Roy De Forest Born 1930, North Platte, Nebraska
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NICELLE BEAUCHENE GALLERY Maija Peeples-Bright SEALabrate with Maija! May 31-June 30, 2019 Opening Reception: Friday, May 31, 6-8 pm Nicelle Beauchene is pleased to present a solo exhibition of paintings by Maija Peeples-Bright, spanning three decades of her career from 1971-1996. Titled SEALabrate with Maija!, this exhibition is the artist’s first in New York. For nearly thirty years, Peeples-Bright exhibited at Adeliza McHugh’s Candy Store Gallery in Folsom, California. McHugh was in her fifties and had no formal experience in the art world when she decided to open an art gallery after the local health department shut down her almond nougat business. The Candy Store Gallery became synonymous with the Funk Art movement and Peeples-Bright showed there along side Robert Arneson, Clayton Bailey, Roy De Forest, David Gilhooly, Irv Marcus, and William T. Wiley. Peeples-Bright was introduced to McHugh through her teacher at UC Davis Robert Arneson and had her first exhibition there in 1965. In the late 1960’s, frustrated with the limitations of Funk, Peeples-Bright was a founding member of the Northern Californian movement dubbed Nut Art. Along with Clayton Bailey, Roy De Forest, David Gilhooly, and David Zack, Nut artists sought to create fantasy worlds that were reflective of each artist’s idiosyncrasies and self-created mythologies. Peeples-Bright and others adopted alter egos for this purpose, she was known as “Maija Woof.” In 1972 at California State University Hayward, Clayton Bailey organized the first Nut Art exhibition. A manifesto written for the occasion by Roy De Forest declared: “THE WORK OF A PECULIAR AND ECCENTRIC NUT CAN TRULY BE CALLED ‘NUT ART’… THE NUT ARTIFICER TRAVELS IN A PHANTASMAGORIC MICRO-WORLD, SMALL AND EXTREMELY COMPACT, AS IS THE LIGHT OF A DWARF STAR IMPLODING INWARD.” SEALabrate with Maija! is a glimpse into the colorful world of the artist’s creation. -
Oral History Interview with William T. Wiley, 1997 October 8-November 20
Oral history interview with William T. Wiley, 1997 October 8-November 20 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 Interview PAUL KARLSTROM: Smithsonian Institution, an interview with William T. Wiley, at his studio in Woodacre, California, north of San Francisco. The date is October 8, 1997. This is the first session in what I hope will be a somewhat extensive series. The interviewer for the archives is Paul Karlstrom. Okay, here we go, Bill. I've been looking forward to this interview for quite a long time, ever since we met back in, it was the mid-seventies, as a matter of fact. At that time, in fact, I visited right here in this studio. We talked about your papers and talked about sometime doing an interview, but for one reason or another, it didn't happen. Well, the advantage to that, as I mentioned earlier, is that a lot has transpired since then, which means we have a lot more to talk about. Anyway, we can't go backwards, and here we are. I wanted to start out by setting the stage for this interview. As I mentioned, Archive's [of American Art] interviews are comprehensive and tend to move along sort of biographical, chronological structure, at least it gives something to follow through. But what I would like to do first of all, just very briefly, is kind of set the stage, and by way of an observation that I would like to make, which is also, I think, a compliment. -
Oral History Interview with Billy Al Bengston
Oral history interview with Billy Al Bengston 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. Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 General............................................................................................................................. 2 Scope and Contents........................................................................................................ 1 Scope and Contents........................................................................................................ 1 Biographical / Historical.................................................................................................... 1 Names and Subjects ...................................................................................................... 2 Container Listing ...................................................................................................... Oral history interview with Billy Al Bengston AAA.bengst80 Collection Overview Repository: Archives of American Art Title: Oral history interview with Billy Al Bengston Identifier: -
