About Prints: the Legacy of Stanley William Hayter and Atelier 17
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Summer 2021 —Vol
ACADEMYAC ART MUSEUMA DMAGAZINEE - SUMMERM 2021Y CHAIR’S AND DIRECTOR’S LETTERS, TRUSTEES & STAFF Dear Museum Friends, As we all emerge from one of the strangest winters ever, the Academy Art Museum is pleased to report on its robust plans for the coming spring and summer, in no small TRUSTEES Chuck Mangold, Jr. Donna Alpi, Vice Chair Christine Martin part due to the loyal support of our MaryLou Armstrong Peters Antonio McAfee members and donors. Maxine Farrell Catherine Collins McCoy, Chair Craig Fuller, Vice Chair Jill Meyerhoff On March 16, Twisted, The Peculiar Peter Gallagher Jeffrey Parker Portrayal of People the first-ever Jim Harris Courtney Clark Pastrick student-curated exhibition, Elizabeth Hormel John Pinney, Treasurer opened and will run until April 8. Lisa Hunter Mary Ann Schindler This exhibition resulted from the pandemic-caused cancellation of the Jeffrey Huvelle, Secretary Karen Shook Museum’s ever-popular annual student art exhibitions and is the product Kentavius Jones Nancy Trippe Margaret Keller Elizabeth Underhill of a collaboration with Kent Island High School art teacher Andrea Julie Madden Marilyn Weiner Schulte. Schulte’s students curated the exhibition by looking at the Trish Malin Hanna Woicke Museum’s Permanent Collection online, selecting works that resonated with them, developing a theme, and creating their own original related art. See the article on page 7 for the students’ thoughtful reactions to having EMERITUS TRUSTEES HONORARY TRUSTEES been involved in this collaborative curatorial and creative project. Richard Bodorff Arnold L. Lehman Joan W. Cox Earl A. Powell, III Richard C. Granville Donald Saff Other children’s and community programming highlighted in this Susan Hamilton James Turrell magazine includes Friday spring Home School Mini Sessions, Earth Bette Kenzie Day Family Art Opportunities, Flowers, Flowers, Everywhere—a special Frank Kittredge Community Day planned in conjunction with other area non-profits, and Kay W. -
ATELIER 17 and Modern Printmaking in the Americas
ATELIER 17 and Modern Printmaking in the Americas DOI 10.11606/9788594195319 Organization Carolina Rossetti de Toledo Ana Gonçalves Magalhães Peter John Brownlee ebook UNIVERSIDADE DE SÃO PAULO Museu de Arte Contemporânea — MAC USP Terra Foundation for American Art São Paulo 2019 São Paulo (Partial or total part of this work is permitted, provided that the source and authorship is cited, prohibiting any use for commercial purposes) © 2019 – Museu de Arte Contemporânea da Universidade de São Paulo Avenida Pedro Álvares Cabral, 1301 • 04094-050 • Ibirapuera • São Paulo/SP email: [email protected] - www.mac.usp.br Catalog drawing elaborated by the Library Lourival Gomes Machado do Museu de Arte Contemporânea da USP Atelier 17 and modern printmaking in the Americas / organization Carolina Rossetti de Toledo, Ana Gonçalves Magalhães, Peter John Brownlee. São Paulo: Museu de Arte Contemporânea da Universidade de São Paulo, 2019. (MAC Essencial, 16), 225 p. ; il. ISBN 978-85-94195-31-9 DOI 10.11606/9788594195319 1. Printmaking – America. 2. Modern Art – America – 20th Century. 3. Atelier 17. 4. Universidade de São Paulo. Museu de Arte Contemporânea. I. Toledo, Carolina Rossetti de. II. Magalhães, Ana Gonçalves. III. Brownlee, Peter John. CDD – 769.9 This exhibition is organized by the Museu de Arte Contemporânea da Universidade de São Paulo and the Terra Foundation for American Art. The exhibition and its publication are made possible with the generous support of the Terra Foundation for American Art. Book Credits Organization: Carolina Rossetti de Toledo, Ana Gonçalves Magalhães and Peter John Brownlee Authors: Ana Gonçalves Magalhães, Ann Shafer, Carolina Rossetti de Toledo, Christina Weyl, Claudio Mubarac, Heloísa Espada, Peter John Brownlee, Priscila Sacchettin, Ruth Fine and Silvia Dolinko. -
Networking Surrealism in the USA. Agents, Artists and the Market
