Diane Arbus Born 1923 in New York
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Toronto Pearson International Airport – YYZ Once You’Ve Arrived, There Are Lots of Options to Get Downtown
Transportation Toronto Pearson International Airport – YYZ Once you’ve arrived, there are lots of options to get downtown. Hop in a taxi, or arrange for a limo or take the light rail - they’re all conveniently waiting to take you where you want to go. http://www.torontopearson.com/en/toandfrom/ground/# Union Pearson Express speeds you from the airport to downtown Toronto in just 25 minutes, with trains departing every 15 minutes, 19 ½ hours a day. UP Express is North America’s first dedicated air-rail link, offering travelers a comfortable and reliable way to get in and out of the city without risking the uncertainties of city traffic. But, it also offers amenities that make the journey easier, like airline check-in kiosks, power outlets, luggage racks, onboard Wi- Fi, and up-to-the-minute flight information. Get a discount on your travel with UP Express! Just visit https://www.upexpress.com/ before July 21, 2019 and use promo code ACERS2019 to get your 25% discount on adult return tickets (round-trip) from Pearson Station to Union Station (regular price $24.70* CAD). Tickets are valid for 1 year. • select “From Pearson To Union,” • select an adult return ticket for your round-trip • Add to order then click the ‘Buy Now’ button and then Checkout to pay for ticket At checkout... • apply the promo code ACERS2019 during purchase Area Information Toronto has plenty to offer the international visitor. Visit Tourism Toronto, Toronto’s convention and visitor’s bureau for an up‐to‐date calendar of events, sample itineraries and more , http://www.seetorontonow.com/ ACerS Concierge: Have questions about the meeting location? Contact Greg Phelps for assistance. -
ANDREA BOLLEY CV 416-955-0660 261 Niagara Street [email protected] Toronto, on M6J 2L7
ANDREA BOLLEY CV 416-955-0660 261 Niagara Street [email protected] Toronto, ON M6J 2L7 www.andreabolley.com 1949 Born Guelph Ontario EDUCATION 1975 Bachelor of Fine Arts, University of Windsor TEACHING EXPERIENCE 2004-17 Masterworks Museum of Art, Bermuda 1982 Arts Sake, Toronto 1980 Activity Centre, Art Gallery of Ontario, Toronto 1979 Activity Centre, Art Gallery of Ontario, Toronto SOLO EXHIBITIONS 2016 Gallery 261, Toronto 2002 Gallery 132, Toronto 2014 Gallery 261, Toronto 2000 Gallery 132, Toronto 2014 Gallery 26, Bermuda 1999 Gallery 132, Toronto 2013 Gallery 26, Bermuda 1998 Gallery 132, Toronto 2013 Windjammer Gallery, Bermuda 1997 Gallery 132, Toronto 2011 BSOA Gallery, Bermuda 1996 Gallery 132, Toronto 2010 ACE Gallery, Bermuda 1995 Gallery 132, Toronto 2010 ITAL Interiors, Toronto 1994 Gallery 132, Toronto 2009 Masterworks Museum of Art, Bermuda 1993 Upper Canada Brewing Co. Toronto 2008 533 Gallery, Toronto 1991 Klonaridis Gallery, Toronto 2008 X Collection, Asolo, Italy 1990 Klonaridis Gallery, Toronto 2007 Archive Gallery, Toronto 1989 Klonaridis Gallery, Toronto 2007 Gallery 132, Toronto 1986 Gallery One, Toronto 2007 ACE Gallery, Bermuda 1985 Gallery One, Toronto 2007 Masterworks Museum of Art, Bermuda 1984 Gallery One, Toronto 2006 Gallery 132, Toronto 1981 Agnes Etherington Art Centre, Toronto 2005 Gallery 132, Toronto 1980 Pollock Gallery, Toronto 2005 The Spoke Club, Toronto 1978 Pollock Gallery, Toronto 2004 30 Year Retrospective, Thames Art 1977 The Art Gallery of Brant, Brantford Gallery, Chatham-Kent (catalogue) -
Christiane and Michael Pflug Fonds CA OTAG SC060
