Complete PAAM Collection Click Here for a PDF of Our Entire Permanent
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Jack Tworkov: Becoming Himself
Jack Tworkov: Becoming Himself By Carter Ratcliff, May 2017 Jack Tworkov developed an acclaimed Abstract Expressionist style and then left it behind, seeking to transcend style and achieve true selfexpression through painting. In 1958, the Museum of Modern Art in New York launched one of its most influential exhibitions. Titled “The New American Painting,” it sent works by leading Abstract Expressionists on a tour of eight European cities. Responses were varied. Some Old World critics saw canvases by Jackson Pollock, Barnett Newman, and their colleagues as unnecessarily large and aesthetically naïve. Others acknowledged, with differing degrees of reluctance, that the unfamiliar imagery confronting them was genuinely innovative. A critic in Berlin praised Jack Jack Tworkov, X on Circle in the Square (Q4-81 #2), Tworkov for dispensing 1981, acrylic on canvas, 49 x 45 in.; Courtesy Alexander with ready-made premises Gray Associates, New York © Estate of Jack Tworkov / and assumptions, seeing the Licensed by VAGA, New York, NY world afresh, and painting what is “real.” “The New American Painting” advanced an ambitious hypothesis: the Abstract Expressionists now formed the modernist vanguard. Convinced that they were no less significant than Impressionists or Cubists, the painters themselves had come to this conclusion a decade earlier. No longer American provincials, they had merged personal ambition with historical destiny. with historical destiny. Understandably, then, when an Abstract Expressionist achieved a mature style he—or she, in the cases of Lee Krasner and Joan Mitchell—tended to stay with it. Of course, signature styles evolved over the years. Mark Rothko’s imagery grew darker. -
The Pennsylvania State University the Graduate School College Of
The Pennsylvania State University The Graduate School College of Arts and Architecture CUT AND PASTE ABSTRACTION: POLITICS, FORM, AND IDENTITY IN ABSTRACT EXPRESSIONIST COLLAGE A Dissertation in Art History by Daniel Louis Haxall © 2009 Daniel Louis Haxall Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy August 2009 The dissertation of Daniel Haxall has been reviewed and approved* by the following: Sarah K. Rich Associate Professor of Art History Dissertation Advisor Chair of Committee Leo G. Mazow Curator of American Art, Palmer Museum of Art Affiliate Associate Professor of Art History Joyce Henri Robinson Curator, Palmer Museum of Art Affiliate Associate Professor of Art History Adam Rome Associate Professor of History Craig Zabel Associate Professor of Art History Head of the Department of Art History * Signatures are on file in the Graduate School ii ABSTRACT In 1943, Peggy Guggenheim‘s Art of This Century gallery staged the first large-scale exhibition of collage in the United States. This show was notable for acquainting the New York School with the medium as its artists would go on to embrace collage, creating objects that ranged from small compositions of handmade paper to mural-sized works of torn and reassembled canvas. Despite the significance of this development, art historians consistently overlook collage during the era of Abstract Expressionism. This project examines four artists who based significant portions of their oeuvre on papier collé during this period (i.e. the late 1940s and early 1950s): Lee Krasner, Robert Motherwell, Anne Ryan, and Esteban Vicente. Working primarily with fine art materials in an abstract manner, these artists challenged many of the characteristics that supposedly typified collage: its appropriative tactics, disjointed aesthetics, and abandonment of ―high‖ culture. -
Rhode Island Road Runner's News
