DOCSLIB.ORG

Matsumi Kanemitsu - (1922 – 1992)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Matsumi Kanemitsu - (1922 – 1992) Matsumi Kanemitsu - (1922 – 1992) Selected Solo Exhibitions: 1942 Service Club, Fort Riley, Kansas 1952 Playhouse, Baltimore, Maryland 1953 Gallery 77, New Haven, Connecticut; Baltimore Museum of Art, Baltimore, Maryland, “Drawings” 1954 Gallery 77, New Haven, Connecticut Western Maryland College Baltimore Museum of Art, “Drawings” Berlin Academy, Germany 1955 Zoe Dusanne Gallery, Seattle, Washington 1957 New Gallery, New York, New York 1958 Dwan Gallery, Los Angeles, California 1959 Widdifield Gallery, New York, New York 1960 Dwan Gallery, Los Angeles, California Stephen Radich Gallery, New York, New York 1961 Southern Illinois University, Carbondale, Illinois Mili-Jay Gallery, Woodstock, New York Dwan Gallery, Los Angeles, California 1962 Stephen Radich Gallery, New York, New York; Dwan Gallery, Los Angeles, California 1963 I Gallery, La Jolla, California 1964 Akron Art Institute, Akron, Ohio, “Ten Year Retrospective” 1966 Occidental College, Los Angeles. Two-man show. Worth Ryder Art Gallery, University of California, Berkeley. Two-man show. 1967 Paul Gallery, Tokyo, Japan; Honolulu Academy of Arts, Honolulu, Hawaii 1968 California Institute of the Arts Gallery, Los Angeles, California 1969 Margo Leavin Gallery, Los Angeles, California; Michael Wallis Gallery, San Francisco, California 1970 Serisawa Gallery, Los Angeles, California 1971 Michael Smith Gallery, Los Angeles, California 1972 Michael Smith Gallery, Los Angeles, California 1973 Pacific Culture Asia Museum, Pasadena, California 1974 Jodi Scully Gallery, Los Angeles, California 1975 M.M Shinno Gallery, Los Angeles, California 1977 The Janus Gallery, Venice, California; M. Carone Gallery, Fort Lauderdale, Florida 1978 Los Angeles Municipal Art Galleries, Barnsdall Park, Los Angeles, California, “Selected Works 1968-78” 1979 Art Space, Los Angeles, California 1980 Janus Gallery, Venice, California 1983 San Jose Institute of Contemporary Art, San Jose, California, “Drawings” 1984 Louis Newman Galleries, Beverly Hills, California 1985 Suzukawa Gallery, Hiroshima, Japan; Louis Newman Galleries, Beverly Hills, California 1986 Bancho Gallery, Tokyo, Japan; Louis Newman Galleries, Beverly Hills, California 1987 Louis Newman Galleries, Beverly Hills, California 1988 Doizaki Gallery, Japanese American Cultural Center, Los Angeles, California 1989 Louis Newman Galleries, Beverly Hills, California 1990 Joy Tash Gallery, Scottsdale, Arizona Louis Newman Galleries, Beverly Hills, California Memory’s Gallery, Nagoya, Japan Gallery of Liberal Art, Hiroshima, Japan Yamaki Art Gallery, Osaka, Japan (To date, 14 solo exhibitions and over 1,000 group shows) Selected Group Exhibitions 1948 through 1952 Baltimore Museum of Art, Baltimore, Maryland 1950, “Annual Exhibition” 1950 Corcoran Art Gallery, Washington, D.C. 1951 Contemporary Art Gallery, New York City 1952 A.C.A. Gallery, New York City; Chicago Institute of Art, Chicago, Illinois, “International Drawing Exhibition” 1953 Wadsworth Atheneum, Hartford, Connecticut 1954 Berlin Academy, Berlin, Germany 1956 Guild Hall, Easthampton, New York, “A Selection of American Watercolors” Museum of Modern Art, New York City, “Recent Drawings USA” Ruth Moskin Gallery, New York City, “Four-man Show” Whitney Museum of American Art, New York, “Whitney Annual” 1957 New School for Social Research, New York City 1959 Albright-Knox Art Gallery, Buffalo, New York March Gallery, New York City Wagner College, Staten Island, New York; Widdifield Gallery, New York City, “Four Painters – Three Sculptors” 1960 Area Gallery, New York City; Dallas Museum of Contemporary Arts, Dallas, Texas; Dwan Gallery, Los