3Rd Art Alumni Symposium
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Oral History Interview with Viola Frey, 1995 Feb. 27-June 19
Oral history interview with Viola Frey, 1995 Feb. 27-June 19 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 Viola Frey on February 27, May 15 & June 19, 1995. The interview took place in oakland, CA, and was conducted by Paul Karlstrom for the Archives of American Art, Smithsonian Institution. Interview Session 1, Tape 1, Side A (30-minute tape sides) PAUL KARLSTROM: Archives of American Art, Smithsonian Institution. An interview with Viola Frey at her studio in Oakland, California, February 27, 1995. The interviewer for the Archives is Paul Karlstrom and this is what we hope will be the first in a series of conversations. It's 1:35 in the afternoon. Well, Viola, this is an interview that has waited, I think, about two or three years to happen. When I first visited you way back then I thought, "We really have to do an interview." And it just took me a while to get around to it. But at any rate what I would like to do is take a kind of journey back in time, back to the beginning, and see if we can't get some insight into, of course, who you are, but then where these wonderful works of art come from, perhaps what they mean. -
CONTEMPORARY AMERICAN PAINTING and SCULPTURE 1969 University of Illinois at Urbana-Champaign Js'i----».--:R'f--=
Arch, :'>f^- *."r7| M'i'^ •'^^ .'it'/^''^.:^*" ^' ;'.'>•'- c^. CONTEMPORARY AMERICAN PAINTING AND SCULPTURE 1969 University of Illinois at Urbana-Champaign jS'i----».--:r'f--= 'ik':J^^^^ Contemporary American Painting and Sculpture 1969 Contemporary American Painting and Sculpture DAVID DODD5 HENRY President of the University JACK W. PELTASON Chancellor of the University of Illinois, Urbano-Champaign ALLEN S. WELLER Dean of the College of Fine and Applied Arts Director of Krannert Art Museum JURY OF SELECTION Allen S. Weller, Chairman Frank E. Gunter James R. Shipley MUSEUM STAFF Allen S. Weller, Director Muriel B. Christlson, Associate Director Lois S. Frazee, Registrar Marie M. Cenkner, Graduate Assistant Kenneth C. Garber, Graduate Assistant Deborah A. Jones, Graduate Assistant Suzanne S. Stromberg, Graduate Assistant James O. Sowers, Preparator James L. Ducey, Assistant Preparator Mary B. DeLong, Secretary Tamasine L. Wiley, Secretary Catalogue and cover design: Raymond Perlman © 1969 by tha Board of Trustees of the University of Illinois Library of Congress Catalog Card No. A48-340 Cloth: 252 00000 5 Paper: 252 00001 3 Acknowledgments h.r\ ^. f -r^Xo The College of Fine and Applied Arts and Esther-Robles Gallery, Los Angeles, Royal Marks Gallery, New York, New York California the Krannert Art Museum are grateful to Marlborough-Gerson Gallery, Inc., New those who have lent paintings and sculp- Fairweother Hardin Gallery, Chicago, York, New York ture to this exhibition and acknowledge Illinois Dr. Thomas A. Mathews, Washington, the of the artists, Richard Gallery, Illinois cooperation following Feigen Chicago, D.C. collectors, museums, and galleries: Richard Feigen Gallery, New York, Midtown Galleries, New York, New York New York ACA Golleries, New York, New York Mr. -
Selected Bibliography and Exhibition History
6/6/11 n11 Karlstrom_bib.doc: 163 Selected Bibliography and Exhibition History The following selected bibliography and exhibition history have been compiled by Jeff Gunderson, longtime librarian at the San Francisco Art Institute, the intended repository for the Peter Selz library. Gunderson worked closely with the author of this book, along with Selz himself, in setting up the guidelines for inclusion. For a full bibliography of articles, essays, books, and catalogues by Peter Selz, as well as a complete list of exhibitions for which he was curator, see www.ucpress.edu/go/peterselz. The lists presented here demonstrate Selz’s wide range of interests and expertise, as well as his advocacy for fine artists and his belief that art can be a fitting vehicle for social