Rhode Island Road Runner’s News Volume 9 Issue 1 January 21, 2005 Presidents Pen RIRR Christmas Party - Awards Banquet This is my last “Presidents Pen” that The RIRR Christmas Party will be I have to email Chuck for the news- held Saturday, February 12, letter and I have had a lot of fun serv- 2005 at 6:30 P.M. Location: ing as President. I wish to thank all Lancellotta's 1113 Charles St. of you for that opportunity, especial- North Providence, RI ly being an “outsider” in Rhode Is- Directions from Providence land. This running club is one of the (going North) Take 95 North to best organizations I have had the 146 north to exit 15 (Mineral pleasure of being affiliated with and Spring Ave.) Take a right off the it is really amazing to see all the exit, and travel approx. 1/4 mi. Turn RIRR singlets at road races and the support you as mem- left on to Charles St. Lancellotta's is bers give to the Club’s Grand Prix Series and to the annu- approx. 500 feet on right. al events, such as the picnic and the Awards Banquet. I Directions from Pawtucket (going South) Take 95 South am not going to single out individuals for their help dur- to Charles St. ext. take right off exit. Continue on Charles ing my term, but you know who you are and everyone St. approx. 1 mi. Take 146 N. to exit 15 (Mineral Spring else does as well. I look forward to seeing all of you at Ave.) Take a right off the exit, and travel approx. -
Folklife and Land Use in New Jersey's Pinelands National Reserve. Report
DOCUMENT RESUME ED 313 304 SO 020 349 AUTHOR Hufford, Mary TITLE One Space, Many Places: Folklife and Land Use in New Jersey's Pinelands National Reserve. Report and Recommendations to the New Jersey Pinelands Commission for Cultural Conservation in the Pincluniis National Reserve. INSTITUTION Library of Congress, Washington, D.C. American Folklife Center. PUB DATE 86 NOTE 152p. AVAILABLE FROM American Folklife Center, Library of Congress, Washington, D.C. 20540 ($10.00). PUB TYPE Books (010) -- Reports Research/Technical (143) EDRS PRICE MF01/PC07 Plus Postage. DESCRIPTORS Community Change; Community Characteristics; Community Development; *Conservation (Environment); *Cultural Context; Cultural Differences; Cultural Traits; Environment; *Folk Culture; Geographic Regions; *Regional Characteristics; *Regional Planning IDENTIFIERS Culture Preservation; New Jersey; *Pinelands National Reserve ABSTRACT In 1978, the U.S. Congress established the Pinelands National Reserve on a million-acre landscape of New Jersey woodlands, farms, marshes, suburbs, towns, rivers, and bays. The reserve was to protect not only the region's great natural beauty and scientific value, but also the cultural life of its people, which is largely undocumented. In 1983, the American Folklife Center of the Library of Congress inaugurated the Pinelands Folklife Project, a field survey that documented on audio tape and film hundreds of residents of the area, capturing images of their lives in songs, stories, recipes, poems, crafts, festivals, recreation, tools, and technologies. Like natural resources, such expressions warrant consideration from planners, but their intangible aspects pose a special challenge. This document refutes the popular image of the region as a wilderness sparsely populated with quaint, backwoods people, presenting instead a place rich in cultural and environmental diversity and describing how residents convey their sense of place through myriad cultural expressions, which planners can factor into their land-use decisions. -
Jennifer Bartlett
P A U L A C O O P E R G A L L E R Y JENNIFER BARTLETT Born: Long Beach, California, 1941 Lives and works in New York, NY Education: Mills College, Oakland, California, BA, 1963 Yale School of Art and Architecture, BFA, 1964 Yale School of Art and Architecture, MFA, 1965 Awards: Fellowship, CAPS (Creative Artists Public Services), 1974 Harris Prize, Art Institute of Chicago, 1976 Lucas Visiting Lecture Award, Carlton College, Northfield, Minnesota, 1979 Brandeis University Creative Arts Award, Waltham, Massachusetts, 1983 American Academy and Institute of Arts and Letters, New York, 1983 Harris Prize and the M.V. Kohnstamm Award, Art Institute of Chicago, 1986 American Institute of Architects Award, New York, 1987 Cultural Laureate, Historic Landmarks Preservation Center, 1999 Lotus club Medal of Merit, 2001 Mary Buckley Endowment Scholarship Honoree, Pratt Institute, 2002 Lifetime Achievement Award, Palm Springs Fine Art Fair, 2014 Instructor: School of Visual Arts, New York, 1972-77 One-Person Exhibitions 1963 Mills College, Oakland, California 1970 119 Spring Street, New York 1971 Jacob's Ladder, Washington, D.C. (with Jack Tworkov) 1972 Reese Paley Gallery, New York 1974 Paula Cooper Gallery, New York Saman Gallery, Genoa, Italy 1975 The Garage, London (with Joel Shapiro) John Doyle Gallery, Chicago Dartmouth College, Hanover, New Hampshire Contemporary Art Center, Cincinnati 1976 Paula Cooper Gallery, New York 1977 Wadsworth Atheneum, Hartford, Connecticut Paula Cooper Gallery, New York 1978 Saman Gallery, Genoa, Italy University -
