Craig Kauffman Represented by Sprüth Magers
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Caroline Huber
ROBERT RAUSCHENBERG ORAL HISTORY PROJECT The Reminiscences of Caroline Huber Columbia Center for Oral History Research Columbia University 2015 PREFACE The following oral history is the result of a recorded interview with Caroline Huber conducted by Alessandra Nicifero on May 29, 2015. This interview is part of the Robert Rauschenberg Oral History Project. The reader is asked to bear in mind that s/he is reading a transcript of the spoken word, rather than written prose. Huber – 1 – 1 Transcription: Audio Transcription Center Session #1 Interviewee: Caroline Huber Location: Pasadena, California Interviewer: Alessandra Nicifero Date: May 29, 2015 Q: Okay, so my name is Alessandra Nicifero. I’m here with Caroline Huber. It’s May 29, 2015. Thanks for agreeing to be here. Huber: You’re welcome. My pleasure. Q: So why don’t we start talking briefly about where you were born, where you grew up? Huber: I was born outside of Philadelphia. I grew up in Gladwyne, Pennsylvania, which is about twenty minutes from downtown Philadelphia. I lived there until I went off to college and then lived up and down the East Coast until I moved to Houston. Now I’m out here in California. Q: So when did you discover art? What’s your first memory of it? Huber: Well actually when I was young I used to draw a lot. I took art classes in the fifth or sixth grade after school and really loved it. It was just something I really loved to do. Then I stopped doing it and then I took some more in high school. -
Hans Ulrich Obrist a Brief History of Curating
Hans Ulrich Obrist A Brief History of Curating JRP | RINGIER & LES PRESSES DU REEL 2 To the memory of Anne d’Harnoncourt, Walter Hopps, Pontus Hultén, Jean Leering, Franz Meyer, and Harald Szeemann 3 Christophe Cherix When Hans Ulrich Obrist asked the former director of the Philadelphia Museum of Art, Anne d’Harnoncourt, what advice she would give to a young curator entering the world of today’s more popular but less experimental museums, in her response she recalled with admiration Gilbert & George’s famous ode to art: “I think my advice would probably not change very much; it is to look and look and look, and then to look again, because nothing replaces looking … I am not being in Duchamp’s words ‘only retinal,’ I don’t mean that. I mean to be with art—I always thought that was a wonderful phrase of Gilbert & George’s, ‘to be with art is all we ask.’” How can one be fully with art? In other words, can art be experienced directly in a society that has produced so much discourse and built so many structures to guide the spectator? Gilbert & George’s answer is to consider art as a deity: “Oh Art where did you come from, who mothered such a strange being. For what kind of people are you: are you for the feeble-of-mind, are you for the poor-at-heart, art for those with no soul. Are you a branch of nature’s fantastic network or are you an invention of some ambitious man? Do you come from a long line of arts? For every artist is born in the usual way and we have never seen a young artist. -
DILEXI GALLERY Multi-Venue Retrospective
DILEXI GALLERY Multi-Venue Retrospective Taking place at: Brian Gross Fine Art / San Francisco Crown Point Press / San Francisco Parker Gallery / Los Angeles Parrasch Heijnen Gallery / Los Angeles The Landing / Los Angeles with a related exhibition at: Marc Selwyn Fine Art / Los Angeles The Dilexi Multi-Venue Retrospective The Dilexi Gallery in San Francisco operated in the years and Southern Californian artists that had begun with his 1958-1969 and played a key role in the cultivation and friendship and tight relationship with well-known curator development of contemporary art in the Bay Area and Walter Hopps and the Ferus Gallery. beyond. The Dilexi’s young director Jim Newman had an implicit understanding of works that engaged paradigmatic Following the closure of its San Francisco venue, the Dilexi shifts, embraced new philosophical constructs, and served went on to become the Dilexi Foundation commissioning