DOCSLIB.ORG

The Museum of Modern Art No

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Museum of Modern Art No /-/ - n j r*! <2£il*>'4<—-' , ?<- t/*-u*4. $t ^ 7>lu%My- A::±-t The Museum of Modern Art 11 West 53 Street, New York, N.Y. 10019 Circle 5-8900 Cable: Modernart No. 19a SPECIAL TO JAPANESE PRESS Japan-born Larry Peons and Tadaaky are anions the artists represented in THE RESPONSIVE EYE exhibition which opened at The Museum of Modern Art in New York on February 25. The exhibition, documenting a widespread and powerful new direction in contemporary art, brings together more than 120 paintings and constructions by 99 artists from some 15 countries. William C. Seits, director of the exhibition, points out that these works exist less a8 objects to be examined than as generators of perceptual responses in the eye and mind of the viewer. Using only lines, bands and patterns, flat areas of color, white, gray or black or cleanly cut wood, glass, metal and plastic, perceptual artists establish a new relationship between the observer and a work of art. These new kinds of subjective experiences, which result from the simultaneous contrast of colors, after-images, illusions and other optical devices, are entirely real to the eye even though they do not exist physically in the work itself. Each observer sees and responds ••©•whit differently. Larry Peons is an American who was born in Tokyo in 1957 and now lives in New York City. He is represented in the exhibition by a large 6* x 9 ' V painting of 196^ entitled ITixe's Hate. Tadasky (Tadasuke Kuwayama) has an oil painting A*1Q1 (1964) in the exhibition. The work is a recent acquisition to the Museum Collections, Tadasky was born in Nagoya in I935 and also resides in New York City. The exhibition is accompanied by a 56-page catalog by Mr. Seit?:. Illustrated with Uj works, 12 in color, the catalog is available frcm the Museum for $1.95. THE RESPONSIVE EYE will remain on view in New York through April 25, at which tlas it will travel to St. Loui3, Seattle, Tasadena and Baltimore. Photographs and additional information available frc&i Elizabeth Shaw, Director, and Linda Goldsmith, Assistant, Department of Public Information, The Museum of Modern Art, 11 West 55 Street, New York, N.Y. 10039. Circle ££8900. TIGHT BINDING .G,<_ ^y% \J^ fff^^f-*- / 0,41* /jx<*»v* *r*?. .uA/ , ^ , 3/ <f, 6 •'/ J7 ) -7 17/"" ' The RISuseum of PJodern Art 11 West 53 Street, New York, N.Y. 10019 Circle 5-8900 Cable: Modernart No. 19b FOR IMMEDIATE RELEASE SPECIAL TO APSTRIAK PRESS Viennese-born Hare Adrian and Lily Greenham are among the artists represented in ill THE RESP01T3IVE EYE exhibition which opened at The Museum of Modern Art in New York on February 25. The exhibition, documenting a widespread and powerful new direction in contemporary art, brings together more than 120 paintings and constructions by 99 artists from some 15 countries. William C. Seitz, director of the exhibition, points out that these works exist less as objects to be examined than as generators of perceptual responses in the eye and mind of the viewer. Using only lines, bands and patterns, flat areas of color, white, gray or black or cleanly cut wood, glass, metal and plastic, perceptual artists establish a new relationship between the observer and a work of art. These new kinds of subjective experiences, which result from the simultaneous contrast of colors, after­ images, illustions and other optical devices, are entirely real to the eye even though they do not exist physically in the work itself. Each observer ssos and responds soir»2wha t d If £eren tly. Hare Adrian i3 represented in the exhibition by a construction of industrial glass over a painted relief which is entitled "K 7" (1962). The 33-year old artist was born and lives in Vienna. Lily Greenham has a colli£J| \% 196^ called "Study of Differentiation and Identity in Visual Perception: Thrae Variations" on view in the show. Born inVienna in I928 of Austrian and Danish parents, she now resides in Paris. The exhibition is accompanied by a 56-page catalog by Hr. Seitz. Illustrated with lj-3 works, 12 in color, the catalog is available from the Museum for $1.95. THE IB3P0HSIV3 EYE will rmmain on vi®\i in Hew York through April 25, at which time it will travel to St. Louis, Seattle, Tasadena and Baltimore. #################•#41 