and political commentary. For the two bibliographic sections, “Books and Catalogues” and “Journal Articles and Essays,” the selection of titles was made on the basis of their significance and the contribution that they represent. Although Selz has been involved in and responsible for numerous exhibition-related publications, the extent of his involvement in these catalogues has varied widely. Those listed here (and indicated by an asterisk) are for the projects in which he took the lead authorial role, whatever his position in conceiving or producing the accompanying exhibition. Selz wrote a great number of magazine articles and reviews as well, many of them as West Coast correspondent for Art in America. With few exceptions, the regional exhibition reviews are not included. On the other hand, independent articles that represent the development and application of his thinking about modernist art are cited. -
20Th Century Design and Craft: the Library of Philip Aarons
20 th Century Design and Craft The Library of Philip Aarons 965 titles in 981 volumes The Philip Aarons Design Library The Philip Aarons design library is focused on modern decorative arts—including ceramics, glass, furniture design, metalwork and jewelry—and on modern architecture and architects, from Wright and Gaudi to Team 10. Studies of periods and movements, such as Art Nouveau, Arts and Crafts, and Art Déco, are represented as well. ARS LIBRI THE PHILIP AARONS 20 TH CENTURY DESIGN AND CRAFT LIBRARY GENERAL WORKS 1 AGIUS, PAULINE. British Furniture, 1880-1915. 195, (1)pp. Prof. illus. 4to. Cloth. D.j. Woodbridge (The Antique Collectors’ Club), 1978. 2 AKRON. THE AKRON ART INSTITUTE. Why Is an Object: An Exhibition Investigating Motivation and Purpose. Sept.- Nov. 1962. Text by Luke Lietzke and the artists. (32)pp. 15 plates. Sm. oblong 4to. Wraps. Josef Albers, Leonard Baskin, Wharton Esherick, Trude Guermonprez, Edith Heath, Margo Hoff, Gideon Kramer, Jack Lenor Larsen, Miriam Leefe, George Nakashima, Robert Sperry, Lenore Tawney, Peter Voulkos, Marguerite Wildenhain, George Wells. Akron, 1962. 3 AKRON. AKRON ART INSTITUTE. Young Designers 1953. March-April 1953. (16)pp. Prof. illus. Sm. sq. 4to. Wraps. Library stamp. Akron, 1953. 4 AKRON. AKRON ART MUSEUM. Off the Production Line. An invitational exhibition of products designed for industry for you. Feb.-March 1956. (28)pp. 55 illus. Oblong 4to. Self-wraps. Akron, 1956. 5 ALBUQUERQUE. UNIVERSITY OF NEW MEXICO. ART MUSEUM. Crafts: National Invitational Exhibition. April-May 1968. 23, (1)pp. Prof. illus. 4to. Wraps. Albuquerque, 1968. 6 ALBUQUERQUE. UNIVERSITY OF NEW MEXICO. -
Manuel Neri CV
MANUEL NERI BORN: 1930, Sanger, CA EDUCATION: 1949-50 San Francisco City College, San Francisco, CA 1951-52 University of California, Berkeley 1951-56 California College of Arts and Crafts, Oakland 1956-58 California School of Fine Arts, San Francisco TEACHING: 1959-65 California School of Fine Arts, San Francisco, CA 1963-64 University of California, Berkeley, CA 1965-90 University of California, Davis, CA GRANTS AND AWARDS: 1953 Oakland Art Museum, First Award in Sculpture 1957 Oakland Art Museum, Purchase Award in Painting 1959 Nealie Sullivan Award, California School of Fine Arts, San Francisco 1963 San Francisco Art Institute, 82nd Annual Sculpture Award 1965 National Art Foundation Award 1970-75 University of California at Davis, Sculpture Grant 1979 John Simon Guggenheim Memorial Foundation Fellowship 1980 National Endowment for the Arts, Individual Artist Grant 1982 American Academy and Institute of Arts and Letters, Academy-Institute Award in Art 1985 San Francisco Arts Commission, Award of Honor for Outstanding Achievement in Sculpture 1990 San Francisco Art Institute, Honorary Doctorate for Outstanding Achievement in Sculpture 1992 California College of Arts and Crafts, Honorary Doctorate 1995 Corcoran School of Art, Washington, DC, Honorary Doctorate 2004 International Sculpture Center, Lifetime Achievement Award in Contemporary Sculpture COMMISSIONS: 1980-82 Office of the State Architect, State of California, Commission for marble sculpture "Tres Marias" for The Bateson Building, Sacramento, CA 1987 North Carolina National Bank, Commission for marble sculpture "Española" for NCNB Tower, Tampa, FL The Linpro Company, Commission for marble sculpture "Passage" for the Christina Gateway Project, Wilmington, DE U.S. General Services Administration, Commission for marble sculpture "Ventana al Pacifico" for U.S. -