Angeles, California, “15 of New York” Illinois Wesleyan University, College of Fine Arts, Bloomington, Illinois, “Annual Purchase Exhibition” March Gallery, New York City’ Stephen Radich Gallery, New York City, “Drawings, Painting and Sculpture Exhibition” Stephen Radich Gallery, New York City, “American and European Drawings” 1961 University of Kentucky, Lexington, Kentucky 1962 Galleria Civica d’Arte Moderna, Turin, Italy, “Strutture E Stile” American Gallery, New York City Colorado Springs Fine Arts Center, Colorado Springs, Colorado, “New Accessions” Louis Alexander Gallery, New York City, “Recent American Drawings” Museum of Modern Art, New York City, “14 Americans” Skidmore College, Saratoga Springs, New York, “American Drawings” Stanhope Gallery, Boston, Massachusetts’ Tanager Gallery, New York City’ University of Massachusetts, Boston, Massachusetts, ‘Acquisitions” 1963 American Gallery, New York City’ Corinthian Gallery, Philadelphia, Pennsylvania’ Heckscher Museum, Huntington, New York, “12 American Artists” Martha Jackson Gallery, New York City, “Artists for CORE” Museum of Modern Art, New York City, “60 Drawings: Recent Acquisitions” New School for Social Research, New York City, “Landscape in Recent American Painting” Anderson-Mayer Gallery, Paris 1963-66 “Abstract Watercolors by 14 Americans”, organized by the Museum of Modern Art traveling to: USIS Gallery, London, England; Ljubijana, Yugoslavia; Osaka, Japan; Hellenic-American Union, Athens, Greece; Multipurpose Hall, Prince of Wales Museum, Bombay, India; Trivandrum Museum, Trivandrum, India; Government College of Fine Arts and Crafts, Madras, India; Triveni Kala Sangam Gallery, New Delhi, India; Cathedral Hall, Hazratgunji, Lucknow, India; Sanskar Kendra Museum, Ahmedabad, India; Academy of Fine Arts, Calcutta, India; American Cultural Center, Patna, India; Lionel Wendt Gallery, Colombo, Ceylon, Art Gallery of New South Wales, Sydney, Australia; Newcastle City Art Gallery, Newcastle, Australia; Melbourne, Australia; Perth, Australia; Christchurch, New Zealand 1964 American Federation of Arts, New York City, “Artists for CORE” Greenross Gallery, New York City, “The Red Show” Grippi & Waddell, New York City, “Optical and Hard Edge” Museum of Modern Art, New York City, “Contemporary Painters and Sculptors as New Printmakers” Santa Barbara Museum of Art, Santa Barbara, California, “Some Paintings to Consider” American Embassy, Tokyo, (lent by Raymond Burr) Gutai Pinacotheca, Osaka, Japan 1964-67 “Art in the Embassies”, organized by the Museum of Modern Art, traveling to: Bogota, Colombia; Tokyo, Japan; Belgrade, Yugoslavia; Modern Gallery, Rijecka, Yugoslavia; Gallery of Art, Maribor, Yugoslavia; Mexico City, Mexico; American Embassy, Helsinki, Finland; American Embassy, Abidjan, Ivory Coast 1965 Gallery of Modern Art, New York City, “19th and 20th Century Drawing” Graham Gallery, New York City, “Artists for CORE’ Grippi & Waddell, New York City “Group Show” Institute for Contemporary Art, Boston, Massachusetts; “Northeastern Regional Exhibition” (traveling exhibition sponsored by the Mead Corporation) “Art Across America” Knoedler Gallery, New York City, “Art Across America”, Laura Knott Gallery, Bradford Junior College, Massachusetts, “Contemporary Japanese Painting” American Embassy, Mexico City, “Art in the Embassies” 1966 David Stuart Gallery, Los Angeles, California’ White House, Washington, D.C., “Rotating Loan Exhibition” (lent by the Smithsonian Institution) American Embassy, Helsinki, “Art in the Embassies” National Gallery of Victoria, Melbourne, Australia Western Australia Art Gallery, Perth, Australia, “Abstract Watercolors by 14 Americans” Robert McDougall Art Gallery, Christchurch, New Zealand, “Abstract Watercolors by 14 Americans” 1967 