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Gestural Abstraction in Australian Art 1947 – 1963: Repositioning the Work of Albert Tucker
Gestural Abstraction in Australian Art 1947 – 1963: Repositioning the Work of Albert Tucker Volume One Carol Ann Gilchrist A thesis submitted for the degree of Doctor of Philosophy Department of Art History School of Humanities Faculty of Arts University of Adelaide South Australia October 2015 Thesis Declaration I certify that this work contains no material which has been accepted for the award of any other degree or diploma in my name, in any university or other tertiary institution and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference has been made in the text. In addition, I certify that no part of this work will, in the future, be used for any other degree or diploma in any university or other tertiary institution without the prior approval of the University of Adelaide and where applicable, any partner institution responsible for the joint-award of this degree. I give consent to this copy of my thesis, when deposited in the University Library, being made available for loan and photocopying, subject to the provisions of the Copyright Act 1968. I also give permission for the digital version of my thesis to be made available on the web, via the University‟s digital research repository, the Library Search and also through web search engines, unless permission has been granted by the University to restrict access for a period of time. __________________________ __________________________ Abstract Gestural abstraction in the work of Australian painters was little understood and often ignored or misconstrued in the local Australian context during the tendency‟s international high point from 1947-1963. -
'Lffig Cfrr Q
By Carter Ratcliff "idr . I. -r"li i.i r, i... -'-ia : .t,j . :, cfrr q 'lffig ' -sr.1;-'"4 lf'"--'"- :.jt" t,.: '-rX' { .c.tsY a l.r";# ..:ii 11.; 'r:i::", i 1 : . i i :.. ! 'lr t'., tr .,,J. ,i4..: ffi- := &.., ffi Mark Tobey transformed the fluid lines of Eastern calligraphy into a unique I1o- d<!o style of abstract painting u:.> I I : rL .9uoi ln 1929, Mark Tobey exhibited a few recent paintings in Wi..o.ri, in 1890, he moved with his family to Chicago three ":t at Romany Marie's Cal6 Gallery in Greenwich Village. Romany years later. His father, a carpenter and building contractor, carved Marie's was a bohemian hangout far from the posh galleries on animals from stone-a weighty material very different in spirit _. i-!a.-,"[ Tobey's show would have faded from the ethereal refinement of his son's mature style. Young Mark o*>,,,7 Manhattan's 57th Street, and '<orl into oblivion long ago if it had not somehow managed to attract attended the school at the Art Institute of Chicago, but there is the attention of Alfred H. Barr, Jr. The founding director of the no evidence that his exposure to the Institute's extremely conser- ;o'6o-iio"t recently inaugurated Museum of Modern Art, Barr was ener- vative curriculum had much effect. Leaving after two years, he getic and adventurous and-most important of all-had a good found work as a fashion illustrator, first in Chicago and then in ;"'Ii^,o a eye. -
Connecticut College Alumni Magazine, Fall 1977
Connecticut College Digital Commons @ Connecticut College Linda Lear Center for Special Collections & Alumni News Archives Fall 1977 Connecticut College Alumni Magazine, Fall 1977 Connecticut College Follow this and additional works at: https://digitalcommons.conncoll.edu/alumnews Recommended Citation Connecticut College, "Connecticut College Alumni Magazine, Fall 1977" (1977). Alumni News. 200. https://digitalcommons.conncoll.edu/alumnews/200 This Magazine is brought to you for free and open access by the Linda Lear Center for Special Collections & Archives at Digital Commons @ Connecticut College. It has been accepted for inclusion in Alumni News by an authorized administrator of Digital Commons @ Connecticut College. For more information, please contact [email protected]. The views expressed in this paper are solely those of the author. The ggrnecticut Alu~ Mag::xzine ,.. Don • ., 1'1"" "f II,.. CJ'lI"Y" "I' NfEW!L.ONT>ON .. ." . " ~" • ,,' \ ., i\. I .\ \ •I " ',"<,- ~_ • Alb ; iiiiihh1WJihi •• ""h"'!h, .... EDITORIAL BOARD: AJlen T. Carroll'73 EdilOr(R.F.D. 3, Colches- President / Sally Lane Braman '54 Secretary / Platt Townend Arnold ter, Ct. 06415), Marion vilbert Clark '24 Class NOles Editor, Elizabeth '64 Treasurer . '56 Damerel Gongaware '26 Assistant Editor, Cassandra Goss Sitnonds '55, Directors-at-Large. Michael J. Farrar '73, Anne Godsey Sun nett , Louise Stevenson Andersen '41 ex officio Terry Munger '50, Gwendolyn Rendall Cross '62 / Alumni Trusl~e~ Official publication of the Connecticut College Alumni Association. All Virginia Golden Kent '35 Jane Smith Moody '49, Joan Jacobson Krome. publication rights reserved. Contents reprinted only by permission of the '46 / Chairman of A iumni Giving: Susan Lee '70 / Chairman of NOInI- editor. Published by the Connecticut College Alumni Association at Sykes noting ~ommittee: Joann Walton Leavenworth '56/ Chairman of Fm.a;~: Alumni Center, Connecticut College, New London, Conn. -
