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Betty Parsons Heated Sky Alexander Gray Associates Gray Alexander Betty Parsons: Heated Sky February 26 – April 4, 2020
Betty Parsons Sky Heated Betty Parsons: Heated Sky Alexander Gray Associates Betty Parsons: Heated Sky February 26 – April 4, 2020 Alexander Gray Associates Betty Parsons in her Southold, Long Island, NY studio, Spring 1980 2 3 Betty Parsons in her Southold, Long Island, NY studio, 1971 5 Introduction By Rachel Vorsanger Collection and Research Manager Betty Parsons and William P. Rayner Foundation Betty Parsons’ boundless energy manifested itself not only in her various forms of artistic expression—paintings of all sizes, travel journals, and her eponymous gallery— but in her generosity of spirit. Nearly four decades after Parsons’ death, her family, friends, and former colleagues reinforce this character trait in conversations and interviews I have conducted, in order to better understand the spirit behind her vibrant and impassioned works. Betty, as I have been told was her preferred way to be addressed, was a woman of many actions despite her reticent nature. She took younger family members under her wing, introducing them to major players in New York’s mid-century art world and showing them the merits of a career in the arts. As a colleague and mentor, she encouraged the artistic practice of gallery assistants and interns. As a friend, she was a constant source of inspiration, often appearing as the subject of portraits and photographs. Perhaps her most deliberate act of generosity was the one that would extend beyond her lifetime. As part of her will, she established the Betty Parsons Foundation in order to support emerging artists from all backgrounds, and to support ocean life. After her nephew Billy Rayner’s death in 2018, the Foundation was further bolstered to advance her mission. -
SYLVIA SLEIGH Born 1916, Wales Deceased 2010, New York City
SYLVIA SLEIGH Born 1916, Wales Deceased 2010, New York City Education Depuis 1788 Brighton School of Art, Sussex, England Freymond-Guth Fine Arts Riehenstrasse 90 B CH 4058 Basel T +41 (0)61 501 9020 offi[email protected] www.freymondguth.com Selected Exhibitions & Projects („s“ = Solo Exhibition) 2017 Whitney Museum for American Art, New York, USA Mostyn, Llundadno, Wales, UK (s) Reflections on the surface, Freymond-Guth Fine Arts, Basel, CH 2016 MUMOK Museum Moderner Kunst Stiftung Ludwig Wien, Vienna, AUT Museum Brandhorst, Munich, DE 2015 The Crystal Palace, Sylvia Sleigh I Yorgos Sapountzis, Freymond-Guth Fine Arts, Zurich, CH Sadie Coles HQ, London, UK 2014 Shit and Die, Palazzo Cavour, cur. Maurizio Cattelan, Turin, IT Praxis, Wayne State University‘s Elaine L. Jacob Gallery, Detroit, USA Frieze New York, with Freymond-Guth Fine Arts, New York, NY Le salon particulier, Freymond-Guth Fine Arts, Zurich, CH (s) 2013 / 14 Sylvia Sleigh, CAPC Musée d‘Art Contemporain de Bordeaux Bordeaux, FR (s) Tate Liverpool, UK, (s) CAC Centro Andaluz de Arte Contemporanea Sevilla, ES (s) 2013 The Weak Sex / Das schwache Geschlecht, Kunstmuseum Bern, Bern, CH 2012 Sylvia Sleigh, cur. Mats Stjernstedt, Giovanni Carmine, Alexis Vaillant in collaboration w Francesco Manacorda and Katya Garcia-Anton, Kunstnernes Hus Oslo, NOR (s) Kunst Halle St. Gallen, CH (s) Physical! Physical!, Freymond-Guth Fine Arts, Zurich, CH 2011 Art 42 Basel: Art Feature (with Freymond-Guth Fine Arts, Zurich), Basel CH (s) The Secret Garden, Freymond-Guth Fine Arts, Zurich, CH Anyone can do anything? genius without talents, cur. Ann Demeester, De Appel, Amsterdam, NL 2010 Working at home, Freymond-Guth Fine Arts, Zurich, CH (s) The Comfort of Strangers, curated by Cecila Alemani, PS1 Contemporary Art Cen ter, New York, NY 2009 I-20 Gallery, New York, NY (s) Wiser Than God, curated by Adrian Dannatt, BLT Gallery, New York, NY The Three Fs: form, fashion, fate, curated by Megan Sullivan, Freymond-Guth Fine Arts, Zurich, CH Ingres and the Moderns, Musée national des Beaux-Arts, Quebec. -
LAWRENCE ALLOWAY Pedagogy, Practice, and the Recognition of Audience, 1948-1959
