Marisol's Exploration of Self
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Portraiture: People & Places in Time Teaching Resource
Portraiture: People & Places in Time Teaching Resource Ages: 8+ (Grades 3–12) Essential Questions: • What is a portrait? What is a self-portrait? Materials needed: • What are some traditional portraiture • Paper techniques? What are some of the • Pencil, marker, crayon, or pen different artistic mediums that can be • Access to a mirror used to create portraits? • Ruler (optional) • How does an artist use colors and shapes • Materials for adding color to portrait when building a portrait? scenes (optional) • How does an artist use stance and expression to communicate a specific Duration: 1 hour (includes one 15-minute emotion or emotions in a work of activity and two 20-minute activities) portraiture? • What can a portrait of a person or group of people tell us about a specific time and place? Image: John White Alexander (American, 1856–1915). Azalea (Portrait of Helen Abbe Howson), 1885. Oil on canvas. Gift of Mrs. Gertrude Farnham Howson, 1974 (74.19.6). hrm.org/museum-from-home 1 Part 1: Introducing Portraiture Portrait painting, or figural painting, is a fine art genre in which the intent is to depict the visual appearance of the subject, typically a person (sometimes multiple people or even an animal). Portraits in different mediums and contexts help us understand the social history of different times. In addition to painting, portraits can also be made in other mediums such as woodcut, engraving, etching, lithography, sculpture, photography, video and digital media. Historically, portrait paintings were made primarily as memorials to and for the rich and powerful. Over time, portrait-making has become much easier for people to do on their own, and portrait commissions are much more accessible than they once were. -
Modernism 1 Modernism
Modernism 1 Modernism Modernism, in its broadest definition, is modern thought, character, or practice. More specifically, the term describes the modernist movement, its set of cultural tendencies and array of associated cultural movements, originally arising from wide-scale and far-reaching changes to Western society in the late 19th and early 20th centuries. Modernism was a revolt against the conservative values of realism.[2] [3] [4] Arguably the most paradigmatic motive of modernism is the rejection of tradition and its reprise, incorporation, rewriting, recapitulation, revision and parody in new forms.[5] [6] [7] Modernism rejected the lingering certainty of Enlightenment thinking and also rejected the existence of a compassionate, all-powerful Creator God.[8] [9] In general, the term modernism encompasses the activities and output of those who felt the "traditional" forms of art, architecture, literature, religious faith, social organization and daily life were becoming outdated in the new economic, social, and political conditions of an Hans Hofmann, "The Gate", 1959–1960, emerging fully industrialized world. The poet Ezra Pound's 1934 collection: Solomon R. Guggenheim Museum. injunction to "Make it new!" was paradigmatic of the movement's Hofmann was renowned not only as an artist but approach towards the obsolete. Another paradigmatic exhortation was also as a teacher of art, and a modernist theorist articulated by philosopher and composer Theodor Adorno, who, in the both in his native Germany and later in the U.S. During the 1930s in New York and California he 1940s, challenged conventional surface coherence and appearance of introduced modernism and modernist theories to [10] harmony typical of the rationality of Enlightenment thinking. -
Moments in Time: Lithographs from the HWS Art Collection