The Search for Knowledge Among the Seventh-Day Adventists in the Area of Maroantsetra, Madagascar
1 The search for knowledge among the Seventh-day Adventists in the area of Maroantsetra, Madagascar Eva Salome Keller London School of Economics and Political Science Doctor of Philosophy 2002 UMI Number: U615598 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U615598 Published by ProQuest LLC 2014. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 "Th c I S£- S F 7?6>7 ‘•4 2 Abstract The thesis is an ethnographic inquiry into the nature of Seventh-day Adventism in Maroantsetra, a small town on the northeast coast of Madagascar, and Sahameloka, a nearby village. The Seventh-day Adventists in Maroantsetra and Sahameloka do not participate in traditional practices through which local people communicate with their ancestors, because they consider such practices to be the work of the devil. This is highly significant in the context of Madagascar and causes serious tension between Adventist and non-Adventist kin. The thesis examines whether the members of the church form a discrete community, but finds that they remain firmly embedded in existing kinship networks despite the difficulties involved. -
Fourteen Americans Edited by Dorothy C
Fourteen Americans Edited by Dorothy C. Miller, with statements by the artists and others Author Museum of Modern Art (New York, N.Y.) Date 1946 Publisher The Museum of Modern Art Exhibition URL www.moma.org/calendar/exhibitions/3196 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art it iii EFT. fhetxiftt fourteen americans aronson culwell gorky hare maciver motherwell noguchi pereira pickens price roszak sharrer Steinberg tobey fourteen americans EDITED BY DOROTHY C. MILLER with statements by the artists and others THE MUSEUM OF MODERN ART Copyright 1946. The Museum of Modern Art. Printed in the U.S.A. 4 . ft'l 9 M f) fir contents page FOREWORD 7 ACKNOWLEDGMENT 9 david aronson 10 ben I. culwell 15 arshile gorky 20 david hare 24 loren maciver 28 robert motherwell 34 isamu noguchi 39 i. rice pereira 44 alt on pickens 49 c. s. price .54 theodore j. roszak 58 honore sharrer 62 said Steinberg 66 mark tobey 70 LENDERS TO THE EXHIBITION 76 CATALOG OF THE EXHIBITION 76 TRUSTEES OF THE MUSEUM OF MODERN ART John Hay Whitney, Chairman of the Board; Henry Allen Moe, ist Vice-Chairman; Philip L. Goodwin, 2nd Vice-Chairman; Sam A. Lewisohn, yd Vice-Chairman; Nelson A. Rockefeller, President; John E. Abbott, Vice-President and Secretary; Ranald H. Macdonald, Treasurer; Alfred H. Barr, Jr., Mrs. Robert Woods Bliss, William A. M. Burden, Stephen C. -
Dante and Giovanni Del Virgilio : Including a Critical Edition of the Text
Digitized by the Internet Archive in 2007 with funding from IVIicrosoft Corporation http://www.archive.org/details/dantegiovannidelOOdantuoft DANTE AND GIOVANNI DEL VIEGILIO. W^ Dante and Giovanni del Virgilio Including a Critical Edition of the text of Dante's " Eclogae Latinae " and of the poetic remains of Giovanni del Virgilio By Philip H. Wicksteed, M.A. and Edmund G. Gardner, M.A. Solatur maesti nunc mea fata senis Westminster Archibald Constable & Company, Ltd. 1902 GLASGOW: PRINTED AT THE UNIVERSITY PRESS BV ROBERT MACLEHOSB AND CO. TO FRANCIS HENRY JONES AND FRANCIS URQUHART. PREFACE. Our original intention was merely to furnish a critical edition, with a translation and commentary, of the poetical correspondence between Dante and Del Virgilio. But a close study of Del Virgilio's poem addressed to Mussato, with a view to the discovery of matter illustrative of his correspondence with Dante, convinced us that Dante students would be glad to be able to read it in its entirety. And when we found ourselves thus including the greater part of Del Virgilio's extant work in our book, the pious act of collecting the rest of his poetic remains naturally sug- gested itself; and so our project took the shape of an edition of Dante's Latin Eclogues and of the poetic remains of Del Virgilio, The inclusion in our work of the Epistle to Mussato made some introductory account of the Paduan poet necessary ; and his striking personality, together with the many resemblances and contrasts between his lot and that of Dante, encouraged us to think that such an account would be acceptable to our readers. -
