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Collectors Forum Art Acquisitions History 1991-2014
Collectors Forum Art Acquisitions History 1991-2014 David Giese Niche from the Perambulatory of Virtue 1988-89 concrete, paint, mixed media Collectors Forum Purchase 1991 Collectors Forum Art Acquisitions History 1991-2014 Kerry Moosman Untitled, 1991 polished earthenware Collectors Forum Purchase 1991 Collectors Forum Art Acquisitions History 1991-2014 Gaylen Hansen Dog in a Garden Trying to Look Ferocious 1981, oil on canvas Collectors Forum Purchase 1992 Collectors Forum Art Acquisitions History 1991-2014 Dennis Evans Yin Yang, 1992 mixed media, encaustic on canvas with stenciled text 4 suspended tablets Collectors Forum Purchase 1994 Collectors Forum Art Acquisitions History 1991-2014 Stephen Schultz Axis, 1988, oil on canvas Collectors Forum Purchase 1994 Collectors Forum Art Acquisitions History 1991-2014 Fay Jones Self Portrait: Braque Boxing, 1992 acrylic on paper Collectors Forum Purchase 1995 Collectors Forum Art Acquisitions History 1991-2014 Romey Stuckart The Bone Yard, 1989 oil on canvas Collectors Forum Purchase 1995 Collectors Forum Art Acquisitions History 1991-2014 Brent Smith Multnomah Falls, Oregon 1992, Type C monoprint Collectors Forum Purchase 1995 Collectors Forum Art Acquisitions History 1991-2014 Gregory Grenon I Am Burning, 1994 reverse painting, oil on plexigas Collectors Forum Purchase 1996 Collectors Forum Art Acquisitions History 1991-2014 Richard Notkin Hexagonal Curbside Teapot #19, Yixing Series, 1993 ungrazed stoneware Collectors Forum Purchase 1996 Collectors Forum Art Acquisitions History 1991-2014 -
Annual Report 1995
19 9 5 ANNUAL REPORT 1995 Annual Report Copyright © 1996, Board of Trustees, Photographic credits: Details illustrated at section openings: National Gallery of Art. All rights p. 16: photo courtesy of PaceWildenstein p. 5: Alexander Archipenko, Woman Combing Her reserved. Works of art in the National Gallery of Art's collec- Hair, 1915, Ailsa Mellon Bruce Fund, 1971.66.10 tions have been photographed by the department p. 7: Giovanni Domenico Tiepolo, Punchinello's This publication was produced by the of imaging and visual services. Other photographs Farewell to Venice, 1797/1804, Gift of Robert H. and Editors Office, National Gallery of Art, are by: Robert Shelley (pp. 12, 26, 27, 34, 37), Clarice Smith, 1979.76.4 Editor-in-chief, Frances P. Smyth Philip Charles (p. 30), Andrew Krieger (pp. 33, 59, p. 9: Jacques-Louis David, Napoleon in His Study, Editors, Tarn L. Curry, Julie Warnement 107), and William D. Wilson (p. 64). 1812, Samuel H. Kress Collection, 1961.9.15 Editorial assistance, Mariah Seagle Cover: Paul Cezanne, Boy in a Red Waistcoat (detail), p. 13: Giovanni Paolo Pannini, The Interior of the 1888-1890, Collection of Mr. and Mrs. Paul Mellon Pantheon, c. 1740, Samuel H. Kress Collection, Designed by Susan Lehmann, in Honor of the 50th Anniversary of the National 1939.1.24 Washington, DC Gallery of Art, 1995.47.5 p. 53: Jacob Jordaens, Design for a Wall Decoration (recto), 1640-1645, Ailsa Mellon Bruce Fund, Printed by Schneidereith & Sons, Title page: Jean Dubuffet, Le temps presse (Time Is 1875.13.1.a Baltimore, Maryland Running Out), 1950, The Stephen Hahn Family p. -
Oral History Interview with Edward B. Thomas, 1983 April 28-May 10
Oral history interview with Edward B. Thomas, 1983 April 28-May 10 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Edward B. Thomas on April 28 & May 10, 1983. The interview took place in Seattle, Washington, and was conducted by John Olbrantz for the Archives of American Art, Smithsonian Institution. Interview DATE: APRIL 28, 1983 [Tape 1] JOHN OLBRANTZ: Ed, can you tell me a little bit about your background, where you were born, your early childhood experiences, your parents, who your father was, who your mother was, how they came to live in this part of the country? EDWARD THOMAS: Well, I was born in Cosmopolis, Washington, and many times when