IN TIME LITHOGRAPHS FROM THE HWS ART COLLECTION PATRICIA MATHEWS KATHRYN VAUGHN ESSAYS BY: SARA GREENLEAF TIMOTHY STARR ‘08 DIANA HAYDOCK ‘09 ANNA WAGER ‘09 BARRY SAMAHA ‘10 EMILY SAROKIN ‘10 GRAPHIC DESIGN BY: ANNE WAKEMAN ‘09 PHOTOGRAPHY BY: LAUREN LONG HOBART & WILLIAM SMITH COLLEGES 2009 MOMENTS IN TIME: LITHOGRAPHS FROM THE HWS ART COLLECTION HIS EXHIBITION IS THE FIRST IN A SERIES INTENDED TO HIGHLIGHT THE HOBART AND WILLIAM SMITH COLLEGES ART COLLECTION. THE ART COLLECTION OF HOBART TAND WILLIAM SMITH COLLEGES IS FOUNDED ON THE BELIEF THAT THE STUDY AND APPRECIATION OF ORIGINAL WORKS OF ART IS AN INDISPENSABLE PART OF A LIBERAL ARTS EDUCATION. IN LIGHT OF THIS EDUCATIONAL MISSION, WE OFFERED AN INTERNSHIP FOR ONE-HALF CREDIT TO STUDENTS OF HIGH STANDING TO RESEARCH AND WRITE THE CATALOGUE ENTRIES, UNDER OUR SUPERVISION, FOR EACH OBJECT IN THE EXHIBITION. THIS GAVE STUDENTS THE OPPORTUNITY TO LEARN MUSEUM PRACTICE AS WELL AS TO ADD A PUBLICATION FOR THEIR RÉSUMÉ. FOR THIS FIRST EXHIBITION, WE HAVE CHOSEN TO HIGHLIGHT SOME OF THE MORE IMPORTANT ARTISTS IN OUR LARGE COLLECTION OF LITHOGRAPHS AS WELL AS TO HIGHLIGHT A PRINT MEDIUM THAT PLAYED AN INFLUENTIAL ROLE IN THE DEVELOPMENT AND DISSEMINATION OF MODERN ART. OUR PRINT COLLECTION IS THE RICHEST AREA OF THE HWS COLLECTION, AND THIS EXHIBITION GIVES US THE OPPORTUNITY TO HIGHLIGHT SOME OF OUR MAJOR CONTRIBUTORS. ROBERT NORTH HAS BEEN ESPECIALLY GENER- OUS. IN THIS SMALL EXHIBITION ALONE, HE HAS DONATED, AMONG OTHERS, WORKS OF THE WELL-KNOWN ARTISTS ROMARE BEARDEN, GEORGE BELLOWS OF WHICH WE HAVE TWELVE, AND THOMAS HART BENTON – THE GREAT REGIONALIST ARTIST AND TEACHER OF JACKSON POLLOCK. -
John Richard Fudge B
John Richard Fudge b. 1940, Des Moines, IA d. 1999, Lakewood, CO Education 1966 MFA, University of Colorado, Boulder 1963 BFA, University of Colorado, Boulder Solo Exhibitions 2012 John Fudge Paintings and other Allegories, RULE Pop-up at the Pattern Shop Studio 1988 John Fudge: From Hell to Breakfast, Arvada Center for the Arts, Arvada, CO 1983 Twenty-Year Retrospective, Boulder Center for the Visual Arts, Boulder, CO 1978 Regis College, Denver, CO 1977 J. Magnin Gallery, Denver, CO 1974 Walker Street Gallery, New York 1974 Paintings, Wilamaro Gallery, Denver, CO 1972 Wilamaro Gallery, Denver, CO! 1970 Henderson Museum, University of Colorado, Boulder 1968 University of Arizona, Tucson! 1968 University of Colorado, Boulder Select Group Exhibitions 2017 Audacious, Denver Art Museum, Denver, CO 2016 Looking Back: 40 Years/40 Artists, Arvada Center for the Arts, Arvada, CO 2006 The Armory Group: 40 Years, Mizel Center for Arts and Culture, Denver, CO 1999 Using Your Faculties, University of Colorado, Denver, CO 1996 20/20 Vision, Arvada Center for the Arts and Humanities, Arvada, CO! 1995 The 32-Year Show, Emmanuel Gallery, University of Colorado, Denver, CO 1995 John Fudge: Recent Work, Rocky Mountain College of Art and Design, Denver,! CO 1994 Nature Morte, Rule Modern and Contemporary Art, Denver ! 1993 Preternatural Worlds, Center for Visual Arts, Metropolitan State College, Denver, CO 1992 John Fudge and Jim Hayes, Boulder Center for the Visual Arts, Boulder, CO 1990 Fat-Free Surrealism, Michael Leonard Gallery (curator, Red Grooms), -
Double Vision: Woman As Image and Imagemaker
double vision WOMAN AS IMAGE AND IMAGEMAKER Everywhere in the modern world there is neglect, the need to be recognized, which is not satisfied. Art is a way of recognizing oneself, which is why it will always be modern. -------------- Louise Bourgeois HOBART AND WILLIAM SMITH COLLEGES The Davis Gallery at Houghton House Sarai Sherman (American, 1922-) Pas de Deux Electrique, 1950-55 Oil on canvas Double Vision: Women’s Studies directly through the classes of its Woman as Image and Imagemaker art history faculty members. In honor of the fortieth anniversary of Women’s The Collection of Hobart and William Smith Colleges Studies at Hobart and William Smith Colleges, contains many works by women artists, only a few this exhibition shows a selection of artworks by of which are included in this exhibition. The earliest women depicting women from The Collections of the work in our collection by a woman is an 1896 Colleges. The selection of works played off the title etching, You Bleed from Many Wounds, O People, Double Vision: the vision of the women artists and the by Käthe Kollwitz (a gift of Elena Ciletti, Professor of vision of the women they depicted. This conjunction Art History). The latest work in