The History of Photography: the Research Library of the Mack Lee
THE HISTORY OF PHOTOGRAPHY The Research Library of the Mack Lee Gallery 2,633 titles in circa 3,140 volumes Lee Gallery Photography Research Library Comprising over 3,100 volumes of monographs, exhibition catalogues and periodicals, the Lee Gallery Photography Research Library provides an overview of the history of photography, with a focus on the nineteenth century, in particular on the first three decades after the invention photography. Strengths of the Lee Library include American, British, and French photography and photographers. The publications on French 19th- century material (numbering well over 100), include many uncommon specialized catalogues from French regional museums and galleries, on the major photographers of the time, such as Eugène Atget, Daguerre, Gustave Le Gray, Charles Marville, Félix Nadar, Charles Nègre, and others. In addition, it is noteworthy that the library includes many small exhibition catalogues, which are often the only publication on specific photographers’ work, providing invaluable research material. The major developments and evolutions in the history of photography are covered, including numerous titles on the pioneers of photography and photographic processes such as daguerreotypes, calotypes, and the invention of negative-positive photography. The Lee Gallery Library has great depth in the Pictorialist Photography aesthetic movement, the Photo- Secession and the circle of Alfred Stieglitz, as evidenced by the numerous titles on American photography of the early 20th-century. This is supplemented by concentrations of books on the photography of the American Civil War and the exploration of the American West. Photojournalism is also well represented, from war documentary to Farm Security Administration and LIFE photography. -
Dan Tassel Photography Collection11.Mwalb02702
Dan Tassel photography collection11.MWalB02702 This finding aid was produced using ArchivesSpace on September 27, 2021. eng Describing Archives: A Content Standard Brandeis University 415 South St. Waltham, MA URL: https://findingaids.brandeis.edu/ Dan Tassel photography collection11.MWalB02702 Table of Contents Summary Information .................................................................................................................................... 3 Scope and Contents ........................................................................................................................................ 3 Administrative Information ............................................................................................................................ 4 Controlled Access Headings .......................................................................................................................... 4 Collection Inventory ....................................................................................................................................... 5 Photographs by Dan Tassel: "Jerusalem Then and Now" .......................................................................... 5 Other Photographs ....................................................................................................................................... 5 Stereoscope and Slides ................................................................................................................................ 8 Printed Books ............................................................................................................................................. -
Works from the Estate and the Harvey and Phyllis Lichtenstein Collection
