Pat Lipsky SOLO EXHIBITIONS 2017 Pat Li
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Jackson Pollock & Tony Smith Sculpture
Jackson Pollock & Tony Smith Sculpture An exhibition on the centennial of their births MATTHEW MARKS GALLERY Jackson Pollock & Tony Smith Speculations in Form Eileen Costello In the summer of 1956, Jackson Pollock was in the final descent of a downward spiral. Depression and alcoholism had tormented him for the greater part of his life, but after a period of relative sobriety, he was drinking heavily again. His famously intolerable behavior when drunk had alienated both friends and colleagues, and his marriage to Lee Krasner had begun to deteriorate. Frustrated with Betty Parsons’s intermittent ability to sell his paintings, he had left her in 1952 for Sidney Janis, believing that Janis would prove a better salesperson. Still, he and Krasner continued to struggle financially. His physical health was also beginning to decline. He had recently survived several drunk- driving accidents, and in June of 1954 he broke his ankle while roughhousing with Willem de Kooning. Eight months later, he broke it again. The fracture was painful and left him immobilized for months. In 1947, with the debut of his classic drip-pour paintings, Pollock had changed the direction of Western painting, and he quickly gained international praise and recog- nition. Four years later, critics expressed great disappointment with his black-and-white series, in which he reintroduced figuration. The work he produced in 1953 was thought to be inconsistent and without focus. For some, it appeared that Pollock had reached a point of physical and creative exhaustion. He painted little between 1954 and ’55, and by the summer of ’56 his artistic productivity had virtually ground to a halt. -
JAMES LITTLE FOREWORD the Vanguard Become So Widely Accepted That They Constitute a New Shifting Towards Representation of Any Kind
NEW YORK CEN TRIC Curated by The Art Students League of New York The American Fine Arts Society Gallery 215 West 57th Street, NYC JAMES LITTLE FOREWORD the vanguard become so widely accepted that they constitute a new shifting towards representation of any kind. academy and, in turn, provoke the development of alternatives. In the NEW YORK–CENTRIC: A NON-COMPREHENSIVE OVERVIEW late 1950s, when Abstract Expressionism was increasingly acclaimed The Color Field painters remained faithful to their older predecessors’ by the small art world of the time, and the meaning of authenticity, conviction that abstraction was the only viable language for artists “Too much is expected of Art, that it mean all kinds of things and is of what he called “color-space-logic.” His work for social justice de- the necessity of abstraction, and the function of art as a revelation of their generation and faithful, as well, to the idea that the painter’s the solution to questions no one can answer. Art is much simpler than manded so much of his time that it often prevented him from painting of the unseen were passionately debated in the Cedar Tavern and role was to respond to inner imperatives, not reproduce the visible. that. Its pretentions more modest. Art is a sign, an insignia to cel- (he mainly produced drawings and works on paper in the 1930s) but The Club, so many younger artists who absorbed these values strove Like the Abstract Expressionists, too, the Color Field painters were ebrate the faculty for invention.” it had significant results, such as getting artists classified as workers to emulate Willem de Kooning’s dense, layered paint-handling that convinced that every canvas, no matter how much it resembled noth- eligible for government support—hence the WPA art programs. -
Catalog of the Cook Library Art Gallery Permanent Collection Jan Siesling
