DOCSLIB.ORG

ADMINISTRATIVE INFORMATION Title Atelier Project Collection

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
ADMINISTRATIVE INFORMATION Title Atelier Project Collection ADMINISTRATIVE INFORMATION Title Atelier Project Collection Collection 378 Creator Project developed and executed by the Division of Visual Arts of the State University of New York at Purchase. Provenance Undetermined. Extent, Scope, and Content Note The collection is comprised of sixteen prints by American artists. About "The Atelier Project is a collection of sixteen prints by distinguished American artists. In this respect, it is similar to dozens of other print editions. But in every other way it is different – qualitatively different. The Project was a not-for-profit venture conceived and executed by the Division of Visual Arts of the State University of New York at Purchase. It was meant primarily to be a teaching tool, making available to students a variety of today’s most provocative and accomplished artists as lecturers and role models. Students were also able to observe more than half of the visiting artists producing their prints and at times could assist them. It was with this last activity in mind that I enlisted the help of a Graduate Seminar in preparing this introduction." – Irving Sandler Arrangement and Processing Note Processing completed by Kristen J. Nyitray in January 2002. Updated February 2014. Language English. Restrictions on Access The collection is open to researchers without restriction. Rights and Permissions Stony Brook University Libraries' consent as the physical owner of the collection does not address copyright issues that may affect publication rights. It is the sole responsibility of the user of Special Collections and University Archives materials to investigate the copyright status of any given work and to seek and obtain permission where needed prior to publication. Citation [Item], Atelier Project Collection, Special Collections and University Libraries, Stony Brook University Libraries. INVENTORY Lee Bontecou, Untitled, John Mastracchio, S.U.N.Y. Purchase Center for Editions, Purchase, NY, 1986. Born: 1931, Providence, RI. Education: Art Students League, 1952-1955. Major Awards: First Prize, Annual Invitational, National Institute of Arts and Letters, 1966. Major Exhibition: Museum of Contemporary Art, Chicago, 1972, essay by Carter Ratcliff. Publication: Dore Ashton, ‘Lee Bontecou, Sculpturen, Tekeningen, Lithos,’ Museum Boymansvan Beuningen, Rotterdam, 1968. Lives: Huntingdon, Pennsylvania. Richard Bosman, Untitled, Alan Koslin, X Press, N.Y., NY, 1983. Born: 1944, Madras, India. Education: Byram Shaw School of Painting and Drawing, London, 1964-69; New York Studio School, New York, 1968-71. Major Awards: Award in the Visual Arts 1. Major Exhibition: Sala Parpallo, Valencia, Spain, 1987, catalogue essay by Roberta Smith. Publication: Carter Ratcliff, ‘Expressionism Today: An Artists Symposium,’ Art in America, December 1982. Lives: New York City. Jackie Ferrara, Untitled, Betty Winkler, X Press, N.Y., NY, 1985. Born: Detroit, Michigan. Major Awards: Guggenheim Fellowship, 1976; National Endowment for the Arts Fellowship, 1973 and 1977. Major Exhibitions: Lowe Art Museum, Coral Gables, FL, 1982, catalogue essay by Carter Ratcliff. Publication: Phil Patton, “Sculpture The Mind Can Use,” Art News, March 1982. Lives: New York City. Rafael Ferrer, Untitled, Alan Koslin, X Press, N.Y., NY, 1984. Born: 1933, San Juan, Puerto Rico. Education: Syracuse University, NY, 1951-52; University of Puerto Rico, Mayaguez, 1952-54. Major Awards: National Endowment for the Arts, 1972 and 1978; Guggenheim Fellowship, 1978. Major Exhibitions: Laguna Gloria Art Museum, Austin, TX, 1982; El Museo del Barrio, New York, 1983, catalogue essay by Kim Levin. Publication: Carter