'X- # ################ # * # # 41 * Photographs and additional information available from Elizabeth Sh*Vj Director, and Linda Goldsmith. Asclitant. Ue:>t. of Public Information. The Muttum of Modem Art, 11 fr •V ft it i^cxu^ The Pvluseum of Modern Art mal!! Apm 9,1965 ivc**~-*~ ^^ IMMEDIATE RELEASE 11 West 53 Street, New York, N.Y. 10019 Circle 5-8900 Cable: Modernart SFECIAL TO GREEK PRESS Athenian-born William Komodore is among" the artists represented in THE RESPONSIVE EYE exhibition which opened at The Museum of Modern Art in New York on February 2*>» The exhibition, documenting a widespread and powerful new direction in contemporary art, brings together more than 120 paintings and constructions by 99 artists from seme 15> countries• William C. Seitz, director of the exhibition, points out that these works exist less as objects to be examined than as generators of percept­ ual responses in the eye and mind of the viewer. Using only lines, bands and patterns, flat areas of color, white, gray or black or cleanly cut wood, glass, metal and plastic, perceptual artists establish a new relationship between the observer and a work of art. These new kinds of subjective ex­ periences, which result from the simultaneous contrast of colors, after-images, illusions and other optical devices, are entirely real to the eleven though they do not exist physically in the work it calf * Each observer sees and re­ sponds somewhat differently* Mr» Kommodore is represented in the exhibition by a canvas of 1961* en­ titled "Vermont". The 33-year old artist is now a citizen of the United States residing in New York City* The exhibition is accompanied by a £6~page catalog by Mr. Seitz. Illus­ trated with ii3 works, 12 in color, the catalog is available from the Museum for $lo9$. THE RESPONSIVE EYE will remain on view in New York through April 2j, at which time it will travel to St0 Louis, Seattle, Pa3ad^na and Balti* :•:>:• j. Additional information and photographs available frei Eliiabeth Shaw, Director, and Linda Golsmith, Assistant, Department of Public Informationj The Mttseun of Modern Art, 11 West £3 Street, Nov/ York, N. Y. 10019a Circle 5-b*?0Q» . USX. *P. Kuug. The RHuseum of P^odern Art &£ April % 1965 f ..^ f ., v . MVinniool . eoftAn«UI ^ FOR IMMEDIATE RELEASE 11 West 53 Street, New York, N.Y. 10019 Circle 5-8900 Cable: Modernart SPECIAL TO BELGIAN PRESS The Belgian artist Walter Leblanc is among the artists represented in THE RESPONSIVE EYE exhibition which opened at The Museum of Modern Art in New York on February 25# The exhibition, documenting a widespread and powerful new direction in contemporary art, brings together more than 120 paintings and constructions by 99 artists from seme 15 countries0 William C» Seitz, director of the exhibition, points out that these works exist less as objects to be examined than as generators of perceptual responses in the eye and mind of the viewer* Using only lines, bands and patterns, flat areas of color, white, gray or black or cleanly cut wood, glass, metal and plastic, perceptual artists establish a new relationship ; between the observer and a work of art. Tfrese new kinds of subjective ex­ periences, which result from the simultaneous contrast of colors, after - images, illusions and other optical devices, are entirely real to the eye even though they do not exist physically in tho work itself« Each observer- sees and responds somewhat differently. Mr* Leblanc is represented in the exhibition by a work of 1962 entitled "Mobilo-Statiqua" which is constructed of polyvinyl strips on wood;. The 33- year old artist was born and lives in Antwerp* The exhibition is accompanied by a 56-page catalog by Mr. Seitz0 Illus­ trated with U3 work©, 12 in color, the catalog is available from the Museum for $1«95. THE RESPONSIVE EYE will remain on view in New York through April 25, at which time it will travel to St. Louis, Seattle, ?a*adewi and Baltimore* Photographs and additional information available from Elizabeth Shaw, Director, and Linda Goldsmith, Assistant, Department of Public Information, The Hueeun of Modern Art. 11 West 53 Street, Neu York, W. Y. 10019. Circle 5-H900. j ~~?IILZSO , / %u+* &£+ /}•-«.*-*. C £'C >/ jyjptte* / ^lyCCC^yy*' -&™~J 7- il*. / <LZ.--*-^' The Museum of rJlodem Art No. 19f Monday, April 12, 196$ - L.