151 Toward a New “Human Consciousness”: The Exhibition “Adventures in Surrealist Painting During the Last Four Years” at the New School for Social Research in New York, March 1941 Caterina Caputo On January 6, 1941, the New School for Social Research Bulletin announced a series of forthcoming surrealist exhibitions and lectures (fig. 68): “Surrealist Painting: An Adventure into Human Consciousness; 4 sessions, alternate Wednesdays. Far more than other modern artists, the Surrea- lists have adventured in tapping the unconscious psychic world. The aim of these lectures is to follow their work as a psychological baro- meter registering the desire and impulses of the community. In a series of exhibitions contemporaneous with the lectures, recently imported original paintings are shown and discussed with a view to discovering underlying ideas and impulses. Drawings on the blackboard are also used, and covered slides of work unavailable for exhibition.”1 From January 22 to March 19, on the third floor of the New School for Social Research at 66 West Twelfth Street in New York City, six exhibitions were held presenting a total of thirty-six surrealist paintings, most of which had been recently brought over from Europe by the British surrealist painter Gordon Onslow Ford,2 who accompanied the shows with four lectures.3 The surrealist events, arranged by surrealists themselves with the help of the New School for Social Research, had 1 New School for Social Research Bulletin, no. 6 (1941), unpaginated. 2 For additional biographical details related to Gordon Onslow Ford, see Harvey L. Jones, ed., Gordon Onslow Ford: Retrospective Exhibition, exh. -
2010–2011 Our Mission
ANNUAL REPORT 2010–2011 OUR MISSION The Indianapolis Museum of Art serves the creative interests of its communities by fostering exploration of art, design, and the natural environment. The IMA promotes these interests through the collection, presentation, interpretation, and conservation of its artistic, historic, and environmental assets. FROM THE CHAIRMAN 02 FROM THE MELVIN & BREN SIMON DIRECTOR AND CEO 04 THE YEAR IN REVIEW 08 EXHIBITIONS 18 AUDIENCE ENGAGEMENT 22 PUBLIC PROGRAMS 24 ART ACQUISITIONS 30 LOANS FROM THE COLLECTION 44 DONORS 46 IMA BOARD OF GOVERNORS 56 AFFILIATE GROUP LEADERSHIP 58 IMA STAFF 59 FINANCIAL REPORT 66 Note: This report is for fiscal year July 2010 through June 2011. COVER Thornton Dial, American, b. 1928, Don’t Matter How Raggly the Flag, It Still Got to Tie Us Together (detail), 2003, mattress coils, chicken wire, clothing, can lids, found metal, plastic twine, wire, Splash Zone compound, enamel, spray paint, on canvas on wood, 71 x 114 x 8 in. James E. Roberts Fund, Deaccession Sculpture Fund, Xenia and Irwin Miller Fund, Alice and Kirk McKinney Fund, Anonymous IV Art Fund, Henry F. and Katherine DeBoest Memorial Fund, Martha Delzell Memorial Fund, Mary V. Black Art Endowment Fund, Elizabeth S. Lawton Fine Art Fund, Emma Harter Sweetser Fund, General Endowed Art Fund, Delavan Smith Fund, General Memorial Art Fund, Deaccessioned Contemporary Art Fund, General Art Fund, Frank Curtis Springer & Irving Moxley Springer Purchase Fund, and the Mrs. Pierre F. Goodrich Endowed Art Fund 2008.182 BACK COVER Miller House and Garden LEFT The Wood Pavilion at the IMA 4 | FROM THE CHAIRMAN FROM THE CHAIRMAN | 5 RESEARCH LEADERSHIP From the In addition to opening the new state-of-the-art Conservation Science Laboratory this past March, the IMA has fulfilled the challenge grant from the Andrew W. -
Atelier 17 and the Art Students League November 4 – December 5, 2021
THE ART STUDENTS LEAGUE PRESENTS Two Generations of Women Printmakers: Atelier 17 and the Art Students League November 4 – December 5, 2021 Worden Day, The Great Divide, 1969, Woodblock print, 23” x 28”. Permanent collection of The Art Students League (New York, NY): The Art Students League of New York is pleased to present Two Generations of Women Printmakers: Atelier 17 and The Art Students League on view November 4–December 5, 2021. The exhibition explores the intertwined histories of The League and the renowned avant-garde printmaking studio Atelier 17, which formed in interwar Paris in the late 1920s. Established by Stanley William Hayter (1901-1988), the studio, together with The League, produced some of the most accomplished female printmakers of the twentieth century. Featuring works by twenty-four artists, the exhibition spotlights the rich possibilities that printmaking presented to women across two generations of artists. Augmenting this exhibition, guest curator Dr. Christina Weyl will present a lecture on the exhibition Tuesday, November 9 in the Phyllis Harriman Mason Gallery at 6 PM. This live talk will bring to life the stories our exhibition tells, spotlighting the rich possibilities that printmaking presented to women across two generations of artists. Atelier 17’s founder, Stanley William Hayter, took his first printmaking lessons in 1926 from Mary Huntoon (1896-1970), who had spent several years mastering the graphic arts at The Art Students League of New York. Huntoon’s instruction carried forward the pedagogy of her own teacher, Joseph Pennell (1857-1926), who had established a rigorous program at The League whereby students executed all aspects of the printmaking process themselves and were encouraged to test new technical approaches. -
