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Moma's RENOWNED COLLECTION of PAINTING and SCULPTURE
MoMA’S RENOWNED COLLECTION OF PAINTING AND SCULPTURE RETURNS TO VIEW IN ELEGANT AND EXPANSIVE GALLERIES Inaugural Installation in Newly Expanded Building Presents Key Movements, Artists, and Styles that Shaped the Evolution of Modern and Contemporary Art New York, November 15, 2004—The newly renovated and expanded Museum of Modern Art, opening on November 20, 2004, will present the Museum’s renowned collection of painting and sculpture in a completely new reinstallation that dynamically illustrates the movements, artists, and influences that have shaped modern and contemporary art over the last 125 years. Works from the collection will be exhibited on three floors of expansive galleries, including the Museum’s first galleries devoted exclusively to contemporary art. Architect Yoshio Taniguchi has designed suites of carefully calibrated spaces in which to trace the developments of art from the late 19th century to the present day, following a layout established by John Elderfield, The Marie-Josée and Henry Kravis Chief Curator of Painting and Sculpture, in collaboration with Jerome Neuner, Director of Exhibition Design and Production. Though works from the collection are exhibited in an essentially chronological sequence, the galleries’ distinctive design allows that progression to be non-linear, thus emphasizing how artists, movements, and styles coincided, competed with each other, and broke new ground in the evolution of modern art. Each gallery is a cohesive presentation relating an episode in the history of modern art; while each individual gallery constitutes an integral part of the larger narrative, it can also stand alone as a self-contained chapter within that story. “The most wonderful aspect of the new MoMA building from a curator’s point of view is that it allows us to look at the collection anew,” said Mr. -
A Brainy Timber Heiress with a Passion for Sculpture, Virginia Wright
A brainy timber heiress with a passion for sculpture, Virginia Wright brought some of the nation’s best contemporary artists Museum Whatcom Jack Carver by (’40); courtesyPhoto to Western’s Outdoor Sculpture Collection By Sheila Farr (’94) Virginia Wright (right) poses with Mark di Suvero as he assembles “For Handel” in 1974. Wright bought the soaring I-beam sculpture for Western after losing out on a different di Suvero work that would eventually resurface at Dartmouth College. ow much art can you buy with a million bucks? Those are qualities that set that Virginia Wright and her late That was the question Virginia Wright faced in 1969, husband, Bagley, apart from the crowd and made them a power whenH her father, Northwest timber baron Prentice Bloedel, couple whose impact on this region’s cultural life began well gave her a million dollar endowment and a mandate to buy before Prentice Bloedel endowed the Virginia Wright Fund. public artworks for the region. Their work has since extended far beyond it. Mr. Bloedel’s gift came as a surprise: He didn’t really like For starters, Bagley Wright was president of Pentagram, the contemporary art. But he knew what made his daughter tick corporation that built that quirky tower for the 1962 Century – and that she had the passion, the knowledge and the connec- 21 World’s Fair. Who knew the Space Needle would become tions to make his investment a pretty safe bet. Seattle’s premier landmark? At a time when Seattle’s theatrical He was right. Since that time, the Virginia Wright Fund scene was nearly non-existent, Bagley helped found the Seattle has reshaped the landscape of Northwest art and provided the Repertory Theater and served as its first president. -
The Museum of Modern Art NO