>C~ J^V-LU^-- t-v\x West 53 streeti New York, N.Y. 10019 Circle 5-8900 Cable: Modernart FQR MEDIATE RELEASE SPECIAL TO CANADIAN NEWSPAPERS '•« V Canadian-bom Agnes Martin, Guido Molinari and Claude Tousignant are among the artists represented in THE RESPONSIVE EYE exhibition which opened at The Museum of Mod­ em Art on February 25. The exhibition, documenting a widespread and powerful new direction in contemporary art, brings together more than 120 paintings and constructions by 99 artists from some 15 countries. William C. Seits, director of the exhibition, points out that these works exist less as objects to be examined than as generators of perceptual responses is the eye and mind of the viewer. Using only lines, bands and patterns, flat areas of color, vhite, gray or black or cleanly cut wood, glass, metal and plastic, perceptual artists establish a new relationship between the observer and a work of art.
Load more

Recommended publications
  • Labyrinthine Variations 12.09.11 → 05.03.12
    WANDER LABYRINTHINE VARIATIONS PRESS PACK 12.09.11 > 05.03.12 centrepompidou-metz.fr PRESS PACK - WANDER, LABYRINTHINE VARIATIONS TABLE OF CONTENTS 1. INTRODUCTION TO THE EXHIBITION .................................................... 02 2. THE EXHIBITION E I TH LAByRINTH AS ARCHITECTURE ....................................................................... 03 II SpACE / TImE .......................................................................................................... 03 III THE mENTAL LAByRINTH ........................................................................................ 04 IV mETROpOLIS .......................................................................................................... 05 V KINETIC DISLOCATION ............................................................................................ 06 VI CApTIVE .................................................................................................................. 07 VII INITIATION / ENLIgHTENmENT ................................................................................ 08 VIII ART AS LAByRINTH ................................................................................................ 09 3. LIST OF EXHIBITED ARTISTS ..................................................................... 10 4. LINEAgES, LAByRINTHINE DETOURS - WORKS, HISTORICAL AND ARCHAEOLOgICAL ARTEFACTS .................... 12 5.Om C m ISSIONED WORKS ............................................................................. 13 6. EXHIBITION DESIgN .......................................................................................
    [Show full text]
  • Painting and Sculpture from Classical Modernism to the Present Day
    Opening Exhibition 23 May 2015 – 9 October 2016 Painting and Sculpture From Classical Modernism to the Present Day KUNSTMUSEUM LIECHTENSTEIN Dear Visitors, The Hilti Art Foundation annexe rings in a new era in the fifteenth year of Kunstmuseum Liechtenstein. The new exhibition building of the Hilti Art Foundation opens its doors to public on 23 May 2015. For Kunstmuseum Liechtenstein this means a substantial and lasting consolidation of the previous collaboration that has been in place with the Hilti Art Foundation since its foundation in 2000. Our thanks are due in particular to Michael Hilti, one of the key figures responsible for initiating Kunstmuseum Liechtenstein. A visible symbol of this bond is reflected in the design of the new building by the Basel-based architects Morger + Dettli, who designed the upright white cube as a counterpart to the horizontal black cube of the Kunstmuseum. The accord that exists between the two buildings both inside and out lends form to the sense of both togetherness and independence. Loans in special exhibitions, but particularly the large exhibition of the Hilti Art Foundation in 2005, gave visitors an impressive first glimpse of this private art collection comprising works from the late 19th century to the present. We very much look forward to the future permanent presence of this extra ordinary collection. The emphasis of the Hilti Art Foundation collection is the ideal complement to the state collection of Kunstmuseum Liechtenstein. A long-standing wish has thus been realised, that is, to showcase to the public threads of development in the history of art from the pioneers of modernism to our present day.