Langhorne Comment on Wimmer Pollock Masson Hayter.Pdf
Hinweis: Die Rechteinråumung gem. der Creative Commons Namensnennung 3.0 Lizenz hat nur für diesen Text Gültigkeit, nicht jedoch für die darin abgebildeten geschützten Werke der bildenden Kunst. Elizabeth L. Langhorne From Mythic Narrative to Abstract Automatism: Jackson Pollock, Andre Masson, and Stanley William Hayter In working towards his mature abstract poured paintings, Pollock not only learned from Masson's abstract linear automatism, but was challenged by Masson's mythological narratives: Mythology of Being 1942 and Anatomy of my Universe 1943. Pollock's response to these narratives of male descent into the female labyrinth in search of harmony is evident in his Male and Female 1942, and later in his exploration of these same themes using an increasingly abstract automatist line in prints made at Hayter's Atelier 17 in 1944-45. In addition to Masson's example, what Hayter taught Pollock about the ability of an engraved line to move in the "space of the imagination" anticipates the three-dimensionality of Pollock's future poured gestures. In "From Automatic Drawing to American Abstract Art: André Masson, Jackson Pollock and Cy Twombly" Wimmer explores the role that the surrealist tradition of automatism plays in the rejection of traditional painting characterized by the drip paintings of Jackson Pollock, and later by the automatist works of Cy Twombly. Especially noteworthy is her emphasis on the cultural transfer that took place when the greater part of the European Surrealist group, Andre Masson and Stanley William Hayter among them, was transplanted to New York, bringing with them the lessons of Surrealist automatism. I would like to add to this discussion by developing the relationship of Pollock and Masson, and of Pollock and Hayter that I explore in my book on Pollock and his art, Jackson Pollock: Kunst als Sinnsuche (Hawel Verlag, Wallerstein, 2013). -
Wolfgang Paalen
Wolfgang Paalen Implicit Spaces May 17 – July 12, 2007 “The main concern is not to operate for eternity, but in eternity.” from Wolfgang Paalen´s scrapbook Voyage nord-ouest, Canada/Alaska 1939 Cover Image Wolfgang Paalen, Ciel de pieuvre (Octopus sky) Fumage and oil on canvas 1938 97 x 130 cm (38 1/4 x 51 1/4 in.) More than half a century ago Wolfgang Paalen in the Bay Area Paalen worked and exhibited for some years together with his wife, Luchita, and their friends Gordon Onslow Ford, Jacqueline Johnson and Lee Mullican in Mill Valley. It was here in 1949 that he published his essay with the strange title Dynaton, in which he contemplated space and time, our changing image of the cosmos caused by the new physics, and what it meant for an artist to draw from a universe of the imaginable and no longer merely from the three known dimensions of the visible world. Jacqueline Johnson later wrote, “Paalen´s voice held the flashing presence of mystery where, as in childhood, it is central to all the threads of reality, of an identity to come, the clue of the concealed.” In this way, Dynaton was formed as a small artists’ group. Onslow Ford consequently called him “the man of many possibilities.” For Lee he embodied, “the advent of the Lord of Prismatic Situations.” Jacqueline adored him as a, “man with a spark of nuclear presence.” And Luchita, his wife, called him “the most intriguing spirit possible, but the most impossible man to live with.” Each friend acknowledged his visionary genius. -
Lastingimpcat.Pdf
