Ronald Feldman Fine Arts
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Oral History Interview with Ann Wilson, 2009 April 19-2010 July 12
Oral history interview with Ann Wilson, 2009 April 19-2010 July 12 Funding for this interview was provided by the Terra Foundation for American Art. Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a recorded interview with Ann Wilson on 2009 April 19-2010 July 12. The interview took place at Wilson's home in Valatie, New York, and was conducted by Jonathan Katz for the Archives of American Art, Smithsonian Institution. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview ANN WILSON: [In progress] "—happened as if it didn't come out of himself and his fixation but merged. It came to itself and is for this moment without him or her, not brought about by him or her but is itself and in this sudden seeing of itself, we make the final choice. What if it has come to be without external to us and what we read it to be then and heighten it toward that reading? If we were to leave it alone at this point of itself, our eyes aging would no longer be able to see it. External and forget the internal ordering that brought it about and without the final decision of what that ordering was about and our emphasis of it, other eyes would miss the chosen point and feel the lack of emphasis. -
John Miller, Untitled (March 20, 2020), Ink-Jet Print, 61⁄2 × 9"
John Miller, Untitled (March 20, 2020), ink-jet print, 61⁄2 × 9". Tony Rosenthal, 5 in 1, 1973–74. ON SITE CROSSED PATHS Alex Kitnick on the public art of Lower Manhattan August 2020 print issue THE MUSEUEMS ARE CLOSED but the sculptures are still there. Memorials and monuments, too. If you’re in Lower Manhattan, you can ramble along the Irish Hunger Memorial’s serpentine path, a rugged simulacrum of peat and stone. I’ve never been to Ireland, but I take it that parts of it look like this. The strangeness of the work is its location in Battery Park City, where since 2002 it has sat like a souvenir between corporate towers, with the Hudson River stretching out to the west. Robert Smithson called certain of his sculptures “nonsites” to denote their difference from the sites whence they came: A pile of shale in a steel trough in the middle of a gallery stood as a nonsite to a quarry somewhere off in New Jersey. The Irish Hunger Memorial has always struck me as a massive nonsite, a memory displaced and brought over from elsewhere, now made even stranger since the host site is no longer what it was. An eastward walk takes you to Federal Plaza, where Richard Serra’s Tilted Arc once stood. For most of the 1980s (I never saw it in person), the sculpture cut a steely line across the cobbled space, casting stark shadows, collecting graffiti and pee. Many office workers didn’t like it because it obstructed the building’s entrance, but certain judges looked out the window and saw a threat—a cover for bomb throwers or a simple sign of menace. -
Artists Books: a Critical Survey of the Literature
700.92 Ar7 1998 artists looks A CRITICAL SURVEY OF THE LITERATURE STEFAN XL I M A ARTISTS BOOKS: A CRITICAL SURVEY OF THE LITERATURE < h'ti<st(S critical survey °f the literature Stefan ^(lima Granary books 1998 New york city Artists Books: A Critical Survey of the Literature by Stefan W. Klima ©1998 Granary Books, Inc. and Stefan W. Klima Printed and bound in The United States of America Paperback original ISBN 1-887123-18-0 Book design by Stefan Klima with additional typographic work by Philip Gallo The text typeface is Adobe and Monotype Perpetua with itc Isadora Regular and Bold for display Cover device (apple/lemon/pear): based on an illustration by Clive Phillpot Published by Steven Clay Granary Books, Inc. 368 Broadway, Suite 403 New York, NY 10012 USA Tel.: (212) 226-3462 Fax: (212) 226-6143 e-mail: [email protected] Web site: www.granarybooks.com Distributed to the trade by D.A.R / Distributed Art Publishers 133 6th Avenue, 2nd Floor New York, NY 10013-1307 Orders: (800) 338-BOOK Tel.: (212) 627—1999 Fax: (212) 627-9484 IP 06 -ta- Adrian & Linda David & Emily & Ray (Contents INTRODUCTION 7 A BEGINNING 12 DEFINITION 21 ART AS A BOOK 41 READING THE BOOK 6l SUCCESSES AND/OR FAILURES 72 BIBLIOGRAPHIC SOURCES 83 LIST OF SOURCES 86 INTRODUCTION Charles Alexander, having served as director of Minnesota Center for Book Arts for twenty months, asked the simple question: “What are the book arts?”1 He could not find a satisfactory answer, though he tried. Somewhere, in a remote corner of the book arts, lay artists books. -