    [Show full text]
  • Art in Europe 1945 — 1968 the Continent That the EU Does Not Know
    Art in Europe 1945 Art in — 1968 The Continent EU Does that the Not Know 1968 The The Continent that the EU Does Not Know Art in Europe 1945 — 1968 Supplement to the exhibition catalogue Art in Europe 1945 – 1968. The Continent that the EU Does Not Know Phase 1: Phase 2: Phase 3: Trauma and Remembrance Abstraction The Crisis of Easel Painting Trauma and Remembrance Art Informel and Tachism – Material Painting – 33 Gestures of Abstraction The Painting as an Object 43 49 The Cold War 39 Arte Povera as an Artistic Guerilla Tactic 53 Phase 6: Phase 7: Phase 8: New Visions and Tendencies New Forms of Interactivity Action Art Kinetic, Optical, and Light Art – The Audience as Performer The Artist as Performer The Reality of Movement, 101 105 the Viewer, and Light 73 New Visions 81 Neo-Constructivism 85 New Tendencies 89 Cybernetics and Computer Art – From Design to Programming 94 Visionary Architecture 97 Art in Europe 1945 – 1968. The Continent that the EU Does Not Know Introduction Praga Magica PETER WEIBEL MICHAEL BIELICKY 5 29 Phase 4: Phase 5: The Destruction of the From Representation Means of Representation to Reality The Destruction of the Means Nouveau Réalisme – of Representation A Dialog with the Real Things 57 61 Pop Art in the East and West 68 Phase 9: Phase 10: Conceptual Art Media Art The Concept of Image as From Space-based Concept Script to Time-based Imagery 115 121 Art in Europe 1945 – 1968. The Continent that the EU Does Not Know ZKM_Atria 1+2 October 22, 2016 – January 29, 2017 4 At the initiative of the State Museum Exhibition Introduction Center ROSIZO and the Pushkin State Museum of Fine Arts in Moscow, the institutions of the Center for Fine Arts Brussels (BOZAR), the Pushkin Museum, and ROSIZIO planned and organized the major exhibition Art in Europe 1945–1968 in collaboration with the ZKM | Center for Art and Media Karlsruhe.
    [Show full text]
  • Gego Solo Exhibition
    GEGO SOLO EXHIBITION 2020 Gego, Museo Jumex, Mexico City, Mexico 2019 Gego, Museo de Arte de São Paulo, São Paul, Brazil 2017 Between the lines. Gego as a printmaker, Amon Carter Museum,Texas, United States Gego. A fascination for line, Kunstmuseum Sttutgart, Sttutgart, Germany Gego en 1969 with “Reticulárea” in Caracas, Venezuela Hamburg, Germany, 1912 - Caracas, Venezuela, 1994 Gego: La poetique de la Ligne, Colección 2014 Gego (Gertrud Goldschmidt) studied architecture and Mercantil, La Maison de la Amerique Latine, engineering at the Stuttgart Technical School Paris, France (Germany), where she was tutored by architect Paul Bonatz, following the models of the Bauhaus and Russian Constructivism. In 1939, due to persecution Gego: Line as Object, Kunstmuseum from the Nazi regime, she migrated to Venezuela, Stuttgart, Stuttgart, Germany making Caracas her home. Once there, Gego dedicated to design, particularly of Gego: Line as Object, Henry Moore furniture, and the development of architectural Institute, Leeds, England projects. Additionally, she began a long teaching career that would lead her to be one of the founders and subsequent professors of the Institute of Design 2013 Gego: El trazo transparente, Museo de la from the Neumann Foundation (Caracas) in 1964. It was during the 1950s that she deepened her artistic Estampa y el Diseño Carlos CruzDiez, practice, which was at first of a figurative, expressionist Caracas, Venezuela type, and then, already in dialogue with kinetic artists like Alejandro Otero and Jesús Soto, of a sculptural type, grounded upon spectator participation, action, Gego: Tejeduras, Bichitos y Libros, Periférico and movement as key principles of production. de Caracas / Arte Contemporáneo/Centro de Arte Los Galpones, Caracas, Venezuela Her work is characterized by the experimentation with lines upon space, conceived as the most elemental unit of drawing, as well as for the innovative use of the Gego: Line as Object, Hamburger Kunsthalle, reticule, a form intimately related to abstraction in Hamburg, Germany modern art.