Spencer, Catherine. Coral and Lichen, Brains and Bowels- Jay
Coral and Lichen, Brains and Bowels: Jay DeFeo’s Hybrid Abstraction By Catherine Spencer 13 May 2015 Tate Papers no.23 Situating the US artist Jay DeFeo within a network of West Coast practitioners during the 1950s and 1960s, this essay shows how her relief paintings – layered with organic, geological and bodily referents – constitute what can be understood as ‘hybrid abstraction’. This has affinities with ‘eccentric abstraction’ and ‘funk art’, but also resonates with the socio-political context of Cold War America. Jay DeFeo has been repeatedly characterised by critics, historians and fellow artists as ‘an independent visionary’, devoted to ‘“private” art’, who was ‘professionally reclusive’.1 As early as 1963 the critic John Coplans cast DeFeo, together with other American artists working on the West Coast, including her friend Wallace Berman, as ‘isolated visionaries’ cloistered ‘in complete retreat’.2 The tenacity of this myth stems partly from the work for which DeFeo has become most famous, and indeed infamous: she re-worked her gargantuan oil painting The Rose obsessively between 1958 and 1966, and the energy expended on it forced a four-year career break until 1970.3 The Rose, and by extension DeFeo, have been co-opted as ‘representative of Bay Area abstract painting in microcosm’, invoked as symptomatic of West Coast 1950s and 1960s artistic production, understood as a brief flare of creativity eclipsed by New York.4 DeFeo’s hiatus seems to bisect her output into two sections: the works made during the 1950s and early 1960s on the one side, and those from the 1970s and the 1980s on the other.5 Yet rather than being an isolated or disjointed practice, DeFeo’s work exhibits remarkable consistency and, moreover, an ability to combine multiple influences and ideas. -
The Joseph A. Baird, Jr. Collection
http://oac.cdlib.org/findaid/ark:/13030/tf4c6004f0 No online items INVENTORY OF THE JOSEPH A. BAIRD, JR. COLLECTION Processed by Pamela Pearl Wilson; machine-readable finding aid created by Jim Sylva Department of Special Collections General Library University of California at Davis Davis, CA 95616-5292 Phone: (530) 752-1621 Fax: (530) 754-5758 Email: [email protected] © 2001 The Regents of the University of California. All rights reserved. INVENTORY OF THE JOSEPH A. D-231 1 BAIRD, JR. COLLECTION INVENTORY OF THE JOSEPH A. BAIRD, JR. COLLECTION Collection number: D-231 Department of Special Collections General Library University of California, Davis Davis, California Contact Information Department of Special Collections General Library University of California at Davis Davis, CA 95616-5292 Phone: (530) 752-1621 Fax: (530) 754-5758 Email: [email protected] Processed by: Pamela Pearl Wilson Date Completed: December 1995 Encoded by: Jim Sylva © 2001 Descriptive Summary Title: The Joseph A. Baird, Jr. Collection Date (inclusive): 1977-1992 Collection number: D-231 Origination: Joseph A. Baird, Jr. Extent: 46 linear feet in 45 archives boxes and 2 folio boxes. Repository: University of California, Davis. General Library. Dept. of Special Collections. Davis, California Shelf location: For current information on the location of these materials, please consult the Special Collections Department. Language: English. Provenance Purchase of the Joseph A. Baird, Jr. Collection was made possible by the University of California Systemwide Shared Purchase Program. The collection was deposited in the Special Collections Department, Shields Library, in 1977. Upon the suggestion of Dr. Baird, the research files of Dr. -