Iowa State Capitol Complex Master Plan I
Iowa State Capitol Complex I Master Plan January 7, 2010 (Amended December 2020) State of Iowa Department of Administrative Services & Capitol Planning Commission Confluence Zimmer Gunsul Frasca Architects LLP Jeffrey Morgan Architecture Studio Tilghman Group Snyder and Associates [ This page intentionally left blank ] Iowa State Capitol Complex Master Plan Master Complex Capitol State Iowa Contents ii Preface 78 Architectural Design 82 Utilities 1 Chapter 1 - The Vision 84 Parking 9 Chapter 2 - Principal Influences on the Plan 88 Transit 10 Historical Development 92 Pedestrian and Bicycle Circulation 16 Capitol Neighborhood 99 Sustainable Development Principles 23 Chapter 3 - Capitol Complex 107 Chapter 4 - Making the Vision a Reality 24 Concept 111 Acknowledgements 28 Approaches and Gateways 30 View Corridors and Streets 117 Appendix A - Transportation Plan 38 Access and Circulation 131 Appendix B - Facility Needs Assessment 45 Landscape Framework Summary 58 Monuments and Public Art 155 Appendix C - Capitol Complex Planning History 62 Site Amenities 64 Signs and Visitor Information 164 Appendix D - Annual Review & Update of Iowa State Capitol Complex 2010 72 Buildings Master Plan i ii Iowa State Capitol Complex Master Plan Master Complex Capitol State Iowa Preface iii Introduction Amended December 2016, 2020 The Iowa State Legislature appropriated funds to the Department of Administrative than fiscal years. Services for updating the 2000 Master Plan for physical facilities on the Iowa State Capitol Complex. The resulting 2010-2060 plan was prepared in close collaboration Beginning in 2015, the Capitol Planning Commission committed to keeping the with the Capitol Planning Commission for its consideration and acceptance. The Master Plan viable and current by annually reviewing the Plan to note accomplished consultant team was led by Confluence and Zimmer Gunsul Frasca Architects goals as well as recognizing evolving changes in conditions and assumptions. -
Lava Thomas [email protected] B
Lava Thomas www.lavathomas.com [email protected] b. Los Angeles, CA Selected Solo Exhibitions 2018 Mugshot Portraits: Women of the Montgomery Bus Boycott, Rena Bransten Gallery, San Francisco, CA 2015 Looking Back and Seeing Now, Berkeley Art Center, Berkeley, CA 2014 Lava Thomas: Beyond, Museum of the African Diaspora, San Francisco, CA Selected Group Exhibitions 2020 New Time: Art and Feminisms in the 21st Century, Berkeley Art Museum & Pacific Film Archive, Berkeley, CA The Black Index, Leubsdorf Gallery, Hunter College, New York City, NY UNTITLED, ART, Rena Bransten Gallery, San Francisco, CA 2019 UNTITLED, ART, Rena Bransten Gallery, Miami, FL To Reflect Us, Rena Bransten Gallery, San Francisco, CA Adjust Yo’ Eyes For This Darkness, Ashara Ekundayo Gallery, Oakland, CA The Outwin 2019: American Portraiture Today, National Portrait Gallery, Washington, DC Women to Watch 2020 Nominee, Surfacing Histories, Sculpting Memories, Hubble Galleries, California College of the Arts, San Francisco, CA Plumb Line: Charles White and the Contemporary, California African American Museum, Los Angeles, CA Personal to Political: Celebrating the African American Artists of Paulson Fontaine Press, Las Cruces Museum of Art, NM Personal to Political: Celebrating the African American Artists of Paulson Fontaine Press, Gallery 360, Northeastern University, Boston, MA Spring Auction Exhibition, Kala Art Institute, Berkeley, CA 2018 PULSE Miami Beach, Rena Bransten Gallery, Miami, FL My Silences Had Not Protected Me, For Freedoms and Fort Gansevoort, New York, NY EXPO Chicago, Rena Bransten Gallery, Chicago, IL Pretty Big Things, Walter Maciel Gallery, Los Angeles, CA Personal to Political: Celebrating the African American Artists of Paulson Fontaine Press, Krasl Art Center, St. -
