Case Studies from the Bureau of Contemporary
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Oral History Interview with Ann Wilson, 2009 April 19-2010 July 12
Oral history interview with Ann Wilson, 2009 April 19-2010 July 12 Funding for this interview was provided by the Terra Foundation for American Art. 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 recorded interview with Ann Wilson on 2009 April 19-2010 July 12. The interview took place at Wilson's home in Valatie, New York, and was conducted by Jonathan Katz for the Archives of American Art, Smithsonian Institution. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview ANN WILSON: [In progress] "—happened as if it didn't come out of himself and his fixation but merged. It came to itself and is for this moment without him or her, not brought about by him or her but is itself and in this sudden seeing of itself, we make the final choice. What if it has come to be without external to us and what we read it to be then and heighten it toward that reading? If we were to leave it alone at this point of itself, our eyes aging would no longer be able to see it. External and forget the internal ordering that brought it about and without the final decision of what that ordering was about and our emphasis of it, other eyes would miss the chosen point and feel the lack of emphasis. -
ROBERT RYMAN Untitled 1963 Oil Paint on Stretched Sized Linen Canvas 27 1/2 × 27 3/8 Inches (69.9 × 69.5 Cm)
FIRST FLOOR ROBERT RYMAN Untitled 1962 Oil and graphite on canvas 9 3/4 × 9 3/4 inches (24.8 × 24.8 cm) ROBERT RYMAN Untitled 1962 Oil on linen 12 1/2 × 12 3/4 inches (31.8 × 32.4 cm) ROBERT RYMAN Untitled #32 1963 Oil on linen 7 ⅝ × 7 3/4 inches (19.4 × 19.7 cm) ROBERT RYMAN Untitled 1963 Oil paint on stretched sized linen canvas 27 1/2 × 27 3/8 inches (69.9 × 69.5 cm) LEVY GORVY 909 MADISON AVENUE NEW YORK NY 10021 WWW.LEVYGORVY.COM +1 212 772 2004 Size: US Letter 8.5” x 11” Paper: 28# Crane’s Crest Fluorescent White Wove (Without Watermark) Engrave: Front 1/0 (PMS 423) +1.212.268.9201 Finish: Trim to final size FIRST FLOOR ROBERT RYMAN Untitled #1004 1960–61 Oil paint and gesso on unstretched sized linen canvas 15 1/2 × 14 1/2 inches (39.4 × 36.8 cm) ROBERT RYMAN Untitled 1958 Oil on canvas 43 × 43 inches (109.2 × 109.2 cm) San Francisco Museum of Modern Art, Purchase through a gift of Mimi and Peter Haas ROBERT RYMAN A painting of twelve strokes, measuring 11 1/4 × 11 1/4 signed at the bottom right corner 1961 Oil and gesso on linen canvas 14 × 14 × 1 1/2 inches (35.6 × 35.6 × 3.8 cm) San Francisco Museum of Modern Art Purchase through a gift of Mimi and Peter Haas ROBERT RYMAN Archive 1979 Oil on steel 13 1/2 × 11 7/8 × 1/2 inches (34.3 × 30.2 × 1.3 cm) San Francisco Museum of Modern Art Purchase through a gift of Mimi and Peter Haas LEVY GORVY 909 MADISON AVENUE NEW YORK NY 10021 WWW.LEVYGORVY.COM +1 212 772 2004 Size: US Letter 8.5” x 11” Paper: 28# Crane’s Crest Fluorescent White Wove (Without Watermark) Engrave: Front 1/0 (PMS 423) +1.212.268.9201 Finish: Trim to final size FIRST FLOOR ROBERT RYMAN Untitled Painting #13 1963 Oil on linen 22 × 22 inches (55.9 × 55.9 cm) ROBERT RYMAN Untitled 1962 Oil on linen 69 1/2 × 69 1/2 inches (176.5 × 176.5 cm) Whitney Museum of American Art, New York Gift of The American Contemporary Art Foundation, Inc., Leonard A. -
Art in the Mirror: Reflection in the Work of Rauschenberg, Richter, Graham and Smithson
