gola and Kpelle peoples, in the interior of this country. This stay afforded a deep integration of cultural differences and an intimate appreciation of the artistry of these tribal peoples. These experiences helped in-still profound impressions and images that shaped, in part, an evolving understanding of the arts that became a major focus later in life. EDUCATION Undergraduate studies, University of Nevada, Reno. BFA, 1974, CCAC, Oakland, CA. MFA, 1976, CCAC, Oakland, CA. SOLO EXHIBITIONS 2014 Local 123 Cafe-Gallery, Berkeley, California. Solo installation show. 1988 Walnut Creek Civic Arts Center, Walnut Creek, CA 1987 Copyrose Gallery, San Francisco, CA. Solo installation show, Club DV8, San Francisco, CA. Installation for Oasis Nightclub, San Jose, CA. 1984 Southern Exposure Gallery, Project Artaud, San Francisco, CA. 1973 The Center Gallery, Reno, Nevada 1972 Sheppard Gallery, University of Nevada, Reno, Nevada. GROUP EXHIBITIONS 2012 University of Nevada, Reno; “Far Out” Group alumni show, the art scene in Northern Nevada 1960-1975.
    [Show full text]
  • The Influence of European Surrealism in Thailand
    The Influence of European Surrealism in Thailand Sodchuen Chaiprasathna and Jean Marcel English Translation by R.Michael Crabtree Asia-Europe Studies Projects Under the aegis of Thailand Research Fund 2005 Foreword This book is the result of an earlier translation and extensive revision of a university study which originally appeared in Thai in 1996. Based on research and interviews, the study was an examination of surrealist tendencies in art and literature in Thailand between 1964 and 1984. The current volume contains additional information gathered from subsequent research which has been integrated into the original version. The book is divided into five chapters. After a brief overview of surrealist influence in various countries of Asia, Chapter 1 deals with the introduction of European surrealism in Thailand prior to 1964. Chapter 2 examines the body of Thai writings on surrealism that may have had some influence on contemporary artists and writers. Chapter 3 analyzes a selection of paintings by Thai artists completed between 1964 and 1984, and compares them with the European models – Dali was of particular influence – that appear to have inspired them. In Chapter 4, we describe the works of literature produced in the same period, chiefly by poets and writers who were also painters or who had some connection with the plastic arts, which show signs of European surrealist inspiration. The last chapter looks at the influence of surrealism on visual arts and literature produced after 1984. Let us state from the outset that the influence of European surrealism on Thai painters and writers with surrealist tendencies is generally limited to certain techniques or stylistic approaches to self-expression.
    [Show full text]
  • Indiscernibly Bad: the Problem of Bad Painting/Good
    This is a pre-copyedited, author-produced version of an article accepted for publication in Oxford Art Journal following peer review. The version of record Bowman, M. Indiscernibly bad: the problem of bad painting/good art Indiscernibly bad: the problem of bad painting/good art (2018) is available online at: https://academic.oup.com/oaj/article/41/3/321/5250682 Indiscernibly Bad: The Problem of Bad Painting/Good Art The Problem of Bad Painting/Good Art Before the emergence of postmodernism, it was unusual to hear the judgment ‘bad painting’ alloyed with ‘good art’—a peculiar formula that became the title and theme of an exhibition held in Vienna in 2008. Opening in the summer of 2008, Bad Painting/Good Art was a major survey exhibition that displayed twenty-one painters representing approximately ninety years of art history. By offering such a gamut, it made a cogent argument for the prevalence of bad painting in avant-garde and neo-avant-garde practice while also demonstrating its currency in the contemporary artworld. And indeed, recent years have seen contemporary paintings of that ilk performing very well on the secondary market. For instance, Georg Baselitz and Albert Oehlen, who both exhibited in Bad Painting/Good Art, set new personal records for their auction turnover in 2017 at $9.1 million and $3.6 million respectively. The recent auction successes of George Condo, although not exhibited in Bad Painting/Good Art, likewise testifies to continued interest in this mode of painting. But in facing such an exhibition, we surely find ourselves confronted by two questions: firstly, how we can tell the difference, or make the distinction, between bad paintings that are good artworks and bad paintings that simply are bad artworks? And secondly, does the first question carry any weight or make sense? In what follows, I want to argue that the first question is both legitimate and, moreover, necessary insofar as it is internal to the practices shown in Bad Painting/Good Art.
