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De Wain Valentine
DE WAIN VALENTINE Born in 1936 in Fort Collins, CO, US Lives and Works in Los Angeles, CA, US SOLO EXHIBITIONS 2019 Almine Rech Gallery, New York, US (UPcoming) 2017 Ruhrtriennale 2017, Ruhr, Germany 2015 Almine Rech Gallery, London, UK David Zwirner, New York, NY, US 2014 Almine Rech Gallery, Paris, France 2012 "DeWain Valentine : Human Scale," GMOA, Georgia Museum of Art, Athens, GA, US 2011 "From Start To Finish: DeWain Valentine’s Gray Column (1975-76)," Presented By The Getty Conservation Institute, Getty Center / J. Paul Getty Museum, Los Angeles, CA, US 2010 Ace Gallery Beverly Hills, Beverly Hills, CA, US 2009 Museum Of Design Art & Architecture. SPf: AGallery, Culver City, CA, US 2008 Scott White ContemPorary Art, San Diego, CA, US 2005 Torrance Art Museum, Torrance, CA, US 1993 Galerie Simonne Stern, New Orleans, LA, US 1991 Works Gallery, Long Beach, CA, US 1985 Honolulu Academy Of Arts, ContemPorary Arts Center, Honolulu, HI, US 1984 Thomas Babeor Gallery, La Jolla, CA, US 1983 Madison Art Center, Madison, WI, US 1982 Thomas Babeor Gallery, La Jolla, CA, US Missouri Botanical Garden, La Jolla, CA, US Laumeier Gallery, Laumeier International SculPture Park, St. Louis, MO, US 1981 Projects Studio One, Institute For Art And Urban Resources, New York, NY, US 1979 Los Angeles County Museum Of Art, Los Angeles, CA, US Fine Arts Gallery, University Of California, Irvine, Irvine, CA, US 1975 La Jolla Museum Of Contemporary Art, La Jolla, CA, US Long Beach Museum Of Art, Long Beach, CA, US Art Gallery, California State University Northridge, -
'Pacific Standard Time' Art Exhibitions in L.A. — Review
Reprints This copy is for your personal, noncommercial use only. You can order presentation-ready copies for distribution to your colleagues, clients or customers here or use the "Reprints" tool that appears next to any article. Visit www.nytreprints.com for samples and additional information. Order a reprint of this article now. November 10, 2011 A New Pin on the Art Map By ROBERTA SMITH LOS ANGELES — The postwar art of Southern California is a house with many mansions, a great number of which are now open for viewing. I refer of course to the cacophonous, synergistic, sometimes bizarre colossus of exhibitions known as “Pacific Standard Time: Art in L.A. 1945- 1980,” which is rampant throughout the Los Angeles region. It sharply divides our knowledge of postwar art — not just Californian but American — into two periods: before and after “Pacific Standard Time.” Before, we knew a lot, and that lot tended to greatly favor New York. A few Los Angeles artists were highly visible and unanimously revered, namely Ed Ruscha and other denizens of the Ferus Gallery, that supercool locus of the Los Angeles art scene in the 1960s, plus Bruce Nauman and Chris Burden, but that was about it. After, we know a whole lot more, and the balance is much more even. One of the many messages delivered by this profusion of what will eventually be nearly 70 museum exhibitions is that New York did not act alone in the postwar era. And neither did those fabulous Ferus boys. Los Angeles may have entered the postwar years with little to speak of in the way of a contemporary art world, but within a decade it was more than making up for lost time. -
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. -
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 -
Dan Flavin Was Born in 1933 in New York City, Where He Later Studied Art History at the New School for Social Research and Columbia University
DAN FLAVIN Dan Flavin was born in 1933 in New York City, where he later studied art history at the New School for Social Research and Columbia University. His first solo show was at the Judson Gallery, New York, in 1961. Flavin made his first work with electric light that same year, and he began using commercial fluorescent tubes in 1963. Fluorescent light was commercially available and its defined systems of standard sized tubes and colors defied the very tenets of Abstract Expressionism and Pop Art, from which the artist sought to break free. In opposition to the gestural and hand-crafted, these impersonal prefabricated industrial objects offered, what Donald Judd described as “…a means new to art.”1 Seizing the anonymity of the fluorescent tube, Flavin employed it as a simple and direct means to implement a whole new artistic language of his own. He worked within this self-imposed reductivist framework for the rest of his career, endlessly experimenting with serial and systematic compositions to wed formal relationships of luminous light, color, and sculptural space. Vito Schnabel Gallery presented Dan Flavin, to Lucie Rie and Hans Coper, master potters in St. Moritz from December 19, 2017 — February 4, 2018. The exhibition featured nine light pieces from the series dedicated to Rie, nine works from his series dedicated to Coper, and a selection of ceramics by Rie and Coper from Flavin’s personal collection. Major solo exhibitions of Flavin’s work have been presented at the National Gallery of Canada, Ottawa; Staatliche Kunsthalle, Baden- Baden; St. Louis Art Museum, Missouri; Morgan Library and Museum, New York; and Dan Flavin: A Retrospective, an international touring exhibition that included the National Gallery of Art, Washington, D.C.; Modern Art Museum of Fort Worth, Texas; Museum of Contemporary Art, Chicago; Hayward Gallery, London; the Musée d’Art Moderne de la Ville de Paris; Los Angeles County Museum of Art; and Pinakothek der Moderne, Munich. -
De Wain Valentine
