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Oral History Interview with Pietro Lazzari, 1964
Oral history interview with Pietro Lazzari, 1964 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 HP: DR. HARLAN PHILLIPS PL: PIETRO LAZZARI HP: I think while we have the opportunity it's, I think, important to assess in a way what one begins with. You have at least, you know, a dual cultural view, more, probably, so what did you fall heir to in the way of luggage and baggage that you've carried? PL: Well, I do believe I was quite lucky, if we can put it this way, I was born in the last century, 1898, in Rome and not from a family were cultural marked point was strong. My father was very inventive himself, he could draw horses. He loved to walk long distances. I remember as a young boy we used to walk outside the gates of Rome in Via Solaria or toward Ostia, and he was not a very tall man but while he walked, and while he talked he grew, I thought he was very tall, and he was inspired, his chest forward because he was the bandolier, which is a sort of an elite corps in the Italian army and he volunteered very young. So going back to our walks, he was familiar with the Roman ruins and frescoes in churches particularly those churches on the outskirts of Rome. -
Art in America
MAGAZINE NOV. 01, 2013 THE PARSONS EFFECT by Judith E. Stein, Helène Aylon Betty Bierne Pierson, the rebellious, selfassured offspring of an old New York family, was 13 when she visited the historic Armory Show in 1913 and set her course on becoming an artist. Her conservative parents acquiesced to art lessons but drew the line at higher education for women. At 20, she married Schuyler Livingston Parsons, a man of wealth and social standing. He proved to be as captivated by men Betty Parsons, 1963. as she was by women, and a gambler and an alcoholic to boot. The Photo Alexander Liberman. The Getty couple divorced amicably in Paris, where she spent the 1920s in Research Institute, Los comfort, sharing her life with Adge Baker, a British art student, and Angeles. © J. Paul Getty Trust. taking classes with Ossip Zadkine and Antoine Bourdelle, among others. Her friends included expatriate Americans Hart Crane, Man Ray, Alexander Calder, and Gerald and Sara Murphy, as well as lesbian literati Gertrude Stein, Natalie Barney and Janet Flanner. Disinherited after her divorce, Parsons also lost her alimony support when the stock market crashed. Generous girlhood friends aided her return to the U.S. in 1933, first to Hollywood, where her acquaintances numbered Greta Garbo, Marlene Dietrich, Tallulah Bankhead, Dorothy Parker and Robert Benchley. She then lived in Santa Barbara, teaching art, painting portraits and consulting on French wines at a liquor store. In 1935, she funded a move to New York by selling her engagement ring. Parsons's loyal circle supplemented the slender income she earned from sales of her own art and from commissions by dealers such as Mrs. -
Oral History Interview with Betty Parsons, 1981 June 11
Oral history interview with Betty Parsons, 1981 June 11 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 Betty Parsons on June 11, 1981. The interview was conducted by Gerald Silk as part of the Mark Rothko and His Times oral history project for the Archives of American Art, Smithsonian Institution. Funding was provided by the Mark Rothko Foundation The reader should bear in mind that he or she is reading a transcript of spoken, rather than written, prose. Interview GERALD SILK: The first question about Rothko is, do you recall when you first met him? BETTY PARSONS: I was introduced to Mark Rothko I think by Peggy Guggenheim. I would say… MR. SILK: Was she handling his art then? MS. PARSONS: She knew him then. He was in a group show with her. I think it must have been around - I would say around…it must have been around '44. MR. SILK: So it was Peggy Guggenheim who introduced you? MS. PARSONS: She introduced me to Rothko. MR. SILK: And then, of course, you met him many times after that? MS. PARSONS: Well, we became friends and eventually he said he'd like to have a show with me. MR. SILK: When was the first show? MS. PARSONS: Well, I'm terrible - I'm the worst document. -
Betty Parsons's 2 Lives: She Was Artist, Too by CAROL STRICKLAND Published: June 28, 1992
