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CLAES OLDENBURG by Barbara Rose, the First Comprehensive Treatment of Oldenburg's
No. 56 V»< May 31, 1970 he Museum of Modern Art FOR IMT4EDIATE RELEASE jVest 53 Street, New York, N.Y. 10019 Tel. 956-6100 Cable: Modernart (N.B. Publication date of book: September 8) CLAES OLDENBURG by Barbara Rose, the first comprehensive treatment of Oldenburg's life and art, will be published by The Museum of Modern Art on September 8, 1970. Richly illustrated with 224 illustrations in black-and-white and 52 in color, this monograph, which will retail at $25, has a highly tactile., flexible binding of vinyl over foam-rubber padding, making it a "soft" book suggestive of the artist's well- known "soft" sculptures. Oldenburg came to New York from Chicago in 1956 and settled on the Lower East Side, at that time a center for young artists whose rebellion against the dominance of Abstract Expressionism and search for an art more directly related to their urban environment led to Pop Art. Oldenburg himself has been regarded as perhaps the most interesting artist to emerge from that movement — "interesting because he transcends it," in the words of Hilton Kramer, art critic of the New York Times. As Miss Rose points out, however, Oldenburg's art cannot be defined by the label of any one movement. His imagination links him with the Surrealists, his pragmatic thought with such American philosophers as Henry James and John Dewey, his handling of paint in his early Store reliefs with the Abstract Expressionists, his subject matter with Pop Art, and some of his severely geometric, serial forms with the Mini malists. -
Introduction and Will Be Subject to Additions and Corrections the Early History of El Museo Del Barrio Is Complex
This timeline and exhibition chronology is in process INTRODUCTION and will be subject to additions and corrections The early history of El Museo del Barrio is complex. as more information comes to light. All artists’ It is intertwined with popular struggles in New York names have been input directly from brochures, City over access to, and control of, educational and catalogues, or other existing archival documentation. cultural resources. Part and parcel of the national We apologize for any oversights, misspellings, or Civil Rights movement, public demonstrations, inconsistencies. A careful reader will note names strikes, boycotts, and sit-ins were held in New York that shift between the Spanish and the Anglicized City between 1966 and 1969. African American and versions. Names have been kept, for the most part, Puerto Rican parents, teachers and community as they are in the original documents. However, these activists in Central and East Harlem demanded variations, in themselves, reveal much about identity that their children— who, by 1967, composed the and cultural awareness during these decades. majority of the public school population—receive an education that acknowledged and addressed their We are grateful for any documentation that can diverse cultural heritages. In 1969, these community- be brought to our attention by the public at large. based groups attained their goal of decentralizing This timeline focuses on the defining institutional the Board of Education. They began to participate landmarks, as well as the major visual arts in structuring school curricula, and directed financial exhibitions. There are numerous events that still resources towards ethnic-specific didactic programs need to be documented and included, such as public that enriched their children’s education. -
Draft July 6, 2011
Reinhardt, Martin, Richter: Colour in the Grid of Contemporary Painting by Milly Mildred Thelma Ristvedt A thesis submitted to the Graduate Program in Art History, Department of Art in conformity with the requirements for the Degree of Master of Arts Queen‘s University Kingston, Ontario, Canada Final submission, September, 2011 Copyright ©Milly Mildred Thelma Ristvedt, 2011 Abstract The objective of my thesis is to extend the scholarship on colour in painting by focusing on how it is employed within the structuring framework of the orthogonal grid in the paintings of three contemporary artists, Ad Reinhardt, Agnes Martin and Gerhard Richter. Form and colour are essential elements in painting, and within the ―essentialist‖ grid painting, the presence and function of colour have not received the full discussion they deserve. Structuralist, post-structuralist and anthropological modes of critical analysis in the latter part of the twentieth century, framed by postwar disillusionment and skepticism, have contributed to the effective foreclosure of examination of metaphysical, spiritual and utopian dimensions promised by the grid and its colour earlier in the century. Artists working with the grid have explored, and continue to explore the same eternally vexing problems and mysteries of our existence, but analyses of their art are cloaked in an atmosphere and language of rationalism. Critics and scholars have devoted their attention to discussing the properties of form, giving the behavior and status of colour, as a property affecting mind and body, little mention. The position of colour deserves to be re-dressed, so that we may have a more complete understanding of grid painting as a discrete kind of abstract painting. -