The University of Southern Mississippi The Aquila Digital Community Cook Library Art Gallery - Selections from the Cook Library Art Gallery Catalogs University of Southern Mississippi Art Museum 9-1-2011 Catalog of the Cook Library Art Gallery Permanent Collection Jan Siesling Follow this and additional works at: http://aquila.usm.edu/cookartgallery_pubs Recommended Citation Siesling, Jan, "Catalog of the Cook Library Art Gallery Permanent Collection" (2011). Cook Library Art Gallery Catalogs. Paper 1. http://aquila.usm.edu/cookartgallery_pubs/1 This Article is brought to you for free and open access by the Cook Library Art Gallery - Selections from the University of Southern Mississippi Art Museum at The Aquila Digital Community. It has been accepted for inclusion in Cook Library Art Gallery Catalogs by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. COOK LIBRARY ART GALLERY Catalogue written by Jan Siesling September 2011 Walter Inglis Anderson (American, 1903 - 1965) will be remembered as one of the most extraordinary American artists of the twentieth century. He was born in New Orleans in 1903, the second of three sons (Peter, Bob and Mac) to grain broker George Walter Anderson and his wife, Annette McConnell Anderson. Annette, a former student at the Newcomb Art College, made sure that arts and crafts dominated life in the family. In the 1920‟s they moved to Ocean Springs, Mississippi, where they opened the Shearwater Pottery. Walter participated in the ceramics production of his brothers all his life, but his foremost passion was for painting. Well trained at the New York School of Fine and Applied Art and the Pennsylvania Academy of the Fine Arts, he settled in Ocean Springs as a potter and painter. -
Joan Thorne Recent Paintings Falk Art Reference
JOAN THORNE RECENT PAINTINGS FALK ART REFERENCE P.O. Box 833 Madison, Connecticut 06443 Telephone: 203.245.2246 e-mail: [email protected] This monograph is part of a series on American artists. To purchase additional copies of this book, please contact: Peter Hastings Falk at Falk Art Reference. Published 2010 All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without permission in writing from Joan Thorne. Designed by Stinehour Editions and printed in the United States of America by Capital Offset Company. isbn-10 0-932087-64-7 isbn-13 978-0-932087-64-5 Front cover image: Mango, oil on canvas, 66 x 56 JOAN THORNE Recent Paintings November 19 – December 19, 2010 319 Bedford Avenue · Williamsburg · Brooklyn, New York 11211 718-486-8180 Fragments of the Leaf 12 from illuminations I have stretched ropes from steeple to steeple; garlands from window to window; golden chains from star to star, and I dance. – arthur rimbaud The Ghost Picked Me: The Life and Art of Joan Thorne peter hastings falk It’s like the ghost is writing a song like that. It gives you the song and it goes away. You don’t know what it means. Except the ghost picked me to write the song. — Bob Dylan sk joan thorne to describe the creative sources of her imagery, and her reply will reflect annoyance tem- Apered by patience. She defers to Bob Dylan, who, when asked the same question, replied, “The ghost picked me to write the song.” Thorne and Dylan came of age in New York City in the early 1960s. -
Encyklopédia Kresťanského Umenia
Marie Žúborová - Němcová: Encyklopédia kresťanského umenia americká architektúra - pozri chicagská škola, prériová škola, organická architektúra, Queen Anne style v Spojených štátoch, Usonia americká ilustrácia - pozri zlatý vek americkej ilustrácie americká retuš - retuš americká americká ruleta/americké zrnidlo - oceľové ozubené koliesko na zahnutej ose, užívané na zazrnenie plochy kovového štočku; plocha spracovaná do čiarok, pravidelných aj nepravidelných zŕn nedosahuje kvality plochy spracovanej kolískou americká scéna - american scene americké architektky - pozri americkí architekti http://en.wikipedia.org/wiki/Category:American_women_architects americké sklo - secesné výrobky z krištáľového skla od Luisa Comforta Tiffaniho, ktoré silno ovplyvnili európsku sklársku produkciu; vyznačujú sa jemnou farebnou škálou a novými tvarmi americké litografky - pozri americkí litografi http://en.wikipedia.org/wiki/Category:American_women_printmakers A Anne Appleby Dotty Atti Alicia Austin B Peggy Bacon Belle Baranceanu Santa Barraza Jennifer Bartlett Virginia Berresford Camille Billops Isabel Bishop Lee Bontec Kate Borcherding Hilary Brace C Allie máj "AM" Carpenter Mary Cassatt Vija Celminš Irene Chan Amelia R. Coats Susan Crile D Janet Doubí Erickson Dale DeArmond Margaret Dobson E Ronnie Elliott Maria Epes F Frances Foy Juliette mája Fraser Edith Frohock G Wanda Gag Esther Gentle Heslo AMERICKÁ - AMES Strana 1 z 152 Marie Žúborová - Němcová: Encyklopédia kresťanského umenia Charlotte Gilbertson Anne Goldthwaite Blanche Grambs H Ellen Day -