Art Gallery of Ontario E. P. Taylor Research Library and Archives Description & Finding Aid: Christiane and Michael Pflug fonds CA OTAG SC060 Prepared by Meredith Ferguson, 2007 317 Dundas Street West, Toronto, Ontario, Canada M5T 1G4 Reference Desk: 416-979-6642 www.ago.net/ago/library Christiane and Michael Pflug fonds Christiane and Michael Pflug fonds Dates of creation: 1930 - 2006 Extent: 455 cm of textual records and graphic material 2 audio cassettes 1 video cassette 3 artefacts Biographical sketch: Sybille Christiane Pflug (née Schütt) (1936-1972), German-Canadian realist painter, was born in Berlin, Germany and died of an intentional overdose at Hanlan’s Point, Toronto Islands. Upon the outbreak of the Second World War, Pflug was sent alone to live with family friends in the Austrian Tyrol town of Kitzbühl where she remained until her early teens. In 1953, Pflug left Germany for Paris to study fashion design. On a train to Paris in 1954, she met Michael Pflug (1929-,) a German medical student and aspiring artist. At his urging, and with the encouragement of artist friends Vieira da Silva and Arpad Szenès, Christiane, who had no formal art training, began to paint. The Pflugs married in 1956 and moved shortly afterwards to Tunis, Africa where Michael had accepted a medical internship. In early 1958, Christiane and Michael held the first joint exhibition of their work at l’Alliance Française in Tunis. Christiane and the couple’s two young daughters, Esther and Ursula, joined her mother in Toronto in 1959 while Michael remained in Africa. In 1960, after completing his medical studies in France, Michael joined his family in Canada and soon began medical practice. -
Architectonic Forms MAURIZIO ANZERI: Lay It on the Line
FOR IMMEDIATE RELEASE For all inquiries, please contact Irene Fung: [email protected] www.hainesgallery.com DARREN WATERSTON: Architectonic Forms MAURIZIO ANZERI: Lay it on the Line January 6 – February 25, 2017 Press Preview: Thursday, January 5, 5:00 pm Opening Reception: Thursday, January 12, 5:30 pm to 7:30 pm Haines Gallery is pleased to present two concurrent solo exhibitions, featuring new and recent works by Darren Waterston and Maurizio Anzeri. Architectonic Forms is New York-based artist Darren Waterston’s ninth solo exhibition with Haines Gallery, and follows his nationally touring installation Filthy Lucre, a reimagining of James McNeil Whistler’s eccentric masterwork of deco- rative art, the Peacock Room. Exhibited for the first time on the West Coast, Waterston’s newest body of work continues to explore the coalescence between painting and architecture in Western art history, while reflecting the artist’s sustained interest in the allegorical, alchemical and apocalyptic. In Architectonic Forms, Waterston draws directly from devotional architectural Darren Waterston, Triptych (twilight) and Predella, both 2014 structures such as Renaissance altarpieces, confessional screens and Gothic Oil on wood panel, 80 x 131 inches; 21.5 x 83.5 inches partitions, reinterpreting them as magnetic and even menacing painterly objects. Familiar religious iconography is transformed into apocalyptic land- scapes, gestural flourishes and paint-scarred surfaces characteristic of Waterston’s work. The centerpiece of the exhibition, Triptych (twilight), 2014, is based on Matthias Grünewald’s sixteenth century masterpiece, The Isenheim Altar, and casts a spectral halo from the back of its hinged panels. At once intriguing and foreboding, the works hint at something darker lurking beneath their surfaces and demonstrate paradoxical ideas of attraction and revulsion. -
February/March 2014
