'Made in L.A. 2018': Why the Hammer Biennial Is the Right Show For
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Luchita Hurtado Dark Years
HAUSER & WIRTH Press Release Luchita Hurtado Dark Years 31 January – 6 April 2019 Hauser & Wirth New York, 69th Street Opening reception: Thursday 31 January, 6 – 8 pm ‘When that first photograph was taken of the world from space and you saw this little ball in blackness… I became aware of what I felt I was. I feel very much that a tree is a relative, a cousin. Everything in this world, I find, I’m related to.’ – Luchita Hurtado, 2018 New York... For more than seventy years, Los Angeles-based artist Luchita Hurtado has merged abstraction and representation with mystical effect, exploring connections between the body and its larger context – nature, the environment, and the cosmos – in an effort to express universality and transcendence. ‘Dark Years,’ Hurtado’s first solo exhibition with Hauser & Wirth, focuses on the artist’s early works from the 1940s to the 1950s, a period defined by prolific experimentation. Comprising of crayon and ink paintings on board and paper, graphite and ink drawings, and oil paintings on canvas, the works on view range stylistically from surrealist figuration and geometric patterning to biomorphic forms executed with expressive acuity. Together, they underscore the vast scope of Hurtado’s early expression and illuminate the origins of an artistic output that would continue to evolve for decades to come. Hurtado’s multicultural life and career reflect in the eclectic mediums and formal techniques of her oeuvre. Born in Maiquetia, Vargas, Venezuela in 1920, she emigrated to the United States in 1928, settling in New York where she attended classes at the Art Students League. -
Epic of American Civilization Murals
NPS Form 10-900 USDI/NPS NRHP Registration Form (Rev. 8-86) OMB No. 1024-0018 THE EPIC OF AMERICAN CIVILIZATION MURALS, BAKER LIBRARY Page 1 United States Department of the Interior, National Park Service National Register of Historic Places Registration Form 1. NAME OF PROPERTY Historic Name: The Epic of American Civilization Murals, Baker Library, Dartmouth College Other Name/Site Number: Baker-Berry Library 2. LOCATION Street & Number: 6025 Baker-Berry Library Not for publication: City/Town: Hanover Vicinity: State: NH County: Grafton Code: 009 Zip Code: 03755 3. CLASSIFICATION Ownership of Property Category of Property Private: X Building(s): _X_ Public-Local: District: ___ Public-State: ___ Site: ___ Public-Federal: ___ Structure: ___ Object: ___ Number of Resources within Property Contributing Noncontributing 1 buildings sites structures objects 1 Total Number of Contributing Resources Previously Listed in the National Register: Name of Related Multiple Property Listing: NPS Form 10-900 USDI/NPS NRHP Registration Form (Rev. 8-86) OMB No. 1024-0018 THE EPIC OF AMERICAN CIVILIZATION MURALS, BAKER LIBRARY Page 2 United States Department of the Interior, National Park Service National Register of Historic Places Registration Form 4. STATE/FEDERAL AGENCY CERTIFICATION As the designated authority under the National Historic Preservation Act of 1966, as amended, I hereby certify that this ____ nomination ____ request for determination of eligibility meets the documentation standards for registering properties in the National Register of Historic Places and meets the procedural and professional requirements set forth in 36 CFR Part 60. In my opinion, the property ____ meets ____ does not meet the National Register Criteria. -
Oral History Interview with Luchita Hurtado