ART IN THE MIRROR: REFLECTION IN THE WORK OF RAUSCHENBERG, RICHTER, GRAHAM AND SMITHSON DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Eileen R. Doyle, M.A. ***** The Ohio State University 2004 Dissertation Committee: Approved by Professor Stephen Melville, Advisor Professor Lisa Florman ______________________________ Professor Myroslava Mudrak Advisor History of Art Graduate Program Copyright by Eileen Reilly Doyle 2004 ii ABSTRACT This dissertation considers the proliferation of mirrors and reflective materials in art since the sixties through four case studies. By analyzing the mirrored and reflective work of Robert Rauschenberg, Gerhard Richter, Dan Graham and Robert Smithson within the context of the artists' larger oeuvre and also the theoretical and self-reflective writing that surrounds each artist’s work, the relationship between the wide use of industrially-produced materials and the French theory that dominated artistic discourse for the past thirty years becomes clear. Chapter 2 examines the work of Robert Rauschenberg, noting his early interest in engaging the viewer’s body in his work—a practice that became standard with the rise of Minimalism and after. Additionally, the theoretical writing the French phenomenologist Maurice Merleau-Ponty provides insight into the link between art as a mirroring practice and a physically engaged viewer. Chapter 3 considers the questions of medium and genre as they arose in the wake of Minimalism, using the mirrors and photo-based paintings of Gerhard Richter as its focus. It also addresses the particular way that Richter weaves the motifs and concerns of traditional painting into a rhetoric of the death of painting which strongly implicates the mirror, ultimately opening up Richter’s career to a psychoanalytic reading drawing its force from Jacques Lacan’s writing on the formation of the subject. -
Robert Ryman: Used Paint Suzanne P
MuseuM Book CluB Guide Robert Ryman: Used Paint Suzanne P. HudSon Robert Ryman’s essentially all-white paintings have challenged and confounded museum-goers since their first appearance half a century ago. This unique study on the artist is a slightly advanced read, but nonetheless recommended to any level book club seeking meaning in what may at first appear to be rather meaningless art. Page numbers refer to Robert Ryman: Used Paint, Suzanne P. Hudson. Cambridge, MA: MIT Press. 2009. This guide was created by Hol Art Books. 1. The book opens with A Note on the Illustrations as a tourist or member, and being in the galleries in which the author gives a disclaimer as to the as an employees? How did this experience effect difficulty of satisfactorily reproducing images of Ryman’s work? What might have Ryman’s work Ryman’s work. She quotes the artist himself: “You looked like had this first exposure been to books have to see the real thing … Books leave you with and reproductions rather than to the physical the wrong impression. Seeing a real painting is the artworks themselves? Are museums laboratories only way to do it.” (p. xvi) Do you agree? If so, do today? you believe this is true for all artwork or only for 4. Why white? works of a subtly like Ryman’s? What exactly is lost in reproduction? Try it. In your museum, compare 5. As explored in Chapter 2: Paint, in Ryman’s con- a work on the wall with a reproduction of it from tinuing narrowing in on the fundamentals of what a postcard or museum guide. -
Robert Ryman (American, 1930-2019) Ryman at Xavier Hufkens Ryman at David Zwirner “I Don’T Think of Myself As Making White Paintings
Robert Ryman (American, 1930-2019) Ryman at Xavier Hufkens Ryman at David Zwirner “I don’t think of myself as making white paintings. I make paintings; I’m a painter. White paint is my medium,” Ryman explained in an in- depth 1971 interview with ArtForum about medium, material, support, light, and exhibiting his work. “When I begin, I’m never quite sure what the result is going to be. The process is actually making the painting, that’s all….When I start doing it, I discover things that I hadn’t thought could be there; I change it…until I end up with the final result.” Ryman also spoke about his life and professional practice with the Smithsonian Archives of American Art, in 1972, and in 1977 in a televised interview for the program Inside New York’s Art World. In 1993, MoMA hosted the most comprehensive survey of Ryman’s career to date in the United States, tracing the artist’s career from 1955 with over 80 paintings, many never seen before in public. Digital resources include archival installation photographs and a PDF of the out-of- print exhibition catalogue. For an exhibition at Xavier Hufkens in 2000, Ryman selected 20 paintings created in the 1960s, which left his studio for the first time upon Ryman, 1974 Ryman Archives installation, thus completing each work through the revelation of lights and the individual perception of each viewer. The Brooklyn Rail spoke to Ryman in 2007 for his exhibition at Pace Gallery. “There’s no symbolism. There’s no narrative in this painting. -