Fletcher Benton
Fletcher Benton Born 1931 Jackson, Ohio. Currently lives and maintains a studio in San Francisco, CA. Education 1956 BFA, Miami University, Oxford, Ohio Awards and Honors 1979 Award for Distinguished Service to the Arts, American Academy of Arts and Letters, New York 1980 President's Scholar Award, California State University, San Jose 1982 Award of Honor for Outstanding Achievement in Sculpture, San Francisco Arts Commission 1993 Honorary Doctor of Fine Arts, Miami University, Oxford, Ohio 1994 Ohioana Career Award, Ohioana Library Association, Columbus Honorary Doctor of Fine Arts, University of Rio Grande, Rio Grande, Ohio 2008 Lifetime Achievement in Contemporary Sculpture, International Sculpture Center 2012 Distinguished Arts Alumni Award, Miami University, Oxford, Ohio Teaching 1959 California College of Arts and Crafts, Oakland 1966-67 San Francisco Art Institute 1967-86 California State University, San Jose Selected Solo Exhibitions 1961 California Place of the Legion of Honor, San Francisco 1965 San Francisco Museum of Art 1967 Sonoma State College, Rohnert Park, California San Francisco Art Institute 1968 Humboldt State College, Arcata, California 1969 Milwaukee Art Center, Wisconsin 1970 San Francisco Museum of Art California State University, Ohico Berkeley Arts Center, Berkeley, California Reed College, Portland, Oregon Estudio Actual, Caracas, Venezuela 1971 Stanford University Museum of Art, California 1972 La Jolla Museum of Art, California 1973 Phoenix Art Museum, Arizona University of California, Davis AUSTIN ART PROJECTS -
Architecture of Downtown Des Moines: Some Highlights from the Twentieth Century and Beyond
Paula Mohr is an architectural historian and directs the certified local government program in Iowa. She is a graduate of the Cooperstown Museum Studies program and the architectural history program at the University of Virginia. Paula is the local co-chair for FORUM 2018. Architecture of Downtown Des Moines: Some Highlights from the Twentieth Century and Beyond By Paula Mohr In its 170-some years, the evolution of Des Moines’ commercial core has paral- leled that of many American cities. Fort Des Moines, an early foothold in terms of Euro-American settlement, today survives only as an archaeological site. Early commercial buildings of wood frame on both the east and west sides of the Des Moines River were replaced with brick later in the nineteenth century. At the turn of the twentieth century another wave of development introduced tall buildings or skyscrapers. In the midst of all this change, we can see the impact of external forces, including architectural ideas from Chicago, the City Beautiful Movement and the contributions of nationally and internationally renowned architects. The “book” on Des Moines’ architecture is still being written. As a result of this constant renewal and rebuild- Youngerman Block (1876), also by Foster, features ing, only a handful of nineteenth century buildings a façade of “Abestine Stone,” a nineteenth-century survive in Des Moines’ downtown. In the Court artificial stone manufactured by the building’s Avenue entertainment area across the river from owner, Conrad Youngerman. The five-story Des the FORUM conference hotel are several notable Moines Saddlery Building (c. 1878), just around examples. -
Bruce Conner (1933 – 2008)