Oral history interview with Luchita Hurtado The digital preservation of this interview received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center. 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 Scope and Contents........................................................................................................ 1 Scope and Contents........................................................................................................ 2 Scope and Contents........................................................................................................ 2 Biographical / Historical.................................................................................................... 1 Names and Subjects ...................................................................................................... 2 Container Listing ...................................................................................................... Oral history interview with Luchita Hurtado AAA.hurtad94 Collection Overview Repository: Archives of American Art Title: Oral history interview with Luchita Hurtado Identifier: AAA.hurtad94 -
Order Form Full
JAZZ ARTIST TITLE LABEL RETAIL ADDERLEY, CANNONBALL SOMETHIN' ELSE BLUE NOTE RM112.00 ARMSTRONG, LOUIS LOUIS ARMSTRONG PLAYS W.C. HANDY PURE PLEASURE RM188.00 ARMSTRONG, LOUIS & DUKE ELLINGTON THE GREAT REUNION (180 GR) PARLOPHONE RM124.00 AYLER, ALBERT LIVE IN FRANCE JULY 25, 1970 B13 RM136.00 BAKER, CHET DAYBREAK (180 GR) STEEPLECHASE RM139.00 BAKER, CHET IT COULD HAPPEN TO YOU RIVERSIDE RM119.00 BAKER, CHET SINGS & STRINGS VINYL PASSION RM146.00 BAKER, CHET THE LYRICAL TRUMPET OF CHET JAZZ WAX RM134.00 BAKER, CHET WITH STRINGS (180 GR) MUSIC ON VINYL RM155.00 BERRY, OVERTON T.O.B.E. + LIVE AT THE DOUBLET LIGHT 1/T ATTIC RM124.00 BIG BAD VOODOO DADDY BIG BAD VOODOO DADDY (PURPLE VINYL) LONESTAR RECORDS RM115.00 BLAKEY, ART 3 BLIND MICE UNITED ARTISTS RM95.00 BROETZMANN, PETER FULL BLAST JAZZWERKSTATT RM95.00 BRUBECK, DAVE THE ESSENTIAL DAVE BRUBECK COLUMBIA RM146.00 BRUBECK, DAVE - OCTET DAVE BRUBECK OCTET FANTASY RM119.00 BRUBECK, DAVE - QUARTET BRUBECK TIME DOXY RM125.00 BRUUT! MAD PACK (180 GR WHITE) MUSIC ON VINYL RM149.00 BUCKSHOT LEFONQUE MUSIC EVOLUTION MUSIC ON VINYL RM147.00 BURRELL, KENNY MIDNIGHT BLUE (MONO) (200 GR) CLASSIC RECORDS RM147.00 BURRELL, KENNY WEAVER OF DREAMS (180 GR) WAX TIME RM138.00 BYRD, DONALD BLACK BYRD BLUE NOTE RM112.00 CHERRY, DON MU (FIRST PART) (180 GR) BYG ACTUEL RM95.00 CLAYTON, BUCK HOW HI THE FI PURE PLEASURE RM188.00 COLE, NAT KING PENTHOUSE SERENADE PURE PLEASURE RM157.00 COLEMAN, ORNETTE AT THE TOWN HALL, DECEMBER 1962 WAX LOVE RM107.00 COLTRANE, ALICE JOURNEY IN SATCHIDANANDA (180 GR) IMPULSE -
Jose Clemente Orozco Scrapbook
http://oac.cdlib.org/findaid/ark:/13030/kt5k4033qz No online items Guide to the Jose Clemente Orozco Scrapbook Finding created by Russell Michalak Special Collections, Honnold/Mudd Library, Claremont University Consortium2008 Libraries of The Claremont Colleges 800 N. Dartmouth Avenue Claremont, CA 91711 Phone: (909) 607-3977 Fax: (909) 621-8681 Email: [email protected] URL: http://libraries.claremont.edu/sc/default.html © 2008 Claremont University Consortium. All rights reserved. Guide to the Jose Clemente H448 1 Orozco Scrapbook Descriptive Summary Title: \Jose Clemente Orozco Scrapbook creator: Orozco, Jose Clemente Dates: 1932 - 1953 Abstract: Extent: 1 foot (1 box) Repository: Claremont Colleges. Honnold/Mudd Library. 800 N. Dartmouth Avenue Special Collections, Honnold/Mudd Library Claremont University Consortium Claremont, California 91711 Collection Number: H448 Languages: Languages represented in the collection: English Physical Location: Special Collections, Honnold/Mudd Library. Claremont University Consortium. Restrictions on Access This collection is open for research. Publication Rights For permissions to reproduce or to publish, please contact Special Collections Library staff. Preferred Citation [Identification of item], Register of Jose Clemente Orozco Scrapbook. Special Collections, Honnold Mudd Library, Claremont University Consortium. Acquisition Information Unknown. Processing Information Arranged and Processed by Special Collections Staff Accruals No additions to the collection is anticipated. Scope and Contents of the Collection This collection consists of articles and newsclippings about Jose Clemente Orozco's art on college campuses. Series Arrangement Series 1 Prometheus Fresco Series 2 Other art by Jose Clemente Orozco Subject Headings The following terms have been used to index the description of this collection Orozco, Jose´ Clemente, 1883-1949. -