Betty Parsons's 2 Lives: She Was Artist, Too By CAROL STRICKLAND Published: June 28, 1992 BETTY PARSONS, born in 1900, grew up amid luxury, with homes in New York, Newport and Palm Beach. When she was a child, a fleet of cars emblazoned with the family crest whisked her to Miss Chapin's School and then finishing school. As a newlywed, she traveled through Europe on a nine-month honeymoon in a chauffeur-driven Rolls-Royce. But it was not until she lost her fortune that Betty Parsons found her fate, to be, as Ellsworth Kelly said, "an extraordinary woman in the history of modern art." Disinherited after her divorce, Mrs. Parsons made history on her own. Operating on nothing but her own convictions, she became a legendary art dealer, championing the New York avant-garde in the years after World War II. From 1946 until her death in 1982, Mrs. Parsons ran the Betty Parsons Gallery in Manhattan, which represented leading names in modern American art. She showed work by Abstract Expressionists like Barnett Newman, Jackson Pollock, Mark Rothko and Clyfford Still, as well as succeeding generations of innovators like Mr. Kelly; Agnes Martin, the minimalist, and Richard Tuttle, the Postminimalist sculptor. "Betty and her gallery helped construct the center of the art world," said Helen Frankenthaler, the painter, who met Parsons in 1950. "She was one of the last of her breed." Mrs. Parsons's role as a leading promoter of abstract art is well known. Less well known is that she was an artist. "Betty led a double life," a nephew, William P. -
Betty Parsons Heated Sky Alexander Gray Associates Gray Alexander Betty Parsons: Heated Sky February 26 – April 4, 2020
Betty Parsons Sky Heated Betty Parsons: Heated Sky Alexander Gray Associates Betty Parsons: Heated Sky February 26 – April 4, 2020 Alexander Gray Associates Betty Parsons in her Southold, Long Island, NY studio, Spring 1980 2 3 Betty Parsons in her Southold, Long Island, NY studio, 1971 5 Introduction By Rachel Vorsanger Collection and Research Manager Betty Parsons and William P. Rayner Foundation Betty Parsons’ boundless energy manifested itself not only in her various forms of artistic expression—paintings of all sizes, travel journals, and her eponymous gallery— but in her generosity of spirit. Nearly four decades after Parsons’ death, her family, friends, and former colleagues reinforce this character trait in conversations and interviews I have conducted, in order to better understand the spirit behind her vibrant and impassioned works. Betty, as I have been told was her preferred way to be addressed, was a woman of many actions despite her reticent nature. She took younger family members under her wing, introducing them to major players in New York’s mid-century art world and showing them the merits of a career in the arts. As a colleague and mentor, she encouraged the artistic practice of gallery assistants and interns. As a friend, she was a constant source of inspiration, often appearing as the subject of portraits and photographs. Perhaps her most deliberate act of generosity was the one that would extend beyond her lifetime. As part of her will, she established the Betty Parsons Foundation in order to support emerging artists from all backgrounds, and to support ocean life. After her nephew Billy Rayner’s death in 2018, the Foundation was further bolstered to advance her mission. -
Jackson Pollock & Tony Smith Sculpture
Jackson Pollock & Tony Smith Sculpture An exhibition on the centennial of their births MATTHEW MARKS GALLERY Jackson Pollock & Tony Smith Speculations in Form Eileen Costello In the summer of 1956, Jackson Pollock was in the final descent of a downward spiral. Depression and alcoholism had tormented him for the greater part of his life, but after a period of relative sobriety, he was drinking heavily again. His famously intolerable behavior when drunk had alienated both friends and colleagues, and his marriage to Lee Krasner had begun to deteriorate. Frustrated with Betty Parsons’s intermittent ability to sell his paintings, he had left her in 1952 for Sidney Janis, believing that Janis would prove a better salesperson. Still, he and Krasner continued to struggle financially. His physical health was also beginning to decline. He had recently survived several drunk- driving accidents, and in June of 1954 he broke his ankle while roughhousing with Willem de Kooning. Eight months later, he broke it again. The fracture was painful and left him immobilized for months. In 1947, with the debut of his classic drip-pour paintings, Pollock had changed the direction of Western painting, and he quickly gained international praise and recog- nition. Four years later, critics expressed great disappointment with his black-and-white series, in which he reintroduced figuration. The work he produced in 1953 was thought to be inconsistent and without focus. For some, it appeared that Pollock had reached a point of physical and creative exhaustion. He painted little between 1954 and ’55, and by the summer of ’56 his artistic productivity had virtually ground to a halt. -
Inside Willo