    [Show full text]
  • Modern Abstraction in Latin America Cecilia Fajardo-Hill
    Modern Abstraction in Latin America Cecilia Fajardo-Hill The history of abstraction in Latin America is dense and multilayered; its beginnings can be traced back to Emilio Pettoruti’s (Argentina, 1892–1971) early abstract works, which were in- spired by Futurism and produced in Italy during the second decade of the 20th century. Nev- ertheless, the two more widely recognized pioneers of abstraction are Joaquín Torres-García (Uruguay, 1874–1949) and Juan del Prete (Italy/Argentina, 1897–1987), and more recently Esteban Lisa (Spain/Argentina 1895–1983) for their abstract work in the 1930s. Modern abstract art in Latin America has been circumscribed between the early 1930s to the late 1970s in Argentina, Brazil, Uruguay and Venezuela, and in more recent years Colombia, Cuba and Mexico have also been incorporated into the historiography of abstraction. Fur- thermore, it is only recently that interest in exploring beyond geometric abstraction, to in- clude Informalist tendencies is beginning to emerge. Abstract art in Latin America developed through painting, sculpture, installation, architecture, printing techniques and photography, and it is characterized by its experimentalism, plurality, the challenging of canonical ideas re- lated to art, and particular ways of dialoguing, coexisting in tension or participation within the complex process of modernity—and modernization—in the context of the political regimes of the time. Certain complex and often contradictory forms of utopianism were pervasive in some of these abstract movements that have led to the creation of exhibitions with titles such as Geometry of Hope (The Blanton Museum of Art, Austin, 2007) or Inverted Utopias: Avant Garde Art in Latin America (The Museum of Fine Arts, Houston, 2004).
    [Show full text]
  • Agnes Martin Selected Bibliography Books
    AGNES MARTIN SELECTED BIBLIOGRAPHY BOOKS AND EXHIBITION CATALOGUES 2019 Hannelore B. and Rudolph R. Schulhof Collection (exhibition catalogue). Text by Gražina Subelytė. Venice, Italy: Peggy Guggenheim Collection, 2019. 2018 Agnes Martin / Navajo Blankets (exhibition catalogue). Interview with Ann Lane Hedlund and Nancy Princenthal. New York: Pace Gallery, 2018. American Masters 1940–1980 (exhibition catalogue). Texts by Lucina Ward, James Lawrence and Anthony E Grudin. Canberra: National Gallery of Australia, 2018: 162–163, illustrated. An Eccentric View (exhibition catalogue). New York: Mignoni Gallery, 2018: illustrated. “Agnes Martin: Aus ihren Aufzeichnungen über Kunst.” In Küstlerinnen schreiben: Ausgewählte Beiträge zur Kunsttheorie aus drei Jahrhunderten. Edited by Renate Kroll and Susanne Gramatzki. Berlin: Dietrich Reimer Verlag GmbH, 2018: 183–187, illustrated. Ashton, Dore. “Dore Ashton on Agnes Martin.” In Fifty Years of Great Art Writing. London: Hayward Gallery Publishing, 2018: 53–61, illustrated. Agnes Martin: Selected Bibliography-Books and Exhibition Catalogs 2 Fritsch, Lena. “’Wenn ich an Kunst denke, denke ich an Schönheit’ – Agnes Martins Schriften.” In Küstlerinnen schreiben: Ausgewählte Beiträge zur Kunsttheorie aus drei Jahrhunderten. Edited by Renate Kroll and Susanne Gramatzki. Berlin: Dietrich Reimer Verlag GmbH, 2018: 188–197. Guerin, Frances. The Truth is Always Grey: A History of Modernist Painting. Minneapolis and London: University of Minnesota Press, 2018: plate 8, 9, illustrated. Intimate Infinite: Imagine a Journey (exhibition catalogue). New York: Lévy Gorvy, 2018: 100–101, illustrated. Martin, Henry. Agnes Martin: Pioneer, Painter, Icon. Tucson, Arizona: Schaffner Press, 2018. Martin, Agnes. “Agnes Martin: Old School.” In Auping, Michael. 40 Years: Just Talking About Art. Fort Worth, Texas and Munich: Modern Art Museum of Fort Worth; DelMonico Books·Prestel, 2018: 44–45, illustrated.