"^ M \ The Museum of Modern Art NO. 119 11 west 53 Street, New York, N.Y. 10019 Tel. 956-6100 Cable: Modernart FOR RELEASE: OCT. 21, 1971 PRESS PREVIEW: OCT. 19,1971 11 am - 4 pm FIRST BARNETT NEWMAN RETROSPECTIVE AT THE MUSEUM OF MODERN ART The first major retrospective exhibition of work by Barnett Newman (1905-1970), one of the most original and influential of the band of artists that emerged in the decade after World War II, will be on view at The Museum of Modern Art from October 21 through January 10, 1972. The large size of certain of his pioneering canvases, the purity and drama of his color, and above all the immediacy and simple splendor of his art especially re commended it to the younger abstract painters who were searching for their ovm styles in the late 1950s and early 1960s. This exhibition of more than 160 works traces his development from the lyrical "cosmic landscapes" of the early years through the monumen tal, color-saturated canvases of his breakthrough period, including Vir Heroicus Sublimis, (1950-1951 )and Cathedra (1951) . Among the 77 paintings, dating from 1945 through 1970, are four important late canvases never before shown: Who's Afraid of Red, Yellow and Blue IV of 1969-70, and Midnight Blue, Be I (Second Version)and Untitled, all of 1970. All 14 paintings in The Stations of the Cross series are included, as well as Newman's six sculptures, together for the first time, and installed in the Museum Garden. His largest, the monumental Broken Obelisk, was given to the Museum on the occasion of the opening. -
Themenilcollection
To S. Shepherd 1.5 miles West Alabama west Parking n o t s u o MENIL BISTRO H A John & Dominique , MENIL TH E COLLECTION n BOOKS TORE o s t r de Menil e Sul Ros s b o R - e y e e MENIL y k l s The story of the Menil c Rothko i r l D E F n Guide H o r e Chapel : r o e G d m Universi ty of t Collection begins in France o B C p b t n t n l o u a St. Thomas b o u THE MENI L Y with the 1931 marriage of o s t i r M M M p COL LECTI ON a o P H t , John de Menil (190 4–73 ), , P s h G p A a r Branard D a young banker from a g A o / t o k k h CY TWOMBLY r P o r mili tary family, and Y a GALLERY w John and Dominique de Menil, 1967 t BYZANTINE n e o s t N Dominique Schlumberger s FRESCO , u u ) o S a R CHAPEL H West Mai n r , A (1908–97), daughter of Conrad Schlum berger, one of the ( n o y G s o t t e t r Parking i e c t founders of the oil services company Schlumberger, Ltd. b o S e o R s r t Max Ernst, - y h o The de Menils left France during World War II, making e g i k R c L Le surreálisme et i Col quitt s H t s : Col quitt i their way to Houston, where John would eventually direct la peinture (Surrealism t h r p A a and Painting ), 1942 r 5 g 1 Schlumberger’s worldwide operations. -
Minimal Art and Body Politics in New York City, 1961-1975 By
Minimal Art and Body Politics in New York City, 1961-1975 by Christopher M. Ketcham M.A. Art History, Tufts University, 2009 B.A. Art History, The George Washington University, 1998 SUBMITTED TO THE DEPARTMENT OF ARCHITECTURE IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN ARCHITECTURE: HISTORY AND THEORY OF ART AT THE MASSACHUSETTS INSTITUTE OF TECHNOLOGY SEPTEMBER 2018 © 2018 Christopher M. Ketcham. All rights reserved. The author hereby grants to MIT permission to reproduce and to distribute publicly paper and electronic copies of this thesis document in whole or in part in any medium now known or hereafter created. Signature of Author:__________________________________________________ Department of Architecture August 10, 2018 Certified by:________________________________________________________ Caroline A. Jones Professor of the History of Art Thesis Supervisor Accepted by:_______________________________________________________ Professor Sheila Kennedy Chair of the Committee on Graduate Students Department of Architecture 2 Dissertation Committee: Caroline A. Jones, PhD Professor of the History of Art Massachusetts Institute of Technology Chair Mark Jarzombek, PhD Professor of the History and Theory of Architecture Massachusetts Institute of Technology Tom McDonough, PhD Associate Professor of Art History Binghamton University 3 4 Minimal Art and Body Politics in New York City, 1961-1975 by Christopher M. Ketcham Submitted to the Department of Architecture on August 10, 2018 in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Architecture: History and Theory of Art ABSTRACT In the mid-1960s, the artists who would come to occupy the center of minimal art’s canon were engaged with the city as a site and source of work. -
