Sculpture Tour
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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. -
Art Museum Digital Impact Evaluation Toolkit
Art Museum Digital Impact Evaluation Toolkit Developed by the Cleveland Museum of Art’s Office of Research & Evaluation in collaboration with Rockman et al thanks to a generous grant from the National Endowment for the Arts. 2018 Content INTRODUCTION ..........................................................2 01 VISITOR CONTEXT .....................................................3 Demographics ............................................................4 Motivations ..............................................................5 Visitation Frequency .......................................................6 02 CONTEXT OF THE DIGITAL EXPERIENCE ...................................7 Prior Digital Engagement ................................................... 8 Timing of Interactive Experience ..........................................9 03 VISITORS’ RELATIONSHIP WITH ART .....................................10 04 ATTITUDES AND IDEAS ABOUT ART MUSEUMS .............................12 Perceptions of the Art Museum ..............................................13 Perceptions of Digital Interactives ............................................14 05 OVERALL EXPERIENCE AND IMPACT ....................................15 06 AREAS FOR FURTHER EXPLORATION .....................................17 ABOUT THE CLEVELAND MUSEUM OF ART ...................................19 Introduction The Art Museum Digital Impact Evaluation Toolkit in which the experience was studied. The final (AMDIET) is intended to provide artmuseums and version of data collection instruments -
Mapplethorpe: Assault with a Deadly Camera
How To Quote This Material ©Jack Fritscher www.JackFritscher.com Mapplethorpe: Assault with a Deadly Camera — Take 2: Pentimento for Robert Mapplethorpe Manuscript TAKE 2 © JackFritscher.com PENTIMENTO FOR ROBERT MAPPLETHORPE FETISHES, FACES, AND FLOWERS Of EVIL1 “He wanted to see the devil in us all... The man who liberated S&M Leather into international glamor... The man Jesse Helms hates... The man whose epic movie-biography only Ken Russell could re-create...” Photographer Mapplethorpe: The Whitney, the NEA and censorship, Schwarzenegger, Richard Gere, Susan Sarandon, Paloma Picasso, Hockney, Warhol, Patti Smith, Scavullo, sex, drugs, rock ’n’ roll, S&M, flowers, black leather, fists, Allen Ginsberg, and, once-upon-a-time, me... The pre-AIDS past of the 1970s has become a strange country. We lived life differently a dozen years ago. The High Time was in full upswing. Liberation was in the air, and so were we, performing nightly our high-wire sex acts in a circus without nets. If we fell, we fell with splendor in the grass. That carnival, ended now, has no more memory than the remembrance we give it, and we give remembrance here. In 1977, Robert Mapplethorpe arrived unexpectedly in my life. I was editor of the San Francisco—based international leather magazine, Drummer, and Robert was a New York shock-and-fetish photographer on the way up. Drummer wanted good photos. Robert, already infamous for his leather S&M portraits, always seeking new models with outrageous trips, wanted more specific exposure within the leather community. Our mutual, professional want ignited almost instantly into mutual, personal passion. -
C100 Trip to Houston
Presented in partnership with: Trip Participants Doris and Alan Burgess Tad Freese and Brook Hartzell Bruce and Cheryl Kiddoo Wanda Kownacki Ann Marie Mix Evelyn Neely Yvonne and Mike Nevens Alyce and Mike Parsons Your Hosts San Jose Museum of Art: S. Sayre Batton, deputy director for curatorial affairs Susan Krane, Oshman Executive Director Kristin Bertrand, major gifts officer Art Horizons International: Leo Costello, art historian Lisa Hahn, president Hotel St. Regis Houston Hotel 1919 Briar Oaks Lane Houston, Texas, 77027 Phone: 713.840.7600 Houston Weather Forecast (as of 10.31.16) Wednesday, 11/2 Isolated Thunderstorms 85˚ high/72˚ low, 30% chance of rain, 71% humidity Thursday, 11/3 Partly Cloudy 86˚ high/69˚ low, 20% chance of rain, 70% humidity Friday, 11/4 Mostly Sunny 84˚ high/63 ˚ low, 10% chance of rain, 60% humidity Saturday, 11/5 Mostly Sunny 81˚ high/61˚ low, 0% chance of rain, 42% humidity Sunday, 11/6 Partly Cloudy 80˚ high/65˚ low, 10% chance of rain, 52% humidity Day One: Wednesday, November 2, 2016 Dress: Casual Independent arrival into George Bush Intercontinental/Houston Airport. Here in “Bayou City,” as the city is known, Houstonians take their art very seriously. The city boasts a large and exciting collection of public art that includes works by Alexander Calder, Jean Dubuffet, Michael Heizer, Joan Miró, Henry Moore, Louise Nevelson, Barnett Newman, Claes Oldenburg, Albert Paley, and Tony Rosenthal. Airport to hotel transportation: The St. Regis Houston Hotel offers a contracted town car service for airport pickup for $120 that would be billed directly to your hotel room. -