Ratcliff, “Ferrer’s Sun and Shade,” Art in America, March 1980. Lives: Philadelphia, PA. Mary Frank, Untitled, Carol Herd, Editions in Cast Paper Ltd., Urbana, IL, 1983. Born: 1933, London, England. Education: Max Beckmann, 1950; Hans Hoffman, 1951. Major Awards: Guggenheim Fellowship, 1983. Major Exhibition: Neuberger Museum, S.U.N.Y. Purchase, 1978, catalogue essay, Hayden Herrera. Publication: Martica Sawin, “The Sculpture of Mary Frank,” Arts, March 1977. Lives: New York City. Gregory Gillespie, Self Portrait, John Mastracchio, S.U.N.Y. Purchase Center for Editions, Purchase, NY, 1984. Born: 1936, Elizabeth, NJ. Education: Cooper Union; San Francisco Art Institute, MA. Major Award: National Institute of Arts and Letters Award, 1964. Major Exhibition: Hirshhorn Museum, Washington, DC, 1978, catalogue essay by Abram Lerner. Publication: Abram Lerner, Gregory Gillespie, (Washington, DC; Smithsonian Institute, 1977). Lives: Belchertown, MA. Leon Golub, The Brank, S.U.N.Y. Purchase Center for Editions, Purchase, NY, 1984. Born: 1922, Chicago, IL. Education: University of Chicago, B.A. 1942; School of the Art Institute of Chicago, B.F.A., 1949; M.F.A. 1950. Major Awards: Honorary Doctor of Fine Arts, School of the Art Institute of Chicago, 1982. Major Exhibition: New Museum of Contemporary Art, New York, 1984. catalogue essay by Ned Rifkin an dLynn Gumpert. Publication: Donald Kuspit, Leon Golub: Existential/Activist/Painter (New Brunswick, New Jersey: Rutgers University Press, 1985). Lives: New York City. Lester Johnson, Gold Series 3, Jon Cone, Jon Cone Editions, Port Chester, NY, 1984. Born: 1919, Minneapolis, MN. Education: Minneapolis School of Art, St. Paul Art School, Chicago Art Institute, 1942-47. Major Awards: Guggenheim Fellowship, 1973; Brandeis Creative Arts Award, 1978. Major Exhibition: Kansas City Art Institute, 1984. Publication: Lawrence Campbell, “Going in Instinct,” Art in America, February 1984. Lives: Greenwich, CT. George McNeil, Untitled, John Mastracchio, S.U.N.Y. Purchase Center for Editions, Purchase, NY, 1984. Born: 1908, New York City. Education: Pratt Institute, 1927-29; Art Students League, 1930-33; Hans Hoffman School, 1933-36; Columbia University, B.S., M.A., Ed.D. Major Awards: National Council on the Arts Award, 1967; Guggenheim Fellowship, 1969; American Academy of Arts and Letters Award, 1982. Major Exhibition: Artists’ Choice Museum, New York, Statement by McNeil. Publication: Judith Higgins, “Heroes o fMyth and of Morning After,” Art News, September 1986. Lives: New York City. Reuben Nakian, Leda and the Swan, John Volny, S.U.N.Y. Purchase Center for Editions, Purchase, NY, 1983. Born: 1897, College Point, NY. Education: Art Students League, Independent Art School and Beaux Arts Academy, 1912-1915; with Paul Manship and Gaston Lachaise, 1916-1919. Major Awards: Honorary Doctor of Fine Arts, University of Nebraska, 1969; Skowhegan Medal for Sculpture, 1983. Major Exhibition: Museum of Modern Art, New York, 1966, catalogue essay by Frank O’Hara; Milwaukee Art Museum, 1985, catalogue essay by Gerald Nordland. Publication: Robert Silberman, "Sport of the Gods,” Art in America, May 1986. Lives: Stamford, CT. Philip Pearlstein, Untitled, Betty Winkler, X Press, N.Y., NY, 1985. Born: 1924, Pittsburgh, PA. Education: Carnegie Institute of Technology, B.F.A., 1949; Institute of Fine Arts, New York University, M.A., 1955. Major Awards: Guggenheim Fellowship, 1969; American Academy and National Institute of Arts and Letters Award, 1973. Major Exhibition: Milwaukee Art Museum, 1983, catalogue essays by Russell Bowman, Philip Pearlstein, and Irving Sandler. Publication: Russell Bowman, Philip Pearlstein: The Complete Paintings (New York: Alpine Fine Arts Collection, 1983). Lives: New York City. Judy Pfaff, Squash, Robin Nemlich, S.U.N.Y. Purchase Center for