Biala: Works from the Estate and the Harvey and Phyllis Lichtenstein Collection January 6 – February 11, 2018 15 Rivington Street Opening Reception: Saturday, January 6 from 4-6pm New York, NY, December 21, 2017 —Tibor de Nagy presents its fifth exhibition of paintings by Biala (1903 – 2000), featuring over twenty works from the 1960s through the 1990s including selected works from the Harvey and Phyllis Lichtenstein Collection. Harvey Lichtenstein was a preeminent supporter of new talent and the President of the Brooklyn Academy of Music from 1967-1999. B IALA, Horse and Carriage, c.1983, oil and collage on canvas, 45 x 58 inches Biala’s contribution to modernism has been noted by critics who championed her assimilation of the School of Paris and the New York School of Abstract Expressionism. Her eight decade career began in the early 1920s when she hitch-hiked with her brother Jack Tworkov to study art in Provincetown. A fateful Paris encounter with English novelist Ford Madox Ford led to a ten-year relationship with the writer and life-long relationship with France. Upon her return to New York in 1939 following Ford’s death, Biala was in the thick of a milieu of the New York School, befriending painter Willem de Kooning, and critic Harold Rosenberg among many others. Biala thrived on her transatlantic life maintaining a studio in America while returning time after time to her beloved Paris. Biala’s approach was a synthesis which danced on the lines between representation and abstraction materializing in a uniquely personal style. Intimate interiors, subtle still-lifes, portraits, and long views of the many landscapes of her various travels acted as her creative point of departure. -
Sturbridge 7-27-07 (Page 1)
Mailed free to requesting homes in Sturbridge, Brimfield, Holland and Wales Vol. 3, No. 40 COMPLIMENTARY HOME DELIVERY ONLINE: WWW.STURBRIDGEVILLAGER.NET ‘Never confuse a single defeat with a final defeat.’ Friday, October 2, 2009 When groceries were hard work New search panel OSV HOSTS Being formed ANNUAL AGRICULTURAL SELECTMEN FAIR DIVIDED ON BY RYAN GRANNAN-DOLL STONEBRIDGE PRESS STAFF WRITER FINAL APPOINTEE STURBRIDGE — Back in the in 1830s, the average person put in hours of manual labor just to pre- BY RYAN GRANNAN-DOLL pare the soil to plant the crops for NEWS STAFF WRITER their table. STURBRIDGE — Selectmen Fast-forward to 2009, and most clashed Thursday Sept. 24 on who people rarely give a second should be appointed as the final thought to the hard work that goes member of the Town Administrator into food produced for grocery Search Committee. store shelves. One seat on the five-person panel “People still today will plow remains open after three new mem- Scott Garieri their fields,” said Old Sturbridge bers were selected at the meeting. Village (OSV) costumed inter- Selectmen could not agree on a preter Thomas Mahoney as visi- fifth member for the committee. tors took turns pushing a plow a They planned to meet again pair of oxen were towing. “It is a Wednesday, Sept. 30, to appoint the harder way of living, but sim- final member. pler.” Ryan Grannan-Doll photos Board of Health Chairman Linda That was just one of the lessons Costumed interpreters help a child Cocalis, Department of Public OSV visitors could learn Works Director Greg Morse, and for- Saturday, Sept. -
Abstract Expressionism
Abstract Expressionism COURTHOUSE GALLERY FINE ART Abstract Expressionism THREE MAINE ARTISTS Harold Garde Stephen Pace George Wardlaw Although it was soon to be superseded by an accelerating succession of artistic movements, Abstract Expressionism, to which these artists were initially drawn, was a watershed in 20th century art in that it broke down previous constraints, put a premium on individual expression, and set in motion the “no holds barred” trajectory of recent art. –Maritca Sawin HAROLD GARDE Winter Evening, Urban 1968 acrylic on board 48 x 48 inches NEXT PAGE GEORGE WARDLAW Color in the Hills 1960 oil on canvas 48 x 60 inches Abstract Expressionism THREE MAINE ARTISTS Harold Garde Stephen Pace George Wardlaw Essay by Martica Sawin AUGUST 29 - SEPTEMBER 25, 2010 court street ellsworth maine 04605 courthousegallery.com 207 667 6611 Abstract Expressionism by Martica Sawin The three artists whose abstract works are shown in this exhibition, were a part of the fabric of American