The PHOTO REVIEW NEWSLETTER February / March 2014 Robert Heinecken Cybill Shepherd/Phone Sex. 1992, dye bleach print on foamcore, 63"×17”. (The Robert Heinecken Trust, Chicago; courtesy Petzel Gallery, New York. © 2013 The Robert Heinecken Trust) At the Museum of Modern Art, New York Exhibitions PHILADELPHIA AREA Germán Gomez “Deconstructing Cities and Duos,” Bridgette Mayer Gallery, 709 Walnut St., Philadelphia, PA 19106, 215/413– Alien She Vox Populi, 319 N. 11th St., 3rd fl., Philadelphia, PA 8893, www.bridgettemayergallery.com, T–Sat 11–5:30 and by 19107, 215/23 8-1236, www.voxpopuligallery.org, T–Sun 12–6, appt., through February 22. March 7 – April 27. Includes photography. Graffiti, Murals, and Tattoos “Paired,” Bucks County Project Artists of a Certain Age Philadelphia Episcopal Cathedral, Gallery, 252 W. Ashland St., Doylestown, PA 18901, 267/247- 3723 Chestnut St., Philadelphia, PA 19104, 267/386-0234 x104, 6634, www.buckscountyprojectgallery.com, Th–F 12–4, F–Sat daily 10–4 and by appt., through February 28. Includes photogra- 1–5, March 8 – April 6. phy by William Brown and Arlene Love. David Graham “Thirty-Five Years / 35 Pictures,” Gallery 339, Donald E. Camp/Lydia Panas/Lori Waselchuk “Humankind,” 339 S. 21st St., Philadelphia, PA 19103, 215/731-1530, www.gal- Main Line Art Center, 746 Panmure Rd., Haverford, PA 19041, lery339.com, T–Sat 10–6, through March 15. 610/525-0272, www.mainlineart.org, M–Th 10–8, F–Sun 10–4, through March 20. Reception, Friday, February 21, 6–8 PM. Panel Jefferson Hayman Wexler Gallery, 201 N. 3rd St., Philadelphia, Discussion and Book Signing, Wednesday, March 19, 6–8 PM. -
EDWARD BURTYNSKY 80 Spadina Avenue, Suite 207 Toronto, Ontario, Canada M5V 2J4
CURRICULUM VITAE • Complete EDWARD BURTYNSKY 80 Spadina Avenue, Suite 207 Toronto, Ontario, Canada M5V 2J4 www.EdwardBurtynsky.com Born St. Catharines, Ontario, 1955 Education 1982 - Bachelor of Applied Arts - Photographic Arts (Media Studies Program), Ryerson University, Toronto, Ontario 1974 - 1976 - Graphic Arts, Niagara College, Welland, Ontario 1985 to present - Photographic artist, entrepreneur, educator, lecturer. Established Toronto Image Works, a darkroom rental facility, custom lab, digital imaging centre and new media computer training centre. SELECTED SOLO EXHIBITIONS 2013 Burtynsky: Water, New Orleans Museum of Art (NOMA) / Contemporary Art Center (CAC), New Orleans, USA, October 5, 2013 - January 19, 2014 Burtynsky: Water, Rena Bransten Gallery, San Francisco, USA, October 24 - December 14 (reception November 6) Burtynsky: Water, Flowers, Cork Street, London, UK, October 16 - November 23 (reception October 15) Burtynsky: Water, Arthur Roger Gallery, New Orleans, USA, October 5 - October 26 (reception October 5) Burtynsky: Water, Bryce Wolkowitz Gallery, New York, NY, USA, September 19 - November 2 (reception September 19) Burtynsky: Water, Howard Greenberg Gallery, New York, NY, USA, September 18 - November 2 (reception September 18) Burtynsky: Water, Nicholas Metivier Gallery, Toronto, Canada, September 5 - October 12 (reception September 12) Edward Burtynsky: The Landscape that we Change, McMichael Canadian Art Collection, Kleinberg, Ontario, Canada, June 29 - September 29 Nature Transformed: Edward Burtynsky’s Vermont -
Annual Report 1995
19 9 5 ANNUAL REPORT 1995 Annual Report Copyright © 1996, Board of Trustees, Photographic credits: Details illustrated at section openings: National Gallery of Art. All rights p. 16: photo courtesy of PaceWildenstein p. 5: Alexander Archipenko, Woman Combing Her reserved. Works of art in the National Gallery of Art's collec- Hair, 1915, Ailsa Mellon Bruce Fund, 1971.66.10 tions have been photographed by the department p. 7: Giovanni Domenico Tiepolo, Punchinello's This publication was produced by the of imaging and visual services. Other photographs Farewell to Venice, 1797/1804, Gift of Robert H. and Editors Office, National Gallery of Art, are by: Robert Shelley (pp. 12, 26, 27, 34, 37), Clarice Smith, 1979.76.4 Editor-in-chief, Frances P. Smyth Philip Charles (p. 30), Andrew Krieger (pp. 33, 59, p. 9: Jacques-Louis David, Napoleon in His Study, Editors, Tarn L. Curry, Julie Warnement 107), and William D. Wilson (p. 64). 1812, Samuel H. Kress Collection, 1961.9.15 Editorial assistance, Mariah Seagle Cover: Paul Cezanne, Boy in a Red Waistcoat (detail), p. 13: Giovanni Paolo Pannini, The Interior of the 1888-1890, Collection of Mr. and Mrs. Paul Mellon Pantheon, c. 1740, Samuel H. Kress Collection, Designed by Susan Lehmann, in Honor of the 50th Anniversary of the National 1939.1.24 Washington, DC Gallery of Art, 1995.47.5 p. 53: Jacob Jordaens, Design for a Wall Decoration (recto), 1640-1645, Ailsa Mellon Bruce Fund, Printed by Schneidereith & Sons, Title page: Jean Dubuffet, Le temps presse (Time Is 1875.13.1.a Baltimore, Maryland Running Out), 1950, The Stephen Hahn Family p. -