Editions, Purchase, NY, 1986. Born: 1946, London, England. Education: Washington University, St. Louis, MO, B.F.A., 1971; Yale University, M.F.A., 1973. Major Awards: National Endowment for the Arts Fellowship, 1986. Major Exhibition: Knight Art Center, Charlotte, NC, 1986. Publication: Roberta Smith, “Judy Pfaff/Autonomous Objects,” Knight Gallery, 1986. Lives: New York City. Steve Poleskie, Aerobatic Sky Art Project for S.U.N.Y. Purchase, Jebah Baum, S.U.N.Y. Purchase Center for Editions, Purchase, NY, 1979. Born: 1938, Pringle, PA. Education: Wilkes College, B.A. 1959; New School of Social Research, 1961. Major Awards: American Foundation of Arts, 1972; Creative Artists Publication Service, 1978. Major Exhibition: Studio Dars, Milan, Italy 1985. Publication: Verlain Boyd, “Ace of Arts,” Arts Magazine, January 1985. Lives: Ithaca, NY. Kathy Porter, Untitled, Robin Nemlich, S.U.N.Y. Purchase Center for Editions, Purchase, NY, 1986. Born: 1941, Iowa. Education: Colorado College, B.A. 1963; Boston University, 1962. Major Awards: Honorary Degree, Colby College, Maine. Major Exhibition: Rose Art Museum, Brandeis University, Waltham, MA, catalogue essay by Carl Belz. Publication: Deborah Phillips, “Katherine Porter,” Art News, February 1985. Lives: New York City. George Sugarman, Untitled, John Mastracchio, S.U.N.Y. Purchase Center for Editions, Purchase, NY, 1984. Born: 1912, New York City. Education: City College of New York, B.A. 1934; Ossip Zadkine, Paris, 1951-52. Major Awards: National Foundation of the Arts Award, 1966. Major Exhibition: Joslyn Art Museum, Omaha, NE, catalogue essays by Holliday T. Day, Irving Ssandler and Brad Davis. Publication: Amy Goldin, “The Sculpture of George Sugarman,” Arts, June 1966. Lives: New York City. William Tucker, Untitled, Betty Winkler, X Press, N.Y., NY, 1986. Born: 1935, Cairo, Egypt. Education: Oxford University, England, 1955-58; Central School of Art and Design, St. Margin’s School of Art, London, 1959-60. Major Awards: Guggenheim Fellowship, 1980. Major Exhibition: Neuberger Museum, S.U.N.Y Purchase, 1985. Publication: Matti Megged, “The Sculpture of William Tucker,” Arts, September 1982. Lives: New York City. .
Load more

Recommended publications
  • Irving Sandler
    FROM THE ARCHIVES: HANS HOFMANN: THE PEDAGOGICAL MASTER By Irving Sandler May 30, 1973 Irving Sandler died on June 2, 2018 at the age of 92. A frequent contributor to A.i.A., Sandler was best known for chronicling the rise and the aftermath of Abstract Expressionism. One of his most significant articles for A.i.A., the impact of Hans Hofmann, who taught such artists as Helen Frankenthaler and Allan Kaprow, thereby influencing not only second- and third-generation Ab Ex painters but other developments in American art after 1945. Sandler highlights Hofmann’s interest in the deep traditions of European art, and his belief that the best abstract painting continues its manner of modeling the world. “It was in this cubic quality, this illusion of mass and space, that the man-centered humanist tradition—or what could be saved of it—was perpetuated,” Sandler wrote, summarizing a central tenet of Hofmann’s teachings. The full essay, from our May/June 1973 issue, is presented below. In June we re-published Sandler’s essay “The New Cool-Art,” on the rise of Minimalism. —Eds. As both a painter and a teacher Hans Hofmann played a germinal part in the development of advanced American art for more than thirty years. This article will deal only with his pedagogical role—a topic chosen with some trepidation, for to treat an artist as a teacher is often thought to demean his stature as an artist. The repute of Hofmann’s painting has suffered in the past because of this bias, but no longer, since he is now firmly and deservedly established as a pathfinding master of Abstract Expressionism.