as vessels of sacred reverie for a new era. artist films, happenings, publications, and performances which sought to continue its objectives within a broader Dilexi presented artists who not only became some of the cultural sphere. most well-known in California and American art, but also notably distinguished itself by showcasing disparate artists This multi-venue exhibition, taking place in the summer of as a cohesive like-minded whole. It functioned much like 2019 at five galleries in both San Francisco and Los Angeles, a laboratory with variant chemical compounds that when rekindles the Dilexi’s original spirit of alliance. This staging combined offered a powerful philosophical formula that of multiple museum quality shows allows an exploration of actively transmuted the cultural landscape, allowing its the deeper philosophic underpinnings of the gallery’s role artists to find passage through the confining culture of the as a key vehicle in showcasing the breadth of ideas taking status quo toward a total liberation and mystical revolution. -
American Pop Icons Christine Sullivan
I # -*-'- ,: >ss;«!«!«:»•:•:•:•:•: •••••• » - ••••••••••••# fi I»Z»Z , Z»Z»Z» m AMER1CANP0PIC0NS Guggenheim Hermitage museum Published on the occasion of the exhibition Design: Cassey L. Chou, with Marcia Fardella and American Pop Icons Christine Sullivan Guggenheim Hermitage Museum. Las Vegas Production: Tracy L. Hennige May15-November2,2003 Editorial: Meghan Dailey, Laura Morris Organized by Susan Davidson Printed in Germany by Cantz American Pop Icons © 2003 The Solomon R Guggenheim Foundation, Front cover (detail) and back cover: New York. All rights reserved. Roy Lichtenstein, Preparedness, 1968 (plate 16) Copyright notices for works of art reproduced in this book: © 2003 Jim Dine; © 2003 Jasper Johns/Licensed by VAGA, New York; © Estate of Roy Lichtenstein; © 2003 Claes Oldenburg; © 2003 Robert Rauschenberg/Licensed by VAGA. New York; © 2003 James Rosenquist/Licensed by VAGA, New York; © 2003 Andy Warhol Foundation for the Visual Arts/Artists Rights Society (ARS), New York; © 2003 Tom Wesselmann/Licensed by VAGA, New York. Entries by Rachel Haidu are reprinted with permission from From Pop to Now: Selections from the Sonnabend Collection (The Frances Young Tang Teaching Museum and Art Gallery at Skidmore College, 2002). Entries by Jennifer Blessing and Nancy Spector are reprinted from Guggenheim Museum Collection: A to Z (Guggenheim Museum, 2001); Artist's Biographies (except Tom Wesselmann) are reprinted from Rendezvous: Masterpieces from the Centre Georges Pompidou and the Guggenheim Museums (Guggenheim Museum, 1998). isbn 0-89207-296-2 -
Norton Simon Museum Advance Exhibition Schedule 2016 All Information Is Subject to Change
Norton Simon Museum Advance Exhibition Schedule 2016 All information is subject to change. Please confirm details before publishing. Contact: Leslie Denk, Director of Public Affairs, [email protected] | 626-844-6941 Duchamp to Pop March 4–August 29, 2016 Many of the twentieth century’s greatest artists were influenced by one pivotal figure: Marcel Duchamp (1887–1968). Duchamp to Pop uses the Norton Simon Museum’s collection and rich archives from two seminal exhibitions—New Painting of Common Objects from 1962 and Marcel Duchamp Retrospective from 1963—to illustrate Duchamp’s potent influence on Pop Art and the artists Andy Warhol, Jim Dine, Ed Ruscha and others. Drawing, Dreaming and Desire: Works on Paper by Sam Francis April 8–July 25, 2016 Drawing, Dreaming and Desire presents works on paper that explore the subject of erotica by the internationally acclaimed artist Sam Francis (1923– 1994). Renowned for his abstract, atmospheric and vigorously colored paintings, these intimate drawings—thoughts made visible, in pen and ink, acrylic and watercolor—relate to the genre of erotic art long practiced by artists in the West and the East. They resonate with significant moments in the artist’s biography, and reveal another aspect of his creative energy. This highly spirited but little known body of work, which ranges from the line drawings of the 1950s to the gestural, calligraphic brushstrokes of the 1980s, provides insight to a deeply personal side of the artist’s creative oeuvre. Dark Visions: Mid-Century Macabre September 2, 2016–January 16, 2017 The twentieth century produced some of the most distinctive, breakthrough art movements: Surrealism, Cubism, Abstract Expressionism, Pop Art and Minimalism. -