Arnold) Glimcher, 2010 Jan
Oral history interview with Arne (Arnold) Glimcher, 2010 Jan. 6-25 Funding for this interview was provided by the Widgeon Point Charitable Foundation. 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 recorded interview with Arne Glimcher on 2010 January 6- 25. The interview took place at PaceWildenstein in New York, NY, and was conducted by James McElhinney for the Archives of American Art, Smithsonian Institution. Funding for this interview was provided by the Widgeon Point Charitable Foundation. Arne Glimcher has reviewed the transcript and has made corrections and emendations. The reader should bear in mind that he or she is reading a transcript of spoken, rather than written, prose. Interview JAMES McELHINNEY: This is James McElhinney speaking with Arne Glimcher on Wednesday, January the sixth, at Pace Wildenstein Gallery on— ARNOLD GLIMCHER: 32 East 57th Street. MR. McELHINNEY: 32 East 57th Street in New York City. Hello. MR. GLIMCHER: Hi. MR. McELHINNEY: One of the questions I like to open with is to ask what is your recollection of the first time you were in the presence of a work of art? MR. GLIMCHER: Can't recall it because I grew up with some art on the walls. So my mother had some things, some etchings, Picasso and Chagall. So I don't know. -
October 30 – December 30, 2021
ST 71 OCTOBER 30 – DECEMBER 30, 2021 EXHIBITION 71st A•ONE – A•ONE is a national competition/exhibition highlighting the diversity of work that is currently being made by established and emerging artists. Eligibility – Open to all artists, 18 years of age and older, residing in the United States. Original artwork in any media will be considered. Giclée reproductions of original works will not be accepted. Eligible artwork must have been completed after January 1, 2019, and fall within the restrictions. Awards – Grand Prize, awards an artist a solo exhibition at Silvermine Arts Center with a $1,000 stipend for show related expenses. The Juror has additional awards to give at their discretion. Entry Fee – $50 for up to 5 entries. To be considered for the Grand Prize Award, artists are required to enter a minimum of three works. Online entry – Complete the 71st A•ONE entry form on Slideroom – https://silvermineart.slideroom.com JUROR Richard Klein is a curator, artist, and writer. Since 1999 he has been Exhibitions Director of The Aldrich Contemporary Art Museum in Ridgefield, Connecticut. In his two decade long career as a curator of contemporary art he has organized over 80 exhibitions, including solo shows of the work of Janine Antoni, Sol LeWitt, Mark Dion, Roy Lichtenstein, Hank Willis Thomas, Brad Kahlhamer, Kim Jones, Jack Whitten, Jessica Stockholder, Tom Sachs, and Elana Herzog. Major curatorial projects at The Aldrich have included Fred Wilson: Black Like Me (2006), No Reservations: Native American History and Culture in Contemporary Art (2006), Elizabeth Peyton: Portrait of an Artist (2008), Shimon Attie: MetroPAL.IS. -
Jan Feb Mar Apr 2021 from the Director
FROM THE DIRECTOR JAN FEB MAR APR 2021 FROM THE DIRECTOR Submit your story I am sure you would agree, let us put 2020 behind us and anticipate a better year in 2021. With this expectation in mind, your Art Center teams are moving ahead with major plans for the new year. Our exhibitions We continue to include The Path to Paradise: Judith Schaechter’s accept personal Stained-Glass Art; Justin Favela: Central American; stories in response and Louis Fratino: Tenderness revealed along with to Black Stories. Iowa Artists 2021: Olivia Valentine. An array of print gallery and permanent collections projects, including Enjoy this story an exhibition that showcases our newly conserved submission from painting by Francisco Goya, Don Manuel Garcia de Candace Williams. la Prada, 1811, and another that features our works by Claes Oldenburg, will