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Surface Work
Surface Work Private View 6 – 8pm, Wednesday 11 April 2018 11 April – 19 May 2018 Victoria Miro, Wharf Road, London N1 7RW 11 April – 16 June 2018 Victoria Miro Mayfair, 14 St George Street, London W1S 1FE Image: Adriana Varejão, Azulejão (Moon), 2018 Oil and plaster on canvas, 180 x 180cm. Photograph: Jaime Acioli © the artist, courtesy Victoria Miro, London / Venice Taking place across Victoria Miro’s London galleries, this international, cross-generational exhibition is a celebration of women artists who have shaped and transformed, and continue to influence and expand, the language and definition of abstract painting. More than 50 artists from North and South America, Europe, the Middle East and Asia are represented. The earliest work, an ink on paper work by the Russian Constructivist Liubov Popova, was completed in 1918. The most recent, by contemporary artists including Adriana Varejão, Svenja Deininger and Elizabeth Neel, have been made especially for the exhibition. A number of the artists in the exhibition were born in the final decades of the nineteenth century, while the youngest, Beirut-based Dala Nasser, was born in 1990. Work from every decade between 1918 and 2018 is featured. Surface Work takes its title from a quote by the Abstract Expressionist painter Joan Mitchell, who said: ‘Abstract is not a style. I simply want to make a surface work.’ The exhibition reflects the ways in which women have been at the heart of abstract art’s development over the past century, from those who propelled the language of abstraction forward, often with little recognition, to those who have built upon the legacy of earlier generations, using abstraction to open new paths to optical, emotional, cultural, and even political expression. -
Press Release
FOR IMMEDIATE RELEASE CONTACT : LOCKS GALLERY 215.629.1000 / 215.629.3868 fax [email protected] Thomas Chimes On Alfred Jarry June 18–July 16, 2010 Gallery Hours: Tuesda y–Saturday, 10a m–6pm Summer Hours (July-August): Monday –Friday, 10a m–6pm Concerning Bosse de nage cynocephalus, 1990, oil on wood, 36 x 39 7/8 inches June 2010, Philadelphia, PA – Locks Gallery is pleased to present an exhibition of paint - ings by Thomas Chimes. Thomas Chimes: On Alfred Jarry, will be on view at Locks Gallery from June 18 through July 16th, 2010. Alfred Jarry, the French poet and playwright, and originator of Pere Ubu was a frequent subject of Thomas Chimes’s paintings. Having discovered Jarry in the early 60s and sketched drawings of Ubu in 1966, Chimes’ first painted image of Alfred Jarry dates to 1973. This presentation of Chimes’ work focuses on both Jarry’s image and his writing as a subject for Chimes and includes paintings created between 1976 and 2002. As Michael Taylor noted in his 2007 retrospective of Chimes, of all his artistic forebears and influences, Jarry was the foremost, and Chimes continued to draw inspiration from his writing up through his last works. On view are several paintings from the 80s - profile views of Jarry, a series of “white por - traits” that became among the artist’s best known works; several of these paintings are borrowed from private collections for this display. With a career spanning over five decades, the work of Thomas Chimes is in the collec - tions of such museums as the Allentown Art Museum, Centre Pompidou National (over) 600 Washington Square South Philadelphia PA 19106 tel 215.629.1000 fax 215.629.3868 [email protected] www.locksgallery.com Museum of Modern Art, Paris, Corcoran Museum of Art, Delaware Art Museum, Museum of Contemporary Art, Los Angeles, Museum of Modern Art, National Gallery of Art, Washington, D.C., Pennsylvania Academy of the Fine Arts, Philadelphia Museum of Art, Phoenix Art Museum, Portland Art Museum, Smithsonian American Art Museum, Wadsworth Atheneum Art Museum and Yale University Art Gallery. -
Une Bibliographie Commentée En Temps Réel : L'art De La Performance