I've come through customs, when I was much younger and especially at the Mexican border, they would say, "Where were you born?" and I'd say, "Cosmopolis, Washington," they'd say, "Look, bud! Don't get funny with us." (laughter) But there actually is such a place as Cosmopolis, Washington. Nobody had any particular influence upon me, I would say, in my younger years as far as becoming interested in art, and particularly teaching art. I had a very severe illness when I was four and five years old and was confined to bed a lot, and so people brought me tablets and color crayons and pencils and stuff like that. -
Contemporary American Painting and Sculpture
AT UR8ANA-GHAMPAIGN ARCHITECTURE The person charging this material is responsible for .ts return to the library from which it was withdrawn on or before the Latest Date stamped below '"" """"""'"9 "< "ooks are reason, ™racTo?,'l,°;'nary action and tor di,elpl(- may result in dismissal from To renew the ""'*'e™«y-University call Telephone Center, 333-8400 UNIVERSITY OF ILLINOIS LIBRARY AT URBANA-CHAMPAIGN I emp^rary American Painting and Sculpture University of Illinois Press, Urbana, 1959 Contemporary American Painting and Scuipttfre ^ University of Illinois, Urbana March 1, through April 5, 195 9 Galleries, Architecture Building College of Fine and Applied Arts (c) 1959 by the Board of Trustees of the University of Illinois Library of Congress Catalog Card No. A4 8-34 i 75?. A^'-^ PDCEIMtBieiiRr C_>o/"T ^ APCMi.'rri'Ht CONTEMPORARY AMERICAN PAINTING AND SCULPTURE DAVID D. HENRY President of the University ALLEN S. WELLER Dean, College of Fine and Applied Arts Chairman, Festival of Contemporary Arts N. Britsky E. C. Rae W. F. Doolittlc H. A. Schultz EXHIBITION COMMITTEE D. E. Frith J. R. Shipley \'. Donovan, Chairman J. D. Hogan C. E. H. Bctts M. B. Martin P. W. Bornarth N. McFarland G. R. Bradshaw D. C. Miller C. W. Briggs R. Perlman L. R. Chesney L. H. Price STAFF COMMITTEE MEMBERS E. F. DeSoto J. W. Raushenbergcr C. A. Dietemann D. C. Robertson G. \. Foster F. J. Roos C. R. Heldt C. W. Sanders R. Huggins M. A. Sprague R. E. Huh R. A. von Neumann B. M. Jarkson L. M. Woodroofe R. Youngman J. -
Simone Forti Goes to the Zoo*
Simone Forti with a lion cub at the Giardino Zoologico di Roma, 1968. Courtesy Simone Forti and The Box, LA. Simone Forti Goes to the Zoo* JULIA BRYAN-WILSON In the photograph, a young woman in a short skirt and sandals sits on a bench. With her crooked elbow, she braces her handbag to her body, tucking her large sketchpad into her armpit. She is petting a lion cub, and as she gazes down to witness the small but extraordinary fact of her hand on its fur, the ani- mal’s face turns towards the camera lens with closed eyes. This is dancer and choreographer Simone Forti on one of her many visits to the zoo during the brief time she lived in Rome in the late 1960s. Far from today’s “wildlife sanctu- aries” where animals can ostensibly wander freely, as the photo of this uncaged cub might suggest, the Giardino Zoologico di Roma offered a highly controlled environment in which animals lived within tight enclosures; Forti was here indulging in a staged, paid encounter, one that she characterized as “irre- sistible.”1 Irresistible because she was consistently moved by the creatures she drew and studied—moved as in stirred, or touched, as well as in shifted, or altered. As I argue, her dance practice changed dramatically as a result of the time she spent in Rome observing animal motions and interacting with other, animate forms of art. Petting a lion cub: irresistible, but still melancholy. Designed in part by German collector and merchant Carl Hagenbeck and built in 1911, the Roman zoo is an example of the turn-of-the-century “Hagenbeck revolution” in zoo architecture, which attempted to provide more naturalistic-appearing, open-air surroundings that were landscaped with artificial rocks and featured moats instead of bars, often creating tableaux of animals from different taxonomic * This article was made possible by the indefatigable Simone Forti, who talked with me, danced for me, and pulled all manner of documents and photographs out of her dresser drawers for me; thank you, Simone. -