Do It (Home) Do It (Home) Curated by Hans Ulrich Obrist
do it (home) do it (home) Curated by Hans Ulrich Obrist As social distancing requirements remain necessary, and many around the world are experiencing renewed calls to stay home, ICI and Hans Ulrich Obrist are expanding do it (home) with a new version of the project that features 54 artists’ instructions. These include new commissions as well as recent contributions from do it (around the world) at the Serpentine Galleries and do it (australia), produced by Kaldor Art Projects. Explore this additional collection of do it (home) instructions that will take you away from your screens, and recreate an art experience at home. You will respond to the artists’ call, follow their lead, enter their world, and realize an artwork on their behalf. When you’re ready to return to the screen, share that you did it! Make connections with other doers on Instagram, #doithome do it (home) was first conceived by Obrist and produced by ICI in 1995, as a collection of do it instructions that could easily be realized in one’s own home. In Spring 2020, in response to the global impact of the COVID-19 pandemic, a new version of do it (home) was launched and shared through more than 50 collaborating art spaces from within ICI’s international network. In 1993, Obrist together with artists Christian Boltanksi and Bertrand Lavier, conceived do it, an exhibition based entirely on artists’ instructions, which could be followed to create temporary art works for the duration of a show. do it has challenged traditional exhibition formats, questioned authorship, and championed art’s ability to exist beyond a single gallery space. -
Leading Contemporary Artists to Donate Works for Auction at Sotheby's Supporting The
New York | +1 212 606 7176 | Darrell Rocha | [email protected] | Melanie Brister | [email protected] Sotheby’s to Present ARTISTS FOR THE HAMMER MUSEUM Leading Contemporary Artists to Donate Works For Auction at Sotheby’s Supporting the Creation of A New Artist Fund at the Hammer Museum at UCLA *Participating Artists Include* Mark Bradford | Cecily Brown | Vija Celmins | Jimmie Durham Charles Gaines | Mark Grotjahn | Jim Hodges | Rashid Johnson Barbara Kruger | Glenn Ligon | Laura Owens | Ed Ruscha Henry Taylor | Mary Weatherford | Ai Weiwei | Jonas Wood And More To Be Offered across Sotheby’s Marquee May Auctions of CONTEMPORARY ART In New York Mark Bradford Mark Grotjahn Barbara Kruger Jonas Wood Scratch Pink Untitled (Poppy Red Untitled (Avoid eye contact) Shio Butterfly Still Life Estimate $2/3 million and Yellowed Orange Estimate $200/300,000 Estimate $300/400,000 Butterfly 50.94) Estimate $600/800,000 Public Exhibitions Los Angeles (UTA Artist Space): 17 - 20 April New York (Sotheby’s): 3 - 16 May NEW YORK, 28 March 2019 – Sotheby’s is thrilled to announce that important works by nearly 40 celebrated artists with strong ties to the Hammer Museum at UCLA have been donated for auction this May at Sotheby’s New York. Under the visionary direction of Ann Philbin, the Los Angeles institution has emerged over the past two decades as one of the most vibrant and influential museums in America. This historic sale will support the creation of a new Artist Fund, which will directly support the museum’s pioneering exhibition program and work with emerging artists. -
OROZCO at DARTMOUTH the Epic of American Civilization
