ORIGINAL RESEARCH PAPER Anjali Bhas
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
PIER 34 Something Possible Everywhere Something Possible
NYC 1983–84 NYC PIER 34 Something Possible Everywhere Something Possible PIER 34 Something Possible Everywhere NYC 1983–84 PIER 34 Something Possible Everywhere NYC 1983–84 Jane Bauman PIER 34 Mike Bidlo Something Possible Everywhere Paolo Buggiani NYC 1983–84 Keith Davis Steve Doughton John Fekner David Finn Jean Foos Luis Frangella Valeriy Gerlovin Judy Glantzman Peter Hujar Alain Jacquet Kim Jones Rob Jones Stephen Lack September 30–November 20 Marisela La Grave Opening reception: September 29, 7–9pm Liz-N-Val Curated by Jonathan Weinberg Bill Mutter Featuring photographs by Andreas Sterzing Michael Ottersen Organized by the Hunter College Art Galleries Rick Prol Dirk Rowntree Russell Sharon Kiki Smith Huck Snyder 205 Hudson Street Andreas Sterzing New York, New York Betty Tompkins Hours: Wednesday–Sunday, 1–6pm Peter White David Wojnarowicz Teres Wylder Rhonda Zwillinger Andreas Sterzing, Pier 34 & Pier 32, View from Hudson River, 1983 FOREWORD This exhibition catalogue celebrates the moment, thirty-three This exhibition would not have been made possible without years ago, when a group of artists trespassed on a city-owned the generous support provided by Carol and Arthur Goldberg, Joan building on Pier 34 and turned it into an illicit museum and and Charles Lazarus, Dorothy Lichtenstein, and an anonymous incubator for new art. It is particularly fitting that the 205 donor. Furthermore, we could not have realized the show without Hudson Gallery hosts this show given its proximity to where the the collaboration of its many generous lenders: Allan Bealy and terminal building once stood, just four blocks from 205 Hudson Sheila Keenan of Benzene Magazine; Hal Bromm Gallery and Hal Street. -
California Modernism After World War Ii
1 CALIFORNIA MODERNISM AFTER WORLD WAR II So in America when the sun goes down and I sit on the old broken-down river pier watching the long, long skies over New Jersey and sense all that raw land that rolls in one unbelievable huge bulge over to the West Coast, and all that road going, and all the people dreaming in the immensity of it, and in Iowa I know by now the children must be crying in the land where they let the children cry, and tonight the stars’ll be out, and don’t you know that God is Pooh Bear? The evening star must be drooping and shedding her sparkler dims on the prairie, which is just before the coming of complete night that blesses the earth, darkens all the rivers, cups the peaks and folds the final shore in, and nobody, nobody knows what’s going to happen to anybody besides the forlorn rags of growing old, I think of Dean Moriarty, I even think of Old Dean Moriarty the father we never found, I think of Dean Moriarty. JACK KEROUAC, ON THE ROAD POSTWAR EXCHANGES Most historical accounts of cultural and artistic developments in the United States after World War II have offered little information about trends affecting artists across the country. In the rush to figure out who did what first and to locate it geographically—usu - ally in New York— the historians have ignored the fluid interchanges between the two coasts, and cultural opportunities offered on either of them in these postwar years. -
Walter Quirt
A Science of Life WALTER QUIRT A Science of Life Frederick Holmes And Company, Gallery of Modern & Contemporary Art Seattle, Washington This catalog is published on the occasion of the exhibition WALTER QUIRT: A Science of Life November 2017 Exhibition organized by Frederick Holmes And Company Gallery Of Modern & Contemporary Art Exhibition curated by Frederick R. Holmes With special thanks to Travis Wilson; The Julien Levy Archives/Philadelphia Museum of Art; University of Minnesota, Minneapolis; American Federation of Arts; Art & Antiques Magazine; Andrew, Peter, and Jon Quirt and their families. Artwork photography by Terry Rishel, May 2017 Quirt family and studio photography by Frank