De Wain Valentine Almine Rech Gallery is pleased to present DeWain Valentine’s first solo exhibition in the De Wain Valentine United Kingdom and his second with the gallery.[1] The show will be on view from the 13th of October to the 14th of November, 2015. October 13 — November 14, 2015 This exhibition constitutes one more step in the "vast reappraisal of the important artistic force that developed in L.A. in the 1960s - often referred to as the Light and Space movement - and of Valentine’s major role there up to now. […] Spanning across several decades, different and utterly fascinating plastic-based media and technical methods (not traditionally used in Modernist sculpture), DeWain Valentine’s production has continually embodied a unique, quintessentially Southern Californian aesthetic. He is best known for large-scale, translucent resin cast sculptures in a variety of apparently simple, geometric shapes - that vary none the less greatly from the Minimalist grids and cubes. […] His concerns with surface transparency and translucency, the use of industrial materials and processes, an emphasis on the qualities of prismatic color, and interest in the viewer’s perception and interaction connects him to the so-called Light and Space movement from the 1960s and 1970s. Overall, what should be emphasized as a principal and distinctive feature of DeWain Valentine's art (and his personality) are an unwavering attachment to an aesthetic of pure visual and haptic joy, and to a sensual and uplifting celebration of outdoor life in the California of the 1960s. The work of the Light and Space artists, who gathered around the fledgling, yet intense, art scene located on the coast of Venice, California, was influenced by the distinctive and unique qualities of the atmospheric landscape of Los Angeles. -
A Finding Aid to the Jan Butterfield Papers, 1950-1997, in the Archives of American Art
A Finding Aid to the Jan Butterfield Papers, 1950-1997, in the Archives of American Art Megan McShea Funding for the processing of this collection was provided by the Council on Library and Information Resources "Hidden Collections" grant program. 2012 June 27 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 3 Scope and Contents........................................................................................................ 3 Biographical / Historical.................................................................................................... 2 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 6 Series 1: Interviews and Lectures, 1959-1997......................................................... 6 Series 2: Writings, 1962-1997................................................................................ 21 Series 3: Project -
A Finding Aid to the Melinda Wortz Papers, 1958-1992, in the Archives of American Art
A Finding Aid to the Melinda Wortz Papers, 1958-1992, in the Archives of American Art Stephanie Ashley Support for the processing of this collection was provided by the Smithsonian's Collections Care Pool Fund. 2017 August 28 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 2 Arrangement..................................................................................................................... 3 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 6 Series 1: Biographical Materials, 1966-1988........................................................... 6 Series 2: Correspondence, 1967-1992.................................................................... 7 Series 3: Interviews, 1971-circa 1980s................................................................... -
Vija Celmins in California 1962-1981
City University of New York (CUNY) CUNY Academic Works School of Arts & Sciences Theses Hunter College Winter 1-3-2020 Somewhere between Distance and Intimacy: Vija Celmins in California 1962-1981 Jessie Lebowitz CUNY Hunter College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/hc_sas_etds/546 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] Somewhere between Distance and Intimacy: Vija Celmins in California 1962-1981 by Jessie Lebowitz Submitted in partial fulfillment of the requirements for the degree of Master of Arts in Art History, Hunter College The City University of New York 2019 December 19, 2019 Howard Singerman Date Thesis Sponsor December 19, 2019 Harper Montgomery Date Signature of Second Reader Table of Contents List of Illustrations ii Introduction 1 Chapter 1: The Southern California Renaissance 8 Chapter 2: 1970s Pluralism on the West Coast 29 Chapter 3: The Modern Landscape - Distant Voids, Intimate Details 47 Conclusion 61 Bibliography 64 Illustrations 68 i List of Illustrations All works are by Vija Celmins unless otherwise indicated Figure 1: Time Magazine Cover, 1965. Oil on canvas, Private collection, Switzerland. Figure 2: Ed Ruscha, Large Trademark with Eight Spotlights, 1962. Oil, house paint, ink, and graphite pencil on canvas, Whitney Museum of American Art, New York. Figure 3: Heater, 1964. Oil on canvas, Whitney Museum of American Art, New York. Figure 4: Giorgio Morandi, Still Life, 1949. Oil on canvas, Museum of Modern Art, New York. -
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. -
Dewain Valentine
DEWAIN VALENTINE Almine Rech Gallery is pleased to present DeWain Valentine’s first solo exhibition in 13.10 — 14.11.15 / London the United Kingdom and his second with the gallery.[1] The show will be on view from the 13th of October to the 14th of November, 2015. This exhibition constitutes one more step in the "vast reappraisal of the important artistic force that developed in L.A. in the 1960s - often referred to as the Light and Space movement - and of Valentine’s major role there up to now. […] Spanning across several decades, different and utterly fascinating plastic-based media and technical methods (not traditionally used in Modernist sculpture), DeWain Valentine’s production has continually embodied a unique, quintessentially Southern Californian aesthetic. He is best known for large-scale, translucent resin cast sculptures in a variety of apparently simple, geometric shapes - that vary none the less greatly from the Minimalist grids and cubes. […] His concerns with surface transparency and translucency, the use of industrial materials and processes, an emphasis on the qualities of prismatic color, and interest in the viewer’s perception and interaction connects him to the so-called Light and Space movement from the 1960s and 1970s. Overall, what should be emphasized as a principal and distinctive feature of DeWain Valentine's art (and his personality) are an unwavering attachment to an aesthetic of pure visual and haptic joy, and to a sensual and uplifting celebration of outdoor life in the California of the 1960s. The work of the Light and Space artists, who gathered around the fledgling, yet intense, art scene located on the coast of Venice, California, was influenced by the distinctive and unique qualities of the atmospheric landscape of Los Angeles. -
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.