    [Show full text]
  • Press Release Al Held
    PRESS RELEASE AL HELD Black and White Paintings 1967–1969 Opens Thursday February 18 from 6-8 pm Exhibition continues through March 26, 2016 Cheim & Read is pleased to present eight monumental black and white paintings, dating from 1967 to 1969, Al Held (1928–2005). An exhibition of Held’s “Alphabet Paintings,” made between 1961 and 1967, was exhibited at the gallery in 2013. This exhibition focuses on the unique series of paintings Held began in 1967, in which various geometric forms, arranged in multiple perspectives, are rendered within the strict confines of a black-and-white palette. Perhaps inspired by the India ink drawings of lines, circles, triangles, and squares that he made in 1966, Held had already begun moving away from the flat, boldly-colored shapes of his earlier work. Using charcoal and white acrylic directly on canvas, he started sketching multi-dimensional, interlocking configurations, surrounding them with colored ground. In late 1967, this B/W V 1967-68 acrylic on canvas experimentation yielded to an increasingly graphic, complex, and illusory 114 x 114 in 289.6 x 289.6 cm space. While compositions were still worked out on the canvas, often in several iterations, Held’s soft-edged charcoal was replaced by the sharply defined contours of uniformly painted forms, their thick black outlines positioned against a stark white field. The paintings featured in this exhibition encompass the initial phase of this new body of work. The “B/W series” is comprised of Held’s first fully realized canvases in his new style and limited palette, while works from the “Phoenicia” series are more explicit in their development of multiple perspectives and vanishing points, resulting in evermore ambiguous spatial relationships.
    [Show full text]
  • MCASD 2018 Artauction Catal
    WELCOME Every two years, with great anticipation, the Museum of Contemporary Art San Diego stages its benefit Art Auction, an exhibition and fundraiser that infuses resources into the Museum’s acquisitions and programs. The dozens of works on view are created by the leading artists of our time. Whether at the peak of their careers or at the launch, nearby or international, these noteworthy artists have been selected and their works vetted by the Museum’s curatorial team. Indeed, the objects reflect the curatorial interests and perspective of MCASD. Numerous artists included in the benefit Art Auction have been featured in MCASD exhibitions and many have works in the collection. With tremendous generosity, these artists donate their creations. We are incredibly moved by their support and recognize their crucial role in the success of this fundraiser. Their donations not only benefit MCASD, but also foster the act of collecting. Over the decades, countless local collections have been enhanced through the benefit Art Auction. The opportunity to live with a unique work of art is a lure, yet the field is vast. This dynamic event narrows the scope and provides the context, highlighting works of the highest caliber that reflect the adventurous spirit of MCASD. Here, artists become patrons, museum-goers become art collectors, and MCASD becomes the hub that connects the art of our time with the people of our region. We encourage you to find your art in this dynamic exhibition and we thank you for your support. Kathryn Kanjo The David C. Copley
    [Show full text]
  • Jack Rutberg Fine Arts 357 N
    JACK RUTBERG FINE ARTS 357 N. La Brea Avenue ∙ Los Angeles, CA 90036 ∙ Tel (323) 938-5222 ∙ [email protected] Reuben Nakian was born in 1897 in College Point, New York, the fifth child of Armenian immigrants. From 1916 to 1919, he apprenticed to the noted sculptor Paul Manship in New York, along with Gaston Lachaise. Nakian and Lachaise established their own studio from 1920 to 1922. In 1922, with a stipend from Gertrude Vanderbilt Whitney, Nakian established his own studio. Nakian’s early works of the 1920s and 30s were mainly of exotic animals sculpted in a sensually smooth manner typical of the era. In the 1920s and 30s, Nakian received considerable recognition with numerous exhibitions in New York, including the Whitney Museum, the Museum of Modern Art, the Downtown Gallery and Wildenstein Gallery, as well as the Art Institute of Chicago, and the Corcoran in Washington D.C. In 1926 he met Brancusi and assisted him in installing his first one-man exhibition in the U.S. In the mid 1930s, Nakian met the painter Arshile Gorky (and through him Willem De Kooning), who encouraged him to seek greater expression through abstraction. Nakian - already inspired by Picasso, and some of the European avant gardes, as was Gorky - sought to further his own expressive possibilities and pursued a course of modeling the figure with unprecedented freedom, atypical in American sculpture. Indeed, Nakian’s unique style in sculpture anticipated artists such as Willem De Kooning’s work by more than two decades. Nakian’s immersion in Greek mythology captured his interest and served as the primary inspiration of his subject matter for the duration of his career, through the mid 1980s.
