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Sunrise a Tribute to Our Founders
Museum of Contemporary Art Cleveland Sunrise A Tribute to Our Founders Sunrise: A Tribute to Our Founders March 15 – August 11, 2019 Sunrise pays homage to our founders, Marjorie Talalay, Nina Sundell, and Mueller Family Gallery Agnes Gund, through artworks that speak to their passions and pursuits. The title references the logo of The New Gallery (moCa’s original name) Organized by Jill Snyder, that was designed by Roy Lichtenstein. A sun rising above a dotted plane Kohl Executive Director with graphic rays fanning through the sky, the logo was a metaphor for the with Kate Montlack, organization, suggesting the vitality and potential of contemporary art. Assistant Director of Exhibitions For this exhibition we invited the daughters of our founders to select works in honor of their mothers. This exhibition represents some of the 20th century’s most influential artists, and each previously has been shown at moCa. Agnes, together with her daughter Catherine, selected sculptural works by three female artists who reinforce her support for the early careers of women artists. Margaret Sundell chose works that reflect her late mother Nina’s professional relationship with Robert Rauschenberg and her embrace of his desire to work in the gap between art and life. Kathy, Nina, and Lauren Talalay’s choices represent meaningful professional and personal moments in their late mother Marjorie’s career as moCa’s longest serving Executive Director (1968–1993). Shown on the cover, Lichtenstein’s logo signals our vanguard legacy. Andy Warhol’s garishly hued portrait of China’s revolutionary leader, (Mao, 1972), Robert Rauschenberg’s collage of American trauma and triumph in the sixties (Signs, 1970), and Lynda Benglis’s vulvar minimalist sculpture (Lagniappe II Major support for this Glitter, 1977) reflect the sociopolitical climate of The New Gallery’s early exhibition provided by years. -
Discovering the Contemporary
of formalist distance upon which modernists had relied for understanding the world. Critics increasingly pointed to a correspondence between the formal properties of 1960s art and the nature of the radically changing world that sur- rounded them. In fact formalism, the commitment to prior- itizing formal qualities of a work of art over its content, was being transformed in these years into a means of discovering content. Leo Steinberg described Rauschenberg’s work as “flat- bed painting,” one of the lasting critical metaphors invented 1 in response to the art of the immediate post-World War II Discovering the Contemporary period.5 The collisions across the surface of Rosenquist’s painting and the collection of materials on Rauschenberg’s surfaces were being viewed as models for a new form of realism, one that captured the relationships between people and things in the world outside the studio. The lesson that formal analysis could lead back into, rather than away from, content, often with very specific social significance, would be central to the creation and reception of late-twentieth- century art. 1.2 Roy Lichtenstein, Golf Ball, 1962. Oil on canvas, 32 32" (81.3 1.1 James Rosenquist, F-111, 1964–65. Oil on canvas with aluminum, 10 86' (3.04 26.21 m). The Museum of Modern Art, New York. 81.3 cm). Courtesy The Estate of Roy Lichtenstein. New Movements and New Metaphors Purchase Gift of Mr. and Mrs. Alex L. Hillman and Lillie P. Bliss Bequest (both by exchange). Acc. n.: 473.1996.a-w. Artists all over the world shared U.S. -
Robert Rauschenberg and James Rosenquist Graphics Rosenquist
RAUSCHENBERG PAST POP: ROBERT RAUSCHENBERG AND JAMES ROSENQUIST GRAPHICS ROSENQUIST KEAN UNIVERSITY !CKNOWLEDGEMENTS We would like to recognize the many individuals and institutions who generously provided assistance in this process. Bard Graduate Center: Olga Valle Tetkowski; Graebel Movers International Inc.: Jim Wilderotter; Kean University: Dr. Dawood Farahi, Holly Logue, John Maso, and Kenneth Kimble; The Montclair Art Museum: Gail Stavitsky and Erica Boyd; The Newark Museum: Amber Woods Germano, Olivia Arnone; O’Hara Gallery: Ruth O’Hara and Lauren Yen; Prudential Insurance Company of America: Carol Skuratofsky and Joseph Sabatino; the Estate of Robert Rauschenberg: Gina C. Guy and Thomas Buehler; James Rosenquist and Beverly Coe at the Rosenquist Studio; Universal Limited Art Editions: Bill Goldston and Marie Allen; The Whitney Museum of American Art: Donna DeSalvo, Barbie Spieler and Matt Heffernan; Visual Artists and Galleries Association (VAGA): Robert Panzer and Kimberly Tishler. Rich Russo for the photographs of prints in the Kean and Prudential collections. Special thanks to Barbara Burn for her remarkable editing ability and unique kindness. Without her diligence, this catalog would not have been possible. Copyright © 2009 by Kean University, Union, New Jersey Catalog essay, Past Pop: Robert Rauschenberg and James Rosenquist Graphics of the 1970s © 2009 Lewis Kachur All rights reserved. No part of this book may be reproduced in any form including electronic or mechanical means, photocopying, information storage and retrieval systems, except in the case of brief extracts for the purpose of critical articles and reviews, without permission in writing from Kean University. Art © James Rosenquist /Licensed by VAGA, New York, NY Art © Estate of Robert Rauschenberg/Licensed by VAGA, New York, NY U.L.A.E. -
