VARUJAN BOGHOSIAN BORN 1926 New Britain, Connecticut

Total Page:16

File Type:pdf, Size:1020Kb

VARUJAN BOGHOSIAN BORN 1926 New Britain, Connecticut VARUJAN BOGHOSIAN BORN 1926 New Britain, Connecticut EDUCATION 1956–59 Yale University School of Art and Architecture, New Haven, CT; (B.F.A. 1957, M.F.A. 1959) 1948–50 Vesper George School of Art, Boston, MA 1946–48 Central Connecticut Teachers College, New Britain, CT MILITARY SERVICE 1944–46 United States Navy TEACHING POSITIONS 1984 MacDowell Colony, Peterborough, NH; Co-Chairman, Chairman of the Board of Trustees 1982 MacDowell Colony, Peterborough, NH; Member of the Board of Trustees 1968–96 Dartmouth College, Hanover, NH; Professor of Art (appointed George Frederick Jewitt Professor of Art, 1982) 1964–68 Brown University, Providence, RI; Associate Professor, Department of Art History 1962–64 Yale University, New Haven, CT; Instructor in Drawing, School of Art and Architecture 1961 Pratt Institute, Brooklyn, NY; Instructor in Foundation Courses 1959–64 Cooper Union, New York; Assistant Professor, Advanced Drawing, Two- and Three-Dimensional Design 1958–59 University of Florida, Gainesville, FL; Instructor in Drawing and Painting, School of Architecture ONE-PERSON EXHIBITIONS 2013 Varujan Boghosian, Toledo Museum of Art, Toledo, OH 2013 Eye Heart Duchamp, Lori Bookstein Fine Art, New York 2009 Constructions and Collages, Lori Bookstein Fine Art, New York 2009 Varujan Boghosian, Provincetown Art Association and Museum, Provincetown, MA 2008 Berta Walker Gallery, Provincetown, MA 2007 Berta Walker Gallery, Provincetown, MA 2007 A Survey: Collages, Watercolors and Sculpture, Big Town Gallery, Rochester, VT 2006 Berta Walker Gallery, Provincetown, MA 2004 Constructions, Joan Washburn, New York 1999 Berry Hill Galleries, New York 1997 Berry Hill Galleries, New York 1992 David Winton Bell Gallery, Brown University, Providence, RI 1992 Norton Gallery of Art, Palm Beach, FL 1991 Claude Bernard Gallery, New York 1988 Aldrich Museum of Contemporary Art, Ridgefield, CT 1988 The Century Association, New York 1987 Wiggin Gallery, Boston Public Library, Boston, MA 1987 Center Gallery, Bucknell University, Lewisberg, PA 1986 American Academy in Rome, Italy 1983 Van Buren/Brazelton/Cutting Gallery, Cambridge, MA 1980 Fine Arts Work Center, Provincetown, MA 1978–88 Long Point Gallery, Provincetown, MA 1975 Robinson Galleries, Houston, TX 1972–99 Alpha Gallery, Boston, MA 1972 Jorgensen Gallery, University of Connecticut, Storrs, CT 1972 Thorne Art Gallery, Keene State College, Keene, NH 1970 The Art Club of Chicago, Chicago, IL 1970 J.L. Hudson Gallery, Detroit, MI 1969–88 Cordier and Ekstrom, New York 1968 Hopkins Center, Dartmouth College, Hanover, NH 1966 H.C.E. Gallery, Provincetown, MA 1966 Harbor Gallery, University of Massachusetts, Boston, MA 1963–66 Stable Gallery, New York 1962 R.M. Light Company, Boston, MA 1950–65 Swetzoff Gallery, Boston, MA SELECTED GROUP EXHIBITIONS 2013 Heavy Metal, Lori Bookstein Fine Art, New York 2013 [Mostly] White, Lori Bookstein Fine Art, New York 2012 “Summer Edition” — Lori Bookstein Fine Art, NY, June— August 2011 Group 2011, Lori Bookstein Fine Art, New York 2011 On the Wall/Off the Wall, Lori Bookstein Fine Art, New York 2011 Summer Paper, Lori Bookstein Fine Art, New York 2011 Remix: Selections from the ICC, International Collage Center, Milton, PA 2010 2010 Collectors Show and Sale, Arkansas