DOCSLIB.ORG

I N T E R N a T I O N a L a R T S a N D C U L T U

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
I N T E R N a T I O N a L a R T S a N D C U L T U free SINTERNATIONALFAQ ARTS AND CULTURE ISSUE.10 ONLY WEST COAST VENUE JUL 14 – OCT 14 Man Ray and Lee Miller’s brief, mercurial love affair resulted in some of the most powerful works of each artist’s career, helping shape the course of modern art. See the first exhibition to focus on the pair’s artistic relationship, with approximately 115 photographs, paintings, drawings, and writings exploring the creative interaction between these two giants of European Surrealism. Organized by the Peabody Essex Museum, Salem, MA. Media Sponsors Man Ray (1890–1976), Larmes (Glass Tears), 1933. Gelatin silver print. Private collection. © 2012 Man Ray Trust/Artists Rights Society (ARS), New York/ADAGP, Paris. Life. Death. The cosmos. ASIAN ART MUSEUM What’s it all about? Provocative new art— PHANTOMS OF ASIA along with objects from FINAL WEEKS THROUGH SEP 16 the museum’s own ENDS SEPT 2 collection—explores Rare canonical black-and-white vintage prints meet luscious, eye-popping www.asianart.org/phantoms spirits and spirituality color work by a range of exciting artists, emerging to iconic, as the Traina in Asia. See Phantoms at our MATCHA events on 7/26 and 8/23, 5–9 pm. Enjoy cash bars, docent collection embraces the documentary impulse in photography and the tours, music by DJ-in-residence Vin Sol, performances, creative experiments, and more. medium’s full-blooded absorption into the world of contemporary art. Just $10. Can’t make it? Check out Phantoms any Thursday night after 5:00 pm for just $5. This exhibition was organized by the Asian Art Museum, San Francisco in collaboration with the Mori Art Museum, Tokyo. Presentation at the Asian Art Museum is made possible by support from The Bernard Osher Foundation, the W.L.S. Spencer Foundation, Koret Foundation, Columbia Foundation, The Henri and Tomoye Takahashi Charitable Foundation, the National Endowment for the Arts, Credit Suisse, United, Union Bank, Christie’s, Pacific Gas and Electric Company, and an anonymous foundation, with additional support from The Japan Foundation and The Dedalus Foundation, Inc. Sun K. Kwak, Untying Space_Asian Art Museum, SF, 2012. © Asian Art Museum, San Francisco. Installation view of Phantom of Asia exhibition at Asian Art Museum. Photo by Kaz Tsuruta. SPONSOR Asian Art Museum Chong-Moon Lee Center for Asian Art & Culture Martin Parr, Fashion Shoot for Amica, New York (detail), 200 Larkin Street Media San Francisco, CA 94102 1999. © Martin Parr / Stephen Daiter Gallery. Sponsors 415.581.3500 EXTENDED RUN! The 1968 Exhibit was developed by the Minnesota History Center in partnership with the Atlanta History Center, the Chicago History Museum, and the Oakland Museum of California. The 1968 Exhibit is supported by the National Endowment for the Humanities and the Institute of Museum and Library Services. The Oakland Museum of California presentation is made possible in part by generous support from the Oakland Museum Women’s Board and the OMCA History Guild. background: Earthrise. Photo courtesy of NASA. MEDIA SPONSOR: SAN FRANCISCO ART INSTITUTE FALL PUBLIC PROGRAMS KUMIE TSUDA FREE AND OPEN TO THE PUBLIC SKETCH FOR GETTING USED TO NEW THINGS ANNIE HAN + DANIEL MIHALYO: LEAD PENCIL STUDIO CITY SURFACE August 2 – September 15, 2012 Reception: Thursday, August 2, 5:30 – 7:30 VIK MUNIZ September 20 – November 10, 2012 Reception: Tuesday, October 9, 5:30 – 7:30 Walter and McBean Galleries ARTIST LECTURE SERIES TEMPORARY STRUCTURES Brent Green, visual artist, filmmaker, and storyteller Curated by Glen Helfand and Cydney Payton Hennesy Youngman of “Art Thoughtz” September 5–December 15, 2012 Painter Judie Bamber Inspired by San Francisco’s colorful history of Winifred Johnson Clive Foundation Distinguished World’s Fairs and expositions, this interdisciplinary Visiting Fellows for Interdisciplinary Painting Practices: group exhibition explores the allure of temporary Mickalene Thomas architecture as a site of human interaction, Paul Sietsema spectacle, and fun. Sue Williams PLUS FILM SCREENINGS, PERFORMANCES, MUSICAL EVENTS & MORE BRENT IN GRAVITY, COURTESY OF THE ARTIST Sign up for the latest news: www.sfai.edu/events • ceramic, paper bag 17 x 5 inches • 2011 PHOTO: san francisco R ENA B RA NSTEN art institute @SFAIevents G A L L E R Y 800 chestnut street, san francisco, ca 94133 www.sfai.edu/events Am? Know Who I You Do Kumie Tsuda, 77 Geary Street • San Francisco, CA 94108 • 415.982.3292 • www.renabranstengallery.com CROWN POINT PRESS GALLERY SEPTEMBER 13−OCTOBER 20, 2012 THE NEW CENTURY Prints by Tomma Abts, Darren Almond, Mamma Andersson, Anne Appleby, John Chiara, Peter Doig, Pia Fries, Julie Mehretu, CALIFORNIA COLLEGE Susan Middleton, Dorothy Napangardi, Jockum Nordström, Chris Ofili, Laura Owens, Laurie Reid, Wilson Shieh, OF THE ARTS Shahzia Sikander, Amy Sillman, and Fred Wilson g r a d u a t e OCTOBER 23, 2012−JANUARY 5, 2013 s t u d i e s RICHARD DIEBENKORN Curatorial Practice M. H. DE YOUNG MUSEUM Fine Arts CROWN POINT PRESS AT 50 October 20, 2012–February 17, 2013 Writing Kathan Brown will present a lecture at the Visual museum, Friday, October 26 at 6:30 PM and Critical Studies Darren Almond, Full Moon@Murchison Falls: Mountains of the Moon, 2010. Color photogravure. 34 x 27", edition 10. CROWN POINT PRESS 20 Hawthorne Street, San Francisco, CA 94105 (415) 974-6273 www.crownpoint.com SFAQ_Sept Oct Nov 2012.indd 1 7/10/12 10:20 AM PAULSON BOTT PRESS FINE ART EDITIONS INTERDISCIPLINARY PROGRAMS AWARD-WINNING FACULTY NATIONAL GRADUATE RENOWNED VISITING ARTISTS PORTFOLIO DAY EXPANSIVE FACILITIES will be hosted on our campus Gallery Hours: Sunday, October 14, 2012 Tuesday-Friday 11:00 - 5:00 ACCLAIMED LECTURE SERIES Saturday: Noon - 4:00 architecture d e s i g n f i n e a r t s 2390 C FOURTH ST. BERKELEY, CA 94710 • T 510.559.2088 • F 510.559.2085 • WWW.PAULSONBOTTPRESS.COM • [email protected] w r i t i n g San Francisco cca.edu/graduate/sfaq 800.447.1ART Summer releases 2.indd 1 7/5/2012 11:37:20 AM Design: ahoystudios.com PULSE MiaMi ContEMPorary art Fair DECEMbEr 6 – 9, 2012 thE iCE PaLaCE StUDioS 1400 north MiaMi avE at nW 14th StrEEt MiaMi, FLoriDa WWW.PULSE-art.CoM PULSE_MIA12_sfaq.indd 1 7/20/12 11:45 AM OCTOBER 26 – 29, 2012 OPENING NIGHT PREVIEW OCTOBER 25 METRO TORONTO CONVENTION CENTRE ARTTORONTO.CA Charles Linder : New Sculpture August 10-September 30, 2012 501 Third St San Francisco CA 94107 415 626 7495 www.gallery16.com Charles Linder : Vespertine A new hardcover monograph by sculptor Charles Linder Published by Gallery 16 Editions. Available August 2012 CHARLES LINDER CHARLES LINDER VESPERTINE VESPERTINE Ed Pien, Leap, 2012, 12” x 21 ¾” x 1/8”, waterjet-cut metal; Multiple edition of 25, + 5 AP Courtesy of the artist, Birch Libralato, Toronto and Pierre-François Ouellette art contemporain, Montréal. Patrick Dintino - Euphoria Temple 18” x 72” oil on canvas 2012 September 12th - October 5th, 2012 James Torlakson, Halloween, 2011. Photo: courtesy the artist Kendall Waldman, Untitled, 2012. Photo: courtesy the artist Andrea San Francisco Museum of Modern Art Artists Gallery Rentals and Sales: Building A, Fort Mason Center, San Francisco, CA 94123 Schwartz 415-441-4777 www.sfmoma.org/artistsgallery Gallery Real and True: James Torlakson, Janet Delaney, Rachel Kline, and Kendall Waldman September 6th – October 25th, 2012 Opening Reception: Saturday, September 8th, 1-3pm 545 - 4th Street, San Francisco CA, 94107 - www.asgallery.com Gallery Hours: Tuesday - Saturday, 10:30am to 5pm Contemporary art by Bay Area artists 1530 Collins Avenue Miami Beach FL 33139 > www.aquaartmiami.com VIP Preview Opening Wednesday, December 5, 2012 Museum Day Thursday, December 6, 2012 free entry to the fair to all art museum members worldwide Public Hours December 6 – 9, 2012 Contemporary art you can afford. NYC, Oct 4 –7, 2012. The Tunnel, Chelsea AQUADEC 06 Seattle , Nov 8 –11, 2012. Seattle Center ART / DEC O9 MIAMI 2012 www.affordableartfair.us COM AAF_MIA12_sfaq.indd 1 7/20/12 11:53 AM DRAWING/PAINTING/PHOTOGRAPHY/MIXED MEDIA San Francisco Studio School CERTIFICATE PROGRAM /WORKSHOPS/CLASSES/SEMINARS PAINTING STUDIO PROGRAM BEGINS SEPTEMBER 13TH PHOTOGRAPHY SEMINAR BEGINS SEPTEMBER 18TH 415 398 4300 [email protected] WWW.SFSTUDIOSCHOOL.ORG FALL SCHEDULES ARE AVAILABLE ON OUR WEBSITE. EMAIL OR CALL FOR INFORMATION. BEER, ART AND PHILOSOPHY Available at Crown Point Press SFMOMA, Amazon and on Kindle :) September TOM MARIONI Gallery Paule Anglim percussion works in dry plaster September 11 Fouladi Projects LAURINA 1803 Market Street @ Guerrero October 27, 2012 San Francisco Ca 94103 PAPERINA Opening reception for the artist Hours: Tuesday - Saturday noon till 6 pm BAD SMELL September 14, 6 - 8 pm fouladiprojects.com | ph 415 621 2535 THE URALS ALSO EXIST OUTSIDE VIRTUAL REALITY The Ural Industrial Biennial of Contemporary Art engages the industrial both as a cultural heritage of the global industrial era, but also as an actual practice that involves many people and multiple spaces around the world. These aspects, largely invisible for contemporary consumption-based culture, are explored through the biennial exhibi- tions taking place at the former and operating factories of the city of Yekaterinburg and the Ural region — the center of Soviet industrialization project and the world destination for constructiv- ist architecture of 1920s-1930s. The biennial spurs reconceptualization of the existing cultural forms and mobilization of the productive dimen- sions of the most recent artistic processes. The 2nd Ural Industrial Biennial in 2012 will revolve around the issues of contemporary art's correla- tion with material and symbolic production, indus- trial and artistic labor, the industrial and the post-industrial in local and international contexts. The biennial aims to overcome the confines of a Image: Project V2V by James Morgan is developed within the collaboration one-in-two-years exhibition through manufactur- between 2nd Ural Industrial Biennial and 2012 Zero1Biennial ing new long-lived sensibilities.