, , Leonard Baskin Leonard - - Blake: a Fragment a Blake: 6 Webber Center Gallery Sept. 22-Oct. 29, 2011 Special thanks to the College of Central Florida Webber Gallery Patron Society and Ocala Art and Frame –an equal opportunity college– The Importance of Print: Comprehending the Moving Message of the Reproducible Image William R. Adams, Adjunct Instructor of Art History, College of Central Florida It is at once fortuitous and problematic that this particular exhibition is being mounted at this particular moment in time. We live and operate in an era in which the old post-modern saw, “What is art?” has itself become post-modern. By that, I mean that a general consensus answer was agreed upon by the art-going public several decades ago that art could be whatever the artist or viewer wanted. As conveniently glib as that answer to one of the great philosophically vague questions of the twentieth century may be, it in fact creates more problems than it solves. By the time the post-modernists got around to asking themselves that most puzzling of questions, the curatorial and museological worlds had just begun to shake off their centuries-old patina of inaccessibility and elitism that had, for so long, daunted those who were interested in delving into the world of expression, but found themselves shunned by museums’ and galleries’ insistence on “protecting” their collections from a presumably uninformed public. This particular scenario presented a dangerous dichotomy: just as museums and galleries were beginning to become more inclusive and cognizant of the importance of the public’s attention, the artists and image-makers themselves began to explore increasingly more esoteric, incorporeal, less easily comprehensible personal and psychological realities in their works. -
Walker Art Center Exhibition Chronology Living Minnesota
Walker Art Center Exhibition Chronology Title Opening date Closing date Living Minnesota Artists 7/15/1938 8/31/1938 Stanford Fenelle 1/1/1940 ?/?/1940 Grandma’s Dolls 1/1/1940 ?/?/1940 Parallels in Art 1/4/1940 ?/?/1940 Trends in Contemporary Painting 1/4/1940 ?/?/1940 Time-Off 1/4/1940 1/1/1940 Ways to Art: toward an intelligent understanding 1/4/1940 ?/?/1940 Letters, Words and Books 2/28/1940 4/25/1940 Elof Wedin 3/1/1940 ?/?/1940 Frontiers of American Art 3/16/1940 4/16/1940 Artistry in Glass from Dynastic Egypt to the Twentieth Century 3/27/1940 6/2/1940 Syd Fossum 4/9/1940 5/12/1940 Answers to Questions 5/8/1940 7/1/1940 Edwin Holm 5/14/1940 6/18/1940 Josephine Lutz 6/1/1940 ?/?/1940 Exhibition of Student Work 6/1/1940 ?/?/1940 Käthe Kollwitz 6/1/1940 ?/?/1940 Walker Art Center Exhibition Chronology Title Opening date Closing date Paintings by Greek Children 6/1/1940 ?/?/1940 Jewelry from 1940 B.C. to 1940 A.D. 6/27/1940 7/15/1940 Cameron Booth 7/1/1940 ?/?/1940 George Constant 7/1/1940 7/30/1940 Robert Brown 7/1/1940 ?/?/1940 Portraits of Indians and their Arts 7/15/1940 8/15/1940 Mac Le Sueur 9/1/1940 ?/?/1940 Paintings and their X-Rays 9/1/1940 10/15/1940 Paintings by Vincent Van Gogh 9/24/1940 10/14/1940 Walter Kuhlman 10/1/1940 ?/?/1940 Marsden Hartley 11/1/1940 11/30/1940 Clara Mairs 11/1/1940 ?/?/1940 Meet the Artist 11/1/1940 ?/?/1940 Unpopular Art 11/7/1940 12/29/1940 National Art Week 11/25/1940 12/5/1940 Art of the Nation 12/1/1940 12/31/1940 Anne Wright 1/1/1941 ?/?/1941 Walker Art Center Exhibition Chronology Title -
Introduction
The Art of Collecting sweet Briar College March 19-May 31, 2015 Grace Hartigan (1922-2008), Pastorale, 1953, silkscreen on paper, 7 ¾ x 10 13/16 inches. Sweet Briar College Art Fund purchase; ACG.1969.001. Introduction The Art of Collecting: The 20th Century was guest-curated by Lindsay Profenno ’15, an art history major, as an Arts Management Program practicum under my guidance. The installation’s two focal points are images of women and abstraction. Ms. Profenno contributed to this checklist as well. All works were chosen from the permanent art collection of Sweet Briar College—a collection built over the past 75 years by dedicated alumnae, artists and their heirs, professors and staff as a teaching tool for the students and faculty of Sweet Briar and for the enjoyment and education of the College’s neighbors and friends across the region. No exhibition comes to fruition without the work of many people who support the curator and turn her concept into reality. The art gallery’s work-study assistants Mariah Miller ’16, Samantha Cochran ’16, and Abigail Schutte ’17 have been key to the success of the exhibition. Registrar and collection manager Nancy McDearmon oversaw all preparations and final installation with her usual efficiency and good humor. Exhibitions such as this