    [Show full text]
  • Lee Krasner: Living Color
    Press release Opening on September 18 Lee Krasner: Living Color Sponsored by We at Seguros Bilbao would like to welcome you to the exhibition Lee Krasner. Living Color, a vibrant explosion of color and form that resounds with the hopes that we now all place in recovery, within this suspended context in which we have all lived over the last few long months. Art has served to encourage humanity, especially in difficult times, and we believe that specifically the art of Lee Krasner can provide us with inspiration for dealing with the future at a time like this. Incessant creativity and constant reinvention are the hallmarks of this American artist’s work over the course of five decades, summarized in the Museum through a selection of her most emblematic pieces. Although today she is considered one of the most representative figures in American Abstract Expressionism, Krasner did not have it easy. Her status as a woman and the economic hardships of the Great Depression which dominated the US during her formative years turned her wish to become an artist into a fierce struggle. She managed to stand out in painting thanks to her talent, her iron will, and her solid work ethic. Today in Bilbao we can enjoy her astonishing output, which clearly reflects Krasner’s statement of intentions: “I like a canvas to breathe and be alive. Be alive is the point.” Without a doubt, the public will be able to take advantage of the unique opportunity provided by this exhibition to appreciate the vitality and organic qualities of her works.
    [Show full text]
  • Betty Parsons, Marcia Tucker, and Alanna Heiss Cyndi Conn Skidmore College
    Skidmore College Creative Matter Master of Arts in Liberal Studies (MALS) Student Academic Departments and Programs Scholarship 5-22-2010 Nerve Endings: Betty Parsons, Marcia Tucker, and Alanna Heiss Cyndi Conn Skidmore College Follow this and additional works at: https://creativematter.skidmore.edu/mals_stu_schol Part of the Arts and Humanities Commons, and the Arts Management Commons Recommended Citation Conn, Cyndi, "Nerve Endings: Betty Parsons, Marcia Tucker, and Alanna Heiss" (2010). Master of Arts in Liberal Studies (MALS) Student Scholarship. 66. https://creativematter.skidmore.edu/mals_stu_schol/66 This Thesis is brought to you for free and open access by the Academic Departments and Programs at Creative Matter. It has been accepted for inclusion in Master of Arts in Liberal Studies (MALS) Student Scholarship by an authorized administrator of Creative Matter. For more information, please contact [email protected]. Nerve Endings: Betty Parsons, Marcia Tucker, and Alanna Heiss by Cyndi Conn FINAL PROJECT SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN LIBERAL STUDIES SKIDMORE COLLEGE April 2010 Advisors: Kathryn Davis, Tom Huhn INTRODUCTION When initially presented, new forms of art and installation can incite hostility and derision among art patrons, critics, and general audiences. New paradigms are unsettling and artistic breakthroughs can threaten belief systems people hold dear to their understanding of the art world and how it functions. Some of the most distinguished and iconic artists in modem history have found notoriety and recognition through years, even decades, of slowly evolving acceptance into the cultural mainstream. Once labeled charlatans heralding a clear decline in culture, such eminent artists as Theodore Gericault, Edouard Manet, Pablo Picasso, and Marcel Duchamp incited public fury and scathing criticism in their respective eras for the ground-breaking work they produced.
    [Show full text]
  • New Museum Newsletter Spring/Summer 1984
    BOARD OF TRUSTEES THE NEW MUSEUM John Neely Henry Luce Ill STAFF Youth Program Instructor/ President Kimball Augustus Gallery SupeNisor Vera G. Ust Chief of Security Eileen Pryor McGann Vice President Eric Bemlsderfer Manager, Catalog Arthur A. Goldberg Assistant Preparator Subscription and Distribution Treasurer Gayle Brandel Usa Parr Acting Administrator Curatorial Assistant Jack Boulton Mary Clancy Ned Rifkin Gregory C. Clark Administrative Ass1stant Curator Elaine Dannhelsser Pamela Freund Jessica Schwartz Public Relations/Special Director of Public Relations Richard Ekstract Events Assistant and Special Events John Fitting, Jr. Lynn Gumpert Charles A. Schwefel Allen Goldring Curator Director of Planning and Eugene P. Gorman John K. Jacobs Development Reg1strar! Preparator Paul C. Harper, Jr. Maureen Stewart Ed Jones Bookkeeper Martin E. Kantor Director of Education Marcia Tucker Nanette L Laltman Elon Joseph Director Mary McFadden Guard Lorry Wall Denis O'Brien Maureen Mullen Admissions/Bookstore Admissions/ Bookstore Assistant Patrick Savin Assistant Brian Wallis Herman Schwartzman Marcia Landsman Editorial Consultant Laura Skoler Curatorial Coordinator Janis Weinberger Marcia Tucker Susan Napack Reception Admissions/Bookstore TlmYohn Coordinator Editor The New Museum at 583 Broadway in SoHo. TheNewMuseum OF CONTEMPORARY ART S P R NG/SUMMER 1 9 8 4 photo· 01rk Rowntree FRONTLINES PRESIDENT'S REPORT photo Beverly Owen It is certainly not every season that a museum director 's creative muse takes the form of giving birth to a real Edited by: Saddler, Charles A. (above) Beverly baby. So it was a very special milestone when , on Jessica Schwartz Schwefel, Frank Owen's Toon, the January 3, Ruby Dora McNeil was born to Director Assistant Editor: Stewart, John Waite, spring window Marcia Tucker and husband Dean McNeil.
    [Show full text]