Adam Szymczyk Named New Recipient of the Walter Hopps Award for Curatorial Achievement
Adam Szymczyk Named New Recipient of the Walter Hopps Award for Curatorial Achievement Houston, December 14, 2010 – Menil Director Josef Helfenstein has announced the fifth recipient of the Walter Hopps Award for Curatorial Achievement: Adam Szymczyk, director and chief curator of Kunsthalle Basel. Established in 2001 in honor of Menil Founding Director Walter Hopps (1932-2005), the award recognizes curators in early to mid-career who have made significant contributions to the field of contemporary art. The Walter Hopps Award for Curatorial Achievement carries a stipend of $15,000. A distinguished panel of three arts professionals made the selection: Iwona Blazwick, director of the Whitechapel Gallery in London; Donna De Salvo, chief curator, the Whitney Museum of American Art and former senior curator at Tate Modern, London; and Hamza Walker, director of education and associate curator for the Renaissance Society at the University of Chicago (and the 2005 recipient of the Hopps Award). “In his dedication to the untested,” said the panelists in a joint statement, “Adam Szymczyk has provided a critical framework for a generation of artists and curators." Born in Piotrków Trybunalski, Poland, in 1970, Szymczyk studied art history at the University of Warsaw. In 1997 he was among the co-founders of Foksal Gallery Foundation in Warsaw, established with the aim of supporting artists and promoting contemporary art in Poland through exhibitions and publications. He continued working as curator and writer in Warsaw until 2003, when he assumed his current posts at Kunsthalle Basel, where he has organized numerous exhibitions, including Rosalind Nashashibi: Over In (2004); Artur Zmijewski (2005); Nairy Baghramian: Es ist ausser Haus (2006); Micol Assaël: Chizhevsky Lessons (2007); Alexandra Bachzetsis: Show (2008); Danh Vo: Where the Lions Are (2009) and Moyra Davey: Speaker Receiver (2010). -
Armory 2019 the Estate of John Altoon & Jonathan Lyndon Chase
ARMORY 2019 THE ESTATE OF JOHN ALTOON & JONATHAN LYNDON CHASE detail: Jonathan Lyndon Chase, Pulpit 6, 2018 Acrylic, marker, chalk, pastel and glitter on muslin, 84 1/2 x 78 inches Jonathan Lyndon Chase, Pulpit 6, 2018 Acrylic, marker, chalk, pastel and glitter on muslin, 84 1/2 x 78 inches detail: John Altoon, Untitled (B&W-30), 1966, ink on board, 30 x 40 inches John Altoon, Untitled (B&W-30), 1966, ink on board, 30 x 40 inches detail: Jonathan Lyndon Chase, Hands hands hands hands hands hands 2 hoodies, 2018 Acrylic, marker and glitter on muslin, 96 x 72 inches Jonathan Lyndon Chase, Hands hands hands hands hands hands 2 hoodies, 2018 Acrylic, marker and glitter on muslin, 96 x 72 inches John Altoon, Untitled (F-80), 1966, airbrush and ink on board, 30 x 40 inches John Altoon, Untitled (F-5), 1968, airbrush and ink on board, 30 x 40 inches detail: Jonathan Lyndon Chase, Run away with me, 2018 Acrylic, marker and glitter on muslin, 78 x 84 1/2 inches Jonathan Lyndon Chase, Run away with me, 2018 Acrylic, marker and glitter on muslin, 78 x 84 1/2 inches John Altoon, Untitled (ANI-65), 1968, airbrush and ink on board, 30 x 40 inches detail: Jonathan Lyndon Chase, They got a crush on him, 2019 Acrylic, marker, spray paint, oil and glitter on muslin, 72 x 60 inches Jonathan Lyndon Chase, They got a crush on him, 2019 Acrylic, marker, spray paint, oil and glitter on muslin, 72 x 60 inches detail: John Altoon, Untitled (F-74), 1966, ink on board, 30 x 40 inches John Altoon, Untitled (F-74), 1966, ink on board, 30 x 40 inches detail: Jonathan -
Knight, Christopher. "A Storied Art Collection Shrouded in Mystery Will
