24Th Annual American Art Conference Thursday – Saturday, May 16 – 18, 2019
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Press Release
Press Release Contact: Whitney Museum of American Art Whitney Museum of American Art 945 Madison Avenue at 75th Street Stephen Soba, Kira Garcia New York, NY 10021 (212) 570-3633 www.whitney.org/press www.whitney.org/press March 2007 Tel. (212) 570-3633 Fax (212) 570-4169 [email protected] WHITNEY MUSEUM TO PRESENT A TRIBUTE TO LINCOLN KIRSTEIN BEGINNING APRIL 25, 2007 Pavel Tchelitchew, Portrait of Lincoln Kirstein, 1937 Courtesy of The School of American Ballet, Photograph by Jerry L. Thompson The Whitney Museum of American Art is observing the 100th anniversary of Lincoln Kirstein’s birth with an exhibition focusing on a diverse trio of artists from Kirstein’s circle: Walker Evans, Elie Nadelman, and Pavel Tchelitchew. Lincoln Kirstein: An Anniversary Celebration, conceived by guest curator Jerry L. Thompson, working with Elisabeth Sussman and Carter Foster, opens in the Museum’s 5th-floor Ames Gallery on April 25, 2007. Selections from Kirstein’s writings form the basis of the labels and wall texts. Lincoln Kirstein (1906-96), a noted writer, scholar, collector, impresario, champion of artists, and a hugely influential force in American culture, engaged with many notable artistic and literary figures, and helped shape the way the arts developed in America from the late 1920s onward. His involvement with choreographer George Balanchine, with whom he founded the School of American Ballet and New York City Ballet, is perhaps his best known accomplishment. This exhibition focuses on the photographer Walker Evans, the sculptor Elie Nadelman, and the painter Pavel Tchelitchew, each of whom was important to Kirstein. -
Oral History Interview with Walker Evans, 1971 Oct. 13-Dec. 23
Oral history interview with Walker Evans, 1971 Oct. 13-Dec. 23 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 Walker Evans conducted by Paul Cummings for the Archives of American Art, Smithsonian Institution. The interview took place at the home of Walker Evans in Connecticut on October 13, 1971 and in his apartment in New York City on December 23, 1971. Interview PAUL CUMMINGS: It’s October 13, 1971 – Paul Cummings talking to Walker Evans at his home in Connecticut with all the beautiful trees and leaves around today. It’s gorgeous here. You were born in Kenilworth, Illinois – right? WALKER EVANS: Not at all. St. Louis. There’s a big difference. Though in St. Louis it was just babyhood, so really it amounts to the same thing. PAUL CUMMINGS: St. Louis, Missouri. WALKER EVANS: I think I must have been two years old when we left St. Louis; I was a baby and therefore knew nothing. PAUL CUMMINGS: You moved to Illinois. Do you know why your family moved at that point? WALKER EVANS: Sure. Business. There was an opening in an advertising agency called Lord & Thomas, a very famous one. I think Lasker was head of it. Business was just starting then, that is, advertising was just becoming an American profession I suppose you would call it. Anyway, it was very naïve and not at all corrupt the way it became later. -
Finding Aid for Bolender Collection
KANSAS CITY BALLET ARCHIVES BOLENDER COLLECTION Bolender, Todd (1914-2006) Personal Collection, 1924-2006 44 linear feet 32 document boxes 9 oversize boxes (15”x19”x3”) 2 oversize boxes (17”x21”x3”) 1 oversize box (32”x19”x4”) 1 oversize box (32”x19”x6”) 8 storage boxes 2 storage tubes; 1 trunk lid; 1 garment bag Scope and Contents The Bolender Collection contains personal papers and artifacts of Todd Bolender, dancer, choreographer, teacher and ballet director. Bolender spent the final third of his 70-year career in Kansas City, as Artistic Director of the Kansas City Ballet 1981-1995 (Missouri State Ballet 1986- 2000) and Director Emeritus, 1996-2006. Bolender’s records constitute the first processed collection of the Kansas City Ballet Archives. The collection spans Bolender’s lifetime with the bulk of records dating after 1960. The Bolender material