Annual Exhibition by the Society for Contemporary American Art

Total Page:16

File Type:pdf, Size:1020Kb

Annual Exhibition by the Society for Contemporary American Art 27TH ANNUAL EXHIBITION BY THE SOCIETY FOR CONTEMPORARY AMERICAN ART April 11 to May 21; 1967 JOSEF ALBERS JIM DINE Variantt Orange Facade #8986 Small Shower oil on board, 1960 oil on canvas with metal, 1962 Lent by Mr. and Mrs. Harold E. Strauss Lent by Mr. and Mrs. Morton G. Neumann SIAH ARMAJANI STANLEY D. EDWARDS Prayer 162 Children's Children are the Crown of oil on canvas, 1962 Old Men; and the Glory of Children Lent by Mr. and Mrs. M. A. Lipschultz are Their Fathers (Proverbs 17:6) oil 1966 · HARRY BOtJRAS Lent by Mr. and Mrs. Morris A. Kaplan Lesser-Great Land Figure SAM FRANCIS collage, 1960 Red and Blue Lent by Mr. and Mrs. Phil Shorr oil on canvas, 1958-59 Lent by Mr. and Mrs. Leigh B. Block ALEXANDER CALDER Black Tulip FRITZ GLARNER stabile, c. 1949 Tondo #52 Lent by Mrs. Ernest B. Zeisler oil on masonite, 1958 Lent by Mr. and Mrs. Harold E. Strauss ALEXANDER CALDER Black Widow M. GLASER stabile, 1952-53? Oriental Enchantment Lent by Mr. and Mrs. Louis N~ Cohen oil, 1965 Lent by Mr. and Mrs. Seymour ALEXANDER CALDER Oppenheimer Snow Fiurries painted steel mobile, 1951 LEON GOLUB Lent by Mr. and Mrs. Leonard J. Horwich Orestes oil, 1959 MARY CALLERY Lent by Mrs. Lori Manilow Ballet bronze, 1954 ARSHILE GORKY Lent by Mr. and Mrs. Willard Gi<iwitz Scent of Apricots in the Field oil on canvas, GEORGE COHEN 1944 Woman in Cloak Lent by Mr. and Mrs. Joseph R. oil and cloth collage on masonite, 1951 Shapiro Lent by Mr. and Nrs. Arthur P. Feigen BALCOMB GREENE WILLIAM COPLEY D~shabill~ Tea for 2 oil, 1961 oil on canvas, 1956 Lent by Mr. and Mrs. Joseph E. Nathan Lent by Mr. and Mrs. Barnet Hodes PHILIP GUSTON JOSEPH CORNELL The Street Dream World oil, 1956 box, 1958-59 Lent by Nrs. Harvey. Kaplan Lent by Mr. and l1rs. Edwin A. Bergman PHILIP GUSTON JOSEPH CORNELL The Visit Night Skies Auriga oil on canvas, 1957 box, 1954 Lent by Mrs. Meyer Kestnbaum Lent by Mr. and Mrs. Edwin A. Bergman RICHARD HUNT JOSEPH CORNELL Organic Construction Soap Bubble Set welded steel, 1963 wood, glass, paper, clay (box) Lent by Mr. and Mrs. Michael D. Lent by Mr. and Mrs. Leonard J. Horwich Maremont \-JILL EN DE KOO NING ROBERT INDIANA Untitled Love oil on composition board, 1951 aluminum, 1966 Lent by Mr. Earle Ludgin Lent by Mr. and Mrs. Walter A. Netsch, Jr. WILLIAM DE KOONING Woman V ELLSWORTH KELLY oil, 1952-53 White Sculpture Lent by Mr. and Mrs. Arthur C. Rosenberg wood, 1958 Lent by Mr. and Mrs. Solomon 3yron Snith 27TH ANNUAL EXHIBITION •3Y THE SOCIETY FOR CONTEMPORARY Al'ltERICAN ARI' April 