LAWRENCE ALLOWAY Pedagogy, Practice, and the Recognition of Audience, 1948-1959 In the annals of art history, and within canonical accounts of the Independent Group (IG), Lawrence Alloway's importance as a writer and art critic is generally attributed to two achievements: his role in identifying the emergence of pop art and his conceptualization of and advocacy for cultural pluralism under the banner of a "popular-art-fine-art continuum:' While the phrase "cultural continuum" first appeared in print in 1955 in an article by Alloway's close friend and collaborator the artist John McHale, Alloway himself had introduced it the year before during a lecture called "The Human Image" in one of the IG's sessions titled ''.Aesthetic Problems of Contemporary Art:' 1 Using Francis Bacon's synthesis of imagery from both fine art and pop art (by which Alloway meant popular culture) sources as evidence that a "fine art-popular art continuum now eXists;' Alloway continued to develop and refine his thinking about the nature and condition of this continuum in three subsequent teXts: "The Arts and the Mass Media" (1958), "The Long Front of Culture" (1959), and "Notes on Abstract Art and the Mass Media" (1960). In 1957, in a professionally early and strikingly confident account of his own aesthetic interests and motivations, Alloway highlighted two particular factors that led to the overlapping of his "consumption of popular art (industrialized, mass produced)" with his "consumption of fine art (unique, luXurious):' 3 First, for people of his generation who grew up interested in the visual arts, popular forms of mass media (newspapers, magazines, cinema, television) were part of everyday living rather than something eXceptional. -
Art: the Future Is Comics Gabriel Galway
Art: The Future is Comics Gabriel Galway Art: The Future is Comics My second year project in college was to create a graphic novel about my life. In earlier discussions with my tutors I was trying to convince them that comics are an art form. They were not convinced and could not understand such a concept and disagreed. I was advised to try and explore a different avenue. However, in later discussions I told my tutors that “each panel would be an individual painting or piece of art in itself, and that the “graphic novel” would be “the gallery space”.” They agreed that this could be art but perhaps only under these conditions. Comics are a form of high art. The Last Supper, Leonardo Da Vinci, 1495–1498 Art: The Future is Comics Gabriel Galway Arkham Asylum: a serious house on serious earth, Grant Morrison & Dave McKean, 1989 To paraphrase Joseph Campbell: true Art should stop you, not move you. There is no reason why the image above from Grant Morrison and Dave McKean’s “Arkham Asylum” should not be considered a form of fine art like Leonardo Divinci’s “Last Supper”. “Comics”, have developed a bad reputation of being considered cheap and trashy books made to be sold to kids in order to make money. Perhaps they once were; bad stories, with terrible illustrations printed on cheap newsprint. Because of this fact that defines comics so narrowly we fail to understand their true potential. Comics have come a long way and have proven their potential to be considered a form of fine art. -
Inside an Unquiet Mind Essays on the Critic and Curator Lawrence Alloway Give a Minor Figure Too Much Credit by Pac Pobric | 19 June 2015 | the Art Newspaper
Inside an unquiet mind Essays on the critic and curator Lawrence Alloway give a minor figure too much credit by Pac Pobric | 19 June 2015 | The Art Newspaper Lawrence Alloway, then a curator at the Solomon R. Guggenheim Museum in New York, speaks at Oberlin College, Ohio, in 1965. Courtesy: Getty Research Institute, Los Angeles. Of all the minor figures in the history of art criticism, perhaps none is as deserving of his footnote in the annals as the British writer and curator Lawrence Alloway (1926-90). Although he is best known for supposedly coining the term “Pop art” (in fact, no one knows where the phrase originated), Alloway is more important for the small role he played in ushering in the criticism that plagues us today: the type so obsessed with the noise of the art world that it forgets the work entirely. In Alloway’s mind, works of art were “historical documents”, as he put it in 1964— relics, that is, to be unearthed and decoded by the critic as anthropologist. As the art historian Jennifer Mundy explains in an essay in Lawrence Alloway: Critic and Curator, which looks at his work in comprehensive detail, he called for “a criticism that provided objective descriptions of works and forensic analyses of cultural contexts”. For Alloway, art was an indicator of a system. Beyond that, it was irrelevant. Today, it is Alloway who is irrelevant, and the nine art historians who have contributed to this book (edited by Lucy Bradnock, Courtney Martin and Rebecca Peabody) are far too generous to a man whose ideas were largely stillborn. -