    [Show full text]
  • It's Derby Days
    - ---- ~~--.._----~-~-· ---,,-- ---- UN I I T Y SOUTHERN UTAH UNIVERSITY • CEDAR It's Derby Days, CAMPUS SPORTS: suu·s golfers are poised to end their year ACADEMIC FOCUS at this weekend's Cougar Classic Convocation: tournament. PAGE 13. Thursday's lecture at 1 CAMPUS NEWS: suu·s WORLD NEWS: A fire near the 11 a.m. in the Wellness Center goes a long way to site of the Chernobyl nuclear disaster help keep students healthy here. is threatening contamination of Auditorium will look PAGE3. thousands. PAGE 10. at the world of art. CAMPUS ARTS: suu NATIONAL SPORTS: Unplugged today features National Champion Kentucky PAGES. musicians Larsen and Scott may lose its coach Rick Pitino to beginning at noon. PAGE 11. the New fersey Nets. PAGE 14. Artist Gregory Gillespie I ALMANAC • SUUSA Cabinet meeting, SUUSA Offices, 7 a.m. IN THUNDERBIRD CIRCLE DINING: • Rubicon Club meeting, TV Lounge, 6 p.m. \'JYJEID) NJE § ID) A Y • SUU Unplugged featuring Larsen &. Scott, Student April Center Living Room, 11:45 a.m. to 1:15 p.m. Lunch (11-1:30): Meatloaf w/BBQ sauce, biscuits and • Sigma Chi Derby Days: Children's Miracle country gravy, hot dog and polish sausage bar, soup &. Network/Make-A-Wish Foundation table, 10 a.m.; salad bar, grill, deli. Shooting for Miracles, 1 p.m.; Monte Carlo Night, Student Center, 7:30 p.m. Dinner: (5-6:30): Hawaiian chicken with rice pilaf, • SUU baseball doubleheader at Wyoming, 1 p.m. vegetarian bar, cheese sticks, soup &. salad bar, grill, deli. SUTV Schedule:------------- • 5 p.m: fournal-World News .WEATHER FORECAST: • 5:30 p.m: Chef Paul Prudhomme's Fiery Foods • 6 p.m: Pacific Diaries • 7:30 p.m: Convocations-Peterson Zah "The ·FAIR Struggle and Pain Continues: Our Future Is In Our Youth" HIGH: Low 70s • 7:50 p.m: About Your Business-Discussions on LOW: Mid30s Free Enterprise • Convocation lecture, Gregory Gillespie, "Gregory .