Download New Glass Review 15
eview 15 The Corning Museum of Glass NewGlass Review 15 The Corning Museum of Glass Corning, New York 1994 Objects reproduced in this annual review Objekte, die in dieser jahrlich erscheinenden were chosen with the understanding Zeitschrift veroffentlicht werden, wurden unter that they were designed and made within der Voraussetzung ausgewahlt, daB sie inner- the 1993 calendar year. halb des Kalenderjahres 1993 entworfen und gefertigt wurden. For additional copies of New Glass Review, Zusatzliche Exemplare der New Glass Review please contact: konnen angefordert werden bei: The Corning Museum of Glass Sales Department One Museum Way Corning, New York 14830-2253 Telephone: (607) 937-5371 Fax: (607) 937-3352 All rights reserved, 1994 Alle Rechte vorbehalten, 1994 The Corning Museum of Glass The Corning Museum of Glass Corning, New York 14830-2253 Corning, New York 14830-2253 Printed in Frechen, Germany Gedruckt in Frechen, Bundesrepublik Deutschland Standard Book Number 0-87290-133-5 ISSN: 0275-469X Library of Congress Catalog Card Number Aufgefuhrt im Katalog der Library of Congress 81-641214 unter der Nummer 81 -641214 Table of Contents/lnhalt Page/Seite Jury Statements/Statements der Jury 4 Artists and Objects/Kunstlerlnnen und Objekte 10 Bibliography/Bibliographie 30 A Selective Index of Proper Names and Places/ Ausgewahltes Register von Eigennamen und Orten 58 etztes Jahr an dieser Stelle beklagte ich, daB sehr viele Glaskunst- Jury Statements Ller aufgehort haben, uns Dias zu schicken - odervon vorneherein nie Zeit gefunden haben, welche zu schicken. Ich erklarte, daB auch wenn die Juroren ein bestimmtes Dia nicht fur die Veroffentlichung auswahlen, alle Dias sorgfaltig katalogisiert werden und ihnen ein fester Platz in der Forschungsbibliothek des Museums zugewiesen ast year in this space, I complained that a large number of glass wird. -
New Glass Review 10.Pdf
'New Glass Review 10J iGl eview 10 . The Corning Museum of Glass NewG lass Review 10 The Corning Museum of Glass Corning, New York 1989 Objects reproduced in this annual review Objekte, die in dieser jahrlich erscheinenden were chosen with the understanding Zeitschrift veroffentlicht werden, wurden unter that they were designed and made within der Voraussetzung ausgewahlt, dal3 sie the 1988 calendar year. innerhalb des Kalenderjahres 1988 entworfen und gefertigt wurden. For additional copies of New Glass Review, Zusatzliche Exemplare des New Glass Review please contact: konnen angefordert werden bei: The Corning Museum of Glass Sales Department One Museum Way Corning, New York 14830-2253 (607) 937-5371 All rights reserved, 1989 Alle Rechtevorbehalten, 1989 The Corning Museum of Glass The Corning Museum of Glass Corning, New York 14830-2253 Corning, New York 14830-2253 Printed in Dusseldorf FRG Gedruckt in Dusseldorf, Bundesrepublik Deutschland Standard Book Number 0-87290-119-X ISSN: 0275-469X Library of Congress Catalog Card Number Aufgefuhrt im Katalog der KongreB-Bucherei 81-641214 unter der Nummer 81-641214 Table of Contents/lnhalt Page/Seite Jury Statements/Statements der Jury 4 Artists and Objects/Kunstler und Objekte 10 Bibliography/Bibliographie 30 A Selective Index of Proper Names and Places/ Verzeichnis der Eigennamen und Orte 53 er Wunsch zu verallgemeinern scheint fast ebenso stark ausgepragt Jury Statements Dzu sein wie der Wunsch sich fortzupflanzen. Jeder mochte wissen, welchen Weg zeitgenossisches Glas geht, wie es in der Kunstwelt bewer- tet wird und welche Stile, Techniken und Lander maBgeblich oder im Ruckgang begriffen sind. Jedesmal, wenn ich mich hinsetze und einen Jurybericht fur New Glass Review schreibe (dies ist mein 13.), winden he desire to generalize must be almost as strong as the desire to und krummen sich meine Gedanken, um aus den tausend und mehr Dias, Tprocreate. -