Lawrence Alloway's Spatial Utopia: Contemporary Photography As 'Horizontal Description'
Tate Papers Issue 16 Autumn 2011 ISSN 1753-9854 TATE’S ONLINE RESEARCH JOURNAL Lawrence Alloway’s Spatial Utopia: Contemporary Photography as ‘Horizontal Description’ SHELLEY RICE ‘Acknowledgement is no longer sought in time, but in space: Globalization has replaced the future as the site of Utopia .’ Boris Groys 1 ‘Can the art of the twentieth century usefully be treated geographically?’ Lawrence Alloway asked in a little-known article entitled ‘Whatever Happened to the Frontier?’ originally published in the Minneapolis Institute of Arts Bulletin .2 ‘When town mouse and country mouse receive day to day, month to month information at the same rate, it is impossible to maintain the former etiquette of priority – center and periphery lose their distinctive character’. This may sound like the words of someone writing about the ‘postcolonial constellation’ (a term coined by the curator and writer Okwui Enwezor in 2003 to describe how racial and national identities have diversified in the era of globalisation), 3 but the essay was in fact published in 1963, and focused on one of Alloway’s favourite ideas: the mobility of art. For Alloway, the mobility of art was not only spatial; it was temporal and social as well. It was about an object’s or image’s ability to move through time and space whether literally or virtually, to reconstitute its meanings within different cultural environments and with people of diverse backgrounds. Cultural difference, however, was less intensely interesting to him than the potential of myriad cultural interfaces. An Fig.1 object anchored in its Benjaminian aura of Sylvia Sleigh Alloway tradition might simultaneously travel by Portrait of Lawrence Alloway 1965 photographic reproduction to be re- Oil paint on canvas contextualised and re-interpreted 61 x 50.8 cm elsewhere by others. -
“Just What Was It That Made U.S. Art So Different, So Appealing?”
“JUST WHAT WAS IT THAT MADE U.S. ART SO DIFFERENT, SO APPEALING?”: CASE STUDIES OF THE CRITICAL RECEPTION OF AMERICAN AVANT-GARDE PAINTING IN LONDON, 1950-1964 by FRANK G. SPICER III Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Adviser: Dr. Ellen G. Landau Department of Art History and Art CASE WESTERN RESERVE UNIVERSITY May, 2009 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of Frank G. Spicer III ______________________________________________________ Doctor of Philosophy candidate for the ________________________________degree *. Dr. Ellen G. Landau (signed)_______________________________________________ (chair of the committee) ________________________________________________Dr. Anne Helmreich Dr. Henry Adams ________________________________________________ Dr. Kurt Koenigsberger ________________________________________________ ________________________________________________ ________________________________________________ December 18, 2008 (date) _______________________ *We also certify that written approval has been obtained for any proprietary material contained therein. Table of Contents List of Figures 2 Acknowledgements 7 Abstract 12 Introduction 14 Chapter I. Historiography of Secondary Literature 23 II. The London Milieu 49 III. The Early Period: 1946/1950-55 73 IV. The Middle Period: 1956-59: Part 1, The Tate 94 V. The Middle Period: 1956-59: Part 2 127 VI. The Later Period: 1960-1962 171 VII. The Later Period: 1963-64: Part 1 213 VIII. The Later Period: 1963-64: Part 2 250 Concluding Remarks 286 Figures 299 Bibliography 384 1 List of Figures Fig. 1 Richard Hamilton Just What Is It That Makes Today’s Homes So Different, So Appealing? (1956) Fig. 2 Modern Art in the United States Catalogue Cover Fig. 3 The New American Painting Catalogue Cover Fig. -
