FOCA Houston Itinerary
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PUBLIC SCULPTURE LOCATIONS Introduction to the PHOTOGRAPHY: 17 Daniel Portnoy PUBLIC Public Sculpture Collection Sid Hoeltzell SCULPTURE 18
1 2 3 4 5 6 7 VIRGINIO FERRARI RAFAEL CONSUEGRA UNKNOWN ARTIST DALE CHIHULY THERMAN STATOM WILLIAM DICKEY KING JEAN CLAUDE RIGAUD b. 1937, Verona, Italy b. 1941, Havana, Cuba Bust of José Martí, not dated b. 1941, Tacoma, Washington b. 1953, United States b. 1925, Jacksonville, Florida b. 1945, Haiti Lives and works in Chicago, Illinois Lives and works in Miami, Florida bronze Persian and Horn Chandelier, 2005 Creation Ladder, 1992 Lives and works in East Hampton, New York Lives and works in Miami, Florida Unity, not dated Quito, not dated Collection of the University of Miami glass glass on metal base Up There, ca. 1971 Composition in Circumference, ca. 1981 bronze steel and paint Location: Casa Bacardi Collection of the University of Miami Gift of Carol and Richard S. Fine aluminum steel and paint Collection of the University of Miami Collection of the University of Miami Gift of Mr. and Mrs. Alfred Camner Location: Gumenick Lobby, Newman Alumni Center Collection of the Lowe Art Museum, Collection of the Lowe Art Museum, Location: Casa Bacardi Location: Casa Bacardi Location: Gumenick Lobby, Newman Alumni Center University of Miami University of Miami Gift of Mr. and Mrs. Blake King, 2004.20 Gift of Dr. Maurice Rich, 2003.14 Location: Wellness Center Location: Pentland Tower 8 9 10 11 12 13 14 JANE WASHBURN LEONARDO NIERMAN RALPH HURST LEONARDO NIERMAN LEOPOLDO RICHTER LINDA HOWARD JOEL PERLMAN b. United States b. 1932, Mexico City, Mexico b. 1918, Decatur, Indiana b. 1932, Mexico City, Mexico b. 1896, Großauheim, Germany b. 1934, Evanston, Illinois b. -
Minimalism Topics •What •Who •Where-When •How: Five Sections •Why
Minimalist Composition Presented by Jeffrey Sward February 11, 2021 19:40:41 2/11/2021 7:40:41 PM 1 Minimalism Topics •What •Who •Where-When •How: five sections •Why 2/11/2021 7:40:42 PM 2 What In order to know what something is, it is often useful to know what it is not. Minimalism – Maximalism 2/11/2021 7:40:42 PM 3 Minimalism •Austere simplicity •Sparseness focusing solely on the smallest number of objects in the compositional process •Only the most important things are placed into a space •I know it when I see it • Supreme Court Justice Potter Stewart in Jacobellis v. Ohio (1964) 2/11/2021 7:40:42 PM 4 Maximalism •Every available space is filled with something •Content complexity causes extreme visual incoherence to the point that nothing can be isolated as a discrete thing •Mixed patterns •Excessive collections •Saturated colors 2/11/2021 7:40:42 PM 5 Minimalism – Maximalism Continuum •Less is more • Ludwig Mies van der Rohe, notable architect, referring to the aesthetics of minimalist architectural design •Less in not more, more is more • Dolly Parton, notable philosopher •Simplicity is complicated • Jeffrey Sward 2/11/2021 7:40:42 PM 6 Farnsworth House Ludwig Mies van der Rohe Architect [No window coverings] Dolly Parton 2/11/2021 7:40:42 PM 7 Minimalism and Maximalism in Interior Design In which environment does more thought occur when adding a new element? Or is the thought process itself different? 2/11/2021 7:40:42 PM 8 Minimalism and Maximalism Photograph Examples Hiroshi Sugimoto 2/11/2021 7:40:42 PM 9 Form follows function. -
Artist's Choice + Vik Muniz=Rebus
Artist's choice + Vik Muniz=rebus Author Muniz, Vik Date 2008 Publisher The Museum of Modern Art Exhibition URL www.moma.org/calendar/exhibitions/304 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art ARTIST'S CHOICE+ VIK MUNIZ = THE ONLY REASON FOR TIME IS SO THAT EVERYTHINGDOESN'T HAPPEN AT ONCE. —ALBERT EINSTEIN PUBLIC PROGRAM Vik Muniz on Artist's Choice,Rebus Wednesday, February 11, 6:30 p.m. Theater 3 (The Celeste Bartos Theater) 4 West 54 Street (near Fifth Avenue) Taking on the role of curator, Vik Muniz brought together eighty-two works from MoMA's collection and organized them according to the principle of a rebus—a