NO RAMBLING ON: the LISTLESS COWBOYS of HORSE Jon Davies
WARHOL pages_BFI 25/06/2013 10:57 Page 108 If Andy Warhol’s queer cinema of the 1960s allowed for a flourishing of newly articulated sexual and gender possibilities, it also fostered a performative dichotomy: those who command the voice and those who do not. Many of his sound films stage a dynamic of stoicism and loquaciousness that produces a complex and compelling web of power and desire. The artist has summed the binary up succinctly: ‘Talk ers are doing something. Beaut ies are being something’ 1 and, as Viva explained about this tendency in reference to Warhol’s 1968 Lonesome Cowboys : ‘Men seem to have trouble doing these nonscript things. It’s a natural 5_ 10 2 for women and fags – they ramble on. But straight men can’t.’ The brilliant writer and progenitor of the Theatre of the Ridiculous Ronald Tavel’s first two films as scenarist for Warhol are paradigmatic in this regard: Screen Test #1 and Screen Test #2 (both 1965). In Screen Test #1 , the performer, Warhol’s then lover Philip Fagan, is completely closed off to Tavel’s attempts at spurring him to act out and to reveal himself. 3 According to Tavel, he was so up-tight. He just crawled into himself, and the more I asked him, the more up-tight he became and less was recorded on film, and, so, I got more personal about touchy things, which became the principle for me for the next six months. 4 When Tavel turned his self-described ‘sadism’ on a true cinematic superstar, however, in Screen Test #2 , the results were extraordinary. -
Masters Thesis
WHERE IS THE PUBLIC IN PUBLIC ART? A CASE STUDY OF MILLENNIUM PARK A Thesis Presented in Partial Fulfillment of the Requirements for The Degree Master of Arts in the Graduate School of The Ohio State University By Corrinn Conard, B.A. ***** The Ohio State University 2008 Masters Examination Committee: Approved by Dr. James Sanders III, Advisor Advisor Professor Malcolm Cochran Graduate Program in Art Education ABSTRACT For centuries, public art has been a popular tool used to celebrate heroes, commemorate historical events, decorate public spaces, inspire citizens, and attract tourists. Public art has been created by the most renowned artists and commissioned by powerful political leaders. But, where is the public in public art? What is the role of that group believed to be the primary client of such public endeavors? How much power does the public have? Should they have? Do they want? In this thesis, I address these and other related questions through a case study of Millennium Park in Chicago. In contrast to other studies on this topic, this thesis focuses on the perspectives and opinions of the public; a group which I have found to be scarcely represented in the literature about public participation in public art. To reveal public opinion, I have conducted a total of 165 surveys at Millennium Park with both Chicago residents and tourists. I have also collected the voices of Chicagoans as I found them in Chicago’s major media source, The Chicago Tribune . The collection of data from my research reveal a glimpse of the Chicago public’s opinion on public art, its value to them, and their rights and roles in the creation of such endeavors. -
Posing the Literary As Visual
In the age of Postmodernist flux, where boundaries become blurred and may even disappear, we encounter an unexpected engagement with visual art by its long time nemesis - the phonographic word. In the work of the Danish poet Jan Hatt-Olsen who properly calls himself a cross media artist, we witness an uncanny morphogenesis of literary art into visual art. Typically the literary appears in visual art as appropriations of simple literary devices by visual artists, stimulated by the verbiage of their literate societies. For Mr. Olsen however, this repositioning of the literary into the current visual art world encounters several challenges, as he attempts to re-brand the space as a literary site. As the poet makes several