    [Show full text]
  • Carlos Cruz-Diez
    Alan Cristea Gallery Artist Biography 43 Pall Mall, London SW1Y 5JG +44 (0)20 7439 1866 [email protected] www.alancristea.com Carlos Cruz-Diez Born in Caracas in 1923, Carlos Cruz-Diez between 1940 to 1945 Diseño Carlos Cruz-Diez, Caracas, VE he studied art at the Escuela de Artes Plásticas y Aplicadas. In 2003 Cruz-Diez. Afiches. Exposición Homenaje a los 80 Años his earliest work, Cruz-Diez painted figurative canvases intended de Carlos Cruz-Diez, Museo de la Estampa y del Diseño to reflect and comment upon social issues. In 1954, influenced Carlos Cruz-Diez, Caracas, VE by his study of the Bauhaus and the European avant-garde, Cruz- 1999 Retrospectiva 1954-1998, Museo de Arte Moderno del Diez created his first abstract and interactive projects. In 1957 Zulia, Maracaibo, VE he began experimenting with colored light. In 1959 he became 1998 Cruz-Diez: El Color Autónomo, Museo de Arte Moderno interested in ‘the phyical dimension of colour. The following year, de Bogotá, CO Cruz-Diez and his family moved to Paris, where he met Argentine 1995 Reflexión sobre el Color, Museo Jacobo Borges, artist Luis Tomasello, and members of the Groupe de Recherche Caracas, Venezuela d’Art Visuel, and he quickly became an important member of the 1993 Apuntes sobre el Color, Museo de Bellas Artes, artistic communities there. Caracas, Venezuela 1992 Carlos Cruz-Diez La Visión del Color, Museo de Arte de In 1971, Cruz-Diez established his workshop on the rue Pierre Maracay, Maracay, Venezuela Sémard investigating experiences of color. The artist describes 1989 Realites de la Peinture, The Pushkin State Museum of his Chromosaturation series as the exploration of an often- Fine Arts, Moscow & Leningrad, Russia unnoticed reality: “That reality (which I consider visible) leads us Latin American Art, Hayward Gallery, London, UK; along other paths, both perceptive and sensory, to parallel ideas 1988 Carlos Cruz-Diez.