Inside MARCH 2021 326 W. PALM LANE WILLO BOARD CANDIDATES THE OFFICIAL WILLO PHOTO BOOK A Long Family Read all the Details of Our History Bios Inside Exclusive Upcoming Book A MONTHLY NEWSLETTER PUBLISHED BY THE WILLO NEIGHBORHOOD ASSOCIATION Inside President’s Report HISTORIC NEIGHBORHOOD Dr. Robert L. Cannon Elections and New Endeavors ELECTION TIME: FOUR CORNERS I am sure no one wants to hear about another LEADERSHIP GROUP: election, but we have one this month. The I am very proud to announce the official neighborhood will elect the Willo Board of formation of the “4 Corners Leadership Directors and Officers in March, and Ann Group.” The group comprises the four Bommersbach, Election Committee Chair, Presidents from Encanto Palmcroft, will announce the winners at the March Roosevelt, FQ Story, and Willo Neighborhood 11th Willo Board Meeting. We will not have Associations. We meet monthly via Zoom another election until March of 2023. The and examine ideas such as managing traffic, list of candidates and voting instructions improving safety, working with developers, starts on page 6. As a community, we are maintaining historical integrity in a growing fortunate to have so many candidates who major city, and sharing communication plans. dedicate time, energy, and passion to our neighborhood. The four Officer positions are unopposed: President (me), Vice President (Brad Brauer), Treasurer (Linda Doescher), Secretary (Opal Wagner). They will remain Officers of the Association until March of 2023. This term will be my final two-year term as President (per the bylaws, three consecutive terms are the limit). ABOUT THE COVER TWO-YEAR PLAN: (MARCH OF 2021-2023) 325 W. -
Press Release Leon Polk Smith
Press Release Leon Polk Smith 55 Main Street East Hampton, NY May 20 – 31, 2021 For the latest exhibition in East Hampton, Lisson Gallery is pleased to present a selection of works by Leon Polk Smith, the influential American artist considered one of the founders of hard-edge style of Minimal, abstract art. The presentation features an important 1967 multi-panel canvas painting as well as a group of rare early works on paper from the 1940s. The exhibition tracks the trajectory of Leon Polk Smith’s practice from an exploration of Piet Mondrian’s Neo-Plasticism in the 1940s to a unique visual vocabulary of soft curves and distinctive shaped canvases that would come to exemplify Smith’s body of work in the 1960s and 70s. The 1967 work on view, Yellow Diamond, embodies this singular language which subverted the prevailing laws of mid-century Abstract Expressionism and balanced pure, geometric forms with vibrant colors and unorthodox canvases. In this work Smith conjoins two oval canvases, their shapes stabilized by hard-edged contours in yellow and black that reflect the Native American aesthetics and philosophy of the artist’s upbringing combined with the artistic innovation and vibrancy he experienced while living in New York City. Shown for the first time at Lisson Gallery, Smith’s early works on paper demonstrate the influence of the De Stijl generation on his artistic journey. Smith discovered the work of Mondrian at the Albert E. Gallatin Gallery of Living Art at New York University during his studies at Columbia University’s Teachers College in 1936. -
The Pennsylvania State University the Graduate School College Of
The Pennsylvania State University The Graduate School College of Arts and Architecture CUT AND PASTE ABSTRACTION: POLITICS, FORM, AND IDENTITY IN ABSTRACT EXPRESSIONIST COLLAGE A Dissertation in Art History by Daniel Louis Haxall © 2009 Daniel Louis Haxall Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy August 2009 The dissertation of Daniel Haxall has been reviewed and approved* by the following: Sarah K. Rich Associate Professor of Art History Dissertation Advisor Chair of Committee Leo G. Mazow Curator of American Art, Palmer Museum of Art Affiliate Associate Professor of Art History Joyce Henri Robinson Curator, Palmer Museum of Art Affiliate Associate Professor of Art History Adam Rome Associate Professor of History Craig Zabel Associate Professor of Art History Head of the Department of Art History * Signatures are on file in the Graduate School ii ABSTRACT In 1943, Peggy Guggenheim‘s Art of This Century gallery staged the first large-scale exhibition of collage in the United States. This show was notable for acquainting the New York School with the medium as its artists would go on to embrace collage, creating objects that ranged from small compositions of handmade paper to mural-sized works of torn and reassembled canvas. Despite the significance of this development, art historians consistently overlook collage during the era of Abstract Expressionism. This project examines four artists who based significant portions of their oeuvre on papier collé during this period (i.e. the late 1940s and early 1950s): Lee Krasner, Robert Motherwell, Anne Ryan, and Esteban Vicente. Working primarily with fine art materials in an abstract manner, these artists challenged many of the characteristics that supposedly typified collage: its appropriative tactics, disjointed aesthetics, and abandonment of ―high‖ culture. -
LEON POLK SMITH Big Form, Big Space