American Embassy, Abidjan, Ivory Coast, “Art in the Embassies” Seibu Department Store, Tokyo, “4th International Young Artists Exhibition” (sponsored by the Japan Cultural Forum) La Jolla Museum of Art, La Jolla, California, “Art Across America” Museum of Modern Art, New York City, “In Memory of My Feelings” University of Colorado, Boulder, Colorado, “Contemporary American Drawings, 1960-67” Paul Gallery, Tokyo, Japan 1968 San Francisco Museum of Art, San Francisco, California, “Recent Acquisitions” San Francisco Museum of Art, San Francisco, California, “Tamarind Collection” 1969 David Stuart Gallery, Los Angeles, California, “Erotic Art ‘69” Downey Museum of Art, Downey, California, “Four-man Show” Museum of Modern Art, New York City, “Tamarind: An Homage to Lithography” Notre Dame University, Notre Dame, Indiana. “Erotic Art” Phyllis Kind Gallery, Chicago, Illinois 1970 Art Gallery, College of Marin, Kentfield, California California College of Arts & Crafts Gallery, Oakland, California, “A Show of Hands” Illinois Bell Telephone Company, Chicago, Illinois, “The 1960s: A Decade of Accomplishments” Martha Jackson Gallery, New York City, “Black/White/Color” San Francisco Museum of Art, San Francisco, California, “Recent Acquisitions” University of California, Santa Barbara, California, “Trends in 20th Century Art” (loaned by San Francisco Museum of Art Collection) 1971 Florida State University Art Gallery, Tallahassee, Florida, “Invitational Lithography Exhibition” Frederick Wight Art Gallery, Grunewald Graphic Arts Foundation, UCLA, Los Angeles, California, “Made in California” Museum of Modern Art, New York City, “Graphic Collection: Summer Show” San Francisco Museum of Art, San Francisco, California, “Black and White Drawings and Watercolors” San Francisco Museum of Art, San Francisco, California, “Recent Acquisitions”, 1972 Laguna Beach Art Museum, Laguna Beach, California; “Four-man Show”, Otis Art Institute Gallery, Los Angeles, California; Pacificulture Asia Museum, Pasadena, California, “Calligraphy and Its Influence on the Arts of East and West” Serisawa Gallery, Los Angeles, California, “Calligraphy and Calligraphic Forms” 1974
Load more

Recommended publications
  • Tamarind Homage to Lithography Preface by William S
    Tamarind homage to lithography Preface by William S. Lieberman. Introduction by Virginia Allen Author Museum of Modern Art (New York, N.Y.) Date 1969 Publisher Distributed by New York Graphic Society, Greenwich, Conn. Exhibition URL www.moma.org/calendar/exhibitions/1869 The Museum of Modern Art's exhibition history—from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art Tamarind:Homage to Lithography Tamarind: Homage to Lithography Preface by William S. Lieberman Introduction by Virginia Allen 4- The Tamarind Lithography Workshop has almost single- handedly revived the difficult medium of lithography in the past decade. It has provided not only the materials but also the environment that fosters the delicate collaboration be tween artist and printer. Such an environment and indeed even the materials were almost nonexistent in the United States before June Wayne and the Ford Foundation agreed on the importance of providing them. Since Tama rind opened its doors in 1960 it has provided fellowships for numerous artists and printers, most of whom have con tinued their exploration of lithography after leaving Tama rind. The author describes this unique Workshop and also gives a brief history of lithography in Europe and in the United States. Included is a list which catalogs part of the promised gift to The Museum of Modern Art of the Kleiner, Bell and Company Collection of Tamarind Impressions. The author, Virginia Allen, former curator of Tamarind, is now Assistant to William S.