augment and complement Seen. I felt seen as I walked these projects. The exhibitions will continue to through the Black Stories address our goals of being an inclusive and exhibition with my friend. welcoming institution, while adding to the scholarship As history and experiences of the field, engaging our local communities in were shared through art, meaningful ways, and providing a site for the I remembered my mom community to gather together, at least virtually taking my sister and I to (for now), to share ideas and perspectives. the California African- Our Black Stories project has done just this American Museum often. as we continue to receive personal stories from She would buy children’s the community for possible inclusion in a books written by Black publication. -
Cardi Gallery Louise Nevelson
CARDI GALLERY Louise Nevelson, Untitled, 1964, Painted wood, 241 x 216 x 49.5 cm (94 7/8 x 85 1/8 x 19 1/2 in) LOUISE NEVELSON 55-70 October 7-December 20, 2014 Corso di Porta Nuova 38, Milan Cardi Gallery is pleased to present Louise Nevelson: 55-70, an exhibition of over thirty important collages and sculptures created between 1955 and 1970 that reveal the formalist achievements of Louise Nevelson (1899-1988), an icon of the Feminist art movement and one of the most significant American sculptors of the 20th century. Louise Nevelson: 55-70, is on view October 9 – December 20, 2014. Louise Nevelson: 55-70 features works created between 1955 and 1970, a period when the artist’s signature modernist style emerged, with labyrinthine wooden assemblages and monochrome surfaces, and evolved, as Nevelson incorporated industrial materials such as Plexiglas, aluminum and steel in the 1960s and 1970s. The exhibition at Cardi Gallery presents more than twenty-five collages and ten sculptures from private collections around the world, including large-scale monochrome reliefs, freestanding large-scale sculptures, and mixed media collages on paper and board, incorporating newsprint, paint, vinyl, metal, and other found objects. “I go to the sculpture, and my eye tells me what is right for me,” explained Nevelson. “When I compose, I don’t have anything but the material, myself, and an assistant. I compose right there while the assistant hammers. Sometimes it’s the material that takes over; sometimes it’s me that takes over. I permit them to play, like a seesaw. -
Online Exhibition David Smith. Sprays
Press Release Online Exhibition David Smith. Sprays hauserwirth.com Live Date: 7 July 2020 Hauser & Wirth announces an online exhibition featuring the late post-war American artist David Smith (1906- 1965), including six virtual museum loans alongside significant works spanning from 1958 until 1964. ‘David Smith. Sprays’ is curated by the artist’s daughters and co-presidents of the David Smith Estate, Candida and Rebecca Smith, and Dr. Jennifer Field, Executive Director of the David Smith Estate. The pioneering body of work is presented with walkthrough films of the virtual exhibition space created in HWVR. With thanks to contributing museums: Albright-Knox Art Gallery, Buffalo, New York; Harvard Art Museums/ Fogg Museum, Cambridge, MA; Hirshhorn Museum and Sculpture Garden, Washington, DC; Nasher Sculpture Center, Dallas; The Fine Arts Museums of San Francisco/de Young Museum, San Francisco; The Museum of Fine Arts, Houston. ‘I belong with painters, in a sense; and all my early friends were painters because we all studied together. And I never conceived of myself as anything other than a painter because my work came right through the raised surface and color and objects applied to the surface’. – David Smith, 1960 The in-depth digital presentation celebrates Smith's innovative approach to the newly available medium of aerosol paint and the consequent interplay between colour, form and the drawn image. The Sprays represent a direct and unmediated form of expression that provide a vital counterpoint to Smith’s metal work. When creating a sculpture, Smith would often place components of the work in progress on white-washed areas of his shop floor, before joining them together. -
Modernist Delicacy David Smith at 100 Sara Krulwich/The New York Times Art Review | ‘David Smith’ by HOLLAND COTTER