Qui Était August Sander? [1]
Sur les traces d’August Sander Par Bernard Birsinger propos recueillis par Emmanuel Bigler Résumé Bernard Birsinger nous raconte comment il est allé un jour au pays d’August Sander pour voir les lieux où le célèbre portraitiste a vécu et travaillé, en particulier là où il a photographié des paysages. Dans ce voyage, Bernard Birsinger a rencontré des témoins ayant connu August Sander, et il en a rapporté un travail photographique sur les lieux de mémoire de l’auteur des « Hommes du vingtième siècle ». Introduction - Qui était August Sander? [1] FIGURE 1 – August Sander en 1925 1 Bernard Birsinger (BBB [2]) : Dans toute quête culturelle, il est important de connaître le décor et aussi ce qui se cache derrière ce décor. Les biographies officielles à propos de Sander comme celle du Getty Museum [3], du MoMA[4], d’Aperture[5] ou de la Tate Gallery [6] de Londres suffisent-elles à nous renseigner ? Eh non. En plus, en tant que photographe, j’ai toujours encore en tête, de façon lancinante, cette phrase de la célèbre photographe américaine Diane Arbus [7] : « Rien n’est jamais comme on a dit que c’était, c’est ce que je n’ai jamais vu avant que je reconnais », phrase tirée de son livre paru en 1973 aux éditions du Chêne [8]. Et vous ne le saviez pas, ça alors? Il était donc grand temps pour moi de prendre mon bâton de pèlerin et de parcourir par monts et vaux l’Allemagne sur les traces de Sander, pour mener un double projet photographique. En un : mener un « Rephotographic Survey Project » comme celui mené à propos de Timothy O’Sullivan en 1977 [9], aux USA. -
University Microfilms International 300 N
THE CRITICISM OF ROBERT FRANK'S "THE AMERICANS" Item Type text; Thesis-Reproduction (electronic) Authors Alexander, Stuart Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 23/09/2021 11:13:03 Link to Item http://hdl.handle.net/10150/277059 INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. -
Hank Willis Thomas
Goodman Gallery Hank Willis Thomas Biography Hank Willis Thomas (b. 1976, New Jersey, United States) is a conceptual artist working primarily with themes related to perspective, identity, commodity, media, and popular culture. Thomas has exhibited throughout the United States and abroad including the International Center of Photography, New York; Guggenheim Museum Bilbao, Spain; Musée du quai Branly, Paris; Hong Kong Arts Centre, Hong Kong, and the Witte de With Center for Contemporary Art, Netherlands. Thomas’ work is included in numerous public collections including the Museum of Modern Art, New York; Solomon R. Guggenheim Museum, New York; Whitney Museum of American Art, New York; Brooklyn Museum, New York; High Museum of Art, Atlanta, and National Gallery of Art, Washington D.C. His collaborative projects include Question Bridge: Black Males, In Search Of The Truth (The Truth Booth), Writing on the Wall, and the artist-run initiative for art and civic engagement For Freedoms, which in 2017 was awarded the ICP Infinity Award for New Media and Online Platform. Thomas is also the recipient of the Gordon Parks Foundation Fellowship (2019), the Guggenheim Foundation Fellowship (2018), Art for Justice Grant (2018), AIMIA | AGO Photography Prize (2017), Soros Equality Fellowship (2017), and is a member of the New York City Public Design Commission. Thomas holds a B.F.A. from New York University (1998) and an M.A./M.F.A. from the California College of the Arts (2004). In 2017, he received honorary doctorates from the Maryland Institute of Art and the Institute for Doctoral Studies in the Visual Arts. Artist Statement Hank Willis Thomas is an American visual photographer whose primary interested are in race, advertising and popular culture. -