Oral History Interview with Anne Wilson, 2012 July 6-7
Oral history interview with Anne Wilson, 2012 July 6-7 Funding for this interview was provided by the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America. Transcription of this oral history interview was made possible by a grant from the Smithsonian Women's Committee. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a recorded interview with Anne Wilson on July 6 and 7, 2012. The interview took place in the artist's studio in Evanston, Illinois, and was conducted by Mija Riedel for the Archives of American Art, Smithsonian Institution. This interview is part of the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America. Anne Wilson and Mija Riedel have reviewed the transcript. Their heavy corrections and emendations appear below in brackets with initials. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview MIJA RIEDEL: This is Mija Riedel with Anne Wilson at the artist's studio in Evanston, Illinois, on July 6, 2012, for the Smithsonian Institution's Archives of American Art. This is disc number one. So, Anne, let's just take care of some of the early biographical information first. You were born in Detroit in 1949? ANNE WILSON: I was. MS. RIEDEL: Okay. And would you tell me your parents' names? MS. -
The Galleries
THE GALLERIES ART at the convention center A SELF-GUIDED TOUR Enriching Your Visit: Taking the Tour The Public Art Program Washington State Convention Center features approximately The Washington State Convention Center (WSCC) public 100 works of art on public display around four levels of its North and South Gallerias. Several other works are located in art program, perhaps the largest of its kind in the nation, its office and convention lobby areas. Areas of the facility that was established to provide an environment that enriches may not be available to the public due to convention- the experience of all who visit the meeting facility. With well related activities are clearly noted. over 100 works on display, art has been a popular feature since the facility opened in 1988. Initially, art was incorporated into This self-guided, self-paced tour booklet was designed to the original building design with assistance from the state’s direct you to the many different areas where artworks are cur- Percent for the Arts Program. Since then, due to a commit- rently on display. A few of the works listed inthis booklet are ment to provide civic benefits to our community, the WSCC has located outside of the WSCC. offered an ever-changing collection, readily accessible at no This self-tour begins on Level 1 just south of the Convention charge to meeting attendees and the general public. Place entrance. The indicated route will direct you back to the south escalators for easy access to the next level. All areas of In 1997, the board established the WSCC Art Foundation at this tour are also accessible by elevator. -
The Museum of Modern Art: the Mainstream Assimilating New Art
AWAY FROM THE MAINSTREAM: THREE ALTERNATIVE SPACES IN NEW YORK AND THE EXPANSION OF ART IN THE 1970s By IM SUE LEE A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2013 1 © 2013 Im Sue Lee 2 To mom 3 ACKNOWLEDGMENTS I am deeply grateful to my committee, Joyce Tsai, Melissa Hyde, Guolong Lai, and Phillip Wegner, for their constant, generous, and inspiring support. Joyce Tsai encouraged me to keep working on my dissertation project and guided me in the right direction. Mellissa Hyde and Guolong Lai gave me administrative support as well as intellectual guidance throughout the coursework and the research phase. Phillip Wegner inspired me with his deep understanding of critical theories. I also want to thank Alexander Alberro and Shepherd Steiner, who gave their precious advice when this project began. My thanks also go to Maureen Turim for her inspiring advice and intellectual stimuli. Thanks are also due to the librarians and archivists of art resources I consulted for this project: Jennifer Tobias at the Museum Library of MoMA, Michelle Harvey at the Museum Archive of MoMA, Marisa Bourgoin at Smithsonian Institution’s Archives of American Art, Elizabeth Hirsch at Artists Space, John Migliore at The Kitchen, Holly Stanton at Electronic Arts Intermix, and Amie Scally and Sean Keenan at White Columns. They helped me to access the resources and to publish the archival materials in my dissertation. I also wish to thank Lucy Lippard for her response to my questions. -