Load more

Recommended publications
  • 1 CONTEMPORARY ART and STREET CULTURE Members
    INSIDE Calendar of Events . 2 Wavelinks . 3 Beautiful Losers . 4 Free at the CAC . 6 2002–03 Annual Report . special insert Spring 2004 YOUR GUIDE TO WHAT’S HAPPENING AT THE CAC Glen E. Friedman, Tony Alva, 1977 CONTEMPORARY ART AND STREET CULTURE Members’ Opening Party March 12 1 for membership and other information visit www.ContemporaryArtsCenter.org Contemporary Art and Street Culture March 13–May 23, 2004 On occasion, in fact whenever an “inner quickening” demands it, New York-based artist Phil Frost paints with Pentel Correction Frost is a painter. He says he’s trying to urban life and street culture. Included are Fluid instead of paint. He once painted at night, chart an impulse—something he calls an “inner painters, sculptors, photographers, filmmakers, standing in a glass cage in a notorious San quickening.” Glyphic patterns repeat neatly, performance artists, graphic designers, illustra- Francisco neighborhood, while local residents marching across his canvasses before buckling tors and multimedia artists.The exhibition is smoked crack pipes around him and police and sliding wildly away; faces emerge, peeking organized in five sections: sirens howled through the streets. from stolen cartoon panels and then disappear One section is devoted to examining those “My painting is a culmination of where I am again, lost in the nightmare contours of paint artists who have had direct influence on the in a particular time or place, my relationship to and correction fluid. development of the generation of artists and the things around me, and my perception of He designs shoes too.And the shoeboxes designers that is the focus of the exhibition.
    [Show full text]
  • MEMORIES, MATERS and the MYSTIQUE
    MEMORIES, MATERS and the MYSTIQUE Submitted by VALARIE ROBINSON T.I.T.C. Bed. (LIB), BVA (HONS) STUDENT NO. 14314179 A thesis submitted in partial fulfilment of the MASTER OF VISUAL ART- by RESEARCH SUPERVISORS: NEIL FETTLING STEPHEN TURPIE School of Visual Arts and Design Faculty of Humanities and Social Science La Trobe University Bundoora, Victoria, 3086 Australia APRIL 2011 - 1 - ABSTRACT What was the contribution of the women who pioneered Mildura? The contribution and the endowment made by female pioneers to Mildura, is rarely recorded or acknowledged in historical documents and newspapers locally. Through reading about pioneer women in Australia, novels written between the 1880’s and 1920 and the role of women in history and prehistory, I researched why women, not just the pioneers, have become almost invisible in written records. The laws of the land and the customs of the Christian Church perpetuated the myth that women were the weaker sex and doomed them to life in the background supporting the hero, the masculine1. Male dominated perspective of feminine crafts such as embroidery and the fibre arts contributed to their exclusion from the mainstream of art and their rejection by art historians.2 With the rise of feminism in the 1890’s and more radically and profoundly in the 1970’s, the acceptance of the value of both women and women’s work, became possible.3 Art made a century ago by males and females confirmed the evidence of biased historical documentation in books and newspapers. However contemporary artists now use a variety of media without specific boundaries to express their concepts, emotions, criticisms on life.