Arts Center, Little Rock, AR 2009 Berta Walker Gallery, Provincetown, MA (three-person show with Charles Hawthorne and Paul Resika) 2009 Lenore Gray Gallery, Providence, RI (two-person show with John Udvardy) 2009 Big Town Gallery, Rochester, VT 2008 Gallery Selections, Lori Bookstein Fine Art, New York 2008 What Matters Most... John Michael Kohler Arts Center, Sheboygan, WI 2007 Anniversary: Ten Years of Gallery Art and Artists, Lori Bookstein Fine Art, New York 2006 Works on Paper, Lori Bookstein Fine Art, New York (two-person show with Paul Resika) 2004 Berta Walker Gallery, Provincetown, MA (two-person show with Paul Resika) 2002 Five in Collage, Lori Bookstein Fine Art, New York 1988 Hopkins Center 25th Anniversary Exhibition: Artists-in-Residence at Dartmouth, Hopkins Center, Dartmouth College, Hanover, NH 1986 Exhibition of Work by Newly elected Members and Recipients of Awards, American Academy and Institute of Arts and Letters, New York 1976–77 Boites, Musee d’Art Moderne de la ville de Paris and Maison de la Culture de Rennes, France 1975 21 American Fulbright Artists, The Institute of International Education, New York 1968 The Door Show, Cordier & Ekstrom Gallery, New York 1966 The Box Show, Byron Gallery, New York 1966 The Poetic Image, Hanover Gallery, London, England 1964 The Artist’s Reality: An International Sculpture Exhibition, The New School Art Gallery, New York 1956 Painters and Sculptors of Promise, Alan Gallery, New York 1953 Group Show, Obelisco Gallery, Rome, Italy AWARDS AND PRIZES 1991 Saint Botolph Club Foundation Award 1986 Elected member, American Academy & Institute of Arts/Letters 1985 John Simon Guggenheim Memorial Foundation Fellowship 1975 Sculptor in Residence, American Academy in Rome 1972 National Institute of Arts and Letters Award 1968 Artist in Residence, Dartmouth College, Hanover, NH 1966–67 Sculptor in Residence, American Academy in Rome 1967 First Prize, Drawing Category, Providence Art Club 1966 Howard Foundation Fellowship 1961 United States Department Specialists Grant 1961 Watercolor Prize, Boston Arts Festival 1958 Watercolor Prize, Portland Arts Festival 1958 First Prize, Drawing Category, New Haven, CT 1953 Fulbright Grant for Painting, Italy PUBLICATIONS 1989 Doty, Robert M., Varujan Boghosian: A Retrospective, Hood Museum of Art, Dartmouth College, NH 1968 Orpheus, A Collection of Ten Woodcuts 1951 Orpheus, A Portfolio of Woodcuts, Reprinted with Additional Blocks and Poems in 1959 PRESS 2014 Reiter, Mark. “Found Objects Inspire ‘sculptor-assembler’ Varujan Boghosian,” The Blade, Jan 26, toledoblade.com. 2014 Wilkin, Karen, “Altered States: Varujan Boghosian at the Toledo Museum of Art,” The Wall Street Journal, May 7, D4 2010 Esplund, Lance, “Art that Defies Definition,” The Wall Street Journal, January, wsj.com. 2010 Wilkin, Karen, “At the Galleries,” The Hudson Review, Vol. LXIII, No. 1, Spring, hudsonreview.com 2009 Busa, Christopher, “Varujan Boghosian: The Artist as Orpheus.” Provincetown Arts, Pg. 34-42. 2009 Drake, Gillian, “Varujan Boghosian,” Cape Cod Artists’ Registry, July. 2009 Drake, Gillian, “Varujan Boghosian: A Poet without Words,” Provincetown Arts, July 24, pg. 54-56. 2004 Goodman, Jonathan, “Varujan Boghosian at Joan Washburn,” Art in America, December. 1989 Hart, Jeffrey, “The Vergil of Things,” National Review, October. 1988 Kimmelman, Michael, Excerpt from “Uptown, Novices and Modern Masters,” The New York Times, February 26. 