Une bibliographie commentée en temps réel : l’art de la performance au Québec et au Canada An Annotated Bibliography in Real Time : Performance Art in Quebec and Canada 2019 3e édition | 3rd Edition Barbara Clausen, Jade Boivin, Emmanuelle Choquette Éditions Artexte Dépôt légal, novembre 2019 Bibliothèque et Archives nationales du Québec Bibliothèque et Archives du Canada. ISBN : 978-2-923045-36-8 i Résumé | Abstract 2017 I. UNE BIBLIOGraPHIE COMMENTÉE 351 Volet III 1.11– 15.12. 2017 I. AN ANNOTATED BIBLIOGraPHY Lire la performance. Une exposition (1914-2019) de recherche et une série de discussions et de projections A B C D E F G H I Part III 1.11– 15.12. 2017 Reading Performance. A Research J K L M N O P Q R Exhibition and a Series of Discussions and Screenings S T U V W X Y Z Artexte, Montréal 321 Sites Web | Websites Geneviève Marcil 368 Des écrits sur la performance à la II. DOCUMENTATION 2015 | 2017 | 2019 performativité de l’écrit 369 From Writings on Performance to 2015 Writing as Performance Barbara Clausen. Emmanuelle Choquette 325 Discours en mouvement 370 Lieux et espaces de la recherche 328 Discourse in Motion 371 Research: Sites and Spaces 331 Volet I 30.4. – 20.6.2015 | Volet II 3.9 – Jade Boivin 24.10.201 372 La vidéo comme lieu Une bibliographie commentée en d’une mise en récit de soi temps réel : l’art de la performance au 374 Narrative of the Self in Video Art Québec et au Canada. Une exposition et une série de 2019 conférences Part I 30.4. -
JAMES LITTLE FOREWORD the Vanguard Become So Widely Accepted That They Constitute a New Shifting Towards Representation of Any Kind
NEW YORK CEN TRIC Curated by The Art Students League of New York The American Fine Arts Society Gallery 215 West 57th Street, NYC JAMES LITTLE FOREWORD the vanguard become so widely accepted that they constitute a new shifting towards representation of any kind. academy and, in turn, provoke the development of alternatives. In the NEW YORK–CENTRIC: A NON-COMPREHENSIVE OVERVIEW late 1950s, when Abstract Expressionism was increasingly acclaimed The Color Field painters remained faithful to their older predecessors’ by the small art world of the time, and the meaning of authenticity, conviction that abstraction was the only viable language for artists “Too much is expected of Art, that it mean all kinds of things and is of what he called “color-space-logic.” His work for social justice de- the necessity of abstraction, and the function of art as a revelation of their generation and faithful, as well, to the idea that the painter’s the solution to questions no one can answer. Art is much simpler than manded so much of his time that it often prevented him from painting of the unseen were passionately debated in the Cedar Tavern and role was to respond to inner imperatives, not reproduce the visible. that. Its pretentions more modest. Art is a sign, an insignia to cel- (he mainly produced drawings and works on paper in the 1930s) but The Club, so many younger artists who absorbed these values strove Like the Abstract Expressionists, too, the Color Field painters were ebrate the faculty for invention.” it had significant results, such as getting artists classified as workers to emulate Willem de Kooning’s dense, layered paint-handling that convinced that every canvas, no matter how much it resembled noth- eligible for government support—hence the WPA art programs. -
Catalog of the Cook Library Art Gallery Permanent Collection Jan Siesling
The University of Southern Mississippi The Aquila Digital Community Cook Library Art Gallery - Selections from the Cook Library Art Gallery Catalogs University of Southern Mississippi Art Museum 9-1-2011 Catalog of the Cook Library Art Gallery Permanent Collection Jan Siesling Follow this and additional works at: http://aquila.usm.edu/cookartgallery_pubs Recommended Citation Siesling, Jan, "Catalog of the Cook Library Art Gallery Permanent Collection" (2011). Cook Library Art Gallery Catalogs. Paper 1. http://aquila.usm.edu/cookartgallery_pubs/1 This Article is brought to you for free and open access by the Cook Library Art Gallery - Selections from the University of Southern Mississippi Art Museum at The Aquila Digital Community. It has been accepted for inclusion in Cook Library Art Gallery Catalogs by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. COOK LIBRARY ART GALLERY Catalogue written by Jan Siesling September 2011 Walter Inglis Anderson (American, 1903 - 1965) will be remembered