Architectsnewspaper 11 6.22.2005
THE ARCHITECTSNEWSPAPER 11 6.22.2005 NEW YORK ARCHITECTURE AND DESIGN WWW.ARCHPAPER.COM $3.95 GUGGENBUCKS, GUGGENDALES, CO GUGGENSOLES 07 MIAMI NICE LU ARTISTIC Z O GO HOME, LICENSING o DAMN YANKEES 12 Once again, the ever-expanding Guggenheim is moving to new frontiers. TOP OF THE A jury that included politicians, Frank CLASS Gehry and Thomas Krens has awarded 4 the design commission for the newest 17 museum in the Guggenheim orbitto VENTURI AND Enrique Norten for a 50-story structure on a cliff outside Guadalajara, Mexico's sec• SCOTT BROWN ond-largest city. The museum will cost BRITISH TEAM WINS VAN ALEN COMPETITION PROBE THE PAST the city about $250 million to build. 03 EAVESDROP But there is now a far less expensive 18 DIARY range of associations with the Guggenheim 20 PROTEST Coney Island Looks Up brand. The Guggenheim is actively 23 CLASSIFIEDS exploring the market for products that it On May 26 Sherida E. Paulsen, chair of the Fair to Coney Island in 1940, closed in 1968, can license, in the hope of Guggenheim- Van Alen Institute's board of trustees, and but the 250-foot-tall structure was land- ing tableware, jewelry, even paint. An Joshua J. Sirefman, CEO of the Coney marked in 1989. eyewear deal is imminent. Island Development Corporation (CIDC), Brooklyn-based Ramon Knoester and It's not the museum's first effort to announced the winners of the Parachute Eckart Graeve took the second place prize license products but it is its first planned Pavilion Design Competition at an event on of S5,000, and a team of five architects strategy to systematize licensing. -
Louise Bourgeois Turning Inwards
Turning Inwards Turning Louise Bourgeois Hauser & Wirth Somerset 2 October 2016 – 1 January 2017 Education Guide This resource has been produced to accompany the exhibition, ‘Louise Bourgeois. Turning Inwards’, at Hauser & Wirth Somerset. Hauser & Wirth Somerset is a pioneering world-class gallery and multi-purpose arts centre, which provides a destination for experiencing art, architecture and the remarkable Somerset landscape through new and innovative exhibitions of contemporary art. A landscaped garden, designed for the gallery by internationally renowned landscape architect Piet Oudolf and the Radić Pavilion (the Serpentine Gallery 2014 Pavilion), designed by Chilean architect Smiljan Radić, both sit behind the galleries. This publication is designed for teachers and students, to be used alongside their visit to the exhibition. It provides an introduction to the artist Louise Bourgeois, identifies the key themes of her work and makes reference to the historical and theoretical contexts in which her practice can be understood. It offers activities, which can be carried out during a visit to the gallery and topics for discussion and additional research. The exhibition features a body of painting, print, drawing and sculpture, most of which has been curated in relation to the existing farm buildings and new architecture at Hauser & Wirth Somerset, creating a new environment and experience of Louise Bourgeois’s work in Somerset. Oudolf Field, Hauser & Wirth Somerset 2016. Photo: Jason Ingram About Louise Bourgeois Louise Joséphine Bourgeois was born in Paris 1977 and 2002, Bourgeois was the recipient on Christmas Day in 1911. She was one of three of 7 Honorary Doctorates of Fine Arts from children; their parents ran an Aubusson tapestry institutions such as Yale University and the Art restoration business and a tapestry gallery in Paris. -
About Henry Street Settlement