11 to May 21, 1967 Page 2 ELLSWORTH KELLY REUBEN NAKIAN Loop Nymph and Satyr oil, 1959 terra cotta, 1962 Lent by Mr. and Mrs. Ralph P. Youngren Lent by Mr. and Nrs. Bernard Nath FRANZ KLINE ISAMU NOGUCHI Bethlehem The Cry oil on canvas, 1953-54 bronze, 1961 Lent by Mr. and Mrs. Herman Spertus Lent by Mr. and Mrs. Arnold H. Maremont IBRAM LASSAW Monociros KENNETH NOLAND bronze (direct sculpture), 1952 Midmost Lent by Mr. and Mrs. Albert H. Newman acrylic paint on canvas, 1966 Lent by Mr. and Nrs • Walter A. ROY LICHTENSTEIN Netsch, Jr, Live Ammo oil on canvas, 1962 KENZO OKADA Lent by Mr. and Mrs. Morton G. Neumann Marsh oil on canvas, 1954 RICHARD LINDNER Lent by Mrs. Meyer Kestnbaum Figure oil on canvas, 1957 J•ULES OLITSKI Lent by Mr. and Mrs. Joseph R. Shapiro Prince Patutsky's Blue Laugh oil on canvas, 1963 JACQUES LIPCHITZ Lent by Dr. and Mrs. William J. Portrait of Bert Van Bork Tannenbaum bronze, 1966 Lent by Mr. and Mrs. Bert Van Bork NATHAN OLIVEIRA Standing Woman MORRIS LOUIS oil on canvas, 1958 #129 Lent by Mr. and Mrs. Stanley M. acrylic on canvas, 1962 Freehling Lent by Nr. and Mrs. Harold E. Strauss DAVID PACKARD LOREN MaciVER The Stroll Fleurs Godetia polyester, polyethylene and steel, oil, 1963 1962 Lent by Mr. and Mrs. Frederic G. Pick Lent by Mr. and Mrs. Earl M. Ratzer MARISOL JACKSON POLLOCK The Kennedy Family #20 carved and painted wood and plaster, oil on masonite, 1949 1960 Lent by Mr. and Mrs. David C. Lent by Mr. and Mrs. Edwin A. Bergman Ruttenberg JAMES METCALF RICHARD POUSETTE-DART Borealis Cabalistic ~mbols bronze, 1964 plaster, c. 1954 Lent by Mr. and Mrs. Malcolm S. Kamin Lent by Mr. and Mrs. SJdney Stain, Jr. KONSTANTIN MILONADIS ABRAHAM RATTNER Berry Bush I Two Figures with Mask kinetic sculpture, 1962 oil, 1949 Lent by Mr. and Mrs. Howard G. Haas Lent by Mr. and Mrs. Donn Shapiro JOAN MITCHELL ROBERT RAUSCHENBERG Untitled Buffalo II oil oil on canvas with silkscreen, 1964 Lent by Mr. Lewis Manilow Lent by Mr. and Mrs. Robert B. Mayer ROBERT MOTHERWELL MILTON RESNICK Elegy to the Spanish Republic #102 End of the Year acrylic on Belgian linen, 1965 oil on canvas, 1957 Lent by Mr. and Mrs. Robert B. Mayer Lent by Mr. and Mrs. Hennan Spertus ROBERT MOTHERWELL LARRY RIVERS The Mediterranean Sky Buick Painting with 2 oil and collage, oil on canvas, 1960 1962 Lent by Dr. and Mrs. Paul Sternberg Lent by Mr. and Mrs. Salomon Byron Smith 27TH ANNUAL EXHIBITION i:lY THE SOCIETY FOR CONTEHPORAID AJviERICAN ART April 11 to May 21, 1967 Page 3 CHARLES SHEELER Companions tempera, 1950 Lent by Mr. and Mrs. Milton K. Arenberg DAVID SMITH Baron's Moon steel with an off-white finish, 1958 Lent by Mr. anct Mrs. Morton G. Schamberg