appropriations of visual practices that stumble into the realm of visual art politics, there are a number of ideological viruses carried by the avant-garde into his project through these actions. In Mr. Olsen’s The Exhibition as a Poetry Book, at gallery Dada Post in Berlin, Germany in September 2011, the poet commandeered two rooms in which he created separate installations. Upon entering the galleries, experienced visual art eyes immediately synthesize the two layouts as text based conceptual art installations. The installation in the first room titled Came From the Sky exhibits the acuity and visual hermeneutics of a tightly controlled Dennis Oppenheim installation, while also bringing to mind other visual artists who work largely with text, such as Lawrence Weiner and Louise Lawler. In this action an antique red DDR toy airplane sits landed amid the (poems) acrylic on canvas leaflets it seems to have just strewed from the air before landing – like war propaganda. -
Murals & Portraits
RICHARD AVEDON Murals & Portraits May 4 – July 6, 2012 B C A D Galleries: A) Andy Warhol and members of The Factory B) The Chicago Seven C) The Mission Council D) Allen Ginsberg’s family Murals: A) Andy Warhol and members of The Factory: Paul Morrissey, director; Joe Dallesandro, actor; Candy Darling, actor; Eric Emerson, actor; Jay Johnson, actor; Tom Hompertz, actor; Gerard Malanga, poet; Viva, actress; Paul Morrissey; Taylor Mead, actor; Brigid Polk, actress; Joe Dallesandro; Andy Warhol, artist, New York, October 30, 1969, printed 1975 Silver gelatin prints, three panels mounted on linen 123 x 374 1/2 inches (312.4 x 951.2 cm) AP 1/2, edition of 2 B) The Chicago Seven: Lee Weiner, John Froines, Abbie Hoffman, Rennie Davis, Jerry Rubin, Tom Hayden, Dave Dellinger, Chicago, Illinois, November 5, 1969, printed 1969 Silver gelatin prints, three panels mounted on linen 121 3/4 x 242 3/4 inches (309.2 x 616.6 cm) Edition 2/2 + 1 AP C) The Mission Council: Hawthorne Q. Mills, Mission Coordinator; Ernest J. Colantonio, Counselor of Embassy for Administrative Affairs; Edward J. Nickel, Minister Counselor for Public Affairs; John E. McGowan, Minister Counselor for Press Affairs; George D. Jacobson, Assistant Chief of Staff, Civil Operations and Rural Development Support; General Creighton W. Abrams, Jr., Commander, United States Military Assistance Command, Vietnam; Ambassador Ellsworth Bunker; Deputy Ambassador Samuel D. Berger; John R. Mossler, Minister and Director, United States Agency for International Development; Charles A. Cooper, Minister -
California State University, Northridge Exploitation
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE EXPLOITATION, WOMEN AND WARHOL A thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Art by Kathleen Frances Burke May 1986 The Thesis of Kathleen Frances Burke is approved: Louise Leyis, M.A. Dianne E. Irwin, Ph.D. r<Iary/ Kenan Ph.D. , Chair California State. University, Northridge ii DEDICATION This thesis is dedicated to Dr. Mary Kenon Breazeale, whose tireless efforts have brought it to fruition. She taught me to "see" and interpret art history in a different way, as a feminist, proving that women's perspectives need not always agree with more traditional views. In addition, I've learned that personal politics does not have to be sacrificed, or compartmentalized in my life, but that it can be joined with a professional career and scholarly discipline. My time as a graduate student with Dr. Breazeale has had a profound effect on my personal life and career, and will continue to do so whatever paths my life travels. For this I will always be grateful. ACKNOWLEDGEMENTS In addition, I would like to acknowledge the other members of my committee: Louise Lewis and Dr. Dianne Irwin. They provided extensive editorial comments which helped me to express my ideas more clearly and succinctly. I would like to thank the six branches of the Glendale iii Public Library and their staffs, in particular: Virginia Barbieri, Claire Crandall, Fleur Osmanson, Nora Goldsmith, Cynthia Carr and Joseph Fuchs. They provided me with materials and research assistance for this project. I would also like to thank the members of my family. -
New York Has Solved the Problem of Public Art. but at What Cost?