University Microfilms International 300 North Zeeb Road Ann Arbor, Michigan 48106 USA St
INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1.The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find e good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. -
BARBARA ROSE P.,
The Museum of Modern Art No. 78 BARBARA ROSE p., .. „ Public information Barbara Rose organized LEE KRASNER: A RETROSPECTIVE for the Museum of Fine Arts, Houston, where she is Consulting Curator, and collaborated in its installation at The Museum of Modern Art. She received a B.A. from Barnard College and a Ph.D. in the History of Art from Columbia University. In 1961- 62, she was a Fulbright Fellow to Spain. She has taught at Yale University; Sarah Lawrence and Hunter Colleges; the University of California, Irvine; and was Regent's Professor at the University of California, San Diego. A prominent critic of contemporary art, Miss Rose is currently an associate editor of Arts Magazine and Partisan Review. She was formerly New York correspondent for Art International and a contributing editor to Artforum and Art in America. Her writings have twice received the College Art Associa tion Frank Jewett Mather Award for Distinguished Art Criticism. Miss Rose has curated and co-curated many exhibitions, including Claes Oldenburg (1969); Patrick Henry Bruce - An American Modernist (1980); Lee Krasner - Jackson Pollock: A Working Relationship (1980); and Miro in America (1982). She has recently co-authored the exhibition catalogues Leger and the Modern Spirit (1982) and Goya: The "Disasters of War" and Selected Prints from the Collection of the Arthur Roth Foundation (1984). In addition to the catalogue accompanying LEE KRASNER: A RETROSPECTIVE, Miss Rose is the author and editor of American Painting, American Art Since 1900, Readings in American Art, and several monographs. She has also made films on American artists, among them North Star: Mark di Suvero, Sculptor, and Lee Krasner: The Long View, a Cine Film Festival Gold Eagle Recipient in 1980. -
Soixante-Quatre Mots De La Ville Le Trésor Des Mots De La Ville
CSU UMR CNRS 7112 59/61 rue Pouchet 75017 Paris France Soixante-quatre mots de la ville Le Trésor des mots de la ville : une maquette au 1/5e février 2005 Le Trésor des mots de la ville : une maquette au 1/5e Sommaire Avertissement 3 Les notices 4 Dictionnaires de langue et encyclopédies 238 Index des entrées par langue 251 Index des auteurs 253 Liste alphabétique des entrées 255 2 Le Trésor des mots de la ville : une maquette au 1/5e Avertissement Cette simulation ou modèle réduit du Trésor des mots de la ville comprend huits entrées sur 40 (environ) pour chacune des huits langues étudiées. C’est donc une maquette au 1/5e. Les notices sont données par ordre alphabétique général (après translittération de l’entrée pour l’arabe et le russe), comme ce sera le cas dans l’ouvrage. Aucun critère thématique n’a présidé au choix des notices présentées ici. > Dans cette maquette, les translittérations qui font appel à des signes diacritiques inhabituels n’apparaissent pas correctement. Il en est de même du nom de l’entrée donné en caractères arabes ou cyrilliques. Chaque notice est précédée – D’une spécification géographique. Il s’agit de l’aire pour laquelle le mot est traité dans la notice, non d’une aire où il serait exclusivement en usage. – D’une ou plusieurs citations de document donnant des solutions de traduction du mot vers le français (exceptionnellement vers l’anglais). – D’une ou plusieurs citations de documents donnant des définitions du mot dans la langue originale (et ici traduites en français). -
Fame in the Abstract