Friday, February 03, 2006 Modernist Delicacy David Smith at 100 Sara Krulwich/The New York Times Art Review | ‘David Smith’ By HOLLAND COTTER SISSIES were second-class citizens in mid-20th-century American culture. And Smith’s mostly modest-size sculptures are set wide apart on the ramps, leaving art was a he-man’s game: booze, broads, Sasquatch manners, the whole nine expanses of white wall. This allows Wright’s spiral to assume its famously diffused yards. Sure, a little sensitivity was O.K., as long as you didn’t get carried away. It’s glow. And it lets Smith’s dark metal sculptures be exactly what Ms. Giménez says as if there was a sign at the Cedar Bar door: Girlie-men need not apply. Except they are: drawings in space. In short, what you get is a Guggenheim experience as this picture isn’t quite right. Look at the art. De Kooning painted the way Tamara well as a David Smith experience, which add up to a Modernism experience, with Toumanova danced, with a diva’s plush bravura. all the optical rigor and boutique-spirituality Pollock interwove strands of pigment as if he that that implies. were making lace. The sculptor David Smith, the biggest palooka of the Abstract Expressionist As in any career survey, an artist’s personality crowd, floated lines of welded steel in space the is also in play. Smith said that where you found way Eleanor Steber sang Mozart’s notes, with an his art, you would find him. And he makes an unbaroque fineness, an American-style delicacy. -
Southeastern Reciprocal Membership Program
SOUTHEASTERN RECIPROCAL MEMBERSHIP PROGRAM Upon presentation of your membership card you will receive: Free admission at all times during museum hours. The same discount in the gift shop and café as those offered to members of that museum. The same discount on purchases made on the premises for concert and lecture tickets, as those offered to members of that museum. Reciprocal privileges do not include receiving mailings from any of the participating museums except for the museum with which the member is affiliated. Note: List subject to change without notice. Museums may temporarily suspend reciprocal program during special exhibitions. Some museums do not accept SERM from other local museums. Call before you go. ALABAMA Augusta Museum of History – Augusta Greensboro Birmingham Museum of Art -- Birmingham Bartow History Museum – Cartersville Greenville Museum of Art – Greenville Carnegie Visual Arts Center -- Decatur Columbus Museum – Columbus Hickory Museum of Art -- Hickory Huntsville Museum of Art – Huntsville Georgia Museum of Art – Athens Mint Museum, Randolph -- Charlotte Jule Collins Smith Museum of Fine Art at Auburn -- Marietta Museum of History – Marietta Mint Museum Uptown – Charlotte Auburn Morris Museum of Art – Augusta Waterworks Visual Art Center – Salisbury Mobile Museum of Art – Mobile Museum of Arts & Sciences – Macon Weatherspoon Art Museum – Greensboro Montgomery Museum of Fine Arts – Montgomery Museum of Design Atlanta – Atlanta Reynolda House Museum of American Art – Winston Wiregrass Museum of Art – Dothan -
Art Museums and the Public
ART MUSEUMS AND THE PUBLIC Prepared for the International Art Museums Division Smithsonian Institution October 2001 Smithsonian Institution Office of Policy & Analysis Washington, D.C. 20560-0405 Introduction This is one of a series of papers prepared by the Smithsonian's Office of Policy and Analysis to brief members of the Smithsonian Council in advance of their November, 2001 meeting on Smithsonian art museums. Preparation for this paper included interviews with art museum staff, some from inside the Smithsonian and some from outside the Smithsonian. The Activities of Art Museums The official definition of a museum, according to the grant guidelines for the Institute of Museum and Library Services, is: "an organized and permanent nonprofit institution, essentially educational or aesthetic in purpose, with professional staff, which owns and utilizes tangible objects, cares for them, and exhibits them to the public on some regular schedule." The International Council of Museums (ICOM) defines a museum as: "a nonprofit making, permanent institution in the service of society and of its development, and open to the public, which acquires, conserves, researches, communicates and exhibits, for purposes of study education and enjoyment, material evidence of humans and their environment." The American Association of Museums (AAM), however, has altered its official definition to insist only on the use of objects, not on their ownership. To be a museum, in its definition, is to meet the following requirements: • be a legally organized not-for-profit