1970 “The Mythmaker,” Time, February 9. PUBLIC COLLECTIONS Addison Gallery of American Art, Phillips Academy, Andover, MA Albright – Knox Art Gallery, Buffalo, NY Allentown Art Museum, Allentown, PA Boca Raton Museum of Art, Boca Raton, FL The Boston Museum of Fine Arts, Boston, MA The Brooklyn Museum, Brooklyn, NY University Art Museum, University of California, Berkeley, CA The Currier Gallery of Art, Manchester, NH Davison Art Center, Wesleyan University, Middletown, CT Detroit Institute of Arts, Detroit, MI Hood Museum of Art, Dartmouth College, Hanover, NH Hopkins Center, Dartmouth College, Hanover, NH Herbert F. Johnson Museum of Art, Cornell University, Ithaca, NY Honolulu Academy of Arts, Honolulu, HI Indianapolis Museum of Art, Indianapolis, IN University of Kentucky Art Museum, Lexington, KY University Gallery, University of Massachusetts at Amherst, Amherst, MA The Mattatuck Museum, Waterbury, CT The Metropolitan Museum of Art, New York, NY Museum of Art, Rhode Island School of Design, Providence, RI The Museum of Modern Art, New York, NY New Britain Museum of American Art, New Britain, CT The New York Public Library, New York, NY The Newark Museum, Newark, NJ Neuberger Museum, Purchase, NY Norton Gallery of Art, West Palm Beach, FL Philadelphia Museum of Art, Philadelphia, PA Phoenix Art Museum, Phoenix, AZ Provincetown Art Association and Museum, Provincetown, MA Rose Art Museum, Brandeis University, Waltham, MA Vassar College Art Gallery, Poughkeepsie, NY Whitney Museum of American Art, New York, NY Williams College Museum of Art, Williamstown, MA Worcester Art Museum, Worcester, MA Yale University Art Gallery, New Haven, CT.
Recommended publications
  • Wednesday, December 18, 2019 NEW YORK DOYLE+DESIGN® MODERN and CONTEMPORARY ART and DESIGN
    Wednesday, December 18, 2019 NEW YORK DOYLE+DESIGN® MODERN AND CONTEMPORARY ART AND DESIGN AUCTION Wednesday, December 18, 2019 at 10am EXHIBITION Saturday, December 14, 10am – 5pm Sunday, December 15, Noon – 5pm Monday, December 16, 11am – 6pm LOCATION Doyle 175 East 87th Street New York City 212-427-2730 www.Doyle.com Catalog: $25 THE ESTATE OF SYLVIA MILES Doyle is honored to offer artwork and It was Miles’ association with Andy Miles’ Central Park South apartment, memorabilia from the Estate of Sylvia Warhol as a close friend and one of which she occupied from 1968 until her Miles (1924-2019). Twice nominated the so-called “Warhol Superstars” that death earlier this year, was filled with for an Academy Award, Miles is best cemented her status as a New York icon. memorabilia from her career and artwork PAINTINGS, SCULPTURE, remembered for her strong performances Miles had a starring role in Warhol’s gifted by her talented group of friends, in diverse works ranging from Midnight 1972 film Heat, the third in a trilogy that particularly Warhol. Cowboy to Sex and the City, as a bona parodied Sunset Boulevard, alongside PHOTOGRAPHS & PRINTS fide “Warhol Superstar,” and as a Joe Dallesandro. Property from the Estate of Sylvia Miles prominent and frequent figure on comprises lots 18, 21, 34-36, 62-65, 67, the Manhattan party scene. 73, 90, 99, 102, 103, 105, 127-131, 144, 146, 166. INCLUDING PROPERTY FROM THE ESTATES OF CONTENTS Elsie Adler Paintings 1-155 Evelyn Berezin Prints 156-171 Arthur Brandt Furniture & Decorative Arts 172-253 Miriam Diner Silver 254-270 Steven R.