    [Show full text]
  • PAVIA, PHILIP, 1915-2005. Philip Pavia and Natalie Edgar Archive of Abstract Expressionist Art, 1913-2005
    PAVIA, PHILIP, 1915-2005. Philip Pavia and Natalie Edgar archive of abstract expressionist art, 1913-2005 Emory University Stuart A. Rose Manuscript, Archives, and Rare Book Library Atlanta, GA 30322 404-727-6887 [email protected] Descriptive Summary Creator: Pavia, Philip, 1915-2005. Title: Philip Pavia and Natalie Edgar archive of abstract expressionist art, 1913-2005 Call Number: Manuscript Collection No. 981 Extent: 38 linear feet (68 boxes), 5 oversized papers boxes and 5 oversized papers folders (OP), 1 extra oversized papers folder (XOP) and AV Masters: 1 linear foot (1 box) Abstract: Philip Pavia and Natalie Edgar archive of abstract expressionist art including writings, photographs, legal records, correspondence, and records of It Is, the 8th Street Club, and the 23rd Street Workshop Club. Language: Materials entirely in English. Administrative Information Restrictions on Access Unrestricted access. Terms Governing Use and Reproduction All requests subject to limitations noted in departmental policies on reproduction. Source Purchase, 2004. Additions purchased from Natalie Edgar, 2018. Citation [after identification of item(s)], Philip Pavia and Natalie Edgar archive of abstract expressionist art, Stuart A. Rose Manuscript, Archives, and Rare Book Library, Emory University. Processing Processed by Elizabeth Russey and Elizabeth Stice, October 2009. Additions added to the collection in 2018 retain the original order in which they were received. Emory Libraries provides copies of its finding aids for use only in research and private study. Copies supplied may not be copied for others or otherwise distributed without prior consent of the holding repository. Philip Pavia and Natalie Edgar archive of abstract expressionist art, Manuscript Collection No.
    [Show full text]
  • Handbook of the Collections
    Bowdoin College Bowdoin Digital Commons Museum of Art Collection Catalogues Museum of Art 1981 Handbook of the Collections Bowdoin College. Museum of Art Margaret Burke Follow this and additional works at: https://digitalcommons.bowdoin.edu/art-museum-collection- catalogs Part of the Fine Arts Commons, and the History of Art, Architecture, and Archaeology Commons Recommended Citation Bowdoin College. Museum of Art and Burke, Margaret, "Handbook of the Collections" (1981). Museum of Art Collection Catalogues. 5. https://digitalcommons.bowdoin.edu/art-museum-collection-catalogs/5 This Book is brought to you for free and open access by the Museum of Art at Bowdoin Digital Commons. It has been accepted for inclusion in Museum of Art Collection Catalogues by an authorized administrator of Bowdoin Digital Commons. For more information, please contact [email protected]. Bowdoin College Museum of Art HANDBOOK of the Collections The Bowdoin College Library Digitized by the Internet Archive in 2015 https://archive.org/details/handbookofcollecOObowd Handbook of the Collections Walter Art Building McKim, Mead & White, architects i8g2-i8g4 Bowdoin College Museum of Art HANDBOOK COLLECTIONS Edited by MARGARET R. BURKE BRUNSWICK, MAINE 1981 COVER DRAWING BASED ON ORNAMENTAL DETAILS OF THE WALKER ART BUILDING BY JOSEPH NICOLETTI TYPE COMPOSITION BY THE ANTHOENSEN PRESS OFFSET PRINTING BY THE MERIDEN GRAVURE COMPANY DESIGN BY JOHN McKEE This project is supported by a grant from the National Endowment for the Arts in Washington, D.C., a federal agency. ISBN: 0-916606-01-5 Library of Congress Catalog Card Number: 81—66892 Copyright 1981 by the President and Trustees of Bowdoin College All rights reserved the memory ofJohn H.