puzzle in which unrelated visual and linguistic elements create a larger deductive meaning. In this program, Muniz discusses the exhibition and his own work. Tickets ($10; members $8; students, seniors, and staff of other museums $5) con be purchased at the lobby information desk, the film desk, or online at www.moma.org/thinkmodern. MoMA AUDIO A MoMA Audio program featuring commentary by Vik Muniz is available free of charge, courtesy of Bloomberg, on MoMA WiFi at www.moma.org/ wifi and as a podcast at www.moma.org/audio and on iTunes. The audio program is available in English only. MoMA Audio is a collaboration between The Museum of Modern Art and Acoustiguide, Inc. FORD FAMILYACTIVITY GUIDE A Ford Family Activity Guide developed by Vik Muniz encourages kids ages six and up to discover the connections among objects as they are displayed in the exhibition and, using small reproductions, arrange them to tell a story of their own. -
Preliminary Experience Create a Journal from an Altered Book
IINTRODUCTIONNTRODUCTION Photo caption. Photo caption. Preliminary Experience Create a Journal from an Altered Book OBJECTIVES A TEACHING GUIDE FOR GRADE 4 AArtrtrtSmaSSmart:mart:t: Indiana INDIANA’S VISUAL ARTS AND ARTISTS The fi rst ArtSmart: Indiana was a major educational and public program of the Greater Lafayette Art Museum (now the Art Museum of Greater Lafayette), created to meet the goal of improving visual literacy, museum education skills, and awareness of the development of art in Indiana. The original program, (1986) written by Susan O. Chavers, and implemented by Sharon Smith Theobald, was a nontraditional multidisciplinary approach that was well received by Hoosier teachers who included ArtSmart: Indiana in their curricular plans. A copy of the ArtSmart: Indiana 200 page Resource Guide was sent to every library throughout Indiana, with the support of Pam Bennett at the Indiana Historical Bureau. The current revision of ArtSmart: Indiana, as a web-based initiative, is a Partnership Education Program of the Art Museum of Greater Lafayette and The Children’s Museum of Indianapolis. Special appreciation is extended to Dr. Jeffrey Patchen, President and CEO, and Mary Fortney, Educational Resource Development Manager, The Children’s Museum of Indianapolis. The updated ArtSmart: Indiana project was funded by a grant from the Institute of Museum and Library Services with additional support from the McAllister Foundation to launch the McAllister Art Smart: Indiana Technology Center. Also, Randolph Deer, Indianapolis, and The North Central Health Services helped underwrite the additional printings of the The Art Smart: Indiana Resource Catalog and The Teaching Guide. Please visit our website, www.artsmartindiana.org. -
Chryssa B. 1933, Athens D. 2013, Athens New York Times 1975–78
Chryssa b. 1933, Athens d. 2013, Athens New York Times 1975–78 Oil and graphite on canvas Solomon R. Guggenheim Museum, New York, Gift, Michael Bennett 80.2717 Chryssa began making stamped paintings based on the New York Times in 1958 and continued to do so into the 1970s. To create these works, she had rubber stamps produced based on portions of the newspaper before, as she described it, covering “the entire area [of a canvas] with a fragment repeated precisely.” Over time Chryssa’s treatment of the motif became increasingly abstract, as she more strictly adhered to a gridded composition and selected sections of newsprint with type too small to be legibly rendered in rubber. By deemphasizing the content and format of the newspaper, she redirected focus to the tension between mechanized reproduction and her careful process of stamping by hand. Jacob El Hanani b. 1947, Casablanca Untitled #171 1976–77 Ink and acrylic on canvas Solomon R. Guggenheim Museum, New York, Gift, Mr. and Mrs. George M. Jaffin 77.2291 With its dense profusion of finely drawn lines, Jacob El Hanani’s Untitled #171 is a feat of physical endurance, patience, and precision. As the artist said, “It is a personal challenge to bring drawing to the extreme and see how far my eyes and fingers can go.” Rather than approach this effort as an end unto itself, El Hanani has often related it to Jewish traditions of handwriting religious texts—a parallel suggesting a desire to transcend the self through a devotional level of discipline. This aspiration is given form in the way the short, variously weighted lines lose their discreteness from afar and blend into a vaporous whole. -