LEON POLK SMITH Big Form, Big Space 1 The Contemporary Art Gallery presents the first solo exhibition of work by Leon Polk Smith (1906- 1996) in a public gallery in Canada. Leon Polk Smith was an American painter. His lifelong commitment to geometry, shape, brilliant colour and minimal, intense compositions predated, influenced and outlasted the heydays of hard- edge painting and minimalism. While his focus on geometric abstraction was initially influenced by Piet Mondrian and his style often associated with the hard-edge school of which he is considered one of the founders, it is only now that Smith’s singular artistic vision has become more fully contextualized beyond formal analysis through a growing sequence of exhibitions surveying the artist’s previously understudied background and identity. Leon Polk Smith, installation view from ‘Big Form, Big Space’, Contemporary Art Gallery, Vancouver, May 14 – August 22, 2021. Photography by SITE Photography. 2 Born near Chickasha, Oklahoma a year before it became a state, to parents of mixed Cherokee and settler heritage, Smith grew up in a farming community among the Choctaw and Chickasaw peoples. He graduated from East Central University in Ada, Oklahoma in 1934, before moving to New York City in 1936, where he attended Columbia University. He remained in New York for the rest of his life. Early on in his time in New York, Smith began to work at the newly-founded Museum of Non- Objective Art (later the Solomon R. Guggenheim Museum) where he encountered the works of modernists such as Piet Mondrian, Constantin Brancusi and Jean Arp. -
John Cunningham Résumé
John Cunningham Résumé 35 Loughberry Road Saratoga Springs, NY 12866 8/15/2013 Tel: 518 580-5033 Fax: 518 584-8337 [email protected] JOHN CUNNINGHAM 35 LOUGHBERRY ROAD SARATOGA SPRINGS, NEW YORK 12866 TEL: (518) 584-8325 . FAX: (518) 584-8337 [email protected] [email protected] General: Born 9/18/40, Greenwich, Conn. Graduated Greenwich High School, Greenwich, Conn. BA, Kenyon College, 1962, Major in Physical Chemistry. BFA, Yale University, School of Art and Architecture, 1963. MFA, Yale University, School of Art and Architecture, 1965. Technician, Radio-Chemical Lab., Yale Geology Dept., 1962-65. Post-Graduate Fellow in Sculpture, University of Pennsylvania, 1966. Assistant to Kinetic Sculptor, George Rickey, 1965 - 1968. Harvard University Computer Graphics Program, Harvard, July, 1978. Professor of Art, Skidmore College, Saratoga Springs, N.Y., 1967-present. Appointed Davidson Chair, Skidmore College, 1999. Research Associate, New York University, 1987 - Summer 1992. One Man Shows: MSC Visual Arts Gallery Exhibition. Peristyle Series. Texas A&M, October 14 - November 29, 2002. Texas A&M. “Aquarius Reef.” Show of monumental outdoor sculpture. Organized by Student Memorial Center, Sponsored by The Arts Council of Brazos Valley. August 27, 2002. Shick Art Gallery, “Peristyle Series,” Skidmore College, Saratoga Springs, NY., April 11 - May 12, 2001 Southern Vermont Art Center, "Large Arachnids Outdoors," Manchester, Vermont, May 21 - October 23, 1994. Shick Art Gallery, "Adirondack Arachnids," Skidmore College, Saratoga Springs, NY., Nov. 21 - Dec. 13, 1991. Bennington College, Bennington, VT., November 8 - Nov. 15, 1989. Included maquette for proposed performance work "Bennington Stone." R. H. Love Gallery, Chicago, Ill., Sept. -
The Pamphlet Files 1
The Pamphlet Files 1 The Pamphlet Files The Pamphlet Files were established as an original resource, part of the Library’s traditional and strong interest in the preservation of ephemera. Some of the material in these files dates back to the late nineteenth century. The Pamphlet Files are often the only record that a gallery or organization existed. They are not catalogued, and there are no references to them in our online catalogue. The files include exhibition brochures, fliers, small exhibition catalogues, gallery announcements, newsletters and other ephemera relating predominately to New York City and state galleries, museums, colleges and universities, professional associations, foundations, non-profit organizations, and other arts organizations. In addition, there are files for one-time arts events and movements, such as “New York State Exposition” and “Art for Peace.” Unless otherwise noted, all files originated from one of the five boroughs of New York City. The list of entries is arranged in alphabetical order; for galleries that have a given name and a surname, i.e. “Martha Jackson Gallery,” the entry will be alphabetized according to the first name. [A] [B] [C] [D] [E] [F] [G] [H] [I] [J] [K] [L] [M] [N] [O] [P] [Q] [R] [S] [T] [U] [V] [W] [X] [Y] [Z] Harriet Burdock Art & Architecture Collection ***Entries arranged by Serena Jimenez Updated and edited by Lauren Stark, 2010 The Pamphlet Files 2 A • A/D • A & M ARTWORKS • AARGAUER KUNSTHAUS • AARON BERMAN GALLERY • AARON FABER GALLERY • AARON FURMAN • ABC NO RIO • ABINGDON SQUARE PAINTERS • ACA GALLERY, 26 W. 8th St. & 52 W.