TO BENEFIT Henry Street Settlement ORGANIZED BY Art Dealers Association of America March 1– 5, Gala Preview February 28 FOUNDED 1962 Park Avenue Armory at 67th Street, New York City MEDIA MATERIALS Lead sponsoring partner of The Art Show The ADAA Announces Program Highlights at the 2017 Edition of The Art Show ART DEALERS ASSOCIATION OF AMERICA 205 Lexington Avenue, Suite #901 New York, NY 10016 [email protected] www.artdealers.org tel: 212.488.5550 fax: 646.688.6809 Images (left to right): Scott Olson, Untitled (2016), courtesy James Cohan; Larry Bell with Untitled (Wedge) at GE Headquarters, Fairfield, CT in 1984, courtesy Anthony Meier Fine Arts; George Inness, A June Day (1881), courtesy Thomas Colville Fine Art. #TheArtShowNYC Program Features Keynote Event with Museum and Cultural Leaders from across the U.S., a Silent Bidding Sale of an Alexander Calder Sculpture to Benefit the ADAA Foundation, and the Annual Art Show Gala Preview to Benefit Henry Street Settlement ADAA Member Galleries Will Present Ambitious Solo Exhibitions, Group Shows, and New Works at The Art Show, March 1–5, 2017 To download hi-res images of highlights of The Art Show, visit http://bit.ly/2kSTTPW New York, January 25, 2017—The Art Dealers Association of America (ADAA) today announced additional program highlights of the 2017 edition of The Art Show. The nation’s most respected and longest-running art fair will take place on March 1-5, 2017, at the Park Avenue Armory in New York, with a Gala Preview on February 28 to benefit Henry Street Settlement. -
Agnes Martin, Textiles, and the Linear Experience
Georgia State University ScholarWorks @ Georgia State University Art and Design Theses Ernest G. Welch School of Art and Design Spring 5-3-2017 WARP/WEFT: AGNES MARTIN, TEXTILES, AND THE LINEAR EXPERIENCE Ariana Yandell Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/art_design_theses Recommended Citation Yandell, Ariana, "WARP/WEFT: AGNES MARTIN, TEXTILES, AND THE LINEAR EXPERIENCE." Thesis, Georgia State University, 2017. https://scholarworks.gsu.edu/art_design_theses/214 This Thesis is brought to you for free and open access by the Ernest G. Welch School of Art and Design at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Art and Design Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. WARP/WEFT: AGNES MARTIN, TEXTILES, AND THE LINEAR EXPERIENCE by ARIANA YANDELL Under the Direction of Susan Richmond, PhD ABSTRACT This essay is a study of Agnes Martin (1912-2004), a Canadian-born and American-based contemporary artist, and her earlier painting practice including, but not limited, to her work Falling Blue of 1963. The exploration of this piece and others frames Martin’s early work as a process of material exploration analogous to weaving and fiber art. This framing is enhanced by the friendship and professional exchange between Martin and artist Lenore Tawney (1907-2007). The textile lens, as explored in this paper, has been undeveloped compared to other approaches to Martin’s -
Show of Hands
Show of Hands Northwest Women Artists 1880–2010 Maria Frank Abrams Ruth Kelsey Kathleen Gemberling Adkison Alison Keogh Eliza Barchus Maude Kerns Harriet Foster Beecher Sheila Klein Ross Palmer Beecher Gwendolyn Knight Susan Bennerstrom Margot Quan Knight Marsha Burns Margie Livingston Margaret Camfferman Helen Loggie Emily M. Carr Blanche Morgan Losey Lauri Chambers Sherry Markovitz Doris Chase Agnes Martin Diem Chau Ella McBride Elizabeth Colborne Lucinda Parker Show of Hands Northwest Women Artists 1880–2010 Claire Cowie Viola Patterson Louise Crow Mary Ann Peters Imogen Cunningham Susan Point Barbara Matilsky Marita Dingus Mary Randlett Caryn Friedlander Ebba Rapp Anna Gellenbeck Susan Robb Virna Haffer Elizabeth Sandvig Sally Haley Norie Sato Victoria Haven Barbara Sternberger Zama Vanessa Helder Maki Tamura Karin Helmich Barbara Earl Thomas Mary Henry Margaret Tomkins Abby Williams Hill Gail Tremblay Anne Hirondelle Patti Warashina Yvonne Twining Humber Marie Watt Elizabeth Jameson Myra Albert Wiggins Fay Jones Ellen Ziegler Helmi Dagmar Juvonen whatcom museum, bellingham, wa