    [Show full text]
  • The Responsive Eye by William C
    The responsive eye By William C. Seitz. The Museum of Modern Art, New York, in collaboration with the City Art Museum of St. Louis [and others Author Museum of Modern Art (New York, N.Y.) Date 1965 Publisher [publisher not identified] Exhibition URL www.moma.org/calendar/exhibitions/2914 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 MoMA 757 c.2 r//////////i LIBRARY Museumof ModernArt ARCHIVE wHgeugft. TheResponsive Eye BY WILLIAM C. SEITZ THE MUSEUM OF MODERN ART, NEW YORK IN COLLABORATION WITH THE CITY ART MUSEUM OF ST. LOUIS, THE CONTEMPORARY ART COUNCIL OF THE SEATTLE ART MUSEUM, THE PASADENA ART MUSEUM AND THE BALTIMORE MUSEUM OF ART /4/t z /w^- V TRUSTEES OF THE MUSEUM OF MODERN ART David Rockefeller, Chairman of the Board; Henry Allen Moe, Vice-Chairman;William S. Paley, Vice-Chairman; Mrs. Bliss Parkinson, Vice-Chairman;William A. M. Burden, President; James Thrall Soby, Vice-President;Ralph F. Colin, Vice-President;Gardner Cowles, Vice-President;Wa l ter Bareiss, Alfred H. Barr, Jr., *Mrs. Robert Woods Bliss, Willard C. Butcher, *Mrs. W. Murray Crane, John de Menil, Rene d'Harnoncourt, Mrs. C. Douglas Dillon, Mrs. Edsel B. Ford, *Mrs. Simon Guggenheim, Wallace K. Harrison, Mrs. Walter Hochschild, "James W. Husted, Philip Johnson, Mrs. Albert D. Lasker,John L. Loeb, Ranald H. Macdonald, Porter A. McCray, *Mrs. G. Macculloch Miller, Mrs. Charles S.
    [Show full text]
  • Studio International
    studio international 132 East 68th Street New York, NY 10065 Gego and Gerd Leufert: A Dialogue By Lilly Wei Febraury 2014 This exhibition of works by Gertrude Goldschmidt – Gego – and Gerd Leufert demonstrates their romance both with line and drawing and with one another Gertrude Goldschmidt (1912-94), better known as Gego, was born in Hamburg and studied architecture in Stuttgart. She left Germany in 1939 for South America. Gerd Leufert (1914-98) was born in Lithuania and studied graphic design in Hanover and Munich. He emigrated to South America in 1951. They met in Caracas in 1952 and remained Gerd Leufert. Listonado (Ventana) (Strip [Window]), 1972. Acrylic on wood, 35 together in Venezuela for the rest of their lives. While both had a strong 7/16 x 31 1/2 x 3 1/8 in (90 x 80 x 8 cm). Colección Patricia Phelps de Cisneros, influence on the direction that Latin American art took – in particular New York and Caracas. the geometric abstraction and kinetic art that flourished there from drawing (a forerunner of her later wire sculptures), Leufert both drew the 50s to the 70s – it is Gego who is now the more celebrated. on the paper and ripped it, actively engaging the support, to achieve comparable results in Shown together in this small gem of an exhibition at Hunter College, it is a circa 1973 work. a welcome addition to the growing number of exhibitions on modernist art from the region. Sensitively curated and installed by Geaninne Both were deeply interested in grids, as seen in two drawings from the Gutiérrez-Guimarães with Sarah Watson and Annie Wischmeyer, the same period.
    [Show full text]
  • DONALD JUDD Born 1928 in Excelsior Springs, Missouri
    This document was updated January 6, 2021. For reference only and not for purposes of publication. For more information, please contact the gallery. DONALD JUDD Born 1928 in Excelsior Springs, Missouri. Died 1994 in New York City. SOLO EXHIBITIONS 1957 Don Judd, Panoras Gallery, New York, NY, June 24 – July 6, 1957. 1963–1964 Don Judd, Green Gallery, New York, NY, December 17, 1963 – January 11, 1964. 1966 Don Judd, Leo Castelli Gallery, 4 East 77th Street, New York, NY, February 5 – March 2, 1966. Donald Judd Visiting Artist, Hopkins Center Art Galleries, Dartmouth College, Hanover, NH, July 16 – August 9, 1966. 1968 Don Judd, The Whitney Museum of American Art, New York, NY, February 26 – March 24, 1968 [catalogue]. Don Judd, Irving Blum Gallery, Los Angeles, CA, May 7 – June 1, 1968. 1969 Don Judd, Leo Castelli Gallery, 4 East 77th Street, New York, NY, January 4 – 25, 1969. Don Judd: Structures, Galerie Ileana Sonnabend, Paris, France, May 6 – 29, 1969. New Works, Galerie Bischofberger, Zürich, Switzerland, May – June 1969. Don Judd, Galerie Rudolf Zwirner, Cologne, Germany, June 4 – 30, 1969. Donald Judd, Irving Blum Gallery, Los Angeles, CA, September 16 – November 1, 1969. 1970 Don Judd, Stedelijk Van Abbemuseum, Eindhoven, The Netherlands, January 16 – March 1, 1970; traveled to Folkwang Museum, Essen, Germany, April 11 – May 10, 1970; Kunstverein Hannover, Germany, June 20 – August 2, 1970; and Whitechapel Art Gallery, London, United Kingdom, September 29 – November 1, 1970 [catalogue]. Don Judd, The Helman Gallery, St. Louis, MO, April 3 – 29, 1970. Don Judd, Leo Castelli Gallery, 4 East 77th Street, and 108th Street Warehouse, New York, NY, April 11 – May 9, 1970.