consists of the following: Artifacts and memorabilia Artwork Books Choreography Correspondence General files Kansas City Ballet (KCB) / State Ballet of Missouri (SBM) files Music scores Notebooks, calendars, address books Photographs Postcard collection Press clippings and articles Publications – dance journals, art catalogs, publicity materials Programs – dance and theatre Video and audio tapes LK/January 2018 Bolender Collection, KCB Archives (continued) Chronology 1914 Born February 27 in Canton, Ohio, son of Charles and Hazel Humphries Bolender 1931 Studied theatrical dance in New York City 1933 Moved to New York City 1936-44 Performed with American Ballet, founded by -
Barnhart, Review of Lincoln Kirstein's Modern
ISSN: 2471-6839 Cite this article: Clara Barnhart, review of Lincoln Kirstein’s Modern, by Samantha Friedman and Jodi Hauptman, Panorama: Journal of the Association of Historians of American Art 6, no. 2 (Fall 2020), https://doi.org/10.24926/24716839.10757. Lincoln Kirstein’s Modern by Samantha Friedman and Jodi Hauptman with contributions by Lynn Garafola, Michele Greet, Michelle Harvey, Richard Meyer, and Kevin Moore New York: The Museum of Modern Art, 2019. 208 pp.; 170 color illus.; 94 b/w illus.; Hardcover: $55.00 (ISBN: 9781633450820) Exhibition schedule: The Museum of Modern Art, New York, March 17–June 15, 2019 Reviewed by: Clara Barnhart, Independent Scholar The remarkable contribution made by Lincoln Kirstein (1907–1996) to the modern arts in the 1930s and 1940s United States took many forms, but he is still mostly known for enhancing the status of ballet as an American art form. Given that he so successfully spearheaded the American ballet movement, and continued to preside over it into the late 1980s as director of the New York City Ballet (NYCB) and president of the School of American Ballet (SAB), Kirstein's range of artistic interests is often overlooked. Lincoln Kirstein’s Modern, the catalogue for the 2019 Museum of Modern Art (MoMA) exhibition of the same name, seeks to correct this constrictive categorization by presenting Kirstein as a “key connector and indefatigable catalyst who shaped and supported American artists and institutions in the 1930s and ’40s,” writes Samantha Friedman, cocurator of the exhibition (11). The extent of his influence on the arts has not been sufficiently examined until now; the catalogue therefore fills a significant gap in the critical literature. -
Institute of Fine Arts Alumni Newsletter, Number 55, Fall 2020
Number 55 – Fall 2020 NEWSLETTERAlumni PatriciaEichtnbaumKaretzky andZhangEr Neoclasicos rnE'-RTISTREINVENTiD,1~1-1= THEME""'lLC.IIEllMNICOLUCTION MoMA Ano M. Franco .. ..H .. •... 1 .1 e-i =~-:.~ CALLi RESPONSE Nyu THE INSTITUTE Published by the Alumni Association of II IOF FINE ARTS 1 Contents Letter from the Director In Memoriam ................. .10 The Year in Pictures: New Challenges, Renewed Commitments, Alumni at the Institute ..........16 and the Spirit of Community ........ .3 Iris Love, Trailblazing Archaeologist 10 Faculty Updates ...............17 Conversations with Alumni ....... .4 Leatrice Mendelsohn, Alumni Updates ...............22 The Best Way to Get Things Done: Expert on Italian Renaissance An Interview with Suzanne Deal Booth 4 Art Theory 11 Doctors of Philosophy Conferred in 2019-2020 .................34 The IFA as a Launching Pad for Seventy Nadia Tscherny, Years of Art-Historical Discovery: Expert in British Art 11 Master of Arts and An Interview with Jack Wasserman 6 Master of Science Dual-Degrees Dora Wiebenson, Conferred in 2019-2020 .........34 Zainab Bahrani Elected to the American Innovative, Infuential, and Academy of Arts and Sciences .... .8 Prolifc Architectural Historian 14 Masters Degrees Conferred in 2019-2020 .................34 Carolyn C Wilson Newmark, Noted Scholar of Venetian Art 15 Donors to the Institute, 2019-2020 .36 Institute of Fine Arts Alumni Association Offcers: Alumni Board Members: Walter S. Cook Lecture Susan Galassi, Co-Chair President Martha Dunkelman [email protected] and William Ambler [email protected] Katherine A. Schwab, Co-Chair [email protected] Matthew Israel [email protected] [email protected] Yvonne Elet Vice President Gabriella Perez Derek Moore Kathryn Calley Galitz [email protected] Debra Pincus [email protected] Debra Pincus Gertje Utley Treasurer [email protected] Newsletter Lisa Schermerhorn Rebecca Rushfeld Reva Wolf, Editor Lisa.Schermerhorn@ [email protected] [email protected] kressfoundation.org Katherine A. -