BRUCE CONNER (1933 – 2008) BORN: McPherson, Kansas EDUCATION: 1956 B.F.A., Nebraska University 1956 Brooklyn Museum Art School 1957 University of Colorado SOLO EXHIBITIONS: 2012 Gallery Paule Anglim, San Francisco, CA Bruce Conner and the Primal Scene of Punk Rock, MCA Denver, Denver, CO 2011 Bruce Conner: An Anonymous Memorial, American University, Katzen Arts Center, Washington D.C. Bruce Conner: Falling Leaves: An Anonymous Memorial, Paula Cooper Gallery, New York, NY 2010 Bruce Conner: 1970’s, Kunstalle Wien, Vienna, Austria (travelled to Kunsthalle Zurich, Switzerland) I am Not Bruce Conner, Ursula Blickle Foundation, Krachtal, Germany Bruce Conner, Inova/Kenilworth Institute, University of Wisonsin, Milwaukee, Peck School of the Arts 4 ½, Creative Time, New York, NY Long Play: Bruce Conner and the Singles Collection, SFMOMA, San Francisco The Late Bruce Conner, Susan Inglett Gallery, New York, NY 2009 Bruce Conner: Discovered, Gallery Paule Anglim, San Francisco, CA Bruce Conner in the 1970s, Michael Kohn Gallery, Los Angeles, CA Intelligent Design: Untitled Lithographs 1970-1971, Milwaukee Art Museum, Milwaukee, WI 2008 Gallery Paule Anglim, San Francisco, CA Applause, Miyake Fine Art, Tokyo, Japan Mabuhay Gardens, UC Berkeley Art Musuem, Berkeley, CA 2007 Bruce Conner, Susan Inglett Gallery, New York, NY Gallery Paule Anglim, San Francisco, CA Michael Kohn Gallery, Los Angeles, CA 2006 Bruce Conner Sheldon Memorial art Gallery, Lincoln, NE 2005 After Conner: Anonymous, Anonymouse and Emily Feather, Katzen Art Center Museum, American -
Christine Giles Bill Bob and Bill.Pdf
William Allan, Robert Hudson and William T. Wiley A Window on History, by George. 1993 pastel, Conte crayon, charcoal, graphite and acrylic on canvas 1 61 /2 x 87 '12 inches Courtesy of John Berggruen Gallery, San Francisco, California Photograph by Cesar Rubio / r.- .. 12 -.'. Christine Giles and Hatherine Plake Hough ccentricity, individualism and nonconformity have been central to San Fran cisco Bay Area and Northern California's spirit since the Gold Rush era. Town Enames like Rough and Ready, Whiskey Flats and "Pair of Dice" (later changed to Paradise) testify to the raw humor and outsider self-image rooted in Northern California culture. This exhibition focuses on three artists' exploration of a different western frontier-that of individual creativity and collaboration. It brings together paintings, sculptures, assemblages and works on paper created individually and collabora tively by three close friends: William Allan, Robert Hudson and William T. Wiley. ·n, Bob and Bill William Allan, the eldest, was born in Everett, Washington, in 1936, followed by Wiley, born in Bedford, Indiana, in 1937 and Hudson, born in Salt Lake City, Utah, in 1938. Their families eventually settled in Richland, in southeast Washington, where the three met and began a life-long social and professional relationship. Richland was the site of one of the nation's first plutonium production plants-Hanford Atomic Works. 1 Hudson remembers Richland as a plutonium boom town: the city's population seemed to swell overnight from a few thousand to over 30,000. Most of the transient population lived in fourteen square blocks filled with trailer courts. -
Frank Lobdell : Beyond Words Exclusively Representing the Estate of Frank Lobdell (1921 - 2013) Frank Lobdell
FINDLAY GALLERIES Frank Lobdell : Beyond Words Exclusively Representing the Estate of Frank Lobdell (1921 - 2013) Frank Lobdell “I am delighted that Frank’s work is represented by Findlay Galleries. It is my hope that a new generation will come to appreciate his transcendent art. I observed Frank work for many years and I always felt a deep respect for his love of painting, drawing, printmaking, and at last the bronze sculptures. “Art is built on art,” he would say. He respected and learned from many artists, just as younger artists learned from him. Frank had a rare capacity to be moved by the paintings he loved and by painting itself. He painted with curiosity and with empathy for the world and for human experience. Frank had a deep sense of purpose. He was patient and intensely dedicated to exploring his personal vocabulary of line, color, movement, scale, symbols and motif. He felt he found his true voice in his later work after decades of experimentation and invention. His late paintings are bold, confident, intricate, and somehow peaceful. They reward the viewer’s deep attention. Frank’s work enlarges our ideas about the world and about beauty. They teach us to see.” JINX LOBDELL 2 Beyond Words Born on August 23, 1921 in Kansas City, Missouri and Like many artists whose working lives have been similarly raised in Minnesota, Frank Lobdell attended the St. Paul long and productive, Lobdell’s can be arranged into a School of Fine Arts in Saint Paul Minnesota from 1939 – discernible sequence of stages, even if they do not always 1940. -