    [Show full text]
  • Colombian Artists in Paris, 1865-1905
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2010 Colombian Artists in Paris, 1865-1905 Maya Jiménez The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2151 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] COLOMBIAN ARTISTS IN PARIS, 1865-1905 by MAYA A. JIMÉNEZ A dissertation submitted to the Graduate Faculty in Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2010 © 2010 MAYA A. JIMÉNEZ All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Art History in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Professor Katherine Manthorne____ _______________ _____________________________ Date Chair of Examining Committee Professor Kevin Murphy__________ ______________ _____________________________ Date Executive Officer _______Professor Judy Sund________ ______Professor Edward J. Sullivan_____ ______Professor Emerita Sally Webster_______ Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Colombian Artists in Paris, 1865-1905 by Maya A. Jiménez Adviser: Professor Katherine Manthorne This dissertation brings together a group of artists not previously studied collectively, within the broader context of both Colombian and Latin American artists in Paris. Taking into account their conditions of travel, as well as the precarious political and economic situation of Colombia at the turn of the twentieth century, this investigation exposes the ways in which government, politics and religion influenced the stylistic and thematic choices made by these artists abroad.
    [Show full text]
  • Gego, Between Transparency and the Invisible April 21 – July 21, 2007
    The Drawing Center For Immediate Release For further information, please contact Lisa Gold, 212-219-2166, ext. 214 [email protected] The Drawing Center announces Gego, Between Transparency and the Invisible April 21 – July 21, 2007 Opening Reception: Friday, April 20, 6 – 8 pm Gallery Talk: Saturday, April 21, 4 pm Main Gallery, 35 Wooster Street New York, March 15, 2007 – From April 21 through July 21, The Drawing Center will present Gego, Between Transparency and the Invisible, a groundbreaking exhibition that explores the intriguing relationship between light and line in the work of German born, Venezuelan artist Gego (Gertrud Goldschmidt, 1912-1994). Largely unknown to mainstream U.S. audiences, Gego is considered by many scholars to be one of the most innovative artists of the second half of the 20th century. Organized by the Museum of Fine Arts, Houston, the exhibition traces the development of the artist’s concern with trans- parent depth, featuring a rarely seen series of monotypes of the early 1950s, delicate “drawings without paper” of the late 1970s - 1980s, and an example from one of her most celebrated and representative series: the Reticulárea. Gego, Between Transparency and the Invisible is curated by Mari Carmen Ramírez, Wortham Curator of Latin American Art at the Museum of Fine Arts, Houston. Juxtaposing important artworks produced from the mid- 1950s to the late 1980s and bringing two bodies of Gego's work into dialogue for the first time, Gego, Between Transparency and the Invisible will foreground the critical role that drawing played in the artist's oeuvre. On view will be nearly 60 artworks which include ink drawings, three-dimensional structures, watercolors, artist books, and tejeduras.
    [Show full text]