Museum to Celebrate James Rosenquist's 80Th Birthday
FOR IMMEDIATE RELEASE Contact: Matthew Wallace [email protected] 701-777-4195 Museum to Celebrate James Rosenquist’s 80th Birthday James Rosenquist has always maintained a connection to North Dakota. He was born in 1933 at the Deaconess Hospital in Grand Forks to Ruth Hendrickson Rosenquist and Louis Rosenquist. The two met at the Grand Forks International Airport and shared a passion for flying. In his autobiography, Painting Below Zero, Rosenquist states, “Perhaps because the land is so flat—there were no mountains to climb—in North Dakota people wanted to go up in the air. My mom and dad wanted to fly, and they both became pioneering pilots.” Despite not having a pilot’s license, Rosenquist’s mother took to the skies, while James’ earliest memories involving planes were of his father letting him play in the cockpit of biplanes at the airport. On August 22, 7 pm, the Museum will open James Rosenquist: An Exhibition Celebrating His 80th Birthday. The exhibition consists of one painting – Through the Eye of the Needle to the Anvil, an homage to his mother who was an early North Dakota aviation pioneer. The painting measures 17 x 46 feet and once installed, will cover the entire wall of the Museum’s east gallery. Through the Eye of the Needle to the Anvil is the perfect vehicle to explore the artist’s North Dakota roots in aviation and celebrate his 80th birthday. Musing about the painting, Rosenquist said, “After my mother died in 1987, I painted Through the Eye of the Needle as a kind of commemoration of her unfulfilled life. -
Modernism 1 Modernism
Modernism 1 Modernism Modernism, in its broadest definition, is modern thought, character, or practice. More specifically, the term describes the modernist movement, its set of cultural tendencies and array of associated cultural movements, originally arising from wide-scale and far-reaching changes to Western society in the late 19th and early 20th centuries. Modernism was a revolt against the conservative values of realism.[2] [3] [4] Arguably the most paradigmatic motive of modernism is the rejection of tradition and its reprise, incorporation, rewriting, recapitulation, revision and parody in new forms.[5] [6] [7] Modernism rejected the lingering certainty of Enlightenment thinking and also rejected the existence of a compassionate, all-powerful Creator God.[8] [9] In general, the term modernism encompasses the activities and output of those who felt the "traditional" forms of art, architecture, literature, religious faith, social organization and daily life were becoming outdated in the new economic, social, and political conditions of an Hans Hofmann, "The Gate", 1959–1960, emerging fully industrialized world. The poet Ezra Pound's 1934 collection: Solomon R. Guggenheim Museum. injunction to "Make it new!" was paradigmatic of the movement's Hofmann was renowned not only as an artist but approach towards the obsolete. Another paradigmatic exhortation was also as a teacher of art, and a modernist theorist articulated by philosopher and composer Theodor Adorno, who, in the both in his native Germany and later in the U.S. During the 1930s in New York and California he 1940s, challenged conventional surface coherence and appearance of introduced modernism and modernist theories to [10] harmony typical of the rationality of Enlightenment thinking. -
Fall 201720172017
2017 2017 2017 2017 Fall Fall Fall Fall This content downloaded from 024.136.113.202 on December 13, 2017 10:53:41 AM All use subject to University of Chicago Press Terms and Conditions (http://www.journals.uchicago.edu/t-and-c). American Art SummerFall 2017 2017 • 31/3 • 31/2 University of Chicago Press $20 $20 $20 $20 USA USA USA USA 1073-9300(201723)31:3;1-T 1073-9300(201723)31:3;1-T 1073-9300(201723)31:3;1-T 1073-9300(201723)31:3;1-T reform reform reform reform cameras cameras cameras cameras “prints” “prints” “prints” “prints” and and and and memory memory memory memory playground playground playground playground of of of Kent’s of Kent’s Kent’s Kent’s guns, guns, guns, guns, abolitionism abolitionism abolitionism abolitionism art art art art and and and and the the the the Rockwell literary Rockwell Rockwell