2016 Annual Report
MoNAMuseum of Northwest Art 2016 ANNUAL REPORT Annual Report 2016 D.indd 24 9/25/17 11:07 AM 3 From the President MISSION STATEMENT 4 Board & Staff The Museum of Northwest Art connects people with the art, diverse cultures and environments of the Northwest. 5 Exhibitions Visitor Testimonials VISION STATEMENT 10 The Museum of Northwest Art enriches lives in our diverse community by fostering essential 11 Acquisitions conversations and encouraging creativity through exhibitions and educational activities that explore the art of the Northwest. 12 MoNA Store COLLECTIONS & EXHIBITIONS 13 Education MoNA collects and exhibits contemporary art from across the Northwest, including Alaska, British Columbia, California, Idaho, Montana, Oregon and Washington. 15 Year in Review 17 Supporters 22 Volunteers Annual Report 2016 D.indd 1 9/25/17 11:07 AM 17,283 visits 42,866 website visits 100% visited for free 427 155 members volunteers 1,404 32 students visited with permanent collection 76 school tours acquisitions monamuseum.org 2 Annual Report 2016 D.indd 2 9/25/17 11:07 AM FROM THE PRESIDENT It is my great pleasure to share with you some of the successes achieved in 2016, made possible by your generous support. Because of you, more members of our community have experienced Northwest art in all of its facets through museum visits, program participation, and attendance at MoNA events and celebrations. MoNA’s commitment to providing free museum admission has fostered a broader and more engaged audience, making the museum accessible to more first-time visitors than ever before. MoNA, with your support, continues to fund significant investments in programming and collections. -
Northwest Fine Art & Antique Auction
Northwest Fine Art & Antique Auction August 27th, 2009 - 717 S 3rd St, Renton 14% Buyers Premium in Effect Auction Pick-up: Half Hour Following Auction or Friday, 08/28 & Tuesday, 09/01: Noon-5PM Lot Description 21 2 Boxes Loose Richard Lachman Cut Ink Drawings 1 Richard Kirsten "House of Many 22 3ea Richard Lachman Colored Ink Drawings Memories" Acrylic 22x16" 23 Box Richard Lachman Square Ink Drawings 2 Edna Crews "Snowcapped Forest" 24 4ea Richard Lachman Portrait Ink Drawings Watercolor 16x20.75" 25 Richard Lachman Large Sketchbook & 3 James Farr "Infinite Cycle of Renewal" Loose Ink Drawings 1973 Tempera 23.5x18.5" 26 Stack Richard Lachman Ink Drawings - 4 1997 S/N Abstract Etching Sketchbook Pages 5 Norman Lundin "Russian Landscape: 27 5x11' Oriental Rug Morning River" Charcoal/Pastel 26x37" 28 2 Carol Stabile Pastel Framed Paintings 6 K.C. McLaughlin "Exterior with 29 1969 Surrealist Mixed Media Painting Awnings" Dry Pigment 17x25" 34x30" - Signed Riote? 7 Edna Crews "Moonlit Meadow" 30 Signed F.W. Die? "Eye" Ink/Canvas 16x20" Watercolor 16.5x21.5" 31 Fred Marshall A.W.S. "Harbor - Puget 8 Edna Crews "Winter Meadow" Acrylic Sound" 1970 Watercolor 17x20.5" 31.5x23" 32 Fred Marshall Framed Watercolor 9 Richard Lachman "Cocktail Party" 1980 "Landscape with Deer" 16x21" Ink/Paper 16x22" 33 Flora Correa "Weeds Blowing" 1977 Collage 10 Richard Lachman "Dixy & Jaques" 24x12" Mixed Media 18x26" 34 Bonnie Anderson "Bucket of Lemons" Oil 11 Richard Lachman "Day Before Eden" 8x10" Mixed Media 18x26" 35 Bonnie Anderson "Lemon Drop Tree" Oil 12 Natalie McHenry Untitled – 38x14.25" "Marionettes" Watercolor 19x25" 36 Ray Hill Untitled - "Lake Scene" 1969 13 Edna Crews Untitled - "Mystic Bird" Watercolor 14x20" Oil/Board 40x30" 37 Signed S.