Large Scale : Fabricating Sculpture in the 1960S and 1970S / Jonathan Lippincott
Large ScaLe Large ScaLe Fabricating ScuLpture in the 1960s and 1970s Jonathan d. Lippincott princeton architecturaL press, new York Published by Princeton Architectural Press 37 East Seventh Street New York, New York 10003 For a free catalog of books, call 1.800.722.6657. Visit our website at www.papress.com. © 2010 Jonathan D. Lippincott All rights reserved Printed and bound in China 13 12 11 10 4 3 2 1 First edition No part of this book may be used or reproduced in any manner without written permission from the publisher, except in the context of reviews. Every reasonable attempt has been made to identify owners of copyright. Errors or omissions will be corrected in subsequent editions. All images © Roxanne Everett / Lippincott’s, LLC, unless otherwise noted. All artwork © the artist or estate as noted. Front cover: Clement Meadmore, Split Ring, 1969, with William Leonard, Don Lippincott, and Roxanne Everett. (One of an edition of two. Cor-Ten steel. 11'6" x 11'6" x 11'. Portland Art Museum, OR. Cover art © Meadmore Sculptures, LLC / Licensed by VAGA, New York, NY. Photograph by George Tassian, from the catalog Monumental Art, courtesy of the Contemporary Arts Center, Cincinnati. OH.) Back cover: Robert Murray, Athabasca, 1965–67, with Eddie Giza during fabrication. (Cor-Ten steel painted Van Dyke Brown. 144" x 216" x 96". The Gallery, Stratford, ON. Art © Robert Murray.) Frontispiece: Claes Oldenburg comparing his model to the large-scale Clothespin, 1976. (Cor-Ten steel, stainless steel. 45' x 12'31/4" x 4'6" [13.72 x 3.74 x 1.37 m]. -
H Odginsauction.Com
FALL 2019 HODGINSAUCTION.COM FALL 2019 AUCTION LIVE SESSION Lots # 1 - 98 Sunday, December 1 @ 2 p.m. MT (with webcast and real-time bidding) ONLINE SESSION Lots # 100 - 269 Monday, December 2 @ 7 p.m. MT (staggered soft close) SHOWROOM VIEWING Friday, November 29 Noon - 4 p.m. Saturday, November 30 Noon - 4 p.m. Sunday, December 1 10 a.m. - sale time Preview and Auction to be held at: Hodgins Art Auctions Ltd. 4115-7005 Fairmount Drive SE Calgary AB T2H 0J1 Tel: 403-252-4362 Fax: 403-259-3682 Email: [email protected] HODGINSAUCTION.COM TERMS AND CONDITIONS OF SALE 1. A buyer’s premium of 17% (20% for credit card payments) which date the purchaser shall be responsible for all storage will be charged on the hammer price on all lots, subject to charges until the date the lot is removed from the offices of invoice deadline. Hodgins Art Auctions Ltd. 2. Goods and Services Tax (GST) of 5% will be charged on the 10. Payment in full must be made within three days by cash, hammer price and buyer’s premium on all lots. Harmonized Sales certified cheque, Visa, Mastercard, bank draft or wire/email Tax (HST) in rates applicable to the purchasing province will transfer unless other arrangements have been made with the apply unless the purchaser takes legal possession of auctioneer. Credit card transactions may be limited to $ 5,000. purchases within Alberta. If a purchaser from an HST eligible If the purchaser fails to pay for any lot within seven (7) days province arranges their own shipping, then the legal delivery from the date of the auction sale, Hodgins Art Auctions Ltd. -
Richard Kostelanetz