also benefit from the efforts of our colleagues in the Physical Plant department, who make the gallery look its best and help us keep things running smoothly. Karol A. Lawson Director Art Collection and Galleries and the Sweet Briar Museum Visiting Assistant Professor, Arts Management Program 1 The Art of Collecting sweet Briar College March 19-May 31, 2015 Checklist of the Exhibition DIANE ARBUS 1923-1971 Lady Bartender at Home with a Souvenir Dog, New Orleans 1964 gelatin silver print 14 ½ x 14 inches Purchase made possible by the Friends of Art ACG.2005.002 Born into a wealthy Jewish family in New York, Diane Nemerov Arbus and her photographer husband Allan Arbus ran a commercial photography business after World War II, working with major fashion magazines. -
List of Exhibitions Held at the Corcoran Gallery of Art from 1897 to 2014
National Gallery of Art, Washington February 14, 2018 Corcoran Gallery of Art Exhibition List 1897 – 2014 The National Gallery of Art assumed stewardship of a world-renowned collection of paintings, sculpture, decorative arts, prints, drawings, and photographs with the closing of the Corcoran Gallery of Art in late 2014. Many works from the Corcoran’s collection featured prominently in exhibitions held at that museum over its long history. To facilitate research on those and other objects included in Corcoran exhibitions, following is a list of all special exhibitions held at the Corcoran from 1897 until its closing in 2014. Exhibitions for which a catalog was produced are noted. Many catalogs may be found in the National Gallery of Art Library (nga.gov/research/library.html), the libraries at the George Washington University (library.gwu.edu/), or in the Corcoran Archives, now housed at the George Washington University (library.gwu.edu/scrc/corcoran-archives). Other materials documenting many of these exhibitions are also housed in the Corcoran Archives. Exhibition of Tapestries Belonging to Mr. Charles M. Ffoulke, of Washington, DC December 14, 1897 A catalog of the exhibition was produced. AIA Loan Exhibition April 11–28, 1898 A catalog of the exhibition was produced. Annual Exhibition of the Work by the Students of the Corcoran School of Art May 31–June 5, 1899 Exhibition of Paintings by the Artists of Washington, Held under the Auspices of a Committee of Ladies, of Which Mrs. John B. Henderson Was Chairman May 4–21, 1900 Annual Exhibition of the Work by the Students of the CorCoran SChool of Art May 30–June 4, 1900 Fifth Annual Exhibition of the Washington Water Color Club November 12–December 6, 1900 A catalog of the exhibition was produced. -
David Gascoyne Interviewed by Mel Gooding
NATIONAL LIFE STORIES ARTISTS’ LIVES David Gascoyne Interviewed by Mel Gooding C466/03 This transcript is copyright of the British Library Board. Please refer to the Oral History curators at the British Library prior to any publication or broadcast from this document. Oral History The British Library 96 Euston Road London NW1 2DB 020 7412 7404 [email protected] This transcript is accessible via the British Library’s Archival Sound Recordings website. Visit http://sounds.bl.uk for further information about the interview. © The British Library Board http://sounds.bl.uk IMPORTANT Access to this interview and transcript is for private research only. Please refer to the Oral History curators at the British Library prior to any publication or broadcast from this document. Oral History The British Library 96 Euston Road NW1 2DB 020 7412 7404 [email protected] Every effort is made to ensure the accuracy of this transcript, however no transcript is an exact translation of the spoken word, and this document is intended to be a guide to the original recording, not replace it. Should you find any errors please inform the Oral History curators ( [email protected] ) © The British Library Board http://sounds.bl.uk The British Library National Life Stories Interview Summary Sheet Title Page Ref no: C466/03 Digitised from cassette originals Collection title: Artists’ Lives Interviewee’s surname: Gascoyne Title: Mr Interviewee’s forename: David Sex: Male Occupation: poet, artist and translator Date and place of birth: 1916 Dates of recording: 11.07.1990 Location of interview: interviewee's home Name of interviewer: Mel Gooding Type of recorder: Marantz CP430 Recording format: D60 Cassette F numbers of playback cassettes: F1380 – F1385 Total no.