Arabic Gospels in Italy • Wangechi Mutu • Lorena
US $30 The Global Journal of Prints and Ideas November – December 2014 Volume 4, Number 4 Arabic Gospels in Italy • Wangechi Mutu • Lorena Villablanca • Vishnu in the Netherlands • Ukiyo-e Heroes David Hockney • Connecting Seas • Yona Friedman • Ed Ruscha • Gauguin at MoMA • Prix de Print • News November – December 2014 In This Issue Volume 4, Number 4 Editor-in-Chief Susan Tallman 2 Susan Tallman On Globalism Associate Publisher Evelyn Lincoln 4 Julie Bernatz Gospel Lessons: Arabic Printing at the Tipografia Medicea Orientale Managing Editor Dana Johnson Zoe Whitley 11 International Geographic: Wangechi Mutu News Editor on Paper, Print and Printmaking Isabella Kendrick Carlos Navarrete 16 Manuscript Editor Everyday and Popular Imagery Prudence Crowther in the Prints of Lorena Villablanca Online Columnist Robert J. Del Bontà 20 Sarah Kirk Hanley Engraving India in 17th- and 18th-century Europe Design Director Skip Langer Christina Aube 26 Navigating Difference, Connecting Seas Editorial Associate Andrew Saluti 30 Michael Ferut Defenders of the Floating World Editor-at-Large Prix de Print, No. 8 34 Catherine Bindman Faye Hirsch Cartier Window by Stella Ebner Reviews Julia Beaumont-Jones 36 The Rake’s Progress Laurie Hurwitz 40 27 Square Meters, 1001 Nights Faye Hirsch 42 Ruscha’s Course of Empire Calvin Brown 45 Gauguin at MoMA On the Cover: Coenraet Decker, detail of Matsya (1672), copperplate engraving from Jaclyn Jacunski 49 Philippus Baldeaus, Afgoderye der Oost- Past Partisans Indisch heydenen (Pt. III of Naauwkeurige beschryvinge), Amsterdam: J. Janssonius v. John Murphy 50 Collective Brilliance Waasberge & J. v. Someren. Elleree Erdos 52 This Page: Wangechi Mutu, detail of The Proof: Lingen—Melby—Miller Original Nine Daughters (2012), series of nine etching, relief, letterpress, digital printing, News of the Print World 55 collage, pochoir, hand coloring and handmade Contributors 79 carborundum appliques. -
Pat Lipsky's Color Field Paintings from 1969-75
abstract expressionism..." Lipsky was invited to participate in the influential 1970-71 exhibition “Lyrical PAT LIPSKY’S Abstraction” which travelled the country and culminated at New York’s Whitney Museum. The art critic Noel Frackman highlighted Lipsky’s COLOR FIELD PAINTINGS freshness, and exuberance, finding her style “sustained a mood which celebrates the sheer splendor of color. The edges of these shapes lick out like flames and there is an incendiary by Audrey Diamond FROM 1969 - 75 vividness in the impetuous yet directed forms… at Lipsky identifies with the quote, These are mouth-watering paintings.” “Color and I are one, I am a painter.” By the eighties, Lipsky had expanded her P (Paul Klee, 1914 diaries.) Klee was palette to include a wider range of colors— ahead of his time in both his use of color close-value as well as contrasting, now in more and technique and influenced Lipsky’s color delineated forms. “She had begun to explore,” 3. 4th paragraph. 2nd sentence. (She left the little choices in her stain paintings, and later grid as art critic Katherine Crum later wrote, “a boxes in the essay! They are just used for editing when pictures. Gestural abstraction was Lipsky’s pictorial vocabulary in direct challenge to her there is a choice. The sentence should be: prevailing mode in the late sixties when she roots in Lyrical Abstraction.” Lipsky’s paintings were hung and sold in other galleries first arrived on the scene. In the 2000s Lipsky continued redefining around the United States, often exhibited next to Using the stain technique she sponged her image and color, by reincorporating a bold diametrically opposed painters like Helen Frankenthaler acrylic paint onto raw canvas creating a central focalpoint. -
Stain Paintings 1968-1975