    [Show full text]
  • CHANGING the EQUATION ARTTABLE CHANGING the EQUATION WOMEN’S LEADERSHIP in the VISUAL ARTS | 1980 – 2005 Contents
    CHANGING THE EQUATION ARTTABLE CHANGING THE EQUATION WOMEN’S LEADERSHIP IN THE VISUAL ARTS | 1980 – 2005 Contents 6 Acknowledgments 7 Preface Linda Nochlin This publication is a project of the New York Communications Committee. 8 Statement Lila Harnett Copyright ©2005 by ArtTable, Inc. 9 Statement All rights reserved. No part of this publication may be reproduced or transmitted Diane B. Frankel by any means, electronic or mechanical, including photocopying, recording, or information retrieval system, without written permission from the publisher. 11 Setting the Stage Published by ArtTable, Inc. Judith K. Brodsky Barbara Cavaliere, Managing Editor Renée Skuba, Designer Paul J. Weinstein Quality Printing, Inc., NY, Printer 29 “Those Fantastic Visionaries” Eleanor Munro ArtTable, Inc. 37 Highlights: 1980–2005 270 Lafayette Street, Suite 608 New York, NY 10012 Tel: (212) 343-1430 [email protected] www.arttable.org 94 Selection of Books HE WOMEN OF ARTTABLE ARE CELEBRATING a joyous twenty-fifth anniversary Acknowledgments Preface together. Together, the members can look back on years of consistent progress HE INITIAL IMPETUS FOR THIS BOOK was ArtTable’s 25th Anniversary. The approaching milestone set T and achievement, gained through the cooperative efforts of all of them. The us to thinking about the organization’s history. Was there a story to tell beyond the mere fact of organization started with twelve members in 1980, after the Women’s Art Movement had Tsustaining a quarter of a century, a story beyond survival and self-congratulation? As we rifled already achieved certain successes, mainly in the realm of women artists, who were through old files and forgotten photographs, recalling the organization’s twenty-five years of professional showing more widely and effectively, and in that of feminist art historians, who had networking and the remarkable women involved in it, a larger picture emerged.
    [Show full text]
  • A Finding Aid to the Holger Cahill Papers, 1910-1993, Bulk 1910-1960, in the Archives of American Art
    A Finding Aid to the Holger Cahill Papers, 1910-1993, bulk 1910-1960, in the Archives of American Art Jean Fitzgerald Funding for the digitization of the microfilm of this collection was provided by Jane Blumenfeld. 1998 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Biographical Note............................................................................................................. 2 Scope and Content Note................................................................................................. 2 Arrangement..................................................................................................................... 2 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 5 Series 1: Biographical Material and Personal Papers, 1931-1988........................... 5 Series 2: Correspondence Files, 1922-1979, 1993.................................................. 6 Series 3: Works Progress Administration Federal Art Project, 1934-1970............
    [Show full text]
  • Robert Berlind
    LENNON, WEINBERG, INC. 514 West 25th Street, New York, NY 10001 Tel. 212 941 0012 Fax. 212 929 3265 [email protected] www.lennonweinberg.com Robert Berlind (1938 – 2015) EDUCATION 1963 Yale School of Art and Architecture, MFA Painting 1962 Yale School of Art and Architecture, BFA Painting 1960 Columbia College, BA Art History 1959 Arts Student’s League (Summer) 1952-56 Philips Academy of Andover SOLO EXHIBITIONS 2016 Lennon, Weinberg, Inc., New York, NY 2010 David Findlay Jr. Fine Art, New York, NY 2008 Huntington Museum of Art, Huntington, WV 2005 Tibor de Nagy Gallery, New York, NY Alexandre Hogue Gallery, The University of Tulsa, Tulsa, OK 2001 Tibor de Nagy Gallery, New York, NY 1998 Tibor de Nagy Gallery, New York, NY Neuberger Museum of Art, Purchase, NY: Robert Berlind: Paintings 1982-1996 The Picker Art Gallery, Colgate University, Hamilton, NY: Robert Berlind: Paintings 1982-1996 1997 University Art Galleries, Wright State University, Dayton, OH: Robert Berlind: Paintings 1982-1996 1996 Reynolds Gallery, Richmond, VA Tibor de Nagy Gallery, New York, NY 1995 Hampshire College Gallery, Amherst, MA 1994 Tibor de Nagy Gallery, New York, NY 1992 Delaware Arts Center Gallery, Narrowsburg, NY 1990 Ruth Siegel Gallery, New York, NY 1988 Ruth Siegel Gallery, New York, NY St. Peter’s Church (at Citicorp), New York, NY (4 month installation) 1986 Ruth Siegel Gallery, New York, NY Warren Wilson College, Swananoa, NC 1985 Gallery One, Toronto, Ontario, Canada 1984 Ruth Siegel Gallery, New York, NY Virginia Polytechnic Institute, Blacksburg, VA Virginia Western Community College, Roanoke, VA 1983 Tomasulo Gallery, Union College, Cranford, NJ Anna Leonowens Gallery, Halifax, NS, Canada 1982 Alexander Milliken Gallery, New York, NY 1981 Alexander Milliken Gallery, New York, NY 1978 A.R.C.