    [Show full text]
  • Omega Auctions Ltd Catalogue 28 Apr 2020
    Omega Auctions Ltd Catalogue 28 Apr 2020 1 REGA PLANAR 3 TURNTABLE. A Rega Planar 3 8 ASSORTED INDIE/PUNK MEMORABILIA. turntable with Pro-Ject Phono box. £200.00 - Approximately 140 items to include: a Morrissey £300.00 Suedehead cassette tape (TCPOP 1618), a ticket 2 TECHNICS. Five items to include a Technics for Joe Strummer & Mescaleros at M.E.N. in Graphic Equalizer SH-8038, a Technics Stereo 2000, The Beta Band The Three E.P.'s set of 3 Cassette Deck RS-BX707, a Technics CD Player symbol window stickers, Lou Reed Fan Club SL-PG500A CD Player, a Columbia phonograph promotional sticker, Rock 'N' Roll Comics: R.E.M., player and a Sharp CP-304 speaker. £50.00 - Freak Brothers comic, a Mercenary Skank 1982 £80.00 A4 poster, a set of Kevin Cummins Archive 1: Liverpool postcards, some promo photographs to 3 ROKSAN XERXES TURNTABLE. A Roksan include: The Wedding Present, Teenage Fanclub, Xerxes turntable with Artemis tonearm. Includes The Grids, Flaming Lips, Lemonheads, all composite parts as issued, in original Therapy?The Wildhearts, The Playn Jayn, Ween, packaging and box. £500.00 - £800.00 72 repro Stone Roses/Inspiral Carpets 4 TECHNICS SU-8099K. A Technics Stereo photographs, a Global Underground promo pack Integrated Amplifier with cables. From the (luggage tag, sweets, soap, keyring bottle opener collection of former 10CC manager and music etc.), a Michael Jackson standee, a Universal industry veteran Ric Dixon - this is possibly a Studios Bates Motel promo shower cap, a prototype or one off model, with no information on Radiohead 'Meeting People Is Easy 10 Min Clip this specific serial number available.
    [Show full text]
  • The Electric Mirror: Reflecting on Video Art in the 1970S
    Robyn Farrell The Electric Mirror: Reflecting on Video Art in the 1970s In 1978, artist and filmmaker Lynn to say that television was the sole The desire to experiment with the Hershman Leeson wrote that, “Much antecedent of video art, but rather electronic and visual capabilities of the urgency and inspiration of art a critical relative to the developing of television dates back to 1963 video emanates from various types of medium. Representing the first with Nam June Paik’s first televisual commercial television broadcasting.”1 generation that grew up with television, manipulation in The Exposition of Included in Gregory Battock’s the artists included in this program Electronic Music-Electronic Television critical anthology, New Artists Video, were keenly aware of a viewer’s social at Galerie Parnass in Wuppertal, West Hershman Leeson’s essay “Reflections and psychological experience while Germany. Paik’s motivation to utilize on the Electric Mirror” identified TV watching TV. Their collective works the monitor and screen as a means genres that influenced video artists, encompass the interests of this “TV to assault the image provided the and declared video as “a manifestation generation,” and at the same time, the aesthetic framework for practitioners of contemporary art.”2 She went on post-war, post-pop proclivities of a in the following decade. Works in to describe video as “the extracted changing art landscape that ranged this program operate in this vein, film of television,” and pointed to the from minimal representation and illustrating how one could change a relations between the nascent medium captured action, to technophilic inquiry viewer’s perception through video and television as inextricably linked, and appropriation.
    [Show full text]
  • S a N F R a N C I S C O a R T S Q U a R T E R L Y I S S U E