    [Show full text]
  • PAVIA, PHILIP, 1915-2005. Philip Pavia and Natalie Edgar Archive of Abstract Expressionist Art, 1913-2005
    PAVIA, PHILIP, 1915-2005. Philip Pavia and Natalie Edgar archive of abstract expressionist art, 1913-2005 Emory University Stuart A. Rose Manuscript, Archives, and Rare Book Library Atlanta, GA 30322 404-727-6887 [email protected] Descriptive Summary Creator: Pavia, Philip, 1915-2005. Title: Philip Pavia and Natalie Edgar archive of abstract expressionist art, 1913-2005 Call Number: Manuscript Collection No. 981 Extent: 38 linear feet (68 boxes), 5 oversized papers boxes and 5 oversized papers folders (OP), 1 extra oversized papers folder (XOP) and AV Masters: 1 linear foot (1 box) Abstract: Philip Pavia and Natalie Edgar archive of abstract expressionist art including writings, photographs, legal records, correspondence, and records of It Is, the 8th Street Club, and the 23rd Street Workshop Club. Language: Materials entirely in English. Administrative Information Restrictions on Access Unrestricted access. Terms Governing Use and Reproduction All requests subject to limitations noted in departmental policies on reproduction. Source Purchase, 2004. Additions purchased from Natalie Edgar, 2018. Citation [after identification of item(s)], Philip Pavia and Natalie Edgar archive of abstract expressionist art, Stuart A. Rose Manuscript, Archives, and Rare Book Library, Emory University. Processing Processed by Elizabeth Russey and Elizabeth Stice, October 2009. Additions added to the collection in 2018 retain the original order in which they were received. Emory Libraries provides copies of its finding aids for use only in research and private study. Copies supplied may not be copied for others or otherwise distributed without prior consent of the holding repository. Philip Pavia and Natalie Edgar archive of abstract expressionist art, Manuscript Collection No.
    [Show full text]
  • Gerald Nordland Papers, 1902-2013, Undated
    Archives & Special Collections UA2015.12, 2016.15 Gerald Nordland Papers Dates: 1902-2013, Undated (Bulk 1957-2013) Creator: Nordland, Gerald (1927- 2015) Extent: 15.25 linear feet Level of description: Folder Processor & date: Brooke Sutter, December 2016; K. Young, 2018; updated by K. Young, 2019 Administration Information Restrictions: No restrictions. Copyright: Consult Archivist for information. Citation: Loyola University Chicago. Archives & Special Collections. Gerald Nordland Papers, 1902-2013, Undated. Box #, Folder. Provenance: Gift of Gerald Nordland, April 1, 2015. Separations: No separations. See Also: Gerald Nordland book collection Biographical Sketch Gerald Nordland was born in Hollywood, Los Angeles, California in 1927 to parents who worked in the film industry. From a young age, he took an interest in the arts, though not art specifically. As a youth, he was involved in his schools’ music and theater programs. Despite these artistic inclinations, Nordland decided to study law in college. At the age of seventeen, he began his studies at the University of Southern California where he earned his J.D. in 1950. During his time at law school, however, Nordland realized that he did not wish to become a lawyer. About the same time, he began visiting local museums and galleries, which sparked his interest in art. At one of these galleries, Nordland discovered the work of Gaston Lachaise. Fascinated by what he saw, he decided to look further into the artist. Finding that Lincoln Kirstein was planning to write a book on Lachaise, Nordland began corresponding with the author. After a few years, Kirstein had become disinterested in his project, and he encouraged Nordland to take up the Lachaise book.
    [Show full text]
  • Matsumi Kanemitsu Metamorphic Effects
    1811 E. 20th St. LA, CA 90058 P.213.749.1200 F.213.749.1210 [email protected] ROOM003 Matsumi Kanemitsu Metamorphic Effects October 5 – December 20, 2014 Opening Reception: Sunday, October 5, 1-3pm Matsumi Kanemitsu painting in his studio, c. 1970, Los Angeles, California. Photo Courtesy: Nancy Uyemura. Matsumi Kanemitsu was a second generation Abstract Expressionist, a master of painterly color, line and gesture who influenced generations of artists in Los Angeles from the 1960s to the1980s. Born in Utah in 1922 and raised in Japan, Kanemitsu returned to the US as a young adult. At the age of 19, he enlisted in the Army just prior to the bombing of Pearl Harbor, essentially starting his military service in Army detention. Using art supplies donated by the Red Cross, he began his practice as a visual artist while imprisoned. After his release Kanemitsu went to serve in Europe--working (and painting murals) in army officers’ clubs across the continent. This brought him to France, where he met and worked with artists like Fernand Leger and Pablo Picasso. After attending art school in Baltimore, he came of age as a painter in New York in the 1950’s-- first exploring surreally inflected figuration as a student of Yasuo Kuniyoshi. Ultimately, Kanemitsu found his voice as a second-generation Abstract Expressionist, frequenting the Cedar Bar and counting among his close friends artists like Franz Kline and Ad Reinhardt, poet Frank O’Hara and critic Harold Rosenberg. Jackson Pollock was the first to call Kanemitsu “Mike,” a nickname that stayed with him for the rest of his life.