LEON POLK SMITH Prairie Bloom oil on canvas, 1961 Lent by Mr. and Mrs. Albert L. Arenberg RICHARD STANKIEWICZ Shepherd with Spring Nymphs metal construction, 1960 Lent by Mr. and Mrs. Arnold H. Maremont ROBERT THOMPSON Moses Saved from the Nile oil on canvas, 1964 Lent by Mr. and Mrs. Melvin Gray MARK TOBEY Lumber Barons Sumi ink on rice paper, 1957 Lent by Mr. and Mrs. Solomon Byron Smith JACK TWORKOV Queen III oil on canvas, 1957-58 Lent by Mr. and Mrs. Arnold H. Maremont JACK TWORKOV Athene oil on canvas, 1949 Lent by Mr. and Mrs. Albert H. Newman ESTEBAN VICENTE #10 collage on paper, 1950 Lent by Mr. and Mrs. Merle Litt ANDY WARHOL The ~1en in Her Life oil on canvas, 1963 Lent by Mr. and Mrs. Morton G. Neumann EJJON WEINER Sunflower iron, 1964 Lent by Dr. and Mrs. Milton Robin H. C• lrJESTERMANN Memorial to the Idea of Man if He· was an Idea wood Lent by Mr. Lewis Manilow JAMES WINES Terry bronze, 1959 Lent by Mrs. Durham Mead STANTON MacDONALD WRIGHT Enfance oil on canvas, 1955 Lent by Mr. and Mrs. Edgar d. Miller .
Recommended publications
  • Annual Report 1995
    19 9 5 ANNUAL REPORT 1995 Annual Report Copyright © 1996, Board of Trustees, Photographic credits: Details illustrated at section openings: National Gallery of Art. All rights p. 16: photo courtesy of PaceWildenstein p. 5: Alexander Archipenko, Woman Combing Her reserved. Works of art in the National Gallery of Art's collec- Hair, 1915, Ailsa Mellon Bruce Fund, 1971.66.10 tions have been photographed by the department p. 7: Giovanni Domenico Tiepolo, Punchinello's This publication was produced by the of imaging and visual services. Other photographs Farewell to Venice, 1797/1804, Gift of Robert H. and Editors Office, National Gallery of Art, are by: Robert Shelley (pp. 12, 26, 27, 34, 37), Clarice Smith, 1979.76.4 Editor-in-chief, Frances P. Smyth Philip Charles (p. 30), Andrew Krieger (pp. 33, 59, p. 9: Jacques-Louis David, Napoleon in His Study, Editors, Tarn L. Curry, Julie Warnement 107), and William D. Wilson (p. 64). 1812, Samuel H. Kress Collection, 1961.9.15 Editorial assistance, Mariah Seagle Cover: Paul Cezanne, Boy in a Red Waistcoat (detail), p. 13: Giovanni Paolo Pannini, The Interior of the 1888-1890, Collection of Mr. and Mrs. Paul Mellon Pantheon, c. 1740, Samuel H. Kress Collection, Designed by Susan Lehmann, in Honor of the 50th Anniversary of the National 1939.1.24 Washington, DC Gallery of Art, 1995.47.5 p. 53: Jacob Jordaens, Design for a Wall Decoration (recto), 1640-1645, Ailsa Mellon Bruce Fund, Printed by Schneidereith & Sons, Title page: Jean Dubuffet, Le temps presse (Time Is 1875.13.1.a Baltimore, Maryland Running Out), 1950, The Stephen Hahn Family p.