September 2016 Fame in the Abstract Dorothy Hood was one of Texas’s greatest artists, yet her work remains largely unknown. Now, sixteen years after her death, can her fans bring her the acclaim she never received in life? By Katy Vine Hood’s Copper Signal, oil on canvas, 1978–1979; Hood, photographed in Mexico City in the early forties. Copper Signal, 1978-1979, Oil on Canvas, 109 1/2” x 81”; Collection of the Art Museum of South Texas, Corpus Christi; Photograph of Copper Signal: Lynda A J Jones; Portrait: Art Museum of South Texas Dorothy Hood had all the makings of an icon. One of Texas’s most talented artists, she was a stunning strawberry blonde with a fearless sense of adventure. In 1941, fresh out of art school, she drove her dad’s roadster to Mexico City and stayed there for most of the next 22 years, drawing and painting alongside Diego Rivera, Frida Kahlo, Roberto Montenegro, and Miguel Covarrubias. Pablo Neruda wrote a poem about her paintings. José Clemente Orozco befriended and encouraged her. The Bolivian director and composer José María Velasco Maidana fell hard for her and later married her. And after a brief stretch in New York City, she and Maidana moved to her native Houston, where she produced massive paintings of sweeping color that combined elements of Mexican surrealism and New York abstraction in a way that no one had seen before, winning her acclaim and promises from museums of major exhibits. She seemed on the verge of fame. “She certainly is one of the most important artists from that generation,” said art historian Robert Hobbs. -
Bodacc Bulletin Officiel Des Annonces Civiles Et Commerciales Annexé Au
o Quarante-troisième année. – N 195 B ISSN 0298-2978 Vendredi 9 octobre 2009 BODACCBULLETIN OFFICIEL DES ANNONCES CIVILES ET COMMERCIALES ANNEXÉ AU JOURNAL OFFICIEL DE LA RÉPUBLIQUE FRANÇAISE Standard......................................... 01-40-58-75-00 DIRECTION DES JOURNAUX OFFICIELS Annonces....................................... 01-40-58-77-56 Renseignements documentaires 01-40-58-79-79 26, rue Desaix, 75727 PARIS CEDEX 15 Abonnements................................. 01-40-58-79-20 www.journal-officiel.gouv.fr (8h30à 12h30) www.bodacc.fr Télécopie........................................ 01-40-58-77-57 BODACC “B” Modifications diverses - Radiations Avis aux lecteurs Les autres catégories d’insertions sont publiées dans deux autres éditions séparées selon la répartition suivante Ventes et cessions .......................................... Créations d’établissements ............................ @ Procédures collectives .................................... ! BODACC “A” Procédures de rétablissement personnel .... Avis relatifs aux successions ......................... * Avis de dépôt des comptes des sociétés .... BODACC “C” Banque de données BODACC servie par les sociétés : Altares-D&B, EDD, Extelia, Questel, Tessi Informatique, Jurismedia, Pouey International, Scores et Décisions, Les Echos, Creditsafe, Coface services, Cartegie, La Base Marketing, Infolegale, France Telecom Orange et Telino. Conformément à l’article 4 de l’arrêté du 17 mai 1984 relatif à la constitution et à la commercialisation d’une banque de données télématique des informations contenues dans le BODACC, le droit d’accès prévu par la loi no 78-17 du 6 janvier 1978 s’exerce auprès de la Direction des Journaux officiels. Le numéro : 2,50 € Abonnement. − Un an (arrêté du 21 novembre 2008 publié au Journal officiel du 27 novembre 2008) : France : 367,70 €. Pour l’expédition par voie aérienne (outre-mer) ou pour l’étranger : paiement d’un supplément modulé selon la zone de destination ; tarif sur demande Paiement à réception de facture. -
Minimalism and Postminimalism
M i n i m a l i s m a n d P o s t m i n i m a l i s m : t h e o r i e s a n d r e p e r c u s s i o n s Department of Art History, Theory, and Criticism 4372 The School of the Art Institute of Chicago David Getsy, Instructor [[email protected]] Spring 2000 / Tuesdays 9 am - 12 pm / Champlain 319 c o u r s e de s c r i pt i o n Providing an in-depth investigation into the innovations in art theory and practice commonly known as “Minimalism” and “Postminimalism,” the course follows the development of Minimal stylehood and tracks its far-reaching implications. Throughout, the greater emphasis on the viewer’s contribution to the aesthetic encounter, the transformation of the role of the artist, and the expanded definition of art will be examined. Close evaluations of primary texts and art objects will form the basis for a discussion. • • • m e t h o d o f e va l u a t i o n Students will be evaluated primarily on attendance, preparation, and class discussion. All students are expected to attend class meetings with the required readings completed. There will be two writing assignments: (1) a short paper on a relevant artwork in a Chicago collection or public space due on 28 March 2000 and (2) an in- class final examination to be held on 9 May 2000. The examination will be based primarily on the readings and class discussions. -
Making a New World David and the Revolution