    SFAQ free Tom Marioni Betti-Sue Hertz, YBCA Jamie Alexander, Park Life Wattis Institute - Yerba Buena Center for the Arts - Berkeley Art Museum/Pacific Film Archive - Tom Marioni - Gallery 16 - Park Life - Collectors Corner: Dr. Robert H. Shimshak, Rimma Boshernitsan, Jessica Silverman, Charles Linder - Recology Artist in Residence Program - SF Sunset Report Part 1 - BOOOOOOOM.com - Flop Box Zine Reviews - February, March, April 2011 Event Calendar- Artist Resource Guide - Bay Area, Los Angeles, New York, Portand, Seattle, Vancouver Space Listings - West Coast Residency Listings SAN FRANCISCO ARTS QUARTERLY ISSUE.4 -PULHY[PUZ[HSSH[PVU +LSP]LY`WHJRPUNHUKJYH[PUN :LJ\YLJSPTH[LJVU[YVSSLKZ[VYHNL +VTLZ[PJHUKPU[LYUH[PVUHSZOPWWPUNZLY]PJLZ *VSSLJ[PVUZTHUHNLTLU[ connect art international (T) ^^^JVUULJ[HY[PU[SJVT *VU]LUPLU[:HU-YHUJPZJVSVJH[PVUZLY]PUN5VY[OLYU*HSPMVYUPH JVSSLJ[VYZNHSSLYPLZT\ZL\TZKLZPNULYZJVYWVYH[PVUZHUKHY[PZ[Z 3IGNUPFOROURE NEWSLETTERATWWWFLAXARTCOM ,IKEUSON&ACEBOOK &OLLOWUSON4WITTER 3IGNUPFOROURE NEWSLETTERATWWWFLAXARTCOM ,IKEUSON&ACEBOOK &OLLOWUSON4WITTER 1B copy.pdf 1 1/7/11 9:18 PM 3IGNUPFOROURE NEWSLETTERATWWWFLAXARTCOM ,IKEUSON&ACEBOOK &OLLOWUSON4WITTER C M Y CM MY CY CMY K JANUARY 21-FEBRUARY 28 AMY ELLINGSON, SHAUN O’DELL, INEZ STORER, STEFAN KIRKEBY. MARCH 4-APRIL 30 DEBORAH OROPALLO MAY 6-JUNE 30 TUCKER NICHOLS SoFF_SFAQ:Layout 1 12/21/10 7:03 PM Page 1 Anno Domini Gallery Art Ark Art Glass Center of San Jose Higher Fire Clayspace & Gallery KALEID Gallery MACLA/Movimiento de Arte y Cultura Latino Americana Phantom Galleries San Jose Jazz Society at Eulipia San Jose Museum of Quilts & Textiles SLG Art Boutiki & Gallery WORKS San José Caffé Trieste Dowtown Yoga Shala Good Karma Cafe METRO Photo Exhibit Psycho Donuts South First Billiards & Lounge 7pm - 11pm free & open to the public! Visit www.SouthFirstFridays.com for full schedule.
    [Show full text]
  • Against Rigour in Art a Review of Landscape: the Virtual, the Actual, the Possible? Yerba Buena Center for the Arts, San Francisco October 24, 2014–January 25, 2015
    Brian Karl Against Rigour in Art A Review of Landscape: the virtual, the actual, the possible? Yerba Buena Center for the Arts, San Francisco October 24, 2014–January 25, 2015 “A lady visited Matisse in his studio. Inspecting one of his latest works, she unwisely said, ‘But surely the arm of this woman is much too long.’ ‘Madame,’ the artist politely replied, ‘You are mistaken. This is not a woman, this is a picture.’” –Stelarc, “Prosthetic Head: Intelligence, Awareness and Agency,” interview with the Prosthetic Head, an artificial linguistic entity1 n the paragraph-long story “On Rigor in Science,” Jorge Luis Borges takes up a conceit from Lewis Carroll’s fnal novel, Sylvie and Bruno, Ifrst published in 1889: The proposal to expand the scale of map- making to align one-to-one to the areas that each map is meant to represent. In Carroll’s telling, some closer-to-the-earth farmers scuttle the project when they point out how such a map would kill all crops by blocking out the sun. In Borges’s telling, however, the fanciful notion went forward as the ne plus ultra or ad absurdum of representation, only to be abandoned after completion, left to decay through exposure, open to the elements by those next generations “not so fond of the study of Cartography” and who realized that the all-encompassing maps were “Useless” and “not without some Pitilessness.”2 The exhibition Landscape: the virtual, the actual, the possible? at Yerba Buena Center for the Arts, San Francisco, featured work by a group of twenty-one artists working in a broad assortment of approaches and media and engaging with different thematics of representation, hovering around a focus—or, rather, foci—on different ideas of landscape, nature, and environment.