Agar, July 1959 Introduction essay © Frederick R. Holmes The Return of Walter Quirt © John Dorfman with special permission by Art & Antiques Magazine Chronology © 2015 Dr. Francis V. O’Connor Chronology update by Frederick R. Holmes Catalog design by Linda Corwin/Avantgraphics Catalog printing by Edition One Books Front cover: The Eyes Have It (detail) 1957 Oil on canvas 50 x 36 inches (AFA No. 19) Opposite: Walter Quirt at the University of Minnesota, Minneapolis, 1959 am the only one who knows that art contains the I principles for a science of life, that it always has . —Walter Quirt, 1967 3 WALTER QUIRT (1902–1968): A Science of Life Frederick R. Holmes N THE TELLING OF THE story OF 20TH CENTURy MODERN Art IN America, WE’VE all become familiar to varying degrees, of the same approximately twenty or so artists who Icomprise the overwhelming majority of the narrative—Pollock, Motherwell, DeKooning, Gorky, Rothko, Davis, et al. -
AN EXAMINATION of ART FORGERY and the LEGAL TOOLS PROTECTING ART COLLECTORS Leila A
ARE YOU FAUX REAL? AN EXAMINATION OF ART FORGERY AND THE LEGAL TOOLS PROTECTING ART COLLECTORS Leila A. Amineddoleh | Cardozo Arts and Entertainment Law Journal Document Details All Citations: 34 Cardozo Arts & Ent. L.J. 59 Search Details Jurisdiction: National Delivery Details Date: July 19, 2016 at 9:02 PM Delivered By: kiip kiip Client ID: KIIPLIB02 Status Icons: © 2016 Thomson Reuters. No claim to original U.S. Government Works. ARE YOU FAUX REAL? AN EXAMINATION OF ART..., 34 Cardozo Arts &... 34 Cardozo Arts & Ent. L.J. 59 Cardozo Arts and Entertainment Law Journal 2016 Article ARE YOU FAUX REAL? AN EXAMINATION OF ART FORGERY AND THE LEGAL TOOLS PROTECTING ART COLLECTORS r1 Leila A. Amineddoleh a1 Copyright (c) 2016 Yeshiva University; Leila A. Amineddoleh INTRODUCTION 61 I. BACKGROUND 62 A. Rise in Authorship 62 B. The Existence of Forgeries 64 C. A Robust Art Market Leads to Increasing Prices and the Prevalence of Forgeries 66 1. The Current Market is Full of Forgeries 66 2. There is a Circular Relationship: The Art Market Thrives, Prices Increase, and 69 Connoisseurship Gains Greater Importance II. HOW THE LAW GRAPPLES WITH AUTHENTICITY 70 A. The First High Profile Authentication Battle in US Courts: Hahn v. Duveen 70 III. WHAT DOES IT MEAN TO BE “AUTHENTIC”? 72 A. Authenticity as a Three-Legged Stool 72 B. The Vulnerability of Modern Masters Leads to the Shuttering of One of the Most 74 Prestigious American Galleries C. Sometimes There is No Definitive Answer Regarding Authorship 79 D. Authenticity Disputes Have Altered the Landscape for Art Experts 80 E. -
Jackson Pollock
It doesn't make much difference how the paint is put on as long as something has been said. Technique is just a means of arriving at a statement. SYNOPSIS In its edition of August 8th, 1949, Life magazine ran a feature article about Jackson Pollock that bore this question in the headline: "Is he the greatest living painter in the United States?" Could a painter who flung paint at canvases with a stick, who poured and hurled it to create roiling vortexes of color and line, possibly be considered "great"? New York's critics certainly thought so, and Pollock's pre-eminence among the Abstract Expressionists has endured, cemented by the legend of his alcoholism and his early death. The famous 'drip paintings' that he began to produce in the late 1940s represent one of the most original bodies of work of the century. At times they could suggest the life- force in nature itself, at others they could evoke man's entrapment - in the body, in the anxious mind, and in the newly frightening modern © The Art Story Foundation – All rights Reserved For more movements, artists and ideas on Modern Art visit www.TheArtStory.org world. KEY IDEAS Pollock's tough and unsettled early life growing up in the American West shaped him into the bullish character he would become. Later, a series of influences came together to guide Pollock to his mature style: years spent painting realist murals in the 1930s showed him the power of painting on a large scale; Surrealism suggested ways to describe the unconscious; and Cubism guided his understanding of picture space. -