    [Show full text]
  • Annual Report 2018
    2018 Annual Report 4 A Message from the Chair 5 A Message from the Director & President 6 Remembering Keith L. Sachs 10 Collecting 16 Exhibiting & Conserving 22 Learning & Interpreting 26 Connecting & Collaborating 30 Building 34 Supporting 38 Volunteering & Staffing 42 Report of the Chief Financial Officer Front cover: The Philadelphia Assembled exhibition joined art and civic engagement. Initiated by artist Jeanne van Heeswijk and shaped by hundreds of collaborators, it told a story of radical community building and active resistance; this spread, clockwise from top left: 6 Keith L. Sachs (photograph by Elizabeth Leitzell); Blocks, Strips, Strings, and Half Squares, 2005, by Mary Lee Bendolph (Purchased with the Phoebe W. Haas fund for Costume and Textiles, and gift of the Souls Grown Deep Foundation from the William S. Arnett Collection, 2017-229-23); Delphi Art Club students at Traction Company; Rubens Peale’s From Nature in the Garden (1856) was among the works displayed at the 2018 Philadelphia Antiques and Art Show; the North Vaulted Walkway will open in spring 2019 (architectural rendering by Gehry Partners, LLP and KXL); back cover: Schleissheim (detail), 1881, by J. Frank Currier (Purchased with funds contributed by Dr. Salvatore 10 22 M. Valenti, 2017-151-1) 30 34 A Message from the Chair A Message from the As I observe the progress of our Core Project, I am keenly aware of the enormity of the undertaking and its importance to the Museum’s future. Director & President It will be transformative. It will not only expand our exhibition space, but also enhance our opportunities for community outreach.
    [Show full text]
  • Fall Arts Festival 1980 September 12,13,14
    FallArts Festival 1980 Fall Arts Festival 1980 September 12,13,14 Lower Cape Arts and Humanities Council Fall Arts Festival Ben Brooks Nancy Hall Brooks, Coordinators Table of Contents Edward M. Kennedy Fall Arts Festival ..................................... The Arts Colony by Ben Brooks ......................... Scott Himstead "Blackberries" and "At the Cove" poems by Mary Oliver . Featured Exhibitions Hans Hofmann .................................... Charles Hawthorne ................................. Edwin Dickinson ................................. Alvin Ross ........................................ Varujan Boghosian ................................. Dena ............................................. Open Studios & Galleries Wellfleet ................... Lower Cape Arts and Humanities Council ................ Open Studios & Galleries Provincetown ............... Open Studios & Galleries Truro ...................... Festival Schedule .................................... "Indian Summer at Land's End" poem by Stanley Kunitz .... CATALOGUE The Artists .......................................... Editors Ben Brooks and Nancy Performers and Events. ................................ Cover and design Jan Filios Demonstrationsat Truro Center for the Arts at Castle Hill . Text Ben Brooks "Provincetown: February” poem by Vanessa Ryder ....... Maps Bethia Brehmer Advertising Representative Helen Fernald Printing Thompson's Printi Funded in part by the Massachusetts Council on theArts & Humanities Fall Arts Festival The second annual Fall Arts Festival
    [Show full text]
  • At 92, Boghosian's New Work Has Many Inspirations
    8/18/2018 At 92, Boghosian's new work has many inspirations Entertainment & Life At 92, Boghosian’s new work has many inspirations By Debbie Forman / Contributing Writer Posted Aug 16, 2018 at 6:00 AM Artist Varujan Boghosian, 92, says he’s never done better work in his life. Varujan Boghosian doesn’t look 92. He describes himself as “great,” saying, “I’m 92 and still going strong. And I’ve never done better work in my life.” New Boghosian work will be on exhibit Aug. 10-26 at the Berta Walker Gallery in Provincetown in a show appropriately titled “Poetic Worlds.” (A group show, the paintings of Paul Resika and the pastels of Judyth Katz also will be on view.) Boghosian is a visual poet whose work has references to literature and art. Poetry, Dada and surrealist art influence his work. He has recently been inspired by the imagery of artists as different as Salvador Dali, Andrew Wyeth and Hieronymus Bosch. Writers James Joyce, A. E. Housman and Emily Dickinson, and artists Marcel Duchamp and Man Ray have also moved him. Also Greek myths. “And Etruscan tomb paintings,” he adds. “I’m all over the map.” Wearing khaki shorts, a pink shirt over a white T-shirt and a Harley-Davidson cap, Boghosian is delighted to talk about his art while we chat at Walker’s Wellfleet gallery. He is still as vital, as witty as when I first met him in 1994 when he was preparing for a show at Long Point Gallery in Provincetown. On that summer day, he had time on his mind.