Wreck Blocks Main Une Over 9
■ . ■' Vv. ^ ' r,-'--V. ^ C - ' ', '■ i ■■ ,<1 , .. ........ ►.,.... w >• 1 '.t' ' ; • V ? • V- i I -• Forefaat by 0- S.' Weaifcer- Owre*^ - iNKT PRESS RUN * - ■ , , Mew Hat-e* ■ ' ' AVERAGE DAILY CIRCULATION for the month of February, 1928 Fair and sH^Uy colder ton ^ t; ; Saturday' fair’ and waiinei'. 5,108 .T. ' .-I. Member of the Audit Rnrenn of Circulntlons PRICE THREE CENTS (EIGHTEEN PAGES) MANCHESTER, CONN., FRIDAY, MARCH 23, 1928. (Classified Advertising on Pa'-- 16) VOL. XLIL, NO. 148. nrcrir ODD LAW PASSED From Lisbon to New York— Paddle by Paddle UP IN QUEBEC . state Library . McDo n a l d dies ‘ Conn Quebec, Que., March 23.— Although a 14-year-old boy and in U iL U u E a 12-year-old girl may by one WRECK BLOCKS MAIN FOR MURDER OF law legally become man and i ,* wife here, today, by another m i •’V IS ^ L A IN E D law, neither of them can go to TAHOTDRIVER a movie show even if accom panied by parents. The latter ■ Van-’: UNE OVER 9 law was passed by the provin -<$> cial legislature yesterday. Signed By Siuibir It Went to Goes to Death on Gallows This law does not prohibit Accident at Glenbrook, Near children from the legitimate Horse Trainer and Not REPORTS OF MERGER theater, although one member pointed out that some plays are In Canada Bravely— Re m m m Stamford, Piles C ars. on worse for children than any To Foreman of Fall’s BOOSTS UP STOCKS porters Barred From the movie. Four Tracks^Occunred <*>- 'v/> Ranch. Prison. -
Monroe Wheeler (Mw)
THE MUSEUM OF MODERN ART ORAL HISTORY PROGRAM INTERVIEW WITH: MONROE WHEELER (MW) INTERVIEWER: SHARON ZANE (SZ) LOCATION: 251 EAST 51ST STREET NEW YORK CITY DATE: JULY 21, 1987 BEGIN TAPE 1, SIDE 1 SZ: Do you have a middle name or a middle initial? MW: Well, my birth certificate shows a middle name of Lathrop. I only came upon it late in life because I never used it. I'd always been plain Monroe Wheeler, but this birth certificate showed up saying Monroe Lathrop Wheeler. Well, I've never used it and I don't intend to start now. SZ: Do you know where the Lathrop comes from? Is it a family name? MoMA Archives Oral History: M. Wheeler page 1 of 126 MW: It was a family name. SZ: Your mother's? MW: On my father's side. SZ: Okay. Tell me where and when you were born and then we'll start to talk a little bit about your mother's and father's families if you'd like. MW: I was born in Chicago, Illinois, and soon after my birth my family moved to Evanston, Illinois. SZ: Evanston was at that time a fairly rural suburb? MW: Oh, it's always been a suburb. The nearest suburb to Chicago on the north side. They lived on Forest Avenue, 639 Forest Avenue, but that's not where they lived when they first moved to Evanston. They lived at 9 something Forest Avenue, at the corner where the Lincoln School was later built. My father was a friend of a Mr. -
Placing Vilhjalmur Stefansson This Article First Appeared in the Winter 2013 Issue by Mike Jacobs of North Dakota Horizons Magazine
100 years after the beginning of his historic Canadian Arctic Expedition Placing Vilhjalmur Stefansson This article first appeared in the Winter 2013 issue By Mike Jacobs of North Dakota Horizons magazine. It is reprinted with permission. www.ndhorizons.com. ilhjalmur Stefansson is a hard man to place. V He was born in Canada to immigrant Icelanders. The year was 1879. Stefansson came to the United States as an infant in arms. He was raised in an Icelandic community, Mountain, North Dakota. He attended the University of North Dakota, first as a preparatory student and then as an enrolled freshman. His hijinks remain legendary on campus. He didn’t graduate. Instead, Stefansson enrolled at the University of Iowa, then at Harvard. Stefansson gained great fame as an explorer of the Canadian Arctic. He was the last person to find new land on Planet Earth. This was Meighan Island at the far north edge of the Arctic Archipelago. In all, Stefansson made three trips to the Arctic, spend- ing a total of about 10 years. Perhaps for a change of climate, he undertook a survey of Central Australia, one of the hottest and driest places on Earth. When he gave up exploration, he settled in New York’s Greenwich Village, where he was a habitué of Romany Marie’s, a famous meeting place for the city’s Bohemian population and Stefansson in a center of intellectual ferment, much of it involving leftist politics. He also owned a country his Arctic parka in this undated place in Vermont. He prepared a manual on living and working in the Arctic for the U.S. -
Brancusi and Gurdjieff