the collection as of this of women artists and depicted women continues date is a 2012 woodcut, Glacial Moment, by Karen through the subtitle: woman as image (woman Kunc (a presentation of the Rochester Print Club). depicted as subject) and woman as imagemaker And we must also remember that often “anonymous (woman as artist). Ranging from a work by Mary was a woman.” Cassatt from the early twentieth century to one by Kara Walker from the early twenty-first century, we I want to take this opportunity to dedicate this see depictions of mothers and children, mythological exhibition and its catalog to the many women and figures, political criticism, abstract figures, and men who have fostered art and feminism for over portraits, ranging in styles from Impressionism to forty years at Hobart and William Smith Colleges New Realism and beyond. -
Artist Bios Alex Katz Is the Author of Invented Symbols
Artist Bios Alex Katz is the author of Invented Symbols: An Art Autobiography. Current exhibitions include “Alex Katz: Selections from the Whitney Museum of American Art” at the Nassau County Museum of Art and “Alex Katz: Beneath the Surface” at the Middlesbrough Institute of Modern Art. Jan Henle grew up in St. Croix and now works in Puerto Rico. His film drawings are in the collections of The Metropolitan Museum of Art, New York, The Museum of Modern Art, New York, and The Modern Art Museum of Fort Worth. His collaborative film with Vivien Bittencourt, Con El Mismo Amor, was shown at the Gwang Ju Biennale in 2008 and is currently in the ikono On Air Festival. Juan Eduardo Gómez is an American painter born in Colombia in 1970. He came to New York to study art and graduated from the School of Visual Arts in 1998. His paintings are in the collections of the High Museum of Art, Atlanta, Museum of Fine Arts, Boston, and Bowdoin College Museum of Art, Brunswick. He was awarded The Richard and Hilda Rosenthal Foundation Award from American Academy of Arts and Letters in 2007. Rudy Burckhardt was born in Basel in 1914 and moved to New York in 1935. From then on he was at or near the center of New York’s intellectual life, counting among his collaborators Edwin Denby, Paul Bowles, John Ashbery, Frank O’Hara, Kenneth Koch, Alex Katz, Red Grooms, Mimi Gross, and many others. His work has been the subject of exhibitions at the Instituto Valenciano de Arte Moderno, the Museum of the City of New York, and, in 2013, at Museum der Moderne Salzburg. -
Pop Culture and Art
Colorado Teacher-Authored Instructional Unit Sample Visual Arts 6th Grade Unit Title: Pop Culture and Art INSTRUCTIONAL UNIT AUTHORS Pueblo County School District Amie Holmberg Brenna Reedy Colorado State University Patrick Fahey, PhD BASED ON A CURRICULUM OVERVIEW SAMPLE AUTHORED BY Denver School District Capucine Chapman Fountain School District Sean Norman Colorado’s District Sample Curriculum Project This unit was authored by a team of Colorado educators. The template provided one example of unit design that enabled teacher- authors to organize possible learning experiences, resources, differentiation, and assessments. The unit is intended to support teachers, schools, and districts as they make their own local decisions around the best instructional plans and practices for all students. DATE POSTED: MARCH 31, 2014 Colorado Teacher-Authored Sample Instructional Unit Content Area Visual Arts Grade Level 6th Grade Course Name/Course Code Sixth Grade Visual Arts Standard Grade Level Expectations (GLE) GLE Code 1. Observe and Learn to 1. The characteristics and expressive features of art and design are used in unique ways to respond to two- and VA09-GR.6-S.1-GLE.1 Comprehend three-dimensional art 2. Art created across time and cultures can exhibit stylistic differences and commonalities VA09-GR.6-S.1-GLE.2 3. Specific art vocabulary is used to describe, analyze, and interpret works of art VA09-GR.6-S.1-GLE.3 2. Envision and Critique to 1. Visual symbols and metaphors can be used to create visual expression VA09-GR.6-S.2-GLE.1 Reflect 2. Key concepts, issues, and themes connect the visual arts to other disciplines such as the humanities, sciences, VA09-GR.6-S.2-GLE.1 mathematics, social studies, and technology 3. -