as one of the most extraordinary American artists of the twentieth century. He was born in New Orleans in 1903, the second of three sons (Peter, Bob and Mac) to grain broker George Walter Anderson and his wife, Annette McConnell Anderson. Annette, a former student at the Newcomb Art College, made sure that arts and crafts dominated life in the family. In the 1920‟s they moved to Ocean Springs, Mississippi, where they opened the Shearwater Pottery. Walter participated in the ceramics production of his brothers all his life, but his foremost passion was for painting. Well trained at the New York School of Fine and Applied Art and the Pennsylvania Academy of the Fine Arts, he settled in Ocean Springs as a potter and painter. -
Joan Thorne Recent Paintings Falk Art Reference
JOAN THORNE RECENT PAINTINGS FALK ART REFERENCE P.O. Box 833 Madison, Connecticut 06443 Telephone: 203.245.2246 e-mail: [email protected] This monograph is part of a series on American artists. To purchase additional copies of this book, please contact: Peter Hastings Falk at Falk Art Reference. Published 2010 All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without permission in writing from Joan Thorne. Designed by Stinehour Editions and printed in the United States of America by Capital Offset Company. isbn-10 0-932087-64-7 isbn-13 978-0-932087-64-5 Front cover image: Mango, oil on canvas, 66 x 56 JOAN THORNE Recent Paintings November 19 – December 19, 2010 319 Bedford Avenue · Williamsburg · Brooklyn, New York 11211 718-486-8180 Fragments of the Leaf 12 from illuminations I have stretched ropes from steeple to steeple; garlands from window to window; golden chains from star to star, and I dance. – arthur rimbaud The Ghost Picked Me: The Life and Art of Joan Thorne peter hastings falk It’s like the ghost is writing a song like that. It gives you the song and it goes away. You don’t know what it means. Except the ghost picked me to write the song. — Bob Dylan sk joan thorne to describe the creative sources of her imagery, and her reply will reflect annoyance tem- Apered by patience. She defers to Bob Dylan, who, when asked the same question, replied, “The ghost picked me to write the song.” Thorne and Dylan came of age in New York City in the early 1960s. -
PROGRAM SESSIONS Madison Suite, 2Nd Floor, Hilton New York Chairs: Karen K
Wednesday the Afterlife of Cubism PROGrAM SeSSIONS Madison Suite, 2nd Floor, Hilton New York Chairs: Karen K. Butler, Mildred Lane Kemper Art Museum, Wednesday, February 9 Washington University in St. Louis; Paul Galvez, University of Texas, Dallas 7:30–9:00 AM European Cubism and Parisian Exceptionalism: The Cubist Art Historians Interested in Pedagogy and Technology Epoch Revisited business Meeting David Cottington, Kingston University, London Gibson Room, 2nd Floor Reading Juan Gris Harry Cooper, National Gallery of Art Wednesday, February 9 At War with Abstraction: Léger’s Cubism in the 1920s Megan Heuer, Princeton University 9:30 AM–12:00 PM Sonia Delaunay-Terk and the Culture of Cubism exhibiting the renaissance, 1850–1950 Alexandra Schwartz, Montclair Art Museum Clinton Suite, 2nd Floor, Hilton New York The Beholder before the Picture: Miró after Cubism Chairs: Cristelle Baskins, Tufts University; Alan Chong, Asian Charles Palermo, College of William and Mary Civilizations Museum World’s Fairs and the Renaissance Revival in Furniture, 1851–1878 Series and Sequence: the fine Art print folio and David Raizman, Drexel University Artist’s book as Sites of inquiry Exhibiting Spain at the Chicago Columbian Exposition of 1893 Petit Trianon, 3rd Floor, Hilton New York M. Elizabeth Boone, University of Alberta Chair: Paul Coldwell, University of the Arts London The Rétrospective and the Renaissance: Changing Views of the Past Reading and Repetition in Henri Matisse’s Livres d’artiste at the Paris Expositions Universelles Kathryn Brown, Tilburg University Virginia Brilliant, John and Mable Ringling Museum of Art Hey There, Kitty-Cat: Thinking through Seriality in Warhol’s Early The Italian Exhibition at Burlington House Artist’s Books Andrée Hayum, Fordham University Emerita Lucy Mulroney, University of Rochester Falling Apart: Fred Sandback at the Kunstraum Munich Edward A. -