REASONS TO LOVE NEW YORK New York Has Solved the Problem of Public Art. But at What Cost? By Jerry Saltz Follow @jerrysaltz December 17, 2015 8:05 a.m. OY/YO sculpture by Deborah Kass. Photo: Etienne Frossard/Courtesy of Two Trees Management Co. There in the little park between and in the shadows of the Brooklyn and Manhattan bridges, Deborah Kass's large, Lik-M-Aid–yellow sculpture OY/YO lands right in that magnificent sweet spot — endlessly majestic, riddled with Whitman, Hart Crane, and the American Dream. The sculpture speaks in wonderfully multicultural tongues — a cuter new combination of Robert Indiana’s iconic LOVE and I ♥ NY. You can feel the frisson triggered in the mind when reading the word YO from Manhattan; and maybe you realize, instantaneously, that the word flips into OY when seen from Brooklyn — a simple two-liner joining east and west and spinning like a cosmic compass. And just like that, you're in New York, hearing America singing in all its argots and colloquialisms. Just as you think,How'd I never notice that before? the mind supplies the sculpture's invisible exclamation point. It is such a simple joy to feel the real rhythms of the city and see this perfect public sculpture, especially in an age when public space seems more and more turned by developers into private arcades for the privileged. ** I hate this historical turn, which for me is contained most neatly in the High Line, that stretch of elevated rail lines strung through the Meatpacking District, West Chelsea, and the Hudson Yards, refurbished with private money a dozen years ago as the spine of the massive luxury redevelopment of each High Line Public Park, New York City. -
ISSN 1611-0153 Urn: Nbn: De: 101-ND35 2012-6
Neuerscheinungsdienst Jahrgang: 2012 ND 35 Stand: 29. August 2012 Deutsche Nationalbibliothek (Leipzig, Frankfurt am Main) 2012 ISSN 1611-0153 urn:nbn:de:101-ND35_2012-6 2 Hinweise Der Neuerscheinungsdienst ist das Ergebnis der Ko- blikation in der Deutschen Nationalbibliografie; de- operation zwischen der Deutschen Nationalbibliothek und taillierte bibliografische Daten sind im Internet über der MVB Marketing- und Verlagsservice des Buchhandels http://dnb.dnb.de abrufbar. GmbH. Ziel dieser Kooperation ist zum einen die Hebung Bibliographic information published by the Deut- des Qualitätsstandards des Verzeichnisses lieferbarer sche Nationalbibliothek Bücher (VLB) und zum anderen die Verbesserung der The Deutsche Naitonalbibliothek lists this publication in Aktualität und Vollständigkeit der Deutschen Nationalbi- the Deutsche Nationalbibliografie; detailed bibliographic bliografie. In der Titelaufnahme wird der entsprechende data are available in the Internet at http://dnb.dnb.de. Link zu den Verlagsangaben direkt geschaltet; ebenso Information bibliographique de la Deutsche Natio- alle anderen möglichen Links. nalbibliothek Die Verleger melden ihre Titel in einem einzigen Vor- La Deutsche Nationalbibliothek a répertoiré cette publi- gang für das VLB und den Neuerscheinungsdienst der cation dans la Deutsche Nationalbibliografie; les données Deutschen Nationalbibliothek. Dieser zeigt somit alle bibliographiques détaillées peuvent être consultées sur Neumeldungen von Titeln an, die auch in das VLB ein- Internet à l’adresse http://dnb.dnb.de gehen. Die VLB-Redaktion leitet die Meldungen an die Deutsche Nationalbibliothek weiter. Die Titel werden oh- Die Verleger übersenden gemäß den gesetzlichen Vor- ne weitere Änderungen im Neuerscheinungsdienst der schriften zur Pflichtablieferung zwei Pflichtexemplare je Deutschen Nationalbibliothek angezeigt. Die Titelanzei- nach Zuständigkeit an die Deutsche Nationalbibliothek gen selbst sind, wie auf der Sachgruppenübersicht an- nach Frankfurt am Main oder nach Leipzig. -