HIROSHI SUGIMOTO Page 1
HIROSHI SUGIMOTO page /1 HIROSHI SUGIMOTO Born in 1948, Tokyo, Japan Lives and works in Tokyo, Japan & New York, New York AWARDS 2017 Associate Member of the Academy, Académie royale des Sciences, des LeNres et des Beaux-Arts de Belgique, Brussels, Belgium 2013 Officier dans l’Ordre des Arts et des LeNres, Pierre Bergé / YSL FondaXon, Paris, France 2009 Praemium Imperiale, PainXng, Japan Art AssociaXon, Tokyo, Japan 2006 PhotoEspaña Prize, Madrid, Spain 2001 Hasselblad FoundaXon InternaXonal Award in Photography, Gothenburg, Sweden 2000 Honorary Doctorate of Fine Arts, Parsons School of Design, New York, NY 1999 Glen Dimplex Award, Irish Museum of Modern Art, Dublin, Ireland Fi]eenth Annual Infinity Award for Art, InternaXonal Center of Photography, New York, NY 1998 CiXbank Private Bank Photography Prize, London, England 1988 Mainichi Art Prize, Tokyo, Japan 1982 NaXonal Endowment for the Arts, Washington, DC 1980 John S. Simon Guggenheim Memorial FoundaXon Fellowship, New York, NY 1977 FRAENKELGALLERY.COM [email protected] HIROSHI SUGIMOTO page /2 C.A.P.S. (CreaXve Arts Public Service Fellowship), New York, NY SELECTED INDIVIDUAL EXHIBITIONS 2020 Hiroshi Sugimoto: Op0cks, Fraenkel Gallery, San Francisco, CA 2018 Quatro Ragazzi: Hopes & Illusions of the Momoyama Renaissance - Europe through the Eyes of Hiroshi Sugimoto & the Tensho Embassy, Nagasaki Prefectural Art Museum, Nagasaki, Japan Hiroshi Sugimoto, Tel Aviv Museum of Art, Tel Aviv, Israel The First Encounter: Italy through Eyes of Hiroshi Sugimoto & Tensho Embassy, Galleria -
The Menil Collection Celebrates Return of Byzantine Frescoes with Public Events Honoring Sacred Works
THE MENIL COLLECTION CELEBRATES RETURN OF BYZANTINE FRESCOES WITH PUBLIC EVENTS HONORING SACRED WORKS Byzantine Fresco Chapel, Home to the Frescoes, Will Close Sunday, March 4, 2012 Bidding farewell to the frescoes, the Menil presents special programs on consecutive Sundays: a musical tribute on February 12th and a panel discussion February 19th Final Divine Liturgy with His Eminence Archbishop Demetrios of America: Saturday, March 3, 2012 Houston, TX – January 30, 2012 – The Menil Collection announced that March 4, 2012 will be the final day to see the Byzantine frescoes currently housed on its campus in the Byzantine Fresco Chapel, after which time they will be returned to the Orthodox Church of Cyprus. In celebration of the frescoes, their time in Houston, and the purpose-built Chapel that has been their home for fifteen years; the Menil will present special public events commemorating the return of this sacred art. The works, the largest intact Byzantine frescoes in the Western hemisphere, have been on long-term loan to the Menil from the Orthodox Church of Cyprus following their rescue by the Menil Foundation twenty-eight years ago. They are being returned to Cyprus following the conclusion of the loan agreement between the two parties. At the heart of the Menil’s mission is the belief that art and spirituality are powerful forces in contemporary society and central to a shared human experience—and that institutions have a responsibility to preserve and present objects as stewards, safeguarding their future. “We are honored to have been entrusted as stewards of these extraordinary frescoes and to have exhibited them for the people of Houston and the world in a remarkable building,” said Menil Director Josef Helfenstein. -
Robert Indiana