    [Show full text]
  • TB RESUME (Edited)-2020
    TODD BARTEL [email protected] toddbartel.com b. 1962 Manitowoc, Wisconsin EDUCATION 1993 Carnegie Mellon University, Pittsburgh, PA, MFA, Painting 1985 Rhode Island School of Design, Providence, RI, BFA, Painting SELECTED AWARDS / HONORS 2019 Art and Design Educator Award, Inaugural Recipient, Rhode Island School of Design 2017 Teacher Recognition, National Scholastic Art Awards, for student’s achievements 2016 Teacher Recognition, National Scholastic Art Awards, for student’s achievements 2012 Teacher Recognition, National Scholastic Art Awards, for student’s achievements 2010 Teacher Recognition, National Scholastic Art Awards, for student’s achievements 2008 Teacher Recognition, National Scholastic Art Awards, for student’s achievements 2007 Teacher Recognition, National Scholastic Art Awards, for student’s achievements Faculty Retention Grant, Cambridge School of Weston 2004 Teacher Recognition, National Scholastic Art Awards, for student’s achievements 2000 Connecticut Council on the Arts Fellowship Grant, Hartford, CT 1990 Jacob K. Javits Fellow, tuition grant with stipend in support of MFA degree, U.S. Department of Education, Washington, DC Liquitex Art Materials Award, Easton, PA 1984-85 European Honors Program, Rhode Island School of Design, Rome, Italy (September to May) SELECTED ONE- & TWO-PERSON EXHIBITIONS 2019 Hera Gallery, working PAPER…, two-person show with Jack Massey 2003 Brownson Gallery, Manhattanville College, Purchase NY, Unfoldingobject-Implications of Glue: Todd Bartel Collage Based work 1983 - 2003 Lenore
    [Show full text]
  • Annual Report
    July 1, 2007–June 30, 2008 AnnuAl RepoRt 1 Contents 3 Board of Trustees 4 Trustee Committees 7 Message from the Director 12 Message from the Co-Chairmen 14 Message from the President 16 Renovation and Expansion 24 Collections 55 Exhibitions 60 Performing Arts, Music, and Film 65 Community Support 116 Education and Public Programs Cover: Banners get right to the point. After more than 131 Staff List three years, visitors can 137 Financial Report once again enjoy part of the permanent collection. 138 Treasurer Right: Tibetan Man’s Robe, Chuba; 17th century; China, Qing dynasty; satin weave T with supplementary weft Prober patterning; silk, gilt-metal . J en thread, and peacock- V E feathered thread; 184 x : ST O T 129 cm; Norman O. Stone O PH and Ella A. Stone Memorial er V O Fund 2007.216. C 2 Board of Trustees Officers Standing Trustees Stephen E. Myers Trustees Emeriti Honorary Trustees Alfred M. Rankin Jr. Virginia N. Barbato Frederick R. Nance Peter B. Lewis Joyce G. Ames President James T. Bartlett Anne Hollis Perkins William R. Robertson Mrs. Noah L. Butkin+ James T. Bartlett James S. Berkman Alfred M. Rankin Jr. Elliott L. Schlang Mrs. Ellen Wade Chinn+ Chair Charles P. Bolton James A. Ratner Michael Sherwin Helen Collis Michael J. Horvitz Chair Sarah S. Cutler Donna S. Reid Eugene Stevens Mrs. John Flower Richard Fearon Dr. Eugene T. W. Sanders Mrs. Robert I. Gale Jr. Sarah S. Cutler Life Trustees Vice President Helen Forbes-Fields David M. Schneider Robert D. Gries Elisabeth H. Alexander Ellen Stirn Mavec Robert W.