    [Show full text]
  • Paintings by Streeter Blair (January 12–February 7)
    1960 Paintings by Streeter Blair (January 12–February 7) A publisher and an antique dealer for most of his life, Streeter Blair (1888–1966) began painting at the age of 61 in 1949. Blair became quite successful in a short amount of time with numerous exhibitions across the United States and Europe, including several one-man shows as early as 1951. He sought to recapture “those social and business customs which ended when motor cars became common in 1912, changing the life of America’s activities” in his artwork. He believed future generations should have a chance to visually examine a period in the United States before drastic technological change. This exhibition displayed twenty-one of his paintings and was well received by the public. Three of his paintings, the Eisenhower Farm loaned by Mr. & Mrs. George Walker, Bread Basket loaned by Mr. Peter Walker, and Highland Farm loaned by Miss Helen Moore, were sold during the exhibition. [Newsletter, memo, various letters] The Private World of Pablo Picasso (January 15–February 7) A notable exhibition of paintings, drawings, and graphics by Pablo Picasso (1881–1973), accompanied by photographs of Picasso by Life photographer David Douglas Duncan (1916– 2018). Over thirty pieces were exhibited dating from 1900 to 1956 representing Picasso’s Lautrec, Cubist, Classic, and Guernica periods. These pieces supplemented the 181 Duncan photographs, shown through the arrangement of the American Federation of Art. The selected photographs were from the book of the same title by Duncan and were the first ever taken of Picasso in his home and studio.
    [Show full text]
  • Yayoi Kusama: Biography and Cultural Confrontation, 1945–1969
    City University of New York (CUNY) CUNY Academic Works Dissertations, Theses, and Capstone Projects CUNY Graduate Center 2012 Yayoi Kusama: Biography and Cultural Confrontation, 1945–1969 Midori Yamamura The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/4328 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] YAYOI KUSAMA: BIOGRAPHY AND CULTURAL CONFRONTATION, 1945-1969 by MIDORI YAMAMURA A dissertation submitted to the Graduate Faculty in Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2012 ©2012 MIDORI YAMAMURA All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Art History in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Anna C. Chave Date Chair of Examining Committee Kevin Murphy Date Executive Officer Mona Hadler Claire Bishop Julie Nelson Davis Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii Abstract YAYOI KUSAMA: BIOGRAPHY AND CULTURAL CONFRONTATION, 1945-1969 by Midori Yamamura Adviser: Professor Anna C. Chave Yayoi Kusama (b.1929) was among the first Japanese artists to rise to international prominence after World War II. She emerged when wartime modern nation-state formations and national identity in the former Axis Alliance countries quickly lost ground to U.S.-led Allied control, enforcing a U.S.-centered model of democracy and capitalism.
    [Show full text]
  • PAST EXHIBITIONS Pollock-Krasner House and Study Center
    PAST EXHIBITIONS Pollock-Krasner House and Study Center *No publication 1990 Jackson Pollock: The Black Screenprints, 1951 3 May – 1 September Brochure Greenwich Village, The ’50s and ’60s: Photographs by Fred W. McDarrah 8 September – 27 October Brochure 1991 Alfonso Ossorio: The Victorias Drawings, 1950 2 May – 27 July Brochure A Day with Jackson and Lee: Photographs by Hans Namuth 1 August – 31 October Brochure 1992 Betty Parsons: Paintings on Paper 1 May – 25 July In conjunction with the Fine Arts Gallery, Southampton College, and the Benton Gallery, Southampton Brochure Me and Jackson: Robert Arneson Interprets Jackson Pollock 30 July – 31 October Brochure 1993 Atelier 17 and the New York Avant-Garde, 1940-1955 1 May – 31 July Brochure The Abstract Spirit: John Ferren (1905-1970) In conjunction with the University Art Gallery, Stony Brook University, and the Godwin-Ternbach Museum, Queens College Formative Years: The 1930s in Paris and Spain 5 August – 30 October Catalog 1994 Robert Richenburg: Abstract Expressionist In conjunction with the Rose Art Museum, Brandeis University, and the University Art Gallery, Stony Brook University Selected Works on Paper 30 April – 30 July Catalog Color Rhythm: The Late Watercolors of Joseph Meert 4 August – 29 October Catalog 1995 *Selections from the Permanent Collection 4 – 30 May Jackson Pollock: “New-Found” Screen Prints 1 June – 30 July Brochure Lee Krasner Figure Drawings: Process and Transformation 3 August – 28 October Brochure 1996 Collages by Ben Bianchi, 1994-95 2 May – 28 July Brochure
    [Show full text]
  • Matsumi Kanemitsu Press Release