OROZCO AT DARTMOUTH The Epic of American Civilization HOOD MUSEUM OF ART, DARTMOUTH | DARTMOUTH COLLEGE LIBRARIES This brochure was made possible by the Manton Foundation, whose generosity provides perpetual support for the preservation of the Orozco murals. The original printing was sponsored by Monroe Denton, Class of 1968. © 2017 Trustees of Dartmouth College. All rights reserved. Edited by Nils Nadeau Designed by Joanna Bodenweber Printed by Puritan Capital All mural photography by Jeffrey Nintzel Mural images from José Clemente Orozco’s The Epic of American Civilization, 1932–34, fresco, Orozco Room, Baker Library, Dartmouth College. Commissioned by the Trustees of Dartmouth College. Photographs of the mural in progress courtesy of Dartmouth College Libraries. Continuous scan of mural used on front cover and center spreads by Hany Farid. Diagram on center spread by Barbara Krieger. For images of Orozco’s preparatory drawings for the mural, please see the web resource Dartmouth Digital Orozco at http://www.dartmouth.edu/digitalorozco/, which was produced in collaboration with the Neukom Institute for Computational Science and funded by the Class of 1960, the Andrew W. Mellon Foundation, and the Neukom Institute. Back cover: The muralist’s tools; Orozco on scaffold with Man Released from the Mechanistic to the Creative Life, May 1932 3 Preface next year by José Clemente Orozco. Decades inspires artists, scholars, and curators to con- later, the artist-in-residence program, now tinue sharing his vision with the world. The very The Epic of American Civilization by José administered by the Studio Art Department, presence of Orozco’s Epic of American Civilization Clemente Orozco is one of Dartmouth’s great- has brought nearly 150 artists to teach and informs the day-to-day life of those who live on est treasures. -
Translating Revolution: U.S
A Spiritual Manifestation of Mexican Muralism Works by Jean Charlot and Alfredo Ramos Martínez BY AMY GALPIN M.A., San Diego State University, 2001 B.A., Texas Christian University, 1999 THESIS Submitted as partial fulfillment of the requirements for the degree of Doctor of Philosophy in Art History in the Graduate College of the University of Illinois at Chicago, 2012 Chicago, Illinois Defense Committee: Hannah Higgins, Chair and Advisor David M. Sokol Javier Villa-Flores, Latin American and Latino Studies Cristián Roa-de-la-Carrera, Latin American and Latino Studies Bram Dijkstra, University of California San Diego I dedicate this project to my parents, Rosemary and Cas Galpin. ii ACKNOWLEDGEMENTS My committee deserves many thanks. I would like to recognize Dr. Hannah Higgins, who took my project on late in the process, and with myriad commitments of her own. I will always be grateful that she was willing to work with me. Dr. David Sokol spent countless hours reading my writing. With great humor and insight, he pushed me to think about new perspectives on this topic. I treasure David’s tremendous generosity and his wonderful ability to be a strong mentor. I have known Dr. Javier Villa-Flores and Dr. Cristián Roa-de-la-Carrera for many years, and I cherish the knowledge they have shared with me about the history of Mexico and theory. The independent studies I took with them were some of the best experiences I had at the University of Illinois-Chicago. I admire their strong scholarship and the endurance they had to remain on my committee. -
Mexican MODERNISM
MORE THAN MURALS THE STORY OF MEXICAN Ángel Zárraga, La Femme et le Pantin (The Woman and the MODERNISM Puppet), 1909. IS BEING RETOLD AS COLLECTORS DISCOVER THE RICH VARIETY OF LESS WELL-KNOWN ARTISTS. BY EDWARD M. GOMEZ Museo Blaisten More than Murals espite the standard art-history-book summary of Mexican modernism, there actually is much more to this colorful subject than the works, emblem- atic though they might be, of Los Tres Grandes (The Three Great Ones)—Diego Rivera, David Alfaro Siqueiros and José Clemente Orozco. DTheir epoch-dening murals painted in the decades fol- lowing the 1910–20 revolution that ousted the dicta- torship of Porrio Díaz gave enduring expression to a proud people’s still-emerging sense of national identity. In the 1920s they began painting the large-scale murals in schools and government buildings that would become indelibly associated with their names and with uniquely Mexican interpretations of such