    [Show full text]
  • Summer 1985 CAA Newsletter
    newsletter Volume 10, Number 2 Summer 1985 1986 annual meeting: studio sessions My basic premise in organizing the studio sessions for the 1986 annual institutional or consumer audience. Four artist-critics will speak about meeting has been that artists are not really like art historians; that the their views regarding criticism's ideal function and actual context and questions artists ask, the kinds of information they seek, and the ways practice based on their experience of writing and receiving it. These in which they want to receive that infonnation differ from those of presentations will be brief An open discussion of the current state of their art historian colleagues. But the usual format of studio sessions at criticism and its effects on the climate for making art will follow. This CAA annual meetings-panel discussions, usually with slides- has, I will be thus not so much a panel as a meeting with respondents. This is believe, developed largely in conscious or unconscious imitation of the an invitational session; participants to be announced. art history sessions. This is not necessarily the best way for us to con­ tinue to proceed. In an effort to "shake things up," and to see if the sessions for artists Making Art in Adversity: Being Physically Challenged. Marcy can be experienced in a more immediate way, the format of the studio Hermansader, Putney, Vt., and others. sessions in New York City in 1986 will be revised. There will be no more There is a long history of artists who have done important work although they endured physical or mental obstacles.
    [Show full text]
  • Oral History Interview with William H. Bailey
    Oral history interview with William H. Bailey 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 Scope and Contents........................................................................................................ 1 Scope and Contents........................................................................................................ 2 Biographical / Historical.................................................................................................... 1 Names and Subjects ...................................................................................................... 2 Container Listing ...................................................................................................... Oral history interview with William H. Bailey AAA.bailey12 Collection Overview Repository: Archives of American Art Title: Oral history interview with William H. Bailey Identifier: AAA.bailey12 Date: 2012 October 10-December 5 Creator: Bailey, William, 1930-2020 (Interviewee) McElhinney, James Lancel, 1952- (Interviewer) Extent: 11 Items (sound files (7 hr.,19 min.); digital, wav) 110 Pages (Transcript) Language: English . Digital Digital Content: Oral history
    [Show full text]
  • Francis, Romare Bearden's Mauritius
    ISSN: 2471-6839 Cite this article: Jacqueline Francis, “Romare Bearden’s Mauritius (1969): Wars, Nations, and Everything Else,” Panorama: Journal of the Association of Historians of American Art 4, no. 1 (Spring 2018), https://doi.org/10.24926/24716839.1630. Romare Bearden’s Mauritius (1969): Wars, Nations, and Everything Else Jacqueline Francis, Associate Professor, Graduate Program in Visual and Critical Studies, California College of the Arts In 1969, Romare Bearden (1911–1988) participated in Blocked Metaphors, a group exhibition mounted at the New York gallery Cordier & Ekstrom.1 Like the other invited artists, Bearden was given a hat block with which to work; this millinery industry form was the basis for each project made for Blocked Metaphors. Bearden set his wooden hat block precariously atop a few staging elements: a painted blue cube measuring almost a foot in height and a couple of placemat-shaped pieces of wood. He titled the construction Mauritius (fig.1), which undoubtedly referenced the saint represented in Christian iconography. Considering the era of its making—the decade of the Vietnam War and resistance to it in many national capitals, anti-government protests across the globe, and both nonviolent and armed uprisings against institutional discrimination and social inequity—Mauritius provokes questions about human conflicts, their Fig. 1. Romare Bearden, Mauritius, 1969. Various woods, paint, stain, nails, screws, and staples, 19 7/16 histories, and their costs. Yet the assemblage x 18 x 18 in. Image courtesy of Department of Image offers no answers. Instead, it exists as an Collections, National Gallery of Art Library austere statement of abstract figural forms— Washington, DC.