ROBERT INDIANA Born in New Castle, Indiana in 1928 and died in 2018 Robert Indiana adopted the name of his home state after serving in the US military. The artist received his BFA from the School of the Art Institute of Chicago in 1954 and following the advice of his friend Ellsworth Kelly, he relocated to New York, setting up a studio in the Coenties Slip neighborhood of Lower Manhattan and joined the pop art movement. The work of the American Pop artist Robert Indiana is rooted in the visual idiom of twentieth-century American life with the same degree of importance and influence as Andy Warhol and Roy Lichtenstein. As a self-proclaimed “American painter of signs” Indiana gained international renown in the early 1960’s, he drew inspiration from the American road and shop signs, billboards, and commercial logos and combined it with a sophisticated formal and conceptual approach that turned a familiar vocabulary into something entirely new, his artworks often consists of bold, simple, iconic images, especially numbers and short words like “EAT”, “HOPE”, and “LOVE” what Indiana called “sculptural poems”. The iconic work “LOVE”, served as a print image for the Museum of Modern Art ‘s Christmas card in 1964 and sooner later the design became popular as US postage stamp. “LOVE” has also appeared in prints, paintings, sculptures, banners, rings, tapestries. Full of erotic, religious, autobiographical, and political undertones — it was co-opted as an emblem of 1960s idealism (the hippie free love movement). Its original rendering in sculpture was made in 1970 and is displayed in Indiana at the Indianapolis Museum of Art. -
Robert Indiana
• Robert Indiana was a major figure in Pop Art, that most American art form, developing his distinctive “hard-edged” style that he has worked in for over 50 Robert years. One of his images alone, the LOVE icon, will Indiana ensure his renown forever. AMERICAN ARTIST • He wasn’t born “Robert Indiana,” but he was born in 1928 - Indiana, and changed his last name from “Clark” when he was in his teens (to make it more interesting). He had a crazy childhood, his family continually on the move. He claimed to have lived in 21 houses before he graduated high school. His parents divorced when he was 10, and he spent many years bouncing between their households. Finally in the last few years of high school, he took the reins and moved to Indianapolis to attend an arts-based high school. He did very well there, but then took three years out of his art study to serve in the US Air Force. • One interesting feature of his early life was that in several different places he lived or was stationed, he started or ran a newspaper. Writing and words were always very important to him. • After his military service, he attended several different art schools, including the famous Art Institute of Chicago, and also spent some time in Europe. • He ultimately moved to New York City because that was the center of the American art world in the mid-1950s. Things were rough for a while, as he worked in an art supply store to make ends meet, but he made friends with the abstract Robert Indiana‘s studio at the New York City piers (with cat!) and some of his early sculptures, called herms. -
The Museum of Modern Art
The Museum of Modern Art For Immediate Release May 1995 ARTIST'S CHOICE: ELIZABETH MURRAY June 20 - August 22, 1995 An exhibition conceived and installed by American artist Elizabeth Murray is the fifth in The Museum of Modern Art's series of ARTIST'S CHOICE exhibitions. On view from June 20 to August 22, 1995, ARTIST'S CHOICE: ELIZABETH MURRAY presents more than 100 drawings, paintings, prints, and sculptures by approximately seventy women artists. The exhibition involves works created between 1914 and 1973, including those ranging from early modernists Frida Kahlo and Liubov Popova to contemporary artists Nancy Graves and Dorothea Rockburne. Murray focuses particular attention on artists who made their reputations during the 1950s and 1960s, such as Lee Bontecou, Agnes Martin, Joan Mitchell, when Murray herself was studying and forming her style. This exhibition and the accompanying video and panel discussion are made possible by a generous grant from The Charles A. Dana Foundation. Organized in collaboration with Kirk Varnedoe, Chief Curator, Department of Painting and