William Gropper's
US $25 The Global Journal of Prints and Ideas March – April 2014 Volume 3, Number 6 Artists Against Racism and the War, 1968 • Blacklisted: William Gropper • AIDS Activism and the Geldzahler Portfolio Zarina: Paper and Partition • Social Paper • Hieronymus Cock • Prix de Print • Directory 2014 • ≤100 • News New lithographs by Charles Arnoldi Jesse (2013). Five-color lithograph, 13 ¾ x 12 inches, edition of 20. see more new lithographs by Arnoldi at tamarind.unm.edu March – April 2014 In This Issue Volume 3, Number 6 Editor-in-Chief Susan Tallman 2 Susan Tallman On Fierce Barbarians Associate Publisher Miguel de Baca 4 Julie Bernatz The Geldzahler Portfoio as AIDS Activism Managing Editor John Murphy 10 Dana Johnson Blacklisted: William Gropper’s Capriccios Makeda Best 15 News Editor Twenty-Five Artists Against Racism Isabella Kendrick and the War, 1968 Manuscript Editor Prudence Crowther Shaurya Kumar 20 Zarina: Paper and Partition Online Columnist Jessica Cochran & Melissa Potter 25 Sarah Kirk Hanley Papermaking and Social Action Design Director Prix de Print, No. 4 26 Skip Langer Richard H. Axsom Annu Vertanen: Breathing Touch Editorial Associate Michael Ferut Treasures from the Vault 28 Rowan Bain Ester Hernandez, Sun Mad Reviews Britany Salsbury 30 Programs for the Théâtre de l’Oeuvre Kate McCrickard 33 Hieronymus Cock Aux Quatre Vents Alexandra Onuf 36 Hieronymus Cock: The Renaissance Reconceived Jill Bugajski 40 The Art of Influence: Asian Propaganda Sarah Andress 42 Nicola López: Big Eye Susan Tallman 43 Jane Hammond: Snapshot Odyssey On the Cover: Annu Vertanen, detail of Breathing Touch (2012–13), woodcut on Maru Rojas 44 multiple sheets of machine-made Kozo papers, Peter Blake: Found Art: Eggs Unique image. -
Echo and Pine
Get Your Kicks at the 50th June 2-5, 2016 Echo and Pine 1 Letter from the President Dear Members of the Classes of 1966: On this noteworthy anniversary, it is my great pleasure to welcome you, the trailblazing members of the Classes of 1966, back to campus. From my conversations with many of you and from the memories you share in the following pages, it is apparent that the social and political upheavals of the mid-1960s – and their expressions on campus – substantially shaped your worldviews and your lives. Equally apparent is the collective sense of the Colleges’ impact on the way in which your Classes navigated those turbulent times, from the attentiveness and care of the faculty and administration, to the camaraderie of the student body, to the thought-provoking nature of the coursework. As we join together in celebrating with you this Golden Jubilee, perhaps most apparent is the remarkable success of the Classes of 1966, not only in spite of the changing national landscape 50 years ago, but also because of it. Through the burgeoning Civil Rights movement and the Vietnam War, through the Cold War and the advent of the Internet, through the 9/11 attacks and increasing globalization, your classes have thrived in this changing world and helped shape it – as doctors and educators; business and religious leaders; attorneys and musicians; service-members in law enforcement and the military; Fulbright winners and world-travelers; local, national and international volunteers; and parents and grandparents. On behalf of our faculty, staff and students, I thank you for joining us this weekend and for your indelible contributions to your communities, your country and your alma maters. -
Women Artists in the Collection
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sheldon Museum of Art Catalogues and Publications Sheldon Museum of Art 2010 Women Artists in the Collection Follow this and additional works at: https://digitalcommons.unl.edu/sheldonpubs Part of the Art and Design Commons "Women Artists in the Collection" (2010). Sheldon Museum of Art Catalogues and Publications. 85. https://digitalcommons.unl.edu/sheldonpubs/85 This Article is brought to you for free and open access by the Sheldon Museum of Art at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Sheldon Museum of Art Catalogues and Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Women Artists in the Collection This special exhibition of the permanent collection focuses exclusively on the contributions of American women artists. The fact of women's historical exclusion from the art world is part of the exploration, "Why have there been no great women artists?"