    [Show full text]
  • Department of Film and Video Archive
    Department of Film and Video archive, Title Department of Film and Video archive (fv001) Dates 1907-2009 [bulk 1970-2003] Creator Summary Quantity 200 linear feet of graphic material and textual records Restrictions on Access Language English Kate Barbera PDF Created January 20, 2016 Department of Film and Video archive, Page 2 of 65 Carnegie Museum of Art (CMOA) established the Film Section (subsequently, the Section of Film and Video and the Department of Film and Video) in 1970, making it one of the first museum-based film departments in the country. As part of the first wave of museums to celebrate moving image work, CMOA played a central role in legitimizing film as an art form, leading a movement that would eventually result in the integration of moving image artworks in museum collections worldwide. The department's active roster of programmingÐfeaturing historical screenings, director's retrospectives, and monthly appearances by experimental filmmakers from around the worldÐwas a leading factor in Pittsburgh's emergence in the 1970s as ªone of the most vibrant and exciting places in America for exploring cinema.º (Robert A. Haller, Crossroads: Avant-garde Film in Pittsburgh in the 1970s, 2005). The museum also served as a galvanizing force in the burgeoning field by increasing visibility and promoting the professionalization of moving image art through its publication of Film and Video Makers Travel Sheet (a monthly newsletter distributed to 2,000 subscribers worldwide) and the Film and Video Makers Directory (a listing of those involved in film and video production and exhibition) and by paying substantial honoraria to visiting filmmakers.
    [Show full text]
  • This Book Is a Compendium of New Wave Posters. It Is Organized Around the Designers (At Last!)
    “This book is a compendium of new wave posters. It is organized around the designers (at last!). It emphasizes the key contribution of Eastern Europe as well as Western Europe, and beyond. And it is a very timely volume, assembled with R|A|P’s usual flair, style and understanding.” –CHRISTOPHER FRAYLING, FROM THE INTRODUCTION 2 artbook.com French New Wave A Revolution in Design Edited by Tony Nourmand. Introduction by Christopher Frayling. The French New Wave of the 1950s and 1960s is one of the most important movements in the history of film. Its fresh energy and vision changed the cinematic landscape, and its style has had a seminal impact on pop culture. The poster artists tasked with selling these Nouvelle Vague films to the masses—in France and internationally—helped to create this style, and in so doing found themselves at the forefront of a revolution in art, graphic design and photography. French New Wave: A Revolution in Design celebrates explosive and groundbreaking poster art that accompanied French New Wave films like The 400 Blows (1959), Jules and Jim (1962) and The Umbrellas of Cherbourg (1964). Featuring posters from over 20 countries, the imagery is accompanied by biographies on more than 100 artists, photographers and designers involved—the first time many of those responsible for promoting and portraying this movement have been properly recognized. This publication spotlights the poster designers who worked alongside directors, cinematographers and actors to define the look of the French New Wave. Artists presented in this volume include Jean-Michel Folon, Boris Grinsson, Waldemar Świerzy, Christian Broutin, Tomasz Rumiński, Hans Hillman, Georges Allard, René Ferracci, Bruno Rehak, Zdeněk Ziegler, Miroslav Vystrcil, Peter Strausfeld, Maciej Hibner, Andrzej Krajewski, Maciej Zbikowski, Josef Vylet’al, Sandro Simeoni, Averardo Ciriello, Marcello Colizzi and many more.
    [Show full text]
  • Historical Painting Techniques, Materials, and Studio Practice
    Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A.
    [Show full text]
  • University of Montana Commencement Program, 1990
    University of Montana ScholarWorks at University of Montana University of Montana Commencement Programs, 1898-2020 Office of the Registrar 6-9-1990 University of Montana Commencement Program, 1990 University of Montana (Missoula, Mont. : 1965-1994). Office of the Registrar Follow this and additional works at: https://scholarworks.umt.edu/um_commencement_programs Let us know how access to this document benefits ou.y Recommended Citation University of Montana (Missoula, Mont. : 1965-1994). Office of the Registrar, "University of Montana Commencement Program, 1990" (1990). University of Montana Commencement Programs, 1898-2020. 93. https://scholarworks.umt.edu/um_commencement_programs/93 This Program is brought to you for free and open access by the Office of the Registrar at ScholarWorks at University of Montana. It has been accepted for inclusion in University of Montana Commencement Programs, 1898-2020 by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. NINETY-THIRD ANNUAL COMMENCEMENT UNIVERSITY OF MONTANA MISSOULA SATURDAY, JUNE THE NINTH NINETEEN HUNDRED AND NINETY HARRY ADAMS FIELDHOUSE DAHLBERG ARENA HEAD MARSHAL Frank W. Clark Professor of Social Work MARSHALS Paul E. Miller R. Keith Osterheld Professor of Sociology Professor of Chemistry The carillon concert has been made possible by the generous contributions from the Coffee Memorial Fund, Mrs. Hugh Galusha, Jr., William Gallagher, the First Bank Western Montana—Missoula and other donations through the UM Foundation to restore the carillon. The concerts before and after the exercises will be per­ formed by Dr. John Ellis, University Carillonneur and Hooi-Theng Loo. ORDER OF EXERCISES PROCESSIONAL Brass Ensemble Dustin Molyneaux, trumpet Jason Barkley, horn James Hanson, trumpet James Ramsey, trombone Andrew Goodrich, trumpet Shawn D.