Sculpture, the ARTIST'S CHOICE series invites artists to create an exhibition from the Museum's collection according to a personally chosen theme or principle. "I wanted, for myself, to explore what being a woman in the art world has meant," Murray writes in the exhibition brochure. "I wanted to weave together a sense of the genuine and profound contribution women's work has made to the art of our time." - more - 11 West 53 Street, New York, N.Y. 10019-5498 Tel: 212-708-9400 Fax: 212-708-9889 2 Installed in the Museum's third-floor contemporary painting and sculpture galleries, the exhibition is arranged in thematic groupings. -
Summer SAMPLER VOLUME 13 • NUMBER 3 • SUMMER 2016
Summer SAMPLER VOLUME 13 • NUMBER 3 • SUMMER 2016 CENTER FOR PUBLIC HISTORY Published by Welcome Wilson Houston History Collaborative Last LETTER FROM EDITOR JOE PRATT Ringing the History Bell fter forty years of university In memory of my Grandma Pratt I keep her dinner bell, Ateaching, with thirty years at which she rang to call the “men folks” home from the University of Houston, I will re- fields for supper. After ringing the bell long enough to tire at the end of this summer. make us wish we had a field to retreat to, Felix, my For about half my years at six-year old grandson, asked me what it was like to UH, I have run the Houston live on a farm in the old days. We talked at bed- History magazine, serving as a time for almost an hour about my grandparent’s combination of editor, moneyman, life on an East Texas farm that for decades lacked both manager, and sometimes writer. In the electricity and running water. I relived for him my memo- Joseph A. Pratt first issue of the magazine, I wrote: ries of regular trips to their farm: moving the outhouse to “Our goal…is to make our region more aware of its history virgin land with my cousins, “helping” my dad and grandpa and more respectful of its past.” We have since published slaughter cows and hogs and hanging up their meat in the thirty-four issues of our “popular history magazine” devot- smoke house, draw- ed to capturing and publicizing the history of the Houston ing water from a well region, broadly defined. -
G a G O S I a N G a L L E R Y Hiroshi Sugimoto Biography
G A G O S I A N G A L L E R Y Hiroshi Sugimoto Biography Born in 1948, Tokyo. Lives and works in New York. Education: 1972 BFA, Art Center College of Design, Los Angeles. 1966-1970 BA, Saint Paul's University, Tokyo. Solo Exhibitions: 2009 Lightning Fields, Gallery Koyanagi, Tokyo, Japan. Lightning Fields, Fraenkel Gallery San Francisco, CA. 2008 Hiroshi Sugimoto: Seven Days/Seven Nights, Gagosian Gallery, New York. Hiroshi Sugimoto, Museum der Moderne, Salzburg, Austria. Hiroshi Sugimoto, Neue Nationalgalerie, Berlin. Hiroshi Sugimoto, Kunstmuseum Luzern, Switzerland. Hiroshi Sugimoto: History of History, The National Museum of Art, Osaka, Japan. Travelled to: 21st century Museum of Contemporary Art, Kanazawa, Japan. 2007 Leakage of Light, Gallery Koyanagi, Tokyo. Hiroshi Sugimoto, K20 Kunstsammlung Nordrhein-Westfalen, Düsseldorf, Germany. Travlled to: Fine Arts Museum of San Francisco, Villa Manin Centro d’Arte Contemporanea, Udine, Italy. Hiroshi Sugimoto, Villa Manin, Passariano, Italy. Hiroshi Sugimoto: Colors of shadow, Fraenkel Gallery, San Francisco, CA. 2006 Hiroshi Sugimoto, Modern Art Museum, Fort Worth, TX. Hiroshi Sugimoto: Colors of Shadow, Sonnabend, New York. Hiroshi Sugimoto: Mathematical Forms, Galerie de l’Aterlier Brancusi, Paris. Hiroshi Sugimoto, Galerie Marian Goodman, Paris. Hiroshi Sugimoto:Joe, Gagosian Gallery, Beverly Hills. Hiroshi Sugimoto: Photographs of Joe, The Pulitzer Foundation for the Arts, St. Louis, MO. Hiroshi Sugimoto, Hirshhorn Museum and Sculpture Garden, Washington, D.C. Hiroshi Sugimoto: History of History, Arthur M. Sackler Gallery, The Smithsonian, Washington D.C. 2005 Hiroshi Sugimoto: History of History, Japan Society, New York. Hiroshi Sugimoto: Retrospective, Mori Art Museum, Tokyo. (through 2006) Conceptual Forms, Gagosian Gallery, London (Britannia Street) and Sonnabend Gallery, New York.