From the Museum to the Street: Garry Winogrand's Public Relations and the Actuality of Protest
arts Article From the Museum to the Street: Garry Winogrand’s Public Relations and the Actuality of Protest Simon Constantine Department of History of Art, University College London, London WC1E 6BT, UK; [email protected] Received: 12 March 2019; Accepted: 16 April 2019; Published: 3 May 2019 Abstract: Focusing on Garry Winogrand’s Public Relations (1977), this article explores the problematic encounter between street photography and protest during the Vietnam War era. In doing so, it considers the extent to which Winogrand’s engagement with protest altered the formalist discourse that had surrounded his practice and the ‘genre’ of street photography more broadly since the 1950s. It is suggested that, although Winogrand never abandoned his debt to this framework, the logic of protest also intensified its internal contradictions, prompting a new attitude towards the crowd, art institution, street and mass media. By exploring this shift, this article seeks to demonstrate that, while the various leftist critiques of Winogrand’s practice remain valid, Public Relations had certain affinities with the progressive artistic and political movements of the period. Keywords: street photography; Winogrand; formalism; protest; Vietnam War; documentary 1. Introduction In her 1981 essay, ‘In, Around and Afterthoughts (on Documentary Photography)’, Martha Rosler sought to reinvent documentary practice through a Marxist critique of its traditions, truth claims and political assumptions. However, in doing so, she also stressed the difference between this project and a second, reactionary attack upon photographic credibility; one conducted by a postwar art establishment, which sought to secure ‘the primacy of authorship’ and avoid the social by isolating images ‘within the gallery–museum–art–market nexus’ (Rosler 1992, p. -
Responses to the RFI
Embarcadero Historic District Request for Interest Responses to the RFI 1 Port of San Francisco Historic Piers Request for Interest Responses Table of Contents Contents #1. Ag Building / Ferry Plaza: Ferry Plaza 2.0 ................................................................................................................................................................. 4 #2. Red and White Excursions ..................................................................................................................................................................................... 31 #3. Piers 38-40: Restaurants and Recreation At South Beach ..................................................................................................................................... 34 #4. Heart of San Francisco Gondola ............................................................................................................................................................................. 47 #5. The Menlo Companies ........................................................................................................................................................................................... 50 #6. The International House of Prayer For Children ................................................................................................................................................... 53 #7 Plug and Play SF (Co-working space for startups) ..................................................................................................................................................