Part Two: Synaesthetic Cinema: the End of Drama
PART TWO: SYNAESTHETIC CINEMA: THE END OF DRAMA "The final poem will be the poem of fact in the language of fact. But it will be the poem of fact not realized before." WALLACE STEVENS Expanded cinema has been expanding for a long time. Since it left the underground and became a popular avant-garde form in the late 1950's the new cinema primarily has been an exercise in technique, the gradual development of a truly cinematic language with which to expand further man's communicative powers and thus his aware- ness. If expanded cinema has had anything to say, the message has been the medium.1 Slavko Vorkapich: "Most of the films made so far are examples not of creative use of motion-picture devices and techniques, but of their use as recording instruments only. There are extremely few motion pictures that may be cited as instances of creative use of the medium, and from these only fragments and short passages may be compared to the best achievements in the other arts."2 It has taken more than seventy years for global man to come to terms with the cinematic medium, to liberate it from theatre and literature. We had to wait until our consciousness caught up with our technology. But although the new cinema is the first and only true cinematic language, it still is used as a recording instrument. The recorded subject, however, is not the objective external human con- dition but the filmmaker's consciousness, his perception and its pro- 1 For a comprehensive in-depth history of this development, see: Sheldon Renan, An Introduction to the American Underground Film (New York: Dutton Paperbacks, 1967). -
Linda Stein Cv
A.I.R. LINDA STEIN CV SOLO EXHIBITIONS 2017 HOLOCAUST HEROES: FIERCE FEMALES–TAPESTRIES BY LINDA STEIN, Maine Jewish Museum, Portland, ME 2016 THE FLUIDITY OF GENDER: SCULPTURE BY LINDA STEIN, Holter Museum of Art, Helena, MT HOLOCAUST HEROES: FIERCE FEMALES–TAPESTRIES BY LINDA STEIN, Museum of Biblical Art in collaboration with University of North Texas, Dallas, TX HOLOCAUST HEROES: FIERCE FEMALES–TAPESTRIES BY LINDA STEIN, Alverno College, Milwaukee, WI THE FLUIDITY OF GENDER: SCULPTURE BY LINDA STEIN, Columbia University, Teachers College, Macy Gallery, New York, NY HOLOCAUST HEROES: FIERCE FEMALES–TAPESTRIES BY LINDA STEIN, Flomenhaft Gallery, New York, NY HOLOCAUST HEROES: FIERCE FEMALES–TAPESTRIES BY LINDA STEIN, Jewish Federation of Greater Santa Barbara in collaboration with Morris Squire Foundation and Congregation B’nai Brith, Santa Barbara, CA THE FLUIDITY OF GENDER: SCULPTURE BY LINDA STEIN, Allegheny College Art Galleries, Meadville, PA 2015 HOLOCAUST HEROES: FIERCE FEMALES–TAPESTRIES BY LINDA STEIN, Rosen Museum of the Levis JCC, Boca Raton, FL HOLOCAUST HEROES: FIERCE FEMALES–TAPESTRIES BY LINDA STEIN, Futernick Gallery of the Alper JCC, Miami, FL THE FLUIDITY OF GENDER: SCULPTURE BY LINDA STEIN, Noyes Museum of Art, Oceanville, NJ THE FLUIDITY OF GENDER: SCULPTURE BY LINDA STEIN, Penn State Berks, Freyberger Gallery, Reading, PA 2014 THE FLUIDITY OF GENDER: SCULPTURE BY LINDA STEIN, Pennsylvania State University, Hub-Robeson Galleries, University Park, PA THE FLUIDITY OF GENDER: SCULPTURE BY LINDA STEIN, Andrews Art Museum, Andrews, NC THE FLUIDITY OF GENDER: SCULPTURE BY LINDA STEIN, Coastal Carolina University, Bryan Gallery, Conway, SC 2013 THE FLUIDITY OF GENDER: SCULPTURE BY LINDA STEIN, Fulton Montgomery Community College, Perrella Gallery, Johnstown, NY THE FLUIDITY OF GENDER: SCULPTURE BY LINDA STEIN, St.