STAIN PAINTINGS 1968-1975 24 EAST 78TH STREET, NEW YORK, NEW YORK 10075 (212) 628-9760 | GPCONTEMPORARY.COM 1 The undulating sweeps of red, green, and yellow in Pat Lipsky’s Springs things.⁴ Greenberg proposed a utopia for vision, a realm where the act of seeing Fireplace, 1969, are of course contained by the edges of the canvas. Yet this could achieve purity. painting—over five feet high and nearly nine feet wide—attains a scale far greater than its physical size, for the artist has not merely claimed the surface It is understandable that he was drawn to the high-keyed color in Lipsky’s for her vibrant colors. She has charged it with their expansive energies. In 2009, paintings. And understandable, too, that she appreciated the insights and Lipsky described her method of making this and other “wave paintings.” Having speculations that preceded his judgments on contemporary art. Unconverted thoroughly soaked a blank canvas with water, she would cover it with currents of to his theory about painting’s exclusively visual essence, she never strove for fluid paint. Bringing a painting to completion was a joyous process. “I’d dance, Greenbergian “purity,” which is, in fact, unobtainable. As we engage with the I’d play, I’d rub” with one of the sponges the artist had collected in her studio. paintings Lipsky made in the late 1960s and the ’70s, there is no question of Revision was impossible for these are, as the artist says, “one-shot paintings.”¹ On detaching vision from our other faculties. Our visual responses are powerful a visit to her studio in 1974, the writer Bernard Malamud asked, “Are you aware of in part because they are interwoven with an empathetic sense of the painter’s lighting fires in your paintings?” physical energy and grace. -
N° Author NAME TITLE YEAR 1 Ameriger Mcenery Yohe Esteban
N° Author NAME TITLE YEAR 1 Ameriger McEnery Yohe Esteban Vicente 2013 2 Byzantine Museum of Holy Image, Holy Space Icons and Athens frescoes from Greece 3 Institute of Contemporary Made In Mexico 2004 Art Boston 4 Ameriger McEnery Yohe Wolf Kahn 5 Kirkland Larry Natural Histories 6 Jump Cuts Venezuelan Contemporary Art Coleccion Mercantil 7 Gerzso Editions du Griffon Neuchatel 8 TIYM Publishing Company Cabrera Ruperto 9 Miami Art Museum Triumph of the spirit Carlos Alfonso 10 Ameriger McEnery Yohe Esteban Vicente 2015 11 Ameriger McEnery Yohe Esteban Vicente The Garden Paintings 2011 12 Fundacion Praxis para la Ignacio Iturria Difusion del Arte 13 Grassfield Press Ana Mendieta:A Book of Works 14 MOCA Shinique Smith Menagerie 15 Phoenix Art Museum Tamayo 1968 16 The Solomon R. Rufino Tamayo: Myth and Magic 1979 Guggenheim Museum 17 The Phillips Collection Rufino Tamayo: Fifty Years of his 1978 painting 18 Algaze Mario Recent Work 19 Nohra Haime Gallery Olga de Amaral 2012 20 Dreishpoon Douglas (SCALA) Guillermo Kuitca Everything 21 Guillermo Kuitca Sperone Westwater 2010 22 Snoeck Guillermo Kuitca No Tomorrow 23 Galerie Emmanuel Daniel Arsham Perrotin 24 Baldinger Joa Burning Being in the Truest Sense 25 Paul Kasmin Gallery Navarro Ivan 2014 (Skira Rizzoli) 26 Ameriger McEnery Yohe Esteban Vicente 2016 27 Charta Delson Uchoa 28 Galerie Lelong Emilio Perez 2011 29 Di Puglia Publisher Mario Algaze Portfolio 30 Gian Enzo Sperone Roma Ray Smith 1990 1990 31 Goldwater Robert Rufino Tamayo 32 Gerard Georges Lemaire SOTO (La Différence) 1997 33 Charta Regina Silveira 34 Hirst Damien Relics 35 The Solomon R. -
Susanpos Nochromophobiacatalog
1 2 CARLA AURICH Color is always the starting point in my painting process. The idea of one color and its offspring or the dance between two colors in relationship. My process is intuitive and analytical as I build and scrap and alter hue, value and intensity to arrive at the desired combination. Composition is informed by structures which are built within the picture plane containing and obscuring light and color. This weaving together of interior and exterior space references architecture, building blocks and quilt patterns. The use of the diagonal in these compositions creates a spatial movement upward and inward. My work is rooted in the language of abstraction and pays homage to the early modernist and color field painters. It is the duality of nature and structure, separation and connectedness that I choose to explore in these paintings. Beach House 2008 acrylic on wood panel 30 x 30 3 4 DIANE AYOTT This piece, Lipstick Butch , is part of a series of works I completed in 2006 and 2007. All of these pieces focus on color and space utilizing the accrual of small bits of painterly information. From a distance most viewers respond to the overall shimmer of color but once drawn in for closer inspection, another complex world is revealed to them. An overall structure of closely placed organic shapes is mostly covered by zags of blues and greens. The relentless small circles of lipstick pink are pressed close together with differing degrees of pressure and cover almost the entire surface. The circular elements pulsate in their varying weights, activating the under-parts of the painting. -