    [Show full text]
  • Alexander Nagel Some Discoveries of 1492
    The Seventeenth Gerson Lecture held in memory of Horst Gerson (1907-1978) in the aula of the University of Groningen on the 14th of November 2013 Alexander Nagel Some discoveries of 1492: Eastern antiquities and Renaissance Europe Groningen The Gerson Lectures Foundation 2013 Some discoveries of 1492: Eastern antiquities and Renaissance Europe Before you is a painting by Andrea Mantegna in an unusual medium, distemper on linen, a technique he used for a few of his smaller devotional paintings (fig. 1). Mantegna mixed ground minerals with animal glue, the kind used to size or seal a canvas, and applied the colors to a piece of fine linen prepared with only a very light coat of gesso. Distemper remains water soluble after drying, which allows the painter greater flexibility in blending new paint into existing paint than is afforded by the egg tempera technique. In lesser hands, such opportunities can produce muddy results, but Mantegna used it to produce passages of extraordinarily fine modeling, for example in the flesh of the Virgin’s face and in the turbans of wound cloth worn by her and two of the Magi. Another advantage of the technique is that it produces luminous colors with a matte finish, making forms legible and brilliant, without glare, even in low light. This work’s surface was left exposed, dirtying it, and in an effort to heighten the colors early restorers applied varnish—a bad idea, since unlike oil and egg tempera distem- per absorbs varnish, leaving the paint stained and darkened.1 Try to imagine it in its original brilliant colors, subtly modeled throughout and enamel smooth, inviting us to 1 Andrea Mantegna approach close, like the Magi.
    [Show full text]
  • Energy That Is All Around
    Contact: Laurie Duke [email protected] or 212/998-6782 ENERGY THAT IS ALL AROUND Mission School: Chris Johanson, Margaret Kilgallen, Alicia McCarthy, Barry McGee, Ruby Neri Early 1990s works on view at NYU’s Grey Art Gallery April 15–July 12, 2014 New York City (February 28, 2014)—Presenting more than 125 works by five artists who launched their careers in a gritty San Francisco neighborhood in the early 1990s, ENERGY THAT IS ALL AROUND/Mission School is the first East Coast museum exhibition to highlight these artworks that have achieved cult-like status in the Bay Area and beyond. Most are never-before- seen early pieces from the artists’ own collections. On view at New York University’s Grey Art Gallery from April 15 to July 12, the show was curated by Natasha Boas and organized by the San Francisco Art Institute (SFAI), where Alicia McCarthy, Barry McGee, and Ruby Neri were students, and where they hung out with Margaret Kilgallen and Chris Johanson. ENERGY THAT IS ALL AROUND features paintings, drawings, sculptures, and installations (including a number of the artists’ classic “cluster” pieces) alongside more recent works created especially for this exhibition. Also included is an extensive selection of ephemera, such as sketches, letters, journals, scrapbooks, and cut-outs. Johanson, Kilgallen, McCarthy, McGee, and Neri came into their own as young visual artists in San Francisco’s Mission District at a time when affordable housing and studio space was still available for those bucking the mainstream. The early 1990s also heralded a Bay Area dot-com boom, which brought an influx of young professionals, upscale shops, chic restaurants, and eviction threats to the Mission District, then a more diverse neighborhood offering cheap rent and food.
    [Show full text]