Grayson Perry Brit Punk Transvestite Pottery Genius Pg
JUN/JUL/AUG 2013 www.galleryandstudiomagazine.com VOL. 15 NO. 5 New York GALLERYSTUDIO Grayson Perry Brit Punk Transvestite Pottery Genius pg. 8 ) . Picture Credit: Photo Rob Weiss Credit: ) . Picture 78 1996 photographic print, H. 71x W. 48 (30 x 18 1996 photographic print, H. 71x W. Pollock Death Car Girl Ruth Kligman an excerpt from Ed McCormack’s HOODLUM HEART pg. 14 claire as the mother of all battles, $XJXVW 6HSWHPEHU 2SHQLQJ5HFHSWLRQ7KXUVGD\$XJXVWSP O3ULQWµ[µ 'DYLG5HLQIHOG5HFRQVWUXFWHG6HULHV3LJPHQW,QN'LJLWD µ[µ 1DWDOL.DUSSLQHQ,FH4XHHQ3KRWRJUDSKLF3ULQWRQ'LERQG Salon Show 2013 Fine Arts, Photography, Craft / Multimedia Exhibit June - July, 2013 Reception: June 22, 2:30 - 5:30 pm Curators: Margo Mead & Linda Lessner +G Artists: Carole Barlowe • Daniel C. Boyer Silvia Soares Boyer • Richard Carlson Arthur Cajigas • Rosa Alfaro Carozzi +I Robert Eckel • Jutta Filippelli Arlene Finger • George Jellineck :ĞŶŶŝĨĞƌ&ĞƌĚŝŶĂŶĚƐĞŶ^ƵƐĂŶŶĂŚsŝƌŐŝŶŝĂ'ƌŝĸŶ Linda Lessner • Margo Mead EĂƚĂůŝ<ĂƌƉƉŝŶĞŶ&ƌĞĚDŽƵ Michelle Ordynans • Dammika Ranasinghe Dimuthu N. Ranasinghe • Peter Schultz Monique Serres • et al :HVWWK6WUHHW1HZ<RUN )D[ %URDGZD\0DOO&RPPXQLW\&HQWHU ZZZ$JRUD*DOOHU\FRP %URDGZD\#6W 1<& &HQWHU,VODQG LQIR#$JRUD*DOOHU\FRP *DOOHU\+RXUV:HGSP6DW6XQSP [email protected] 212-316-6024 www.wsacny.org -FNPVWFNFOU"SUEBOTM䝐USF)VNBJO <࠳ݢޖझ1BSJT೧৻ౠ߹<ോݢی 1BSJT(BMMFSZ +VOF_+VMZ "1 WFOVF%BVNFTOJM BSJT'SBODF 0QFOJOH 1BSUZQN +VOFUI .FUSP(BSFEF-ZPO #BTUJMMF "SUJTU #PNJ,*. ,XBOH 4BLJSPP #PPU+JM $IVOIP80/ +VOHNJO-&& ;PPLJ 4VOHTJL-&& %PBN 4VOHLVH,*. ,JXPVO4)*/ *M)XB)POH )POHTV)"/ 0SHBOJ[BUJPO Indian Artist Sunjoy Jeergall is Ready for His Close-up ndian art is the newest art Iworld discovery. In the past few years, modernist Indian masters such as F.N. -
Essay on Abstract Expressionism Submitted
Abstract Expressionism Essay on Abstract Expressionism Submitted By- 1 Abstract Expressionism Abstract This essay discusses about the origin of Abstract Expressionism. It deals with how it emerged in America and how the people of America dealt with it. There is a brief description about various types of this painting style. It also covers famous painters of this genre and their philosophy. What were the origins of abstract expressionism & why did it arise in America? Who were the main exponents of abstract expressionism, both artists and theorists, & what was the inspiration behind this style of painting? Abstract Expressionism is one of the kinds of painting style which was the result of American post World War- II art movement. It was first of its kind American movement to achieve world wide influence and mark its place, which formerly belonged to Paris. The term ‘abstract expressionism’ was applied to American art in 1946 by the art critic Robert Coates. Though it was first used in Germany in 1919 in a magazine called ‘Der Sturm’ regarding German expressionism, but in the USA, Alfred Barr was the first to use this term in 1929 in relation to works by Wassily Kandinsky (Abstract Expressionism Wikipedia, 2008). The movement originated in New York’s Greenwich Village in the mid-1940’s and was also called action painting and the New York School. Emphasizing its independence from European art trends, Abstract Expressionism was the first American school to influence artists overseas rather than vice versa. The movement 2 Abstract Expressionism was put into motion by Arshile Gorky whose paintings were derived from the art of Surrealism, Picasso, and Miro. -
Torturing the Artist: Celebrity and Trope in Media Representations of the Abstract Expressionists