INSPIRATION DERIVATION &In the Work of ELIE NADELMAN
Illus. 1. Elie Nadelman (1882-1946), Classical Figure, 1909-10. Marble, 345/8 x 13½ x 15 in. Hirshhorn Museum and Sculpture Garden. Gift of Joseph H. Hirshhorn, 1966. Photography by Lee Stalsworth. INSPIRATION DERIVATION &in the Work of ELIE NADELMAN 50 Nadelman’s work offers an ideal lens through which to explore the concepts of borrowed sources and artistic innovation By Thomas Colville his article is about discovering the unique voice in a work of art through T an examination of the transformative interplay between inspiration and derivation: sources borrowed and transformed by an artist. It assumes the basic knowledge of artistic traditions necessary to make qualitative judgements. The sculpture of Elie Nadelman is ideal for this discussion as his stylistic evolution was inspired by the language of clear, yet quite different artistic traditions. Given the multiplicity of directions in the art world today, formerly accepted art historical theories are no longer effective and a fresh approach to understanding works of art is needed. Placing Elie Nadelman’s work within the once popular “Grand Narrative” that traced the evolution of style from the Renaissance through Abstract Expressionism is no longer relevant (Danto, Arthur C. 1997. After the End of Art: Contemporary Art and the Pale of History. Princeton, Princeton University Press, p. xix). Current writings in social psychology investigating visual perception and aesthetic pleasure suggest a focus on how the human brain perceives works of art and derives pleasure from them (Bloom, Paul. 2010. How Pleasure Works: The New Science of Why We Like What We Like. New York, W.W. -
NGA | 2017 Annual Report
N A TIO NAL G ALL E R Y O F A R T 2017 ANNUAL REPORT ART & EDUCATION W. Russell G. Byers Jr. Board of Trustees COMMITTEE Buffy Cafritz (as of September 30, 2017) Frederick W. Beinecke Calvin Cafritz Chairman Leo A. Daly III Earl A. Powell III Louisa Duemling Mitchell P. Rales Aaron Fleischman Sharon P. Rockefeller Juliet C. Folger David M. Rubenstein Marina Kellen French Andrew M. Saul Whitney Ganz Sarah M. Gewirz FINANCE COMMITTEE Lenore Greenberg Mitchell P. Rales Rose Ellen Greene Chairman Andrew S. Gundlach Steven T. Mnuchin Secretary of the Treasury Jane M. Hamilton Richard C. Hedreen Frederick W. Beinecke Sharon P. Rockefeller Frederick W. Beinecke Sharon P. Rockefeller Helen Lee Henderson Chairman President David M. Rubenstein Kasper Andrew M. Saul Mark J. Kington Kyle J. Krause David W. Laughlin AUDIT COMMITTEE Reid V. MacDonald Andrew M. Saul Chairman Jacqueline B. Mars Frederick W. Beinecke Robert B. Menschel Mitchell P. Rales Constance J. Milstein Sharon P. Rockefeller John G. Pappajohn Sally Engelhard Pingree David M. Rubenstein Mitchell P. Rales David M. Rubenstein Tony Podesta William A. Prezant TRUSTEES EMERITI Diana C. Prince Julian Ganz, Jr. Robert M. Rosenthal Alexander M. Laughlin Hilary Geary Ross David O. Maxwell Roger W. Sant Victoria P. Sant B. Francis Saul II John Wilmerding Thomas A. Saunders III Fern M. Schad EXECUTIVE OFFICERS Leonard L. Silverstein Frederick W. Beinecke Albert H. Small President Andrew M. Saul John G. Roberts Jr. Michelle Smith Chief Justice of the Earl A. Powell III United States Director Benjamin F. Stapleton III Franklin Kelly Luther M. -
SELLING ART in the AGE of RETAIL EXPANSION and CORPORATE PATRONAGE: ASSOCIATED AMERICAN ARTISTS and the AMERICAN ART MARKET of the 1930S and 1940S