literary literary Rockwell issue literary issue issue issue Group, and Group, and Group, and Group, and in in in in this this this this Homer—dogs, Homer—dogs, Homer—dogs, Place Homer—dogs, Place Place Place In In In In nostalgia Park nostalgia nostalgia Park Park nostalgia Park Duncanson’s Duncanson’s Duncanson’s Duncanson’s Christenberry the Christenberry S. Christenberry the S. the S. Christenberry the S. Winslow Winslow Winslow Winslow with with with with Robert Robert Robert Robert Suvero, Suvero, Suvero, Suvero, William William William William di di di Technological di Technological Technological Technological Hunting Hunting Hunting Hunting Mark Mark Mark Mark Kinetics of Liberation in Mark di Suvero’s Play Sculpture Melissa Ragain Let’s begin with a typical comparison of a wood construction by Mark di Suvero with one of Tony Smith’s solitary cubes (fgs. -
Robert Morris, Minimalism, and the 1960S
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 1988 The Politics of Experience: Robert Morris, Minimalism, and the 1960s Maurice Berger 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/1646 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] INFORMATION TO USERS The most advanced technology has been used to photograph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. -
Art Everywhere Press Release 4.7.14.Pdf
THE LARGEST OUTDOOR ART SHOW EVER CONCEIVED—A FREE NATIONWIDE CELEBRATION OF AMERICAN MASTERWORKS—TO BEGIN AUGUST 4, 2014 Five Major Museums and the Outdoor Advertising Association of America Come Together to Organize Art Everywhere US Public Voting Begins Today on Which Great American Art Will Pop Up on Billboards and Signs Across the Country WASHINGTON, DC, April 7, 2014 —American artists have long found inspiration in iconic locations such as Times Square, Sunset Boulevard and Route 66. Starting on August 4, 2014 and continuing for four weeks, these places and more will be transformed into free open-air galleries for masterworks of American art through Art Everywhere US, the largest outdoor art show ever conceived. A nationwide celebration of America’s artistic legacy, Art Everywhere is organized through a collaboration among five major museums—the Art Institute of Chicago, the Dallas Museum of Art, the Los Angeles County Museum of Art (LACMA), the National Gallery of Art and the Whitney Museum of American Art—the Outdoor Advertising Association of America (OAAA), and artists, estates, foundations, and rights agencies. Approximately 50 recognized masterworks of American art from the museums’ collections will pop up on as many as 50,000 displays nationwide, including static and digital billboards, subway platforms and trains, buses and bus shelters—and the selection will be curated with the help of the American people through an online vote. Beginning April 7 at www.ArtEverywhereUS.org and continuing for a month, everyone is invited to view 100 American artworks nominated by the museums and vote for the ones he or she would most like to see reproduced outdoors. -
FJJMA-James Rosenquist Apr 4
NEWS RELEASE March 30, 2012 FRED JONES JR. MUSEUM OF ART UNIVERSITY OF OKLAHOMA - NORMAN CONTACT MICHAEL BENDURE, Director of Communication, 405-325-3178, [email protected] FAX: 405-325-7696 www.ou.edu/fjjma FOR IMMEDIATE RELEASE WITH PHOTO OU Art Museum Video Chat Series Features James Rosenquist April 4 NORMAN – University of Oklahoma students and the public are invited to interact with American artist James Rosenquist via live video chat at the Fred Jones Jr. Museum of Art. The second of its kind in the new series, 30 Minutes With, the chat begins with a 30-minute talk by OU art professor Susan Caldwell at 4 p.m. Wednesday, April 4 at the museum, followed by the live chat with Rosenquist. “Through this new series, visitors are given a unique opportunity to talk directly with major current artists,” said Ghislain d’Humières, director of the art museum. “We hope visitors will take this rare opportunity and learn about James Rosenquist, both from Susan Caldwell and from the artist himself.” Rosenquist was born in North Dakota in 1933 but grew up in Minnesota. While studying at the University of Minnesota, he spent his summers painting signs and billboards. These experiences heavily influenced his pop style as an artist. In 1955, Rosenquist moved to New York, where he studied at the Art Students League and continued work as a billboard painter. Living in the fast-paced, media-filled environment of New York City, he once said he was “amazed and excited and fascinated about the way things are thrust at us.” Alongside Andy Warhol and Roy Lichtenstein, Rosenquist has become a central figure of pop art in New York. -
UNSEEN WORKS of the EUROPEAN AVANT-GARDE An