1 Torturing the Artist: Celebrity and Trope in Media Representations of the Abstract Expressionists A Senior Honors Thesis in the Department of Art and Art History By Phoebe Cavise Under the advisement of Professor Eric Rosenberg Professor Malcolm Turvey 2 Table of Contents Acknowledgements ……………………………………………………………………... 3 Introduction About the Paper ……………………………………………………………… 5 Definitions …………………………………………………………………… 8 Celebrity, Suicide, and Celebrity Suicides ………………………………….. 11 About the Process …………………………………………………………… 19 Chapter I. Pollock: Life, Death, and Everything In Between …………………………... 23 Chapter II. Pollock Background …………………………………………………………………. 44 Biopic: Portrait of a Genre ………………………………………………….. 49 Media within Media ………………………………………………………… 53 The Tools of Torture ………………………………………………………... 74 Chapter III. Rothko: Life, Death, and Everything After ……………………………….. 81 Chapter IV. Red Background …………………………………………………………………. 88 Reality and Red ……………………………………………………………... 91 Misery’s Company ………………………………………………………… 103 Productions and Press ……………………………………………………… 108 Chapter V. Directing Red ……………………………………………………………... 119 Conclusions………………………………………………………………………...….. 130 Bibliography ………………………………………………………………………….. 134 3 Acknowledgments First and foremost, thank you to Professor Eric Rosenberg for his complete faith in me. When I proposed a questionably-relevant thesis topic he accepted it wholeheartedly and has done nothing but encourage me every step of the way, even when many of those steps came later than planned. His enthusiasm was paramount to this paper’s completion. Thank you to Professor Ikumi Kaminishi who has advised the latter half of my college career. I am lucky to have worked with someone so supportive and brilliant, whose challenging Theories and Methods class forced me to become a better art historian. Thank you to Professor Malcolm Turvey for joining this project on a topic only half- related to the field in which he is so respected. I only wish my thesis could have been more relevant to his knowledge and utilized his expertise more. -
Living Colour
LEE KRASNER LIVING COLOUR EDITED BY ELEANOR NAIRNE FOREWORD 6 TO BREATHE AND BE ALIVE Eleanor Nairne 10 NOTHING OUTSIDE NATURE Katy Siegel 22 WRITING RIMBAUD ON THE WALL John Yau 32 PRESENT CONDITIONAL Suzanne Hudson 42 BECOMING LEE 51 LIFE DRAWING 57 WAR SERVICE WINDOWS 69 LITTLE IMAGES 83 STABLE GALLERY 97 PROPHECY 111 NIGHT JOURNEYS 119 PRIMARY SERIES 129 PALINGENESIS 157 ELEVEN WAYS 163 REFLECTIONS Gail Levin 170 CHRONOLOGY Jessica Freeman-Attwood 186 NOTES 222 BIBLIOGRAPHY Saskia Flower 228 LIST OF WORKS 232 CONTRIBUTORS 234 IMAGE CREDITS 235 INDEX 236 the morning prayer was recited in Hebrew. She later recalled, ‘I didn’t know what I was saying; I just had to say it or God would strike me dead.’11 Originally named Lena Krassner, in 1922 she adopted the more American TO BREATHE ‘Lenore’, which later became the more androgynous ‘Lee’. It was not uncommon for émigrés to ‘translate’ their names – her brother, Isak, became ‘Irving’, while her sister Ides became ‘Edith’.12 Even such natives as Pollock rebranded themselves in New York: when AND BE ALIVE he moved to the city in 1930, he dropped his first name, Paul (presumably because, as John Berger later quipped, ‘Jackson Pollock was a name for fighting in the ring. A champ’s name’).13 Krasner became Lenore at the same time as she was renouncing religion and chose to attend Washington Irving High – the only school in New York to offer an art course for girls. Graduating at the age of seventeen, she went on to study at the Woman’s Art School at Cooper Union and, after a brief spell at the Art Students League, the National Academy of Design. -
Intimacy and Autonomy: Twentieth Century American Women and the Quest for Self-Realization" (2015)