Lynn Hershman Leeson B
! 99 BOWERY 2ND FLOOR, NEW YORK, NY 10002 USA BRIDGETDONAHUE.NYC LYNN HERSHMAN LEESON B. 1941 Lives and works in San Francisco, California EDUCATION B.S. Case Western Reserve University M.A. San Francisco State University SELECT SOLO EXHIBITIONS 2017 Lynn Hershman Leeson: Civic Radar, Yerba Buena Center for the Arts, San Francisco, California, February 10 - May 21 (forthcoming) 2016 Lynn Hershman Leeson, Ruth C. Horton Gallery, Moss Arts Center, Virginia Tech, Blacksburg, Virginia, October 20 - December 11 Lynn Hershman Leeson: Body Collage, Armory Gallery, Virginia Tech, Blacksburg, Virginia, October 18 - December 10 Trans Genesis: Evaporations and Mutations, Vilma Gold, London, England, October 4 - 29 Cyborgs and Self-Promotion, Cleveland Museum of Art, Cleveland, Ohio, March 10 - August 8 Liquid Identities - Lynn Hershman Leeson, Identities of the 21st Century, Lehmbruck Museum, Duisburg, Germany, February 27 - June 5 2015 Lynn Hershman Leeson: Civic Radar, Sammlung Falckenberg, Hamburg, Germany, June 14 - November 15 Lynn Hershman Leeson: Origin of the Species (Part 2), Modern Art Oxford, Oxford, United Kingdom, May 29 - August 9 Lynn Hershman Leeson: Origin of the Species, Bridget Donahue, New York, New York, February 19 - April 5 2014 Lynn Hershman Leeson: Civic Radar, Zentrum für Kunst und Medientechnologie, Karlsruhe, Germany, December 13 - April 6 2013 Present Tense, Gallery Paule Anglim, San Francisco, California Agent Ruby Files, San Francisco Museum of Modern Art, San Francisco, California 2012 Me as Roberta, Museum of Contemporary Art, Krakow, Poland, February 17–April 29 Lynn Hershman Leeson: Seducing Time, Kunsthalle Bremen, Bremen, Germany, June 2 - August 19 W.A.R. Documentary screening, Reina Sofia, Madrid, Spain, March 12 W.A.R. -
Helen Pashgianhelen Helen Pashgian L Acm a Delmonico • Prestel
HELEN HELEN PASHGIAN ELIEL HELEN PASHGIAN LACMA DELMONICO • PRESTEL HELEN CAROL S. ELIEL PASHGIAN 9 This exhibition was organized by the Published in conjunction with the exhibition Helen Pashgian: Light Invisible Los Angeles County Museum of Art. Funding at the Los Angeles County Museum of Art, Los Angeles, California is provided by the Director’s Circle, with additional support from Suzanne Deal Booth (March 30–June 29, 2014). and David G. Booth. EXHIBITION ITINERARY Published by the Los Angeles County All rights reserved. No part of this book may Museum of Art be reproduced or transmitted in any form Los Angeles County Museum of Art 5905 Wilshire Boulevard or by any means, electronic or mechanical, March 30–June 29, 2014 Los Angeles, California 90036 including photocopy, recording, or any other (323) 857-6000 information storage and retrieval system, Frist Center for the Visual Arts, Nashville www.lacma.org or otherwise without written permission from September 26, 2014–January 4, 2015 the publishers. Head of Publications: Lisa Gabrielle Mark Editor: Jennifer MacNair Stitt ISBN 978-3-7913-5385-2 Rights and Reproductions: Dawson Weber Creative Director: Lorraine Wild Designer: Xiaoqing Wang FRONT COVER, BACK COVER, Proofreader: Jane Hyun PAGES 3–6, 10, AND 11 Untitled, 2012–13, details and installation view Formed acrylic 1 Color Separator, Printer, and Binder: 12 parts, each approx. 96 17 ⁄2 20 inches PR1MARY COLOR In Helen Pashgian: Light Invisible, Los Angeles County Museum of Art, 2014 This book is typeset in Locator. PAGE 9 Helen Pashgian at work, Pasadena, 1970 Copyright ¦ 2014 Los Angeles County Museum of Art Printed and bound in Los Angeles, California Published in 2014 by the Los Angeles County Museum of Art In association with DelMonico Books • Prestel Prestel, a member of Verlagsgruppe Random House GmbH Prestel Verlag Neumarkter Strasse 28 81673 Munich Germany Tel.: +49 (0)89 41 36 0 Fax: +49 (0)89 41 36 23 35 Prestel Publishing Ltd.