    [Show full text]
  • A Finding Aid to the Dore Ashton Papers, 1849, Circa 1928-2014 in the Archives of American Art
    A Finding Aid to the Dore Ashton Papers, 1849, circa 1928-2014 in the Archives of American Art Valerie Vanden Bossche and Hilary Price Funding for the processing of a portion of this collection was provided the Smithsonian Institution Collections Care and Preservation Fund 2013 November 15 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 Arrangement..................................................................................................................... 3 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 2 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 5 Series 1: Biographical Material, 1962-1978, undated.............................................. 5 Series 2: Correspondence, 1952-2010, undated..................................................... 6 Series
    [Show full text]
  • The Sculpture of Richard Hunt
    The sculpture of Richard Hunt Author Museum of Modern Art (New York, N.Y.) Date 1971 Publisher The Museum of Modern Art ISBN 0870703765 Exhibition URL www.moma.org/calendar/exhibitions/2670 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 THE CULPTURE OF RICHARD HUNT THE SCULPTURE OF RICHARD HUNT THE MUSEUM OF MODERN ART NEW YORK LIBRARY Museumof ModernM TRUSTEES OF THE MUSEUM OF MODERN ART David Rockefeller, Chairman of the Board; Henry Allen Moe, John Hay Whitney, and Gardner Cowles, Vice Chairmen ; William S. Paley, President ; James Thrall Soby and Mrs. Bliss Parkinson, Vice Presi dents; Willard C. Butcher, Treasurer; Robert O. Anderson, Walter Bareiss, Robert R. Barker, "Alfred H. Barr, Jr., Mrs. Armand P. Bartos, William A. M. Burden, J. Frederic Byers III, Ivan Chermayeff, Mrs. Kenneth B. Clark, "Mrs. W. Murray Crane, John de Menil, Mrs. C. Douglas Dillon, Mrs. Edsel B. Ford, Gianluigi Gabetti, George Heard Hamilton, "Wallace K. Harrison, John B. Hightower, "'Mrs. Walter Hochschild, "James W. Husted, Philip Johnson, Mrs. Frank Y. Larkin, Eric Larrabee, Mrs. Albert D. Lasker, Gustave L. Levy, John L. Loeb, "Ranald H. Macdonald, "Mrs. G. Macculloch Miller, J. Irwin Miller, "Mrs. Charles S. Payson, Gifford Phillips, Mrs. John D. Rockefeller 3rd, Nelson A. Rocke feller, Mrs. Wolfgang Schoenborn, Mrs. Bertram Smith, Mrs. Alfred R. Stern, Mrs. Donald B. Straus, Walter N. Thayer, "Edward M. M. War burg, Clifton R.
    [Show full text]
  • Jean-Noel Archive.Qxp.Qxp
    THE JEAN-NOËL HERLIN ARCHIVE PROJECT Jean-Noël Herlin New York City 2005 Table of Contents Introduction i Individual artists and performers, collaborators, and groups 1 Individual artists and performers, collaborators, and groups. Selections A-D 77 Group events and clippings by title 109 Group events without title / Organizations 129 Periodicals 149 Introduction In the context of my activity as an antiquarian bookseller I began in 1973 to acquire exhibition invitations/announcements and poster/mailers on painting, sculpture, drawing and prints, performance, and video. I was motivated by the quasi-neglect in which these ephemeral primary sources in art history were held by American commercial channels, and the project to create a database towards the bibliographic recording of largely ignored material. Documentary value and thinness were my only criteria of inclusion. Sources of material were random. Material was acquired as funds could be diverted from my bookshop. With the rapid increase in number and diversity of sources, my initial concept evolved from a documentary to a study archive project on international visual and performing arts, reflecting the appearance of new media and art making/producing practices, globalization, the blurring of lines between high and low, and the challenges to originality and quality as authoritative criteria of classification and appreciation. In addition to painting, sculpture, drawing and prints, performance and video, the Jean-Noël Herlin Archive Project includes material on architecture, design, caricature, comics, animation, mail art, music, dance, theater, photography, film, textiles and the arts of fire. It also contains material on galleries, collectors, museums, foundations, alternative spaces, and clubs.
    [Show full text]