society, had established Harold Garde, Stephen Pace, and George Wardlaw, are representative the Federal Art Project to provide employment for artists. This of a generation that grew up in the Great Depression, served in enabled thousands of artists all over the country to continue their the armed forces in World War II, and, thanks to the veterans work and resulted in a new solidarity in the artists’ community as educational benefits provided by the G.I. Bill of Rights, were able they worked together on public projects and formed organizations to attend art school and make art their lifetime profession. to negotiate with the Works Progress Administration. -
FVES Showcases Its Pieces of Gold a Train
Strong Testimony: Happy Sports: Bengals fall short Curry shares story of Valentine’s of Golden Hawks: hard childhood, Day Holly Springs loving church with from everyone Shows strong Priority here at the offense, defense. Independent See Page 3A See Page 9A VISIT THE INDEPENDENT’S WEBSITE AT WWW.FUQUAY-VARINAINDEPENDENT.COM Fuquay-Varina WIEDNESDAYnd, FEBRUARY 13, 2013 ep 50en CENTS d ent FUQUAY-VARINA, NORTH CAROLINA Dorman to receive Presidential Citizens Medal MMIA founder’s service to veterans recognized nationally Kelly Griffith such a prestigious award,” Dorman said. Md., Harris Wofford of Washington, D.C., Editor Still, the 20-year Coast Guard veteran and Sandy Hook Elementary shooting vic- remains humble, saying it’s not about tims Rachel Davino, Dawn Hochsprung, Michael Dorman, founder and executive him. The award belongs to two groups of Anne Marie Murphy, Lauren Rousseua, director of Military Missions in Action, volunteers – those that have served their Mary Sherlach and Victoria Soto. will be among the 18 recipients of the 2012 country and those that serve the veterans “It is my distinguished honor to award Presidential Citizens Medal, the nation’s with Military Missions in Action. these individuals the 2012 Citizens Medal second-highest civilian honor. “All I’m doing is helping people that for their commitment to public service,” MMIA is a North Carolina-based non- need help,” Dorman said. said President Obama. “Their selfless- profit that helps veterans with disabilities, He and the other award recipients will be ness and courage inspire us all to look for both physical and mental, achieve indepen- recognized on Friday at the White House. -
Ford, Hermine CV
HERMINE FORD EDUCATION 1962 B.A., Antioch College, Yellow Springs, OH. 1960-1961 Yale School of Art and Architecture, New Haven, CT. CHRONOLOGY 1939 Born, New York, NY. 1976 Grant Recipient, CAPS Grant, New York State Council on the Arts, NY. 1977-1983 Instructor, Parsons School of Design, New York, NY. 1981 Instructor, Maryland Institute College of Art, Baltimore, MD. 1983 Visiting Artist, Rhode Island School of Design, Providence, RI. 1984 Visiting Artist, Maryland Institute College of Art, Baltimore, MD. Visiting Artist, School of Art Institute of Chicago, Chicago, IL. Visiting Artist, Tyler School of Art. 1985 Acting Director, Mount Royal Program, Maryland Institute College of Art, Baltimore, MD. 1986-2010 Artist in Residence, Mount Royal College of Art, Maryland Institute College of Art, Baltimore, MD. 1991 Visiting Artist, Middlebury College, VT. 1992 Visiting Artist, New York Studio School, New York, NY. Visiting Artist, Rhode Island School of Design, Providence, RI. 1999 Acting Director, Mount Royal Program, Maryland Institute College of Art, Baltimore, MD. Visiting Artist, Bennington College, Bennington, VT. 2002 Visiting Artist, American Academy in Rome, Rome, ITALY. 2007 Visiting Lecturer, Plattsburgh State Art Museum, Plattsburgh, NY. 2011 Commission, Johns Hopkins Hospital, Baltimore, MD. Ms. Ford currently lives and works in New York City and Nova Scotia. WEBSITE: www.hermineford.com ONE-PERSON EXHIBITIONS 2011 “Hermine Ford: New Paintings,” Storefront, Brooklyn, NY, April 22-May 22 (catalogue). “Hermine Ford: Works on Paper,” Steven Amedee, New York, NY April 22-June 26. 2009 “Hermine Ford: Two New Paintings,” Norte Maar, Brooklyn, NY, February 13-March 21 (brochure). 2007 "ii ss: drawings by Hermine Ford (text pieces by Kathleen Fraser)," Pratt Institute, School of Architecture, Rome, Italy, April.