    [Show full text]
  • Women of Abstract Expressionism
    WOMEN OF ABSTRACT EXPRESSIONISM EDITED BY JOAN MARTER INTRODUCTION BY GWEN F. CHANZIT, EXHIBITION CURATOR DENVER ART MUSEUM IN ASSOCIATION WITH YALE UNIVERSITY PRESS NEW HAVEN AND LONDON Published on the occasion of the exh1b1t1on Women of Abstract Denver Art Museum Expressionism. organized by the Denver Art Museum Director of Publications: Laura Caruso Curatorial Assistant: Renee B. Miller Denver Art Museum. June-September 2016 Yale University Press Mint Museum. Charlotte. North Carolina. October-January 2017 Palm Springs Art Museum. February-May 2017 Publisher. Art and Architecture: Patricia Fidler Editor Art and Architecture: Katherine Boller Wh itechapel Gallery. London.June-September 2017 . Production Manager: Mary Mayer Women of Abstract Expressionism is organized by the Denver Art Museum. It is generously funded by Merle Chambers: the Henry Luce Designed by Rita Jules. Miko McGinty Inc. Foundation: the National Endowment for the Arts: the Ponzio family: Set in Benton Sans type by Tina Henderson DAM U.S. Bank: Christie's: Barbara Bridges: Contemporaries. a Printed in China through Oceanic Graphic International. Inc. support group of the Denver Art Museum: the Joan Mitchell Foundation: the Dedalus Foundation: Bette MacDonald: the Deborah Library of Congress• Control Number: 2015948690 Remington Charitable Trust for the Visual Arts;the donors to the ISBN 978-0-300-20842-9 (hardcover): 978-0914738-62-6 Annual Fund Leadership Campaign: and the citizens who support the (paperback) Scientific and Cultural Facilities District (SCFD). We regret the A catalogue record for this book is available from the British Library. omission of sponsors confirmed after February 15. 2016. This paper meets the requirements of ANS1m1so 239.48-1992 (Permanence of Paper).
    [Show full text]
  • Press Release
    Press Release For Immediate Release Bruce Museum honors Art World Visionaries at Seventh Annual Icon Awards in the Arts Wednesday, April 20, 2016 Icon Awards. Photo by Elaine Ubiña GREENWICH, CT. March 31, 2016 – The Bruce Museum will recognize the accomplishments and contributions of nine distinguished figures in the art world at the Museum’s seventh annual Icon Awards in the Arts benefit on Wednesday, April 20. The honorees include accomplished individuals in six categories: Artists, Museum Professionals, Art Historians, Patrons of the Arts, Art Collectors, and Leaders of the Art Trade. This year’s honorees include internationally acclaimed artist Neil Jenney. Represented by Gagosian Galleries, his work can be found in collections and major museum exhibitions around the world. The renowned museum professional Richard Armstrong, who has led the Guggenheim to new levels of excellence, is also amongst the honorees. Lucy Freeman Sandler, a medievalist and Irving Sandler, an art critic and historian, both professors whose numerous publications are seen as references in their fields, will be honored as art historians. In addition, awards will go to Bruce Museum patron Alice Pack Melly of Greenwich, passionate collectors Sherry and Joel Mallin, as well as highly regarded art dealers Lucy Mitchell-Innes and David Nash. “We are delighted to recognize these thought-leaders from the art world who help to enrich all of our cultural lives,” says Peter C. Sutton, The Susan E.Lynch Executive Director of the Bruce Museum. Page 1 of 5 Press Release Proceeds from the Bruce Museum Icon Awards 2016 benefit exhibitions and educational programs at the Bruce Museum of Greenwich, Connecticut.
    [Show full text]