    [Show full text]
  • TUESDAY, OCTOBER 12, 2004 10:05 Am Consent
    ART COMMISSION PUBLIC MEETING TUESDAY, OCTOBER 12, 2004 10:05 a.m. Consent Agenda 21984: Reconstruction of the Charles Gay Clarke Thomas Building, One Wards Island, Manhattan. (Preliminary and Final) (CC 22, CB 11) DDC 21985: Construction of Two Additions to Queens Theater in the Park, Phase II, Flushing Meadows Corona Park, 56-05 Grand Central Parkway, Queens. (Final) (CC 21, CB 4) DDC/DPR 21986: Installation of historic lighting, Coney Island Boardwalk between West 37th Street and Brighton 15th Street, Brooklyn. (Preliminary and Final) (CC 47, CB 13) DPR 21987: Construction of a wild dogs exhibit, Bronx Zoo, 2300 Southern Boulevard, Bronx. (Preliminary and Final) (CC 14, CB 6, 11) DCultA 21988: Conservation of Acrobats by Mary Callery, George W. Wingate High School, 600 Kingston Avenue, Brooklyn. (Preliminary) (CC 40, CB 9) DOE 21989: Conservation of Education-Aspiration by Gwen Lux, George W. Wingate High School, 600 Kingston Avenue, Brooklyn. (Preliminary) (CC 40, CB 9) DOE 21990: Replacement of Baptist Church Road Bridge, Baptist Church Road over Hunters Brook, adjacent to Croton Reservoir, between Croton Avenue and Hunter Brook Road, Westchester. (Preliminary and Final) DEP 21991: Construction of an electrical control building and odor control system enclosure, Warnerville Pumping Station, Brookville Boulevard and Broadway, Queens. (Preliminary) (CC 31, CB 13) DEP 21992: Reconstruction of Avenue V Pumping Station, 76 Avenue V, Brooklyn. (Preliminary) (CC 47, CB 13) DEP 21980: Installation of four F-pole street lights, West 104th Street between Riverside Drive and West End Avenue, Manhattan. (Preliminary and Final) (CC 9, CB 7) DOT 21993: Installation of new stoop and fenced area, 336 West 23rd Street, Manhattan.
    [Show full text]
  • TWO FORGOTTEN WOMEN of AMERICAN MODERNISM Sculptor Mary Callery / Painter Peter Miller
    Page 1 of 3 December 28, 2017 Contact: Dana Martin FOR IMMEDIATE RELEASE TWO FORGOTTEN WOMEN of AMERICAN MODERNISM Sculptor Mary Callery / Painter Peter Miller January 12 – February 23, 2018 Mary Callery (1903‐1977) and Peter Miller (1913‐1996) were both well‐known artists in the mid‐1940s. Callery showed regularly at a number of prestigious galleries in New York in the 1940s and 1950s: Bucholz (1944‐1955), Curt Valentin (1947‐1955), M. Knoedler & Co. in Paris and New York (1945), and Miller had two well‐received one‐person shows at the Julien Levy Gallery (in 1944 and 1945), the premier showplace for Surrealism in America. Yet today, with the exception of specialists in the field of mid‐century American modernism, both artists are absent from historical accounts of the New York art scene in the mid‐1940s. There are several reasons for these omissions, one of which may have been gender. Indeed, to counter the prevalent sexism of their day, both artists adopted male pseudonyms: Callery occasionally went by the name Meric Callery, while Miller was born Henrietta Myers, but showed under the name Peter Miller. Another factor that may have contributed to their neglect was the fact that they were both born into privilege, meaning that they did not feel the constraints of having to produce and sell to survive and, therefore, made little effort to promote themselves or their work. Page 2 of 3 It is unknown if the two artists ever met, but both were born in Pennsylvania (Callery in Pittsburgh; Miller in Hanover, a small town 100 miles west of Philadelphia).