ANNUAL REPORT 2005 1 2 Annual Report 2005 Contents
ANNUAL REPORT 2005 www.mam.org 1 2 Annual Report 2005 Contents Board of Trustees . 4 Committees of the Board of Trustees . 4 President and Chairman’s Report . 6 Director’s Report . 9 Curatorial Report . 11 Exhibitions, Traveling Exhibitions . 14 Loans . 14 Acquisitions . 16 Publications . 35 Attendance . 36 Membership . 37 Education and Public Programs . 38 Year in Review . 39 Development . 43 Donors . 44 Support Groups . 51 Support Group Officers . 55 Staff . 58 Financial Report . 61 Financial Statements . 63 OPPOSITE: Ludwig Meidner, Self-Portrait (detail), 1912. See listing p. 16. PREVIOUS PAGE: Milwaukee Art Museum, Quadracci Pavilion designed by Santiago Calatrava as seen looking east down Wisconsin Avenue. www.mam.org 3 Board of Trustees As of August 30, 2005 BOARD OF TRUSTEES COMMITTEES OF Earlier European Arts Committee Jean Friedlander AND COMMITTEES THE BOARD OF TRUSTEES Jim Quirk Milton Gutglass George T. Jacobi MILWAUKEE ART MUSEUM EXECUTIVE COMMITTEE Chair David Ritz Sheldon B. Lubar Sheldon B. Lubar Martha R. Bolles Helen Weber Chairman Chair Vice Chair and Secretary Barry Wind Andrew A. Ziegler Christopher S. Abele Barbara B. Buzard EDUCATION COMMITTEE President Donald W. Baumgartner Joanne Charlton Lori Bechthold Margaret S. Chester Christopher S. Abele Donald W. Baumgartner Frederic G. Friedman Stephen Einhorn Chair Vice President, Past President Terry A. Hueneke George A. Evans, Jr. Kim Abler Mary Ann LaBahn Eckhart Grohmann Frederic G. Friedman John Augenstein Marianne Lubar Frederick F. Hansen Assistant Secretary and James Barany P. M ichael Mahoney Avis M. Heller Legal Counsel José Chavez Betty Ewens Quadracci Arthur J. Laskin Terrence Coffman Mary Ann LaBahn James H. -
Cydney M. Payton 1 Selected Exhibitions
CYDNEY M. PAYTON 2009–present Independent Curator & Writer San Francisco, California 2001–2008 Director & Chief Curator Museum of Contemporary Art Denver, Colorado 1992–2000 Director & Chief Curator Boulder Museum of Contemporary Art, Colorado 1984–1992 Founder & Director Cydney Payton Gallery, Denver, Colorado Payton Rule Gallery, Denver, Colorado SELECTED EXHIBITIONS 2013 Unbuilt San Francisco: The View from Futures Past (co-curator Benjamin Grant) featuring architects: John Bolles, Ernest Born, Mario Ciampi, Vernon DeMars, Lawrence Halprin, Legorreta & Legorreta, Daniel Libeskind, William Merchant, Willis Polk, Kenzo Tange, and Cathy Simon. California Historical Society and SPUR, San Francisco 2012 Temporary Structures (co-curator Glen Helfand) featuring Pawel Althamer, Roberto Behar & Rosario Marquardt, David Gissen, Amy H. Ho, David Ireland, Paul Kos, Roy McMakin, Christian Nagler & Azin Seraj, Ben Peterson, Michael Robinson, Jonathan Runico, Mungo Thomson, Together We Can Defeat Capitalism. San Francisco Institute of Arts (SFAI), San Francisco 2011 On Apology (co-curator) featuring Erick Beltran, Mark Boulos, Keren Cytter, Omer Fast, Shaun Gladwell, Ragnar Kjartansson, Amalia Pica, Slavs and Tatars, Dawn Weleski, Artur Zmijewski. Wattis Institute for Contemporary Arts, California College of the Arts (CCA), San Francisco The Thing Is To See: Selected Photo-Souvenirs of Daniel Buren 1968-1975, online at thethingistosee.com, Steven Leiber Archives, San Francisco Piggly Wiggly: Self-Serving Stores All Over the World, Wattis Institute for Contemporary Arts, California College of the Arts, San Francisco 2010 Yu-Cheng Chou: Because 64 Crayons Made in the USA. Superfrog Gallery, New People, San Francisco 1 CYDNEY M. PAYTON 2009 Heather & Eric Chan Schatz. The Family of Natasha Congdon Large Works Gallery, MCA DENVER Rex Ray. -
Creatinc Art: Media and Processes