The Funk Art Movement & Beyond Craft
The Funk Art Movement & Beyond Craft: Decorative Arts from the Leatrice S. and Melvin B. Eagle Collection Submitted by Michelle Levi, Mint Museum Docent, 2014 The Funk art movement originated in Northern California. Many Funk artists were previously painters that were associated with the Bay Area Figurative Movement in the 1950s. The Beatnik culture with its alternative and underground lifestyle was the perfect environment surrounding artists associated with the California Funk style.1 The Funk art movement of the 1960s contrasted from the Beat funk art of the decade preceding it. Funk artists of the 1950s wanted to incorporate ideals from literature, philosophy as well as art and music. Later, in the 1960’s, Funk art evolved as a reaction to Abstract Expressionists.2 San Francisco in the 1960s was dominated by free thinking and anti-war youth activists. Funk artists of the 1960s influenced by the political activism and anti-establishment mentality of the Bay Area began creating work combining painting and sculpture. The movement’s name was borrowed from jazz; a musical term “funky” describing something as quirky or sensuous. 3 The word “funk” also had negative connotations as it refers to a foul odor. In 1967 Funk, the exhibition curated by Peter Selz at The University of California, Berkeley brought national recognition to the movement for the first time.4 The exhibition included ceramics as well as found object assemblages and featured the work of Arlo Acton, Bob Anderson, Jeremy Anderson, Robert Arneson, Mowry Baden, Jerrold Ballaine, Sue Bitney, Joan Brown, Bruce Conner, Roy De Forest, William Geis, David Gilhooly, Mel Henderson, Robert Hudson, Manuel Neri, Harold Paris, Don Potts, Kenneth Price, Peter Saul, Peter Voulkos, William T. -
Second Sale Starter
Henry Hollander, Bookseller 843 Twenty-Fourth Avenue San Francisco, CA 94121 2007 Year-End Sale Contact us at 415-831-3228 or [email protected] This is our second year-end sale. We are getting a late start, so the sale will run until January 31st. All of the title below are offered at a 50% discount off of our regular prices which appear below (ie. Price below $10.00, sale price $5.00). Quanities are limited, so some items will sell out. We are beginning with a stock of at least three copies of each item. Sale price DOES NOT extend to any items not listed below. At this time I have not been able to fully proof this catalog for typographic errors. Neither item numbers nor page numbers are up yet either. I should have a better version of this catalog available by the 24th. Orders can be placed through the website. The website (http://www.hollanderbooks.com) will not calculate a discount, but one will be taken on all sale items when the final invoice is run. However, it may be easier for you to send me a list of your order in an email to the address above. Thanks for your interest. We look forward to hearing from you. Jewish Art "Scheinfeld." Tel Aviv, Sabra, 1977. First Edition. Oblong quarto, orange cloth, 68 pp., b/w and color illustrations throughout. Hardbound. Very Good. Introduction by Ethel Broido in Hebrew and English. Foreword by Baruch Oren. An artist's catalog. Yeshayahu Scheinfeld is an Israeli naive artist who worked in various mediums including weaving.His usual subject matter is the scenery of the land of Israel (29433) $10.00 Abrahami, Elie. -
Regional Oral History Office University of California the Bancroft Library Berkeley, California