SELLING ART IN THE AGE OF RETAIL EXPANSION AND CORPORATE PATRONAGE: ASSOCIATED AMERICAN ARTISTS AND THE AMERICAN ART MARKET OF THE 1930s AND 1940s by TIFFANY ELENA WASHINGTON Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation advisor: Anne Helmreich Department of Art History CASE WESTERN RESERVE UNIVERSITY JANUARY, 2013 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the dissertation of __________Tiffany Elena Washington_________ candidate for the __Doctor of Philosophy___ degree*. (signed) _______Anne L. Helmreich________ (chair of the committee) ______Catherine B. Scallen__________ ________ Jane Glaubinger__________ ____ _ _ Renee Sentilles___________ (date) 2 April, 2012 *We also certify that written approval has been obtained for any proprietary material contained herein. 2 For Julian, my amazing Matisse, and Livia, a lucky future artist’s muse. 3 Table of Contents List of figures 5 Acknowledgments 8 Abstract 11 Introduction 13 Chapter 1 46 Chapter 2 72 Chapter 3 93 Chapter 4 127 Chapter 5 155 Conclusion 202 Appendix A 205 Figures 207 Selected Bibliography 241 4 List of Figures Figure 1. Reeves Lewenthal, undated photograph. Collection of Lana Reeves. 207 Figure 2. Thomas Hart Benton, Hollywood (1937-1938). Tempera and oil on canvas mounted on panel. The Nelson Atkins Museum of Art, Kansas City. 208 Figure 3. Edward T. Laning, T.R. in Panama (1939). Oil on fiberboard. Smithsonian American Art Museum. 209 Figure 4. Plan and image of Associated American Artists Gallery, 711 5th Avenue, New York City. George Nelson, The Architectural Forum. Philadelphia: Time, Inc, 1939, 349. 210 Figure 5. Thomas Hart Benton, Departure of the Joads (1939). -
Elie Nadelman Significant Form
ELIE NADELMAN SIGNIFICANT FORM November 7 – December 21, 2019 CYNTHIA NADELMAN IN ANDREW ESCHELBACHER: This show is called Significant Form, a term Elie Nadelman originated in an essay for Alfred CONVERSATION WITH Stieglitz’s Camera Work, 1910, before it was re-used by the DR. ANDREW ESCHELBACHER critic Clive Bell. What strikes you as most important about the idea of significant form for Nadelman—and what exactly did he mean by it? “The subject of any work of art is for me nothing but CYNTHIA NADELMAN: I think it came out of ideas that a pretext for creating significant form, relations of form were certainly swirling around at the time about how to get which create a new life that has nothing to do with life to the basis of things—–an idea of pure, plain form. I think for in nature, a life from which art is born, and from which Nadelman it was about intention. For instance, he talks about spring style and unity. how if you throw a rope it lands randomly, and once you do something to that rope it creates a shape, like a circle. From significant form comes style, from relations of form, AE: Nadelman certainly would have an interesting perspec- i.e. the necessity of form, i.e., the necessity of playing one tive on the ideas of the time, coming to Paris from Warsaw form against another, comes unity. via Munich, where [German sculptor/theorist Adolf von] Hil- debrand obviously has a strong presence at the turn of the I leave it to others to judge of the importance of so radical 20th century. -
Harn Museum of Art Instructional Resource: Thinking About Modernity
Harn Museum of Art Instructional Resource: Thinking about Modernity TABLE OF CONTENTS “Give Me A Wilderness or A City”: George Bellows’s Rural Life ................................................ 2 Francis Criss: Locating Monuments, Locating Modernity ............................................................ 6 Seeing Beyond: Approaches to Teaching Salvador Dalí’s Appollinaire ............................. 10 “On the Margins of Written Poetry”: Pedro Figari ......................................................................... 14 Childe Hassam: American Impressionist and Preserver of Nature ..................................... 18 Subtlety of Line: Palmer Hayden’s Quiet Activism ........................................................................ 22 Modernist Erotica: André Kertész’s Distortion #128 ................................................................... 