3 Creating art: media and Processes ave you ever created a picture using chalk or charcoal? What kinds H of pictures have you taken with a camera? What do you think of when you have a piece of clay in your hands? An artist can choose from a great many different kinds of materials. The artist’s decision about which materials, or which medium, to use will have a dramatic impact on the appearance of the finished work. The different processes, or ways in which artists use that medium, can produce strikingly different results. Read to Find Out As you read this chapter, compare and contrast the materials and processes of works created in the same art form. Compare the two drawings on page 52. How are they the same? How are they different? Compare the two photographs on page 63. What is similar? What is different? Focus Activity Draw two overlapping circles to create a Venn dia- gram. Consider the works of art on page 66. Organize the information you wish to compare and contrast. List the traits unique to Tree of Life (Figure 3.1) in one circle and the traits unique to Madonna and Child (Figure 3.24) in the opposite circle. List the traits similar to both pieces in the space created by the overlapping circles. Both sculptures are made from clay, but each artist used the medium of clay and processes of sculpture in very different ways. Using the Time Line Take a look at some of the other artworks from this chapter that are introduced on the Time Line. -
Oral History Interview with Red Grooms, 1974 Mar. 4-18
Oral history interview with Red Grooms, 1974 Mar. 4-18 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 Red Grooms on 1974 March 4-18. The interview was conducted at Grooms' studio by Paul Cummings for the Archives of American Art, Smithsonian Institution. The reader should bear in mind that he or she is reading a transcript of spoken, rather than written, prose. This is a rough transcription that may include typographical errors. Interview PC: March 4, 1974, Paul Cummings talking to Red Grooms in his studio at 85 Walker Street. You were born in Nashville, Tennessee on June first, 1937. RG: No, on June second. This is getting to be ridiculous. Somebody has got to get this straight. PC: So it is June second? RG: Yes. But now the date is beginning to wander all over the place. I've seen it given as the seventeenth. You see, what happened is that the damn birth certificate—I finally had to get a passport and looked up my birth certificate and it had June first on there. Which I guess is a mistake unless my parents are goofy. So the birth certificate actually showed June first and they really make you put that on the passport even if it's wrong. -
Karin Broker
KARIN BROKER 1950 Born in Penn, Pennsylvania EDUCATION 1972 BFA, University of Iowa 1973 Atelier 17, Paris, France (Fall) 1980 MFA, University of Wisconsin-Madison 1980 Professor at Rice University 2003 Chair of Department of Visual Arts HONORS, AWARDS AND GRANTS 2010 Brown Teaching Grant. Rice University 2008 Brown Teaching Grant. Rice University 2003 Who’s Who in American Art. 25th. Edition 2002 Brown Teaching Grant. Rice University Jerome J. Segal Grant. Rice University 1997 Brown Teaching Grant. Rice University 1996 Julia Mile Chance Teaching Prize. Rice University 1994 Texas Artist of the Year. Art League of Houston 1993 Cultural Arts Council of Houston Grant 1992 Best Local Artist. Houston Press. 1989 Mellon Fellowship Dewar's Texas Doers (50 Texans) 1985 National Endowment for the Arts Grant 1987 National Endowment for the Arts Grant SOLO EXHIBITIONS 2018 love me, love me not, McClain Gallery, Houston, Texas 2014 more damn girls, UT Tyler Meadows Gallery, Tyler, Texas Karin Broker: wired, drawn and nailed, Art Museum of Southeast Texas, Beaumont, Texas damn girls, McClain Gallery, Houston, Texas 2013 Trouble in Paradise, Kirk Hopper Fine Arts Gallery, Dallas, Texas 2012 Karin Broker: Wired, Nailed, Drawn and Printed, Galveston Arts Center, Galveston, Texas 2010 Oddities and Other Opinions, McClain Gallery, Houston, Texas 2006 Mad Girl. McClain Gallery. Houston, Texas 2005 A Mad Girl’s Small Notes. McClain Gallery. Houston, Texas 2003 Dark Talk. McClain Gallery. Houston, Texas 2000 Domestic Melancholia. Merwin and Wakeley Galleries. Illinois Wesleyan University. Bloomington, Illinois Karin Broker….Drawing in sanguine. Gerhard Wurzer Gallery. Houston, Texas 1997 Etchings. Augen Gallery. Portland, Oregon 1996 Notes of a mad girl.