Regional Oral History Office University of California The Bancroft Library Berkeley, California SONYA RAPOPORT ART DEPARTMENT ALUMNI AT THE UNIVERSITY OF CALIFORNIA, BERKELEY ORAL HISTORY PROJECT Interviews conducted by RICHARD CÁNDIDA SMITH in 2006 Copyright © 2010 by The Regents of the University of California Since 1954 the Regional Oral History Office has been interviewing leading participants in or well-placed witnesses to major events in the development of Northern California, the West, and the nation. Oral History is a method of collecting historical information through tape-recorded interviews between a narrator with firsthand knowledge of historically significant events and a well-informed interviewer, with the goal of preserving substantive additions to the historical record. The tape recording is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The corrected manuscript is bound with photographs and illustrative materials and placed in The Bancroft Library at the University of California, Berkeley, and in other research collections for scholarly use. Because it is primary material, oral history is not intended to present the final, verified, or complete narrative of events. It is a spoken account, offered by the interviewee in response to questioning, and as such it is reflective, partisan, deeply involved, and irreplaceable. ********************************* All uses of this manuscript are covered by a legal agreement between The Regents of the University of California and Sonya Rapoport, dated October 26, 2007. The manuscript is thereby made available for research purposes. All literary rights in the manuscript, including the right to publish, are reserved to The Bancroft Library of the University of California, Berkeley. -
Craft Horizons SEPTEMBER/OCTOBER 1967 $1-50 Time Never Stands Still at Troy Yarn
craft horizons SEPTEMBER/OCTOBER 1967 $1-50 Time never stands still at Troy Yarn Troy Yarn always is in the process quality ... at no greater cost than of developing something new for with ordinary yarns. weavers and rug makers. And we'll ********** bet you've never seen anything A generous sample collection of quite like the six latest exciting all Troy yarns including the six additions to Troy's Craftsman- new styles — Mexican primitive, Designer Collection of fine yarns. Haitian homespun, weaving wor- With these yarns, your design steds, brushed and looped mohairs, possibilities increase tremen- nub yarns and fine and bulky TROY YARN dously. The beautifully coordi- weaving wools — are yours for and Textile Company nated colors and interesting tex- just $2.00. Send for your samples Dept. C tures in this new Troy group give today, and see for yourself how 603 Mineral Spring Avenue you the opportunity to achieve you can add new dimensions to Pawtucket, Rhode Island 02860 distinctive effects with unusual your creative weaving. craft horizons September/October 1967 Vol. XXVII No. 5 4 The Craftsman's World 6 Letters 7 Our Contributors 8 Bertil Valllen -by Dido Smith 14 Jewelry by Sepp SchmSlzer J>y Irena Brynner 16 The Goldworkers and Lapidaries. -by Fray Bernardino De Sahagün 22 Jack Lenor Larsen 26 Stitching— —by Alice Adams 32 Phik>laos_ -by Elaine Benson 34 Workshop: Polystyrene for Ceramic Production. —by Nino Caruso 36 Exhibitions 49 Calendar 50 Where to Show The cover: By Helen Bitar (Montana), purple velvet pillow decorated with an encrustation of wool yarns stitched to the surface, 14" long. -
A Finding Aid to the Peter Howard Selz Papers, 1929-2018, Bulk 1950-2005, in the Archives of American Art
A Finding Aid to the Peter Howard Selz papers, 1929-2018, bulk 1950-2005, in the Archives of American Art Rihoko Ueno and Rayna Andrews Funding for the 2014 processing of this collection was provided by the Frederick Hammersley Foundation. Funding for the processing of the 2018 addition was provided by Gerald and Bente Buck. 2014/09/14, 2018/05/03 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 Arrangement..................................................................................................................... 4 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 3 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 6 Series 1: Correspondence, 1942-2013.................................................................... 6 Series 2: Writings, 1942-2014...............................................................................