    Louis Stern Fine Arts is pleased to present Matsumi Kanemitsu: East/West January 6—February 17, 2018 Los Angeles, CA. Louis Stern Fine Arts is pleased to present “Matsumi Kanemitsu: East/West.” The exhibition of paintings, drawings and lithographs, made from 1958 to 1975, reveals the depth of the artist’s proficiency in various media while exploring the breadth of his American and Japanese sensibilities. Whether ruggedly gestural, sensuously fluid or boldly colorful, Kanemitsu’s abstractions are the work of a distinctive innovator and synthesizer. A critically acclaimed artist who was highly regarded by his peers, Kanemitsu (1922-1992) has been under-recognized because his work is difficult to categorize. Nicknamed “Mike” by his friend, painter Jackson Pollock, Kanemitsu is often identified as a second generation Abstract Expressionist, but his artistic legacy is bicultural, embracing Japanese ink painting traditions as well as American Abstract Expressionism and Pop art. Shaped by the forces of two warring nations as he was coming of age and learning to be an artist, he had to find his own direction. As critic John Yau has written, “instead of developing a nostalgic alternative or trying to step outside of [his] complicated entangled history, Kanemitsu tried to live in the present with all its contradictions.” The son of Japanese immigrants, Kanemitsu was born in 1922 in Ogden, Utah, but spent his childhood and youth with his grandparents in Hiroshima, Japan. He moved back to the United States in 1940 and joined the U.S. Army in 1941, but the Japanese attack on Pearl Harbor soon led to his arrest and confinement in detention camps.
    [Show full text]
  • June Wayne Papers, 1909-2000
    http://oac.cdlib.org/findaid/ark:/13030/kt5j49r1tf No online items June Wayne papers, 1909-2000 Finding aid prepared by UCLA Library Special Collections staff, Elizabeth Spatz, Lilace Hatayama, Amy Shung-Gee Wong, Jasmine Jones, Mike D'Errico, and Yasmin Dessim; machine-readable finding aid created by Caroline Cubé. Portions of the processing of this collection was generously supported by Arcadia funds. UCLA Library Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA, 90095-1575 (310) 825-4988 [email protected] Online finding aid last updated 22 June 2017. June Wayne papers, 1909-2000 562 1 Title: June Wayne papers Collection number: 562 Contributing Institution: UCLA Library Special Collections Language of Material: English Physical Description: 114.0 linear feet(228 document boxes, 10 oversize boxes, and 25 boxes of audiovisual materials) Date (inclusive): 1909-2012 Abstract: June Claire Wayne was born on March 7, 1918 in Chicago, Illinois, where at the age of 15 she dropped out of high school to pursue her career as an artist. In addition to her work in lithography, which revitalized the art of printmaking in America, Wayne is well-known for her tapestries and visual explorations of optics and scientific themes. The collection consists of correspondence, manuscripts, ephemera, and photographs related to the creation and exhibition of Wayne's work, including the production of The Dorothy Series lithographs and film about the artist, Matsumi (Mike) Kanemitsu, Four Stones for Kanemitsu. Location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact the UCLA Library Special Collections Reference Desk for paging information.
    [Show full text]
  • The Museum of Modern Art
    21 a lA^l The Museum of Modern Art 11 West 53 Street, New York, N. Y. 10019 Tel. 956-6100 Cable: Modernart WAYS OF LOOKING PAINTINGS, SCULPTURE AND DRAWINGS FROM THE MUSEUM COLLECTIONS July 28 - November 1, I97I East Wing CHECKLIST Note: Unless enclosed in parentheses dates appear on the works themselves. In dimensions height is followed by- width and then depth. The last two figures of the accession number indicate the year of acquisition. Josef ALBERS. American, born Germany I888. To U.S.A. 1933 Homage to the Square - Broad Call. I967. Oil on composition board, kb x hQ". The Sidney and Harriet Janis Collection 66^.67 ARMAN (Arman Fernandez). French, born I928 Valetudinarian. (1960). Assemblage of pill bottles in a painted wood and glass case, I6 x 23 3/^ x 3 I/8". Gift of Philip Johnson ^+9^1.70 Jean (Hans) ARP. French, born Alsace. I887-I966 Man at a Window. (1930). Oil and cord on canvas, 31 3/^ x 27 1/V. The Sidney and Harriet Janis Collection 575-67 Floral Nude. (1957). Marble, k7 l/V high. Mrs. Simon Guggenheim Fund 129-61 Milton AVERY. American, 1893-1965 Sea Grasses and Blue Sea. 1958. Oil on canvas, 60 I/8 x 72 3/8" Gift of friends of the artist 6^+9.59 I-H} Ways of Looking Giacomo BALIA. Italian, 187I-I958 Street Light (Lampada-Studio di Luce). 1909. Oil on canvas, 68 3/^ X 45 lA"- Hiliman Periodicals Fund'7-5^ Rudolf BELLING. German, born I886 Sculpture. (1923). Bronze, partly silvered, I8 7/8" high including bronze base h 3/U x 7 3/^4 x 8 l/2".