A storied art collection shrouded in mystery will anchor new UC Irvine museum By Christopher Knight Art Critic Contact Reporter When real estate developer Gerald Buck was selling a rural farm near San Luis Obispo, land he bought in a failed oil-drilling scheme, a prospective buyer offered him an elegant Old Master painting by Anthony van Dyck in lieu of cash. Buck had no interest in art, but neither did he have any other buyers in sight. So Buck plunged into researching the painting’s authenticity, history of ownership and market value — then agreed to the trade. And he was off. The Van Dyck is long gone, but now, four decades later, the Gerald E. Buck Collection has grown to more than 3,200 paintings, sculptures and works on paper. Not only is the vast trove the finest holding of its kind in private hands, the collection is poised to anchor an ambitious new museum being launched at UC Irvine. Chancellor Howard Gillman is expected to announce Wednesday the formation of the UCI Museum and Institute for California Art, or MICA, with the Buck Collection as its core. The collection, much coveted by other museums, focuses on artists who emerged in California between World War II and 1980. In addition to his art-filled home, where numerous major works were kept, a nondescript, unmarked former post office building a few blocks from the beach in Laguna provided a private place for Buck to study his collection. Few have ever been inside. When Stephen Barker, dean of UCI’s Claire Trevor School of the Arts, recently opened the building for The Times, about 80 works were on display in several large galleries plus offices, a small kitchen, a bathroom and hallways. -
Craig Kauffman
CRAIG KAUFFMAN 1932 Born, Los Angeles, CA EDUCATION 1955 B.A. University of California, Los Angeles, CA 1956 M.A. University of California, Los Angeles, CA SOLO EXHIBITIONS 2004 Craig Kauffman: Works from the 1960s, Franklin Parrasch Gallery, New York, NY 2003 Sandra Gering Gallery, New York, NY 2001 Sandra Gering Gallery, New York, NY 1999 Bubbles, Patricia Faure Gallery, Santa Monica, CA 1998 Painted Drawings, Patricia Faure Gallery, Santa Monica, CA. 1995 New Work, Patricia Faure Gallery, Santa Monica, CA 1992 The Works Gallery South, Costa Mesa, CA 1990 The Works Gallery South, Costa Mesa, CA 1988 The Works Gallery, Long Beach, CA Asher/Faure Gallery, Los Angeles, CA Craig Kauffman: Wall Reliefs, 1967-69, Santa Barbara Contemporary Arts Forum, CA 1987 Craig Kauffman: Wall Reliefs, 1967-69, Whitney Museum of American Art, New York, NY 1985 Asher/Faure Gallery, Los Angeles, CA Fuller Goldeen Gallery, San Francisco, CA 1983 Asher/Faure Gallery, Los Angeles, CA Craig Kauffman, Faith and Charity in Hope Gallery, Hope, ID 1982 Thomas Segal Gallery, Boston, MA Blum Helman, New York, NY Cirrus Gallery, Los Angeles, CA 1981 Craig Kauffman: A Comprehensive Exhibition, 1957-1980, organized by the La Jolla Museum of Contemporary Art; traveled to the Elvehjem Museum of Art, Madison; the Anderson Gallery at Virginia Commonwealth University, Richmond; and the Oakland Museum (1982) Asher/Faure Gallery, Los Angeles, CA 1979 Grapestake Gallery, San Francisco, CA Janus Gallery, Venice, CA Blum Helman, New York, NY 1978 Arco Center for Visual Art, Los -
|||GET||| the Dream Colony a Life in Art 1St Edition
THE DREAM COLONY A LIFE IN ART 1ST EDITION DOWNLOAD FREE Walter Hopps | 9781632865298 | | | | | The Dream Colony Now we have his memoir, a record of Walter's unique personality, his astonishing range of interests and curiosities, and the depth of his feeling for and commitment to the art of his time. Hopps died inafter decades at the Menil Collection of art in Houston for which he was the founding director. Inwhen Hopps became the director of Washington's Corcoran Gallery of Art at age thirty-four, the New York Times hailed him as "the most gifted museum man on the West Coast and, The Dream Colony A Life in Art 1st edition the field of contemporary art, possibly in the nation. Amazingly well told story of a maverick curator helping forge the contemporary west coast art scene. He was a remarkable and very articulate lover of art. Add to Basket. His landmark exhibitions stay