Making a New World David and the Revolution 'Never was any such event so inevitable yet so completely unforeseen', was how the great historian Alexis de Tocqueville characterized the coming of the French Revolution. From a distance of more than two hundred years, we can see that the Revolution was the result of a series of social, economic and political pressures which, though manageable in themselves, had the cumulative effect of toppling the monarchy and chang- ing the course of French and European history. By the mid-1780s the whole framework of the ancien regime seemed close to breakdown. As a legacy of its expensive involvement in the American War of Independence (1778-83), 70 Let's Hope that France was facing bankruptcy and the government was forced this Game Ends Soon, to borrow more and more money to cover its deficits. The 1789 . Coloured public was also aware of how the lavish and extravagant engraving ; 36-5 - 24cm, expenditure of the court added to the nation's debts, and they 141e" 9 1 zin were outraged at the waste. Tensions also existed between the aristocracy and the emerging middle classes, with the latter group trying hard to gain social acceptance and a rise in their influence and status . Of course these issues of politics and class were of little importance to the poor, the vast majority of whom lived in degradation and misery trying to scratch a living from the land. They laid the blame for their misfortunes squarely at the feet of the Church and the aristocracy which claimed crip- pling tithes and feudal dues (70). -
George Condo
GEORGE CONDO Bibliographie / Bibliography Bücher und Kataloge / Books and catalogs 2019 ‘George Condo. Life is worth Living‘, Almine Rech Editions 2018 ‘George Condo at Cycladic’, Museum of Cycladic Art, Athens 2016 Kittelmann, Udo / Rappe, Felicia: ‘Condo: Confrontation‘, Museum Berggruen, Nationalgalerie, Staatliche Museen zu Berlin, Berlin Kehlmann, Daniel: ‘Gesichter, Fratzen, Condo‘, Museum Berggruen, Nationalgalerie, Staatliche Museen zu Berlin, Berlin 2015 Baker, Simon: ‘George Condo: Painting Reconfigured’, London: Thames and Hudson Ltd. 2014 ‘George Condo: Ink Drawings’, London: Skarstedt. 2013 ‘George Condo. Paintings Sculpture’, Berlin: Distanz Verlag. 2012 Rugoff, Ralph / Hollein, Max: ‘George Condo Mental States’, München: Prestel Verlag. 2011 Rugoff, Ralph: ‘George Condo: Mental States’, Manchester: Hayward Publishing. 2010 Troncy, Eric: ‘Cartoon Abstractions’, Paris: Galerie Jerome de Noirmont. Berckemeyer, Olivia / Wurlitzer, Bernd: ‘Physical’, Berlin: Kunsthaller Autocenter. 2009 Lorguin, Olivier / Lorguin, Bertrand: ‘George Condo: La civilisation perdue, édition bilingue français-anglais’, Paris: Fondation Dina Vierny-Musée Maillol / Editions Gallimard. Kellein, Thomas: ‘George Condo’, Brussels: Xavier Hufkens. Haendel, Karl: ‘Beg borrow and steal’, Miami: Rubell Family Collection. 2008 ‘George Condo: Artificial Realism’, Moskow: Gary Tatintsian Gallery Inc. 2007 Caruso, Laura (ed.): ‘Radar: Selections from the Collection of Vicki and Kent Logan’, Denver: Denver Art Museum, pp. 76-79. ‘Create your own Museum: Highlights from a Private Collection’, Moscow: Gary Tantintsian Gallery Inc., pp. 38-43. ‘Impulse: Works on Paper from the Logan Collection’, Vail, Colorado: The Logan Collection, pp. 8-9, 22, 36, 38. Jacobs, Dan: ‘Negotiating Reality: Recent Works from the Logan Collection’, Denver: University of Denver, pp. 24-25, 68. Kirwin, Liza / Moore, Alan W. : ‘East Village USA’, New Museum of Contemporary Art, 8 November, p. -
THEODORE JONES, Alias TED JOANS
THEODORE JONES, alias TED JOANS JAZZ POET, MUSICIAN, PAINTER and CARTOONIST 4th July 1928 – 25 th April 2003 The phrase Jazz is my religion and surrealism is my point of view written by Ted Joans resumes him well, but we shall see that these are not his only artistic dimensions. Passing away two months before his 75 th birthday Ted Joans had lived several lives: • He was born in 1928 on American Independence Day, on a boat where his father was an entertainer, and had lived in several towns, notably New York during 10 years, between 1951 and 1960. • He exiled himself to Europe , particularly to Paris where he resided for quite some time. • In parallel he travelled in Africa , his point of attachement being Mali where he kept a house at Timbuktu , more or less up to his death. • He also travelled punctually in Central America , and Mexico was not unknown to him. • He died in Canada . Teenager his first emotions as a young reader were surrealist , then upon his arrival in France he wrote to André Breton , who opened wide the doors to his movement. Previously Ted Joans had also invested in the Beat movement: amongst others he knew Jack Kerouac in New York and he frequented the famous Beat Hotel , situated at 9, rue Gît-le Cœur in Paris with William Burroughs and Allen Ginsberg . In music Ted Joans was rarely mistaken, he admired and knew (some very closely) all the greatest jazzmen, from Louis Armstrong to Albert Ayler , Duke Ellington to John Coltrane , Charlie Parker to Archie Shepp , in passing Charlie Mingus .