Painterly Representation in New York: 1945-1975
PAINTERLY REPRESENTATION IN NEW YORK, 1945-1975 by JENNIFER SACHS SAMET 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 JENNIFER SACHS SAMET 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. Date Dr. Patricia Mainardi Chair of the Examining Committee Date Dr. Patricia Mainardi Acting Executive Officer Dr. Katherine Manthorne Dr. Rose-Carol Washton Long Ms. Martica Sawin Supervision Committee THE CITY UNIVERSITY OF NEW YORK iii Abstract PAINTERLY REPRESENTATION IN NEW YORK, 1945-1975 by JENNIFER SACHS SAMET Advisor: Professor Patricia Mainardi Although the myth persists that figurative painting in New York did not exist after the age of Abstract Expressionism, many artists in fact worked with a painterly, representational vocabulary during this period and throughout the 1960s and 1970s. This dissertation is the first survey of a group of painters working in this mode, all born around the 1920s and living in New York. Several, though not all, were students of Hans Hofmann; most knew one another; some were close friends or colleagues as art teachers. I highlight nine artists: Rosemarie Beck (1923-2003), Leland Bell (1922-1991), Nell Blaine (1922-1996), Robert De Niro (1922-1993), Paul Georges (1923-2002), Albert Kresch (b. 1922), Mercedes Matter (1913-2001), Louisa Matthiasdottir (1917-2000), and Paul Resika (b. 1928). This group of artists has been marginalized in standard art historical surveys and accounts of the period. -
Sylvia Sleigh Biografia
Sylvia Sleigh. Biography Born in the Victorian sea-side resort of Llandudno, Wales in 1916, Sylvia Sleigh grew up in England during the grim years of the two world wars and the ensuing rationing of food, clothes and culture. She studied in the Brighton School of Art in Sussex, England, between 1934 and 1937. Here she remembers being outraged by the double standards that allowed female nudes but not male ones in the life drawing classes. In 1941 she married Michael Greenwood, a local painter and art history lecturer, and friend of British Pop artist Richard Hamilton. They moved to London, and remained together for thirteen years. However, during this time they often lived apart – Sleigh in the village of Pett, Sussex, and Greenwood in London. Her relationship with Greenwood and the proximity to the art world encouraged Sleigh to pursue painting professionally; yet it was her husband’s active undermining of her confidence as a painter, which brought it to an abrupt end. Sleigh stopped painting and became a seamstress and dressmaker, eventually opening her own shop in Brighton. Her love of fashion, textiles and patterning remained thereon - indeed, she kept many of the dresses made during her entire life-time. It was only when the relationship with her husband became estranged that Sleigh re- initiated her artistic practice, attending art history night-classes at the University of London. It was here, in 1944, when Sleigh was twenty-seven, that she met critic Lawrence Alloway, seventeen at the time. This encounter marked the beginning of an intense relationship, both intellectual and emotional. -
Alloway and Mail
Moonie S. A Poet of "non-ressentiment"? Lawrence Alloway, Ray Johnson and the Artworld as a Network. Getty Research Journal 2016, 8, 161-176. Copyright: ©This is the authors’ accepted manuscript of an article that was first published in its final definitive form by Getty Research Journal, 2016. DOI link to article: http://dx.doi.org/10.1086/685921 Date deposited: 06/05/2016 Embargo release date: 01 February 2017 This work is licensed under a Creative Commons Attribution-NonCommercial 3.0 Unported License Newcastle University ePrints - eprint.ncl.ac.uk 1 “A Poet of ‘non-ressentiment?’ Lawrence Alloway, Ray Johnson, and the Artworld as a Network” Stephen Moonie [email protected] Abstract: Drawing upon material from the Lawrence Alloway Papers and the Dick Higgins Papers in the GRI, this paper considers Ray Johnson’s mail art in relation to British critic Lawrence Alloway. Johnson’s practice mirrored several aspects of Alloway’s analysis of the artworld as a network. However, Alloway harboured reservations about the system’s complicities, while Johnson’s recalcitrant behaviour, allied to the deceptively playful surfaces of his work, betray a strongly ambivalent attitude. These latent anxieties and antagonisms suggest the complexities of communication and social interaction which subtended the expanded post-war artworld. 2 A Poet of ‘non-ressentiment’? Lawrence Alloway, Ray Johnson and the Artworld as a Network The Special Collections at the Getty Research Institute contain a small but revealing portion of the correspondence between the British critic Lawrence Alloway and the mail artist Ray Johnson. These items mainly comprise of postcards, letters and collages mailed to Alloway and his wife, Sylvia Sleigh. -
9780816644629.Pdf
COLLECTIVISM AFTER ▲ MODERNISM This page intentionally left blank COLLECTIVISM ▲ AFTER MODERNISM The Art of Social Imagination after 1945 BLAKE STIMSON & GREGORY SHOLETTE EDITORS UNIVERSITY OF MINNESOTA PRESS MINNEAPOLIS • LONDON “Calling Collectives,” a letter to the editor from Gregory Sholette, appeared in Artforum 41, no. 10 (Summer 2004). Reprinted with permission of Artforum and the author. An earlier version of the introduction “Periodizing Collectivism,” by Blake Stimson and Gregory Sholette, appeared in Third Text 18 (November 2004): 573–83. Used with permission. Copyright 2007 by the Regents of the University of Minnesota All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. Published by the University of Minnesota Press 111 Third Avenue South, Suite 290 Minneapolis, MN 55401-2520 http://www.upress.umn.edu Library of Congress Cataloging-in-Publication Data Collectivism after modernism : the art of social imagination after 1945 / Blake Stimson and Gregory Sholette, editors. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-8166-4461-2 (hc : alk. paper) ISBN-10: 0-8166-4461-6 (hc : alk. paper) ISBN-13: 978-0-8166-4462-9 (pb : alk. paper) ISBN-10: 0-8166-4462-4 (pb : alk. paper) 1. Arts, Modern—20th century—Philosophy. 2. Collectivism—History—20th century. 3. Art and society—History—20th century. I. Stimson, Blake. II. Sholette, Gregory. NX456.C58 2007 709.04'5—dc22 2006037606 Printed in the United States of America on acid-free paper The University of Minnesota is an equal-opportunity educator and employer. -
Creativity As Concept DISSERTATION Presented in Partial Fulfillment Of
Creativity As Concept DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Michael Scott Kellner Graduate Program in Arts Administration, Education, and Policy The Ohio State University 2014 Dissertation Committee: Sydney Walker, Advisor Philip Armstrong Michael Mercil Jack Richardson Copyright by Michael Scott Kellner 2014 Abstract The problem this dissertation addresses is the over-determined understanding of creativity in contemporary Western culture. I argue that popularized scientific understandings of creativity limit both the historical understanding of the term, as well as its potential. This dissertation utilizes a methodology that draws from the work of the philosopher Gilles Deleuze and the psychoanalyst Felix Guattari. The duo, working in conjunction with one another, develops an understanding of a philosophical “concept.” According to the authors, a “concept” is encyclopedic and multidimensional; when a concept becomes “commercial professionalized training” it is robbed of its encyclopedic form. Therefore, by employing the concept as a methodology that addresses creativity, I work to resist easily definable ideas of creativity; in other words, the task of the concept is to keep creativity as encyclopedic as possible. This dissertation employs the concept in two ways. First, I present a series of three conceptual arguments utilizing historical understandings of creativity in Western culture. In the first conceptual argument, creativity requires a structure to make itself manifest; in turn, the results of the creative act often reify this structure. As part of this argument, an individual’s refusal of some dominant ii socio-cultural parameters can create a space where other, previously less visible, socio-cultural parameters are brought to attention.