in the mind's eye decades later. His narrative is self-effacing and matter-of-fact. His memoir offers an unusually intimate glimpse at the post-war American art scene. Seller Inventory AA He was the real deal. There is no introspection here, you get no sense of the man. Highlights include a front view seat at some of LA's best jazz clubs, the political machinations around the Brazilian and Venice biennales, Hopp's relationships with some of modernist art's early collectors, and of course stories into the lives of the artists themselves. Seller Inventory ST Reading the book I can hear his voice, and there is at least one great and usually hysterical story per page. -
Download the Full Brochure
NOVEMBER 18, 2011 – APRIL 8, 2012 PAM1102_Brochure.10.indd 1 12/9/11 9:19 AM PAM1102_Brochure.10.indd 1 12/9/11 9:19 AM his exhibition, for the first time, traces the entire development of the Pasadena Art Museum in the North Los Robles building Tthat now houses Pacific Asia Museum, and in the Pasadena Art Museum’s final location on Colorado Boulevard, where it became the Norton Simon Museum in 1974. Important works of art, borrowed from the Norton Simon Museum and from artists, galleries and private collections, provide key examples of art in or related to the Pasadena Art Museum collection. The exhibition also presents images of installations Facing page: of the exhibitions, and the important individuals and organizations Studio of J. Allen Hawkins, Pasadena involved in the Museum. Excerpts from interviews with artists, former Art Museum, Courtesy of the Archives, Pasadena Museum of History directors, curators and trustees give personal views of the Pasadena Art © Pasadena Museum of History Museum’s history. The exhibition provides a brief history of art from the 1910s through the Vasily Kandinsky (1866–1944), Pressure from Above, 1928, late 1960s. Works by Paul Klee, Vasily Kandinsky, Lyonel Feininger and Watercolor and India ink on wove paper, Courtesy of Norton Simon Alexei Jawlensky—all members of the Blue Four group of artists in Museum, The Blue Four Galka Germany after the First World War—show the effects of the development Scheyer Collection © 2011 Artists Rights Society (ARS), New York/ of Cubism. Their use of geometry to create compositions and express ADAGP, Paris imagination (in all four artists), and the use of abstraction to express spirituality (in Kandinsky and Jawlensky), demonstrate the many possibilities of Cubism’s new way of showing space and implied movement on a flat surface. -
“West of Eden,” Art in America, October 2011
BOOK REVIEWS WEST OF EDEN L.A. might have been provincial, but BY RICHARD KALINA the weather was great, real estate near the beach was cheap, art schools and A passion for self-invention has long teaching gigs abounded, and if you marked the American psyche, and played your cards right, you could get nowhere has it seemed more pro- a shot at the celebrity and glamour nounced than in California and, in that were such tangible presences in particular, Los Angeles. Hunter the city. By the late ’50s, young artists Drohojowska-Philp’s crisp and cogent were moving there and, importantly, account of the L.A. art scene of the staying. They felt happily (although late ’50s and ’60s, Rebels in Paradise, sometimes defensively) estranged from shows us a town where contemporary New York, finding it too cerebral, too artists had the dubious privilege of start- rooted in art history and European ing pretty much from scratch. It was no tastes. They wanted to create some- easy matter to create a viable advanced thing that was legitimately their own, art world in a city so conservative that in not just a regional variant of a preexist- 1963 the trustees of the Los Angeles ing style. Pop art and Minimalism hit County Museum of Art rejected the world in the early ’60s, about the Edward G. Robinson’s first-rate collec- same time that a number of strong tion of Impressionist work because of the Los Angeles artists emerged. These actor’s progressive politics. Less than 10 new approaches seemed to suit the years earlier, the trustees of that same L.A.