-art historian Linda Nochlin famously asked in a 1971 essay. Her findings pointed to the past exclusion of women from working with male nude models, hence apprenticeships, then professions and academies, to which we add commercial gallery exhibitions, art criticism, and art history. Over the centuries this vicious cycle has shaped the current phenomenon: the predominance of male artists in museum collections . The expression" better half" historically referred to a wife or lover, acknowledging the significance of the -
Museum Views Spring
museummuseumVIEWSVIEWS A quarterly newsletter for small and mid-sized art museums Spring 2007 CONTEMPORARY MUSEUM DESIGN by Scott J. Tilden The first American art museum building of architecture and art. Some was erected by painter Rembrandt Peale and ATTRACTING THE PUBLIC 465,552 people visited the new museum building in his father Charles Willson Peale in 1813. n 1943, José Luis Sert, Fernand Léger, and 2002, the year of its comple- Subsequently, Peale’s sons founded small I Sigfried Giedion spoke of the need for public tion. This compares to museums in Baltimore, New York City, and building design to move beyond simple func- approximately 165,000 visi- Utica. Spectacles and musical performances tional considerations. “The people want the tors in 1999 and 2000. These accompanied the exhibitions of art and natural buildings that represent their social and commu- figures are all the more impressive when com- history. P.T. Barnum purchased these museums nity life to give more than functional fulfill- pared to the population of Milwaukee, which is later and brought to them his unique style of ment. They want their aspirations for monumen- 597,000. showmanship. However, the major growth of tality, joy, pride, and excitement to be satisfied.” Of course, this rise in attendance was precise- American art museums awaited the end of the Few contemporary museums illustrate this ly the goal of the Milwaukee Art Museum 19th century. The Metropolitan Museum of Art concept of monumentality as well as the trustees. In fact, the broader goal of local busi- opened in 1872 and the Museum of Fine Arts in Milwaukee Art Museum, Santiago Calatrava’s nessmen and politicians was to use the building Boston and the Philadelphia Museum of Art, magnificent winged structure beside Lake to re-brand the museum and the city itself both in 1876. -
Fishman, Louise | Grove
Grove Art Online Fishman, Louise (b Philadelphia, PA, Jan 14, 1939). Anne K. Swartz https://doi.org/10.1093/gao/9781884446054.article.T2090245 Published online: 23 February 2011 American painter. Fishman is an abstract painter who came of age at the end of the 1960s when Abstract Expressionism was the dominant mode of painting and the :omenއs 0ovement was gaining momentum. She attended the Philadelphia College of Art, and the Pennsylvania Academy of Fine Arts, eventually receiving her BFA and BS degree from Tyler School of Fine Arts. There she received two senior pri]esނthe First Painting Pri]e, Student Exhibit, Tyler School of Art, and the Bertha Lowenberg Prize for the Senior Woman to Excel in Art (1963). She went on to receive her MFA from University of Illinois in Champaign (1965); that same year, she relocated to New York City. She received numerous grants and fellowships, including National Endowment for the Arts grants (1975ށ6; 1983ށ4; 1994); a Guggenheim Fellowship in Painting (1979); a fellowship to the MacDowell Colony in New Hampshire (1980); a New York Foundation for the Arts, Fellowship in Painting (1986); a Adolph and Ester Gottleib Foundation, General Support Grant (1986) and the Adolph & Clara Obrig Prize for Painting, National Academy of Design, 177th Annual Exhibition (2002). At the end of the 1960s, she focused her energies on sculpture. When she returned to painting, she combined bold, loose strokes spread over the canvas with feminist content in her famed 1973 painting series Angry Women, which were word paintings including text for emotions and names of women artists.