Kiki & Seton Smith
Kiki & Seton Smith A Sense of Place Kiki & Seton Smith A Sense of Place A Hometown Tribute Exhibition Presented by The Pierro Foundation and The Walsh Gallery at Seton Hall University October 30 - December 9, 2016 The three Smith sisters: Beatrice, Kiki and Seton Our Sense of Place within, where all her art originates. Judy Wukitsch, President, The Pierro Foundation The Pierro Foundation is pleased to present works of Kiki and Seton Smith The Pierro Foundation was founded to honor my late husband, Lennie in collaboration with The Walsh Gallery at Seton Hall University. Together, Pierro, a passionate, community-spirited artist and professor. Together we we share glimpses of these two distinguished artists’ backgrounds, ideas, co-founded the Pierro Gallery of South Orange in our Village community and significant works, revealing an expansive world of possibilities to our center in 1994. Our original goals for the gallery continue today as the residents and visitors. We hope to inspire all who view this exhibition to form mission for the grass-roots, non-profit Pierro Foundation — make exposure their own stories, and experience their own sense of place. to good art easily accessible to the wide community, offer opportunities for regional artists, and inspire artists and viewers by example. The Foundation’s Self as a Product of Environment first initiative was a dream for Lennie: the installation of Tau, a sculpture by Jeanne Brasile, Director, Walsh Gallery at Seton Hall University our third generation South Orange resident, Tony Smith. The Walsh Gallery is committed to presenting exhibitions of international The initial sense of “familial” pride and belief in a powerful bond between import within its humble confines on the campus of Seton Hall University art and community is the same commitment that now compels the Founda- and is pleased to collaborate with The Pierro Foundation. -
FOR IMMEDIATE RELEASE Pat Lipsky Never-Before
GP Contemporary 24 East 78th Street New York, NY 10075 FOR IMMEDIATE RELEASE Media Contact: Laura Roberts 203-273-2218 [email protected] Pat Lipsky Never-Before-Seen Stain Paintings on Display in rare Exhibition at GP Contemporary NEW YORK, N.Y. (March 6, 2017) Eleven never-before-seen examples of Pat Lipsky’s early work— pictures acclaimed in the New York Times, Arts, and collected by the Hirshhorn and Whitney Museums, among others—are proudly presented by GP Contemporary in the new exhibition Stain Paintings 1968—1975. The exhibition will be accompanied by a 30 page catalog with an essay by the celebrated writer and art critic, Carter Ratcliff. These canvases track Lipsky’s progress across her first decade in New York City; the years in which this contemporary painter was coming of age. A reception with the artist will be held on April 6, 2017 from 6:00–8:00 PM. The exhibition will then be on view through Saturday, May 6, the gallery’s first solo showing of Lipsky’s work. GP Contemporary, a celebrated branch of Gerald Peters Gallery, is located at 24 East 78th Street, New York, NY, and gallery hours are Monday through Friday, 10am - 5pm, Saturday 12-5pm. www.gpcontemporary.com The eleven works were discovered by GP Contemporary Managing Director Gavin Spanierman, after being stored away for nearly half a century. These masterworks will be unveiled at the exhibition’s opening—pieces that range from spontaneous flowing bands of color to a deliberate grid organized by striking hues—and represent a thrilling opportunity to experience a painter at the start of a celebrated career, and to revisit the art world of New York in the nineteen-seventies.