Other Works by Richard Kostelanetz Fifty Untitled Constructivst Fictions (1991); Constructs Five (1991); Books Authored Flipping (1991); Constructs Six (1991); Two Intervals (1991); Parallel Intervals (1991) The Theatre of Mixed Means (1968); Master Minds (1969); Visual Lan guage (1970); In the Beginning (1971); The End of Intelligent Writing (1974); I Articulations/Short Fictions (1974); Recyclings, Volume One (1974); Openings & Closings (1975); Portraits from Memory (1975); Audiotapes Constructs (1975); Numbers: Poems & Stories (1975); Modulations/ Extrapolate/Come Here (1975); Illuminations (1977); One Night Stood Experimental Prose (1976); Openings & Closings (1976); Foreshortenings (1977); Word sand (1978); ConstructsTwo (1978); “The End” Appendix/ & Other Stories (1977); Praying to the Lord (1977, 1981); Asdescent/ “The End” Essentials (1979); Twenties in the Sixties (1979); And So Forth Anacatabasis (1978); Invocations (1981); Seductions (1981); The Gos (1979); More Short Fictions (1980); Metamorphosis in the Arts (1980); pels/Die Evangelien (1982); Relationships (1983); The Eight Nights of The Old Poetries and the New (19 81); Reincarnations (1981); Autobiogra Hanukah (1983);Two German Horspiel (1983);New York City (1984); phies (1981); Arenas/Fields/Pitches/Turfs (1982); Epiphanies (1983); ASpecial Time (1985); Le Bateau Ivre/The Drunken Boat (1986); Resume American Imaginations (1983); Recyclings (1984); Autobiographicn New (1988); Onomatopoeia (1988); Carnival of the Animals (1988); Ameri York Berlin (1986); The Old Fictions -
August 2018 Preview-Art.Com
GUIDE TO GALLERIES + MUSEUMS ALBERTA BRITISH COLUMBIA OREGON WASHINGTON June - August 2018 preview-art.com 2018_JJA_document_Final.indd 1 2018-05-23 9:37 AM Appearance New Works by Jianjun An August 20 – Sept 7, 2018 Opening Reception: Aug 23rd, 18:00 pm Panel Discussion: Aug 23rd, 19:00 pm Pendulum Gallery HSBC Building Atrium, 885 West Georgia, Vancouver, BC V6C 3E8 Monday, Tuesday, Wednesday: 9:00am–5:00pm Thursday, Friday: 9:00am–9:00pm Saturday: 9:00am–5:00pm Sundays and Stat Holidays: Closed e: [email protected] www.jianjunan.com T: 778.8952283 778.8595298 Blue Heron & Fisherman’s Wharf diptych 96” x 120” Presented by : New Primary Color Art Foundation R Space Art Development Foundation bscottfinearts.ca Advised by Shengtian Zheng | Liu, Yi 2227 Granville Street, Vancouver BC Curated by Sen Wong Co-ordinated by Li Feng 8269 North Island Highway, Black Creek 2018_JJA_document_Tue_1115.indd 2 2018-05-22 9:02 PM Appearance New Works by Jianjun An August 20 – Sept 7, 2018 Opening Reception: Aug 23rd, 18:00 pm Panel Discussion: Aug 23rd, 19:00 pm Pendulum Gallery HSBC Building Atrium, 885 West Georgia, Vancouver, BC V6C 3E8 Monday, Tuesday, Wednesday: 9:00am–5:00pm Thursday, Friday: 9:00am–9:00pm Saturday: 9:00am–5:00pm Sundays and Stat Holidays: Closed e: [email protected] www.jianjunan.com T: 778.8952283 778.8595298 Blue Heron & Fisherman’s Wharf diptych 96” x 120” Presented by : New Primary Color Art Foundation R Space Art Development Foundation bscottfinearts.ca Advised by Shengtian Zheng | Liu, Yi 2227 Granville Street, Vancouver BC Curated by Sen Wong Co-ordinated by Li Feng 8269 North Island Highway, Black Creek BC BrianScottAd.indd2018_JJA_document_Final.indd 1 3 2018-05-23 3:323:34 PM Installation Storage Shipping Transport Framing Poly Culture Art Center 100 - 905 West Pender Street Vancouver, BC V6C 1L6 展览地点 温哥华保利艺术馆 主办单位 保利文化集团股份有限公司 承办单位 保利文化北美投资有限公司 北京保利艺术中心有限公司 Venue Providing expert Poly Culture Art Center handling of your fine art Organizer Poly Culture Group for over thirty years. -
Building Stories Volume 2 from the Alberta Foundation for the Arts Collection
Building Stories Volume 2 From the Alberta Foundation for the Arts Collection Interpretive Guide James Nicoll, Home of Paint, n.d. Oil, ink on canvas board. 17 x 14 inches Courtesy the AFA Collection Alberta Foundation for the Arts Travelling Exhibition Program Alberta Foundation for the Arts Travelling Exhibition Program Building Stories Volume 2 Curated by Todd Schaber The exhibit, Building Stories: Volume 2, draws attention to the buildings that surround us and how the structures are a visual storytelling of Alberta’s past. The paintings, chosen from the Alberta Foundation for the Arts’ permanent collection, present fifteen Alberta artists whose work depict the buildings from their own personal stories and observations. Building Stories includes a range of building types and they bring the viewer from farm buildings, like in Gertrude Fleming’s scene of a warm afternoon in Meadow’s Ranch, Fairmont, BC, to