Purdue University Purdue e-Pubs Open Access Dissertations Theses and Dissertations January 2015 INTIMACY AND AUTONOMY: TWENTIETH CENTURY AMERICAN WOMEN AND THE QUEST FOR SELF- REALIZATION Mary Florence Barford Purdue University Follow this and additional works at: https://docs.lib.purdue.edu/open_access_dissertations Recommended Citation Barford, Mary Florence, "INTIMACY AND AUTONOMY: TWENTIETH CENTURY AMERICAN WOMEN AND THE QUEST FOR SELF-REALIZATION" (2015). Open Access Dissertations. 1088. https://docs.lib.purdue.edu/open_access_dissertations/1088 This document has been made available through Purdue e-Pubs, a service of the Purdue University Libraries. Please contact [email protected] for additional information. INTIMACY AND AUTONOMY: TWENTIETH CENTURY AMERICAN WOMEN AND THE QUEST FOR SELF-REALIZATION A Dissertation Submitted to the Faculty of Purdue University by Mary F. V. Barford In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy December, 2015 Purdue University West Lafayette, Indiana ii For my parents ii iii ACKNOWLEDGEMENTS It is a rare joy to be able in some formal capacity to thank the people in your life that deserve your thanks. I finished this project as a 38 year-old single mother of two. My route toward completion was circuitous and along that twisty path I acquired many a debt of gratitude that I am happy to pay back if just slightly in these few pages. First, I want to thank my phenomenal advisor, Dr. Susan Curtis. Dr. Curtis has been a mentor to me, not only as a scholar and a teacher, but ultimately as a human being. She carries all the accouterments of a great historian – curiosity, intelligence, perseverance, and an undeniable work ethic. -
Oral History Interview with Rosalyn Drexler, 2017 May 17-June 2
Oral history interview with Rosalyn Drexler, 2017 May 17-June 2 Funding for this interview was provided by the Pollock-Krasner Foundation. 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 Rosalyn Drexler on May 17 and June 2, 2017. The interview took place at Garth Greenan Gallery in New York, NY, and was conducted by Christopher Lyon for the Archives of American Art, Smithsonian Institution. Rosalyn Drexler and Christopher Lyon have reviewed the transcript. Their 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 CHRISTOPHER LYON: This is Christopher Lyon interviewing Rosalyn Drexler on May 17, 2017 at Garth Greenan Gallery at 545 West 20th Street. So, um, yeah. So I wanted to just say that, you know, because as it is the Archives of American Art, the focus of the interview is the artwork. ROSALYN DREXLER: Yeah. CHRISTOPHER LYON: But it seems like your career has been so interwoven with, you know, art, and writing, and performance, and all your different activities, and I didn't—I don't want to neglect anything that you might want to talk about. ROSALYN DREXLER: It's the same mind. The humor and the intensity, once I get into a project. Just the actual enjoyment of doing the thing, see. -
CSI Tests Authenticate Pollock's Final Work
AUTHENTICATION IN ART Art News Service CSI tests authenticate Pollock’s final work By Jennifer Gould Keil November 8, 2013 The painting is abstract — but its origin is now crystal clear. One of the art world’s greatest mysteries has finally been solved — as CSI tests have proven a painting owned by Jackson Pollock’s late mistress is truly the master’s final work. Pollock paramour Ruth Kligman insisted until her death in 2010 that the pioneering New York painter gave her “Red, Black & Silver” as a love letter shortly before he died in a drunken car crash in 1956. But since the artist’s wife, Lee Krasner — who hated the younger Kligman — ran the group that authenticated his works, the final painting was SOLVED: Fur from a bear rug at Jackson Pollock's Hamptons home was found in "Red Black & Silver" (left), owned by his never declared a true Pollock. mistress, Ruth Kligman (right with the artist). Until now. In an announcement likely to change art history, Kligman’s estate will reveal at a conference Friday the findings of a former NYPD detective that it says authenticates the work — including a hair from a polar- bear rug owned by the artist. Forensics expert Nicholas Petraco, who was hired by the estate, found traces of rug fur stuck in the artwork’s paint. Other telltale clues found in the paint were Pollock’s own hair and sand unique to the area around his East Hampton home. It marks the first time crime-scene-style trace analysis has been used on fragments found in a painting, rather than just on the paint itself.