seminal European mod- ernist movements as Post-Impressionism and Cubism. With the fall of the Díaz regime, which had suppressed civil rights and allowed wealthy landowners and industrialists to exploit struggling laborers, a new administration put forth a reformist agenda. José Vasconcelos, the federal government’s public education secretary in the early 1920s, supported public art projects like those of the muralists to educate the masses about Mexico’s history and to foster a sense of mod- ern Mexican national identity based on democratic values. Rivera, a member of the Mexican Communist Party, and Siqueiros, a Marxist who helped establish an art- ists’ union in 1923, imbued their murals with a social- ist spirit. -
Mexican Mural Movement
he Mexican Mural ovement E .'v1EXICAN muralists produced the greatest public revolutionary of this century, and their influence throughout Latin America - t recently in the wall paintings in Nicaragua - has been far hing and continuous. There was a time, during the 1930s; when . as also felt in Britain, and in the USA, but since then they have -ely entered artistic discourse.1 ,\ major difficulty is that of adequately presenting the murals ~~mselves, for although portable murals were produced, they can- give a sense of the work in its setting. Murals were painted all ·er M exico in different kinds of sites: gracefu l colonial church .d palaces, the patios of ministerial buildings, schools, town halls d museums, in positions ranging from dark and awkward stair es to the prominent fo;:ades of modern buildings. The muralists were the most vigorous and creative of the cultural anguard of revolutionary Mexico, with a powerful sense of the cial value of their art. The violent revolt in 1910 against the regime f Porfirio Dfaz had blazed on and off for ten years, during which me the President's chair in Mexico was often vacant. A cataclys -1ic event, never full y harnessed to any single programme or set of Jlterests- though Zapata's struggle for agrarian reform in Morelos was and remained a fundamental issue - the Revolution brought a new consciousness to Mexico. 2 The inauguration of the former revolutionary leader Alvaro Obregon as President, in 1920, in tia ted a period of hope and optimism in which the mural move ment was born. -
OTIS Ben Maltz Gallery WB Exhibition Checklist 1 | Page of 58 (2012 Jan 23)
OTIS Ben Maltz Gallery WB Exhibition Checklist 1 | Page of 58 (2012_Jan_23) GUIDE TO THE EXHIBITION Doin’ It in Public: Feminism and Art at the Woman’s Building October 1, 2011–January 28, 2012 Ben Maltz Gallery, Otis College of Art and Design Introduction “Doin’ It in Public” documents a radical and fruitful period of art made by women at the Woman’s Building—a place described by Sondra Hale as “the first independent feminist cultural institution in the world.” The exhibition, two‐volume publication, website, video herstories, timeline, bibliography, performances, and educational programming offer accounts of the collaborations, performances, and courses conceived and conducted at the Woman’s Building (WB) and reflect on the nonprofit organization’s significant impact on the development of art and literature in Los Angeles between 1973 and 1991. The WB was founded in downtown Los Angeles in fall 1973 by artist Judy Chicago, art historian Arlene Raven, and designer Sheila Levrant de Bretteville as a public center for women’s culture with art galleries, classrooms, workshops, performance spaces, bookstore, travel agency, and café. At the time, it was described in promotional materials as “a special place where women can learn, work, explore, develop their own point of view and share it with everyone. Women of every age, race, economic group, lifestyle and sexuality are welcome. Women are invited to express themselves freely both verbally and visually to other women and the whole community.” When we first conceived of “Doin’ It in Public,” we wanted to incorporate the principles of feminist art education into our process.