a city scene on a chilly, winter day in Randy Hayashi’s January on Jasper Avenue. The other artists in the exhibit include Roy Kiyooka, James Nicoll, Daphne Stankievech, Evelyn McBryan, Euphemia McNaught, Earl Cummins, Margaret Shelton, Patrick Douglass Cox, Neil Patterson, O.N. Grandmaison, John Snow, Stanford Perrott, and Gordon Harper. The featured buildings are family homes in quiet neighbourhoods; buildings that shelter, comfort, and foster life. There are buildings that have long been forgotten and are rundown, like in Stanford Perrott’s Sander’s Machine Shed. The homes, office towers, farmhouses, churches, barns and grain elevators in Building Stories contain a multitude of narratives because the buildings in the exhibit not only carry the original story of the artist, but also what the viewer imagines. -
Annora Brown of Fort Macleod J
Annora Brown of Fort Macleod J. Doris Hunt The Winnipeg Tribune, 1957 Annora Brown with 'Travois', oil, 1954 Annora Brown est ala veille de ses quatre-vingts ans. groupings that created endless opportunities for composition. Cet extrait d'une biographie non publiee examine les Besides its appeal as significant form, the elevator was also motifs qui ont domine le travail de ce peintre de paysages loaded with symbolism. The single elevator was as valid a de I'ouest Canadien. symbol of the great lone land as Thomson's Jackpine; the groupings symbolized the achievement of the settlers in con quering the wilderness, the productivity of the prairie soil, Annora Brown was born in southern Alberta in 7899. Her the \in k that joined the West to the rest of Canada, and Can deep love for the prairie landscape, her interest in the culture ada to the world. ofthe Plains Indian and her passien for the wildflowers ofthe Canadian West have dominated her paintings, ink drawings and Still, the neighbours asked, 'Why don't you paint windmills?' writing for over 60 years. She was the only woman among the founding members of Annora made friends with three Lethbridge painters, Mike the ASA, and was among the first group ofAlberta painters Pisko, Ted Faiers, and Percy Henson, who were as passionate to exhibit at the National Gallery. Her book, Old Man's Garden in their devotion to the prairies as she was. They sketched to (Went's 7954), which contained botanical scholarship, history, gether, shared their enthusiasms, and discussed their feelings folklore, legend and her own illustrations, was the first book for grain elevators. -
Why a Mouse? Public Art in Houston
Cite Pall 1990 17 the building that he thought were reason- • « i • able or necessary. "I suppose they take that to say that everything that is put there is totally with my approval, which is of course not so at all," he rejoins. For many architects, Johansen's Mummers has been a compelling and influential source, occupying a special niche in the history of 1960s design. Is it inconceivable 8858 pi that in 50 years' time there will be a move- ment to restore the Mummers' original «H» Hi appearance? The case of the Mummers and the recent furor over the now-canceled \ \ 7»"nnin Kimbell Art Museum addition underscores the need for landmark recognition of significant buildings that are fewer than I1IIII3III 50 years old by the National Register. The llllllli ^•t arts council would do well to consider M IIIP1I. ii l l l l l i r during its renovation that this intervention is bin i he beginning of a new act in the continuing history of this much-loved and much-maligned building. The vulnerability of monuments of modern architecture is an issue that has recently been addressed in Kurope at the inaugural conference of Docomomo, held in September in The Netherlands; this ? European pressure group was formed to grapple with the problems of documenta- tion and conservation of important modern buildings. The need for a similar Claes Oldenburg, Houston exhibits public art in all its organization in the United States is all too Geometric Mouse X, 1971. Central Library Building, varieties, functions, and range of meanings.