Brancusi and Gurdjieff Basarab Nicolescu and Paul Beekman Taylor In his remarkable study ‘Brancusi et l’idée de sculpture’, Pontus Hulten wrote: “… it is notable that he met and spoke with men like Georges Ivanovich Gurdjieff,”1 but Hulten offers no source for the fact. Other Brancusi scholars repeat the assertion, also without referring to a source. It seems evident to us that the source for this assertion must be Peter Neagoe’s roman à clef about Brancusi’s life.2 Peter (Petru) Neagoe (1881–1960),3 an American writer of Romanian origin, was a close friend of Brancusi. In 1900 they were colleagues at the National School of Fine Arts in Bucharest. In 1903 Neagoe immigrated to the United States and took up residence in New York City where he married Anna Frankel, of Lithuanian origin, who died in 1985 at the age of 101. Neagoe became an American citizen in 1913, and returned to Paris in 1926 where he was acquainted with James Joyce, Ezra Pound, Gertrude Stein and Peggy Guggenheim, and where he rejoined his friend Brancusi. It was through Neagoe that Brancusi met Peggy Guggenheim. Neagoe left Paris in 1939, but returned after the war in 1946 and 1949. In 1957, the Neagoes, who had acquired a studio in the Villa Seurat, were at the bedside of the dying Brancusi. It is evident that Neagoe had Basarab Nicolescu is honorary theoretical physicist at CNRS (University Paris 6), Professor at the University Babes-Bolyai, Cluj -Napoca (Romania) and Honorary Member of the Romanian Academy. Paul Beekman Taylor is Emeritus Professor of medieval English language and literature at University of Genève. -
Oral History Interview with Isamu Noguchi, 1973 Nov. 7-Dec. 26
Oral history interview with Isamu Noguchi, 1973 Nov. 7-Dec. 26 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 tape-recorded interview with Isamu Noguchi on November 7, December 10, 18 and 26, 1973. The interview was conducted at Isamu Noguchi's studio in Long Island City, New York by Paul Cummings for the Archives of American Art, Smithsonian Institution. Interview [SIDE 1] PAUL CUMMINGS: November 7, 1973- Paul Cummings talking to Isamu Noguchi in his studio in Long Island City, New York. To kind of start at the beginning, you were born in Los Angeles but really grew up in Japan and started your traveling very young and kept at it. I’m curious about what that was like on a kind of day-to-day basis, what you did as a child in Japan. You lived in two kinds of worlds. At least that’s the observation from reading your autobiography and the catalogues and things. You grew up with – what? Japanese or English? ISAMU NOGUCHI: First of all, my mother was American. And going to Japan with an American mother and being half-Japanese puts on in a very anomalous position. On the one hand, she is of Japan, she wanted to be in Japan. But the fact of the matter is that the Japanese do not accept foreigners as another person equal to themselves because Japanese are Japanese and everybody else is foreign, you understand. -
PRESS RELEASE Josiah Mcelheny for IMMEDIATE RELEASE
PRESS RELEASE Josiah McElheny FOR IMMEDIATE RELEASE “Modernity 1929-1965” May 6-June 3, 2006 We are proud to present Josiah McElheny’s first solo exhibition at Andrea Rosen Gallery, and to welcome an artist with such an established reputation and record of prestigious museum shows to the gallery. For this exhibition, Modernity 1929–1965, McElheny presents three interrelated projects about the history of twentieth-century modernism. The title references the period of high modernism but also, more specifically, the dates of two historical anecdotes that serve as conceptual touchstones for his current sculptures. These works embody visions of modernity—the endless everywhere of Isamu Noguchi and Buckminster Fuller's utopian concepts; the insularity of repeated form suggested by mechanized production—and are culminations of McElheny's longstanding investigation of the modernist imagination. This inquiry takes an extraordinary turn in his newest work, an explosive hybrid of science and design and the exhibition's centerpiece. An End to Modernity, McElheny's largest and most ambitious sculpture, finds its origins in a meeting in New York in1965—the year the Big Bang Theory was first introduced—when the architect for the Metropolitan Opera commissioned a Viennese design firm to create a chandelier with a "galactic appearance." With a spectacular use of chrome and glass, McElheny has reimagined this emblem of twentieth-century design as a sculpture depicting modernism's explosive demise. Commissioned by the Wexner Center for the Arts, McElheny collaborated with Ohio State University Cosmology professor David Weinberg to render a sculpture that, while appearing to be a 1960s manufactured object is also a scientifically accurate representation of the birth and history of the universe.