Press Release July 2020 Mitzi Mina | [email protected] | Melica Khansari | [email protected] | Matthew Floris | [email protected] | +44 (0) 207 293 6000 UNSEEN WORKS OF THE EUROPEAN AVANT-GARDE An Outstanding Family Collection Assembled with Dedication Over Four Decades To Be Offered at Sotheby’s London this July Over 40 Paintings, Sculpture & Works on Paper Led by a Rare Cubist Work by Léger & an Intimate Picasso Portrait of his Secret Lover Marie-Thérèse Pablo Picasso | Fernand Léger | Alberto Giacometti | Wassily Kandinsky | Lyonel Feininger | August Macke | Alexej von Jawlensky | Jacques Lipchitz | Marc Chagall | Henry Moore | Henri Laurens | Jean Arp | Albert Gleizes Helena Newman, Worldwide Head of Sotheby’s Impressionist & Modern Art Department, said: “Put together with passion and enjoyed over many years, this private collection encapsulates exactly what collectors long for – quality and rarity in works that can be, and have been, lived with and loved. Unified by the breadth and depth of art from across Europe, it offers seldom seen works from the pinnacle of the Avant-Garde, from the figurative to the abstract. At its core is an exceptionally beautiful 1931 portrait of Picasso’s lover, Marie-Thérèse, an intimate glimpse into their early days together when the love between the artist and his most important muse was still a secret from the world.” The first decades of the twentieth century would change the course of art history for ever. This treasure-trove from a private collection – little known and rarely seen – spans the remarkable period, telling its story through the leading protagonists, from Fernand Léger, Pablo Picasso and Alberto Giacometti to Wassily Kandinsky, Lyonel Feininger and Alexej von Jawlensky. -
The New American Art Lily Rothman Oct 09, 2017
The Oct. 13, 1967, cover of TIME TIME MEDIA 50 Years Ago This Week: The New American Art Lily Rothman Oct 09, 2017 Milestone moments do not a year make. Often, it’s the smaller news stories that add up, gradually, to big history. With that in mind, in 2017 TIME History will revisit the entire year of 1967, week by week, as it was reported in the pages of TIME. Catch up on last week’s installment here. Week 41: Oct. 13, 1967 Tony Smith was the "most dynamic, versatile and talented new sculptor in the U.S. art world" proclaimed this week's cover story — but that wasn't the only reason why his work was so newsworthy. The other factor worth considering was what his work at the time looked like. Smoke, the work discussed at the top of the article, was metal, crafted in a fabrication shop from his designs, and it was huge. Smith was TIME's way of looking at a major new trend in contemporary art. As American cities grew and modernized, they needed art that could hold its own. Enter the new American artist: In the year 1967, the styles and statements of America's brash, brilliant and often infuriating contemporary artists have not only become available to the man in the street, but are virtually unavoidable. And with proliferation comes confusion. Whole new schools of painting seem to charge through the art scene with the speed of an express train, causing Pop Artist Andy Warhol to predict the day "when everyone will be famous for 15 minutes." ...Tony Smith, who was thought of as primarily an architect at the time, witnessed the coming of age of the U.S. -
Modern Art Collection
MODERN ART COLLECTION Alexander Archipenko Reclining 1922 Bronze 17½ × 11 × 11¼ in. (44.5 × 27.9 × 28.6 cm) Bequest of Ruth P. Phillips 2005.23.5 Widely acknowledged as the first cubist sculptor, Alexander Archipenko held a lifelong fascination with the human figure in the round. Archipenko began studies at the School of Art in Kiev in 1902 but was forced to leave in 1905 after criticizing the academicism of his instructors. He lived briefly in Moscow before settling in 1909 in Paris, where he enrolled at the École des Beaux- Arts. Yet he left after just two weeks of formal studies, believing that he could teach himself through the direct study of sculpture in the Musée du Louvre. The decade following Archipenko’s arrival in Paris proved to be his most inventive. By 1910 Archipenko began exhibiting with the cubists at the Salon des Indépendants and the Salon d’Automne, earning international renown for his nearly abstract sculptures. He was represented in many international cubist exhibitions and also exhibited in the landmark Armory Show of 1913 in New York. Following his marriage in 1921 to Angelica Schmitz, a German sculptor, Archipenko moved to Berlin, where he opened an art school. They left Berlin for New York in 1923, and Archipenko became a United States citizen in 1929. As a young artist in Paris, Archipenko began to adapt cubist techniques to sculpture. Influenced by the cubist notion of integrating the figure with surrounding space, Archipenko interchanged solids and voids so that protruding elements seemed to recede and internal features to advance.