contents This book is published in conjunction with the 6 Foreword exhibition Show of Hands: Northwest Women Artists 1880–2010, organized by the Whatcom Patricia Leach Museum and on view from April 24–August 8, 2010. Funding for the exhibition and the 8 Acknowledgments accompanying catalogue was supported in part with funds provided by the Western 10 A Gathering of Women States Arts Federation (WESTAF) and the Barbara Matilsky National Endowment for the Arts (NEA). The City of Bellingham also generously funded the 52 Checklist of the Exhibition catalogue. Additional support was provided by the Washington Art Consortium (WAC). Published in the United States by 55 Bibliography Whatcom Museum 56 Photographic Credits © 2010 by the Whatcom Museum 121 Prospect Street Bellingham, WA 98225 The copyright of works of art reproduced in www.whatcommuseum.org 56 Lenders to the Exhibition this catalogue is retained by the artists, their heirs, successors, and assignees. -
Quick Facts from the Modern Docent Newsletter
Quick Facts from the Modern Docent Newsletter Summer 2008 In Andy Warhol’s Twenty-Five Colored Marilyns, 1962, the colors were hand-painted with the aid of stencils before the black areas were silk-screened on top. Roy Lichtenstein used a homemade stencil to achieve the effect of Ben-day dots in his paintings. The Museum Ludwig in Cologne, Germany, owns Gerhard Richter’s painting Ema (Nude on a Staircase), 1966. Twenty-six years later, in 1992, the artist created an edition of 12 photographs of that painting, including the one in our permanent collection. Fall 2008 The stone used by Ulrich Rückriem in his untitled work from 1980 is Texas red granite from a quarry in Fredericksburg, TX. In 1981, this institution (then known as the Fort Worth Art Museum) hosted his first one-man museum exhibition in America, and when his work proved too costly to ship from Germany, he created new work in Texas using native stone. The figures and their bases in Stephan Balkenhol’s 4 Figures, 2000 are not separate pieces, but each a single continuous form. Also, Balkenhol’s major professor at the Hockschule für Bildende Künst in Hamburg, Germany, was Ulrich Rückriem. January 2009 Here are some interesting connections between some of the artists whose works are currently exhibited on the first floor: Ellsworth Kelly lived in the same building as Agnes Martin in Lower Manhattan in the late 1950s. They had breakfast together every day for a year and a half. Carl Andre and Frank Stella shared a studio space in New York from 1958–1960, the years Stella developed his black stripe paintings. -
Robert Ryman, Paintings 1955 to 1993
Robert Ryman, paintings 1955 to 1993 Author Ryman, Robert, 1930- Date 1993 Publisher The Museum of Modern Art Exhibition URL www.moma.org/calendar/exhibitions/404 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 R O R T R Y A PAINTINGS 1955 TO 1993 When we look at paintings,we are generallylooking for some commercial and industrial primers, enamels, and other types of syn thing in painting, something that paint describes, or sug thetic coatings, Ryman's white can be crusty or suave, opaque or gests, or evokes. It may be an image, a symbol, or an idea. sheer,as warm as fresh cream or as cool as ceramic tiles. Frequentlyit involvesa synthesisof all three. Even in its most abstract In much the same way, the scale of his works can vary from form, therefore,painting has usually been about somethingoutside or handkerchief-sizesquares of paper, linen, metal, or plexiglass to vast beyond itself. Consequently,it has commonly been regarded as a sheets of fiberglass or stretched canvases measuring some twelve meansto an end, the way in which the artist envisionsreality or depicts feet square. Significantly, Ryman treats these greatly differing things that may exist only in the imagi surfaces as essentially equal in nation. For the past forty years, Robert importance, because unique in the pos Ryman has approached painting from sibilities they offer. Small paintings are the opposite direction.