26 Helen Levitt: In the New York City Streets ......................................................................................... 31 Happening Hats: Pierre-Auguste Renoir’s Le chapeau épinglé .............................................. 35 Diego Rivera: The People’s Painter ......................................................................................................... 39 Diego Rivera: El Pintor del Pueblo ........................................................................................................... 45 Household Modernism, Domestic Arts: Tiffany’s Eighteen-Light Pond Lily Lamp .... 51 Marguerite Zorach: Modernism’s Tense Vistas .............................................................................. -
Handbook on Judaica Provenance Research: Ceremonial Objects
Looted Art and Jewish Cultural Property Initiative Salo Baron and members of the Synagogue Council of America depositing Torah scrolls in a grave at Beth El Cemetery, Paramus, New Jersey, 13 January 1952. Photograph by Fred Stein, collection of the American Jewish Historical Society, New York, USA. HANDBOOK ON JUDAICA PROVENANCE RESEARCH: CEREMONIAL OBJECTS By Julie-Marthe Cohen, Felicitas Heimann-Jelinek, and Ruth Jolanda Weinberger ©Conference on Jewish Material Claims Against Germany, 2018 Table of Contents Foreword, Wesley A. Fisher page 4 Disclaimer page 7 Preface page 8 PART 1 – Historical Overview 1.1 Pre-War Judaica and Jewish Museum Collections: An Overview page 12 1.2 Nazi Agencies Engaged in the Looting of Material Culture page 16 1.3 The Looting of Judaica: Museum Collections, Community Collections, page 28 and Private Collections - An Overview 1.4 The Dispersion of Jewish Ceremonial Objects in the West: Jewish Cultural Reconstruction page 43 1.5 The Dispersion of Jewish Ceremonial Objects in the East: The Soviet Trophy Brigades and Nationalizations in the East after World War II page 61 PART 2 – Judaica Objects 2.1 On the Definition of Judaica Objects page 77 2.2 Identification of Judaica Objects page 78 2.2.1 Inscriptions page 78 2.2.1.1 Names of Individuals page 78 2.2.1.2 Names of Communities and Towns page 79 2.2.1.3 Dates page 80 2.2.1.4 Crests page 80 2.2.2 Sizes page 81 2.2.3 Materials page 81 2.2.3.1 Textiles page 81 2.2.3.2 Metal page 82 2.2.3.3 Wood page 83 2.2.3.4 Paper page 83 2.2.3.5 Other page 83 2.2.4 Styles -
News Release
The Metropolitan Museum of Art news release For release Communications Department 1000 Fifth Avenue Immediate New York, NY 10028-0198 Contact tel 212-570-3951 fax 212-472-2764 email [email protected] Elyse Topalian SCHEDULE OF EXHIBITIONS JANUARY-APRIL 2004 EDITORS PLEASE NOTE: Information provided below is subject to change. To confirm scheduling and dates, call the Communications Department at (212) 570-3951. CONTACT NUMBER FOR USE IN TEXT IS (212) 535-7710. New Exhibitions page 1 Upcoming Exhibitions page 6 Continuing Exhibitions page 12 New and Recently Opened Installations page 19 Traveling Exhibitions page 21 Visitor Information page 22 OF SPECIAL NOTE • Byzantium: Faith and Power (1261-1557), the third in a chronological series of major loan exhibitions that began in 1977 with The Age of Spirituality, focuses on the dramatic cultural and artistic achievements of the last great age of Byzantine culture (see page 4). • The Pierre and Maria-Gaetana Matisse Collection, opening May 18, celebrates the recent gift to the Metropolitan Museum of more than 100 works from the Pierre and Maria-Gaetana Matisse Foundation, including works in various media by Henri Matisse as well as by other prominent 20th-century artists (see page 6). • Opening June 10, Childe Hassam, American Impressionist, features oil paintings, watercolors, pastels, and prints by the leader of American Impressionism, whose depictions of his own time are enchanting and distinctive records of color and light (see page 9). NEW EXHIBITIONS Chuck Close Prints: Process and Collaboration January 13-April 18, 2004 As with Close's large paintings, the subjects of his prints are the faces of relatives or fellow artists as well as self-portraits.