    [Show full text]
  • Nagamatsus Donate Art Collection
    EVENT ANNOUNCMENT page 1 of 2 FOR IMMEDIATE RELEASE DATE: September 12, 2017 CONTACT: Molly Barnes, WLAC Artist in Residence (310) 553-7626 | [email protected] 9000 Overland Ave. - Culver City, CA 90230 Works by Nationally & International Recognized Artists in Collection Donated to West LA College PUBLIC RECEPTION THURSDAY, SEPTEMBER 21 West Los Angeles College invites the public to a free reception and exhibition on September 21 showcasing the college’s new permanent collection which features works by artists recognized nationally and internationally. The collection was generously donated by Dr. Ernest Nagamatsu, philanthropist and retired dentist turned racecar enthusiast, and his wife Elaine Nagamatsu. The exhibit (which will run through October 31) and reception begin at 5:00 p.m. in the Fine Arts Gallery. Refreshments will be served. The best parking is in the adjacent parking structure for $2.00. Exact change needed. Pieces to be showcased include photographs, ceramics, paintings, and serigraphs from Ed Ruscha, Elsa Rady, Mike Saijo, Sister Mary Corita, Mike Kanemitsu and others. “Several of the pieces are considered modern masterpieces,” said exhibit curator Molly Barnes, long‐time art dealer, curator and radio personality. “These artists have exhibited around the country and around the world,” she added. ED RUSCHA is associated with the pop art movement and has exhibited in well‐known venues throughout the world. Gagosian, an international collection of galleries, described Ed Ruscha’s paintings, drawings and artist books as recording the shifting emblems of American life in the last half century. “His deadpan representations of Hollywood logos, stylized gas stations, and archetypal landscapes distil the imagery of popular culture into a language of cinematic and typographical codes that are as accessible as they are profound.” ELSA RADY’S ceramics are in the collections of the Smithsonian American Art Museum, the Metropolitan Museum of Art, the Los Angeles County Museum of Art and the Cooper Hewitt.
    [Show full text]
  • America's Second Art City: Sun, Pop Culture, and Inequality: Advisor: C
    Priest, Katherine M. 2018 Art History Thesis Title: America's Second Art City: Sun, Pop Culture, and Inequality: Advisor: C. Ondine Chavoya Advisor is Co-author: None of the above Second Advisor: Release: release now Contains Copyrighted Material: No America’s Second Art City: Sun, Pop Culture, and Inequality by Katherine M. Priest Professor C. Ondine Chavoya, Advisor A thesis submitted in partial fulfillment of the requirements for the Degree of Bachelor of Arts with Honors in Art History WILLIAMS COLLEGE Williamstown, Massachusetts April 20, 2018 1 Introduction: Two Archetypes within America’s “Second Art City” The April 1963 issue of Art in America named Los Angeles “America’s Second Art City.”1 Although Manhattan would maintain its grip on the national art scene throughout the 1960s and beyond, Los Angeles was, for the first time, receiving international recognition as a center of art and culture. In retrospect, the rise of the Los Angeles art scene is far from surprising. The U.S. economy was booming after World War II, meaning middle-class citizens could expect to achieve a higher standard of living than ever before. As a result, U.S. society became increasingly consumer-driven.2 This public was enticed by the media-driven perception of Los Angeles as a city of leisure, sun, and glamour. The artists who embodied and even propagated this conception of Los Angeles through their public personas, works, and lifestyles attained celebrity status, and put the city’s art scene on the map. Consequently, their works, largely grounded within the boundaries of Pop Art and Abstract Expressionism, established the basis for the foundational narrative of the city’s artistic culture.
    [Show full text]