    [Show full text]
  • Filling the Grey Spaces
    The Grey Space: Notions of Loss in Writing Real Lives Critical thesis & The Sculptress A work of creative non-fiction Lucie Alexandra Brownlee Doctor of Philosophy Supervisors: William Fiennes, Professor Linda Anderson School of English Literature, Language and Linguistics Faculty of Arts and Humanities Newcastle University, May 2018 1 Abstract This thesis in Creative and Critical Writing comprises two parts. The book, The Sculptress, is fictional interpretation of the life and work of the American artist and collector Mary Callery and her daughter, Caroline. It pivots around Callery’s fractured relationship with Caroline, suggesting the trajectory which led to the suicide of Caroline at the age of forty. It aims to throw new light on Callery’s considerable body of work, which has been overlooked by art history despite receiving critical acclaim. Set against fast-changing backdrop of European and American Modernism, it spans Callery’s lifetime, from her birth in 1903 to her death in Paris in 1977. The critical part of this thesis proposes that ‘loss’ is a central feature of writing creative non-fiction, and explores this with reference to the work of Naomi Wood and Julia Blackburn along with my own. Notions of loss emerged as the driving force behind my entire project: my own personal loss, loss of direction, loss of emotional, historical and factual truths. The ways in which Callery dealt with the ‘grey spaces’ in her own existence – that is to say, the distance between the two social poles she inhabited (avant- garde bohemia and old money, society New York), plus the grief she was unable to express about her daughter’s death – became the governing theme of the book.
    [Show full text]
  • Spring 2016.Indd
    The Print Club of New York Inc Spring 2016 November 7th. We are also putting together a commemo- President’s Greeting – rative book with all 25 prints and a history of the Club. More details will be sent around starting this summer. Be Spring 2016 sure to return your completed membership renewal forms Kimberly Henrikson so as not to miss out! Best wishes to everyone for a lovely summer. I look for- ward to seeing you in the fall. Greetings PCNY Members, The 2015/2016 membership year has come to a close. For those of you who attended the Annual Meeting and Recent Print Club Events Artists’ Showcase, thank you for coming out. I hope everyone enjoyed the presentations given by the invited artists this year and found some new artworks to add to Curator’s Tour of Printing Women: your collections. Three Centuries of Female I’d like to express my thanks to the Club members and our Board of Directors, and especially to outgoing Board Printmakers, 1570 – 1900, New York members Charles Blanksteen, Muriel Moss and Corinne Shane and outgoing Treasurer Joan Blanksteen. Their Public Library, Saturday, years of service to the Club are deeply appreciated. So February 20, 2016 many of you have spoken with me at events and meetings about your involvement with the Print Club; it’s been a Gillian Greenhill Hannum real pleasure. I understand many of you have a long his- tory of Club membership, and it’s reassuring to find so nce again, Print Club members had the good for- many who have been members since the very beginning.
    [Show full text]
  • ORAL HISTORY of JACQUES CALMAN BROWNSON Interviewed
    ORAL HISTORY OF JACQUES CALMAN BROWNSON Interviewed by Betty J. Blum Compiled under the auspices of the Chicago Architects Oral History Project The Ernest R. Graham Study Center for Architectural Drawings Department of Architecture The Art Institute of Chicago Copyright © 1996 The Art Institute of Chicago This manuscript is hereby made available for research purposes only. All literary rights in the manuscript, including the right to publication, are reserved to the Ryerson and Burnham Libraries of The Art Institute of Chicago. No part of the manuscript may be quoted for publication without the written permission of The Art Institute of Chicago. ii TABLE OF CONTENTS Preface iv Outline of Topics vi Oral History 1 Selected References 266 Appendix: Resume 268 Index of Names and Buildings 270 iii PREFACE "It has been said that a lot of people at IIT were under the influence of Mies—I cannot imagine a better influence… Mies's buildings in steel and glass are only the beginning, not the end of the road. The possibilities are endless—he has opened up a horizon for us." It is well known that Jack Brownson is an architect-builder with a deep and abiding interest in how things go together. His training began early when, as a young boy, he helped his grandfather build barns, sheds and outhouses to survive the Depression, a time he remembers as one of the best of his life. After building several small houses to earn tuition money to study architecture at the Illinois Institute of Technology with Mies van der Rohe, some years later, Jacques built his own home for his master's thesis, an award-winning steel and glass structure in Geneva that drew media attention to his talent.
    [Show full text]
  • Herbert Matter Papers
    http://oac.cdlib.org/findaid/ark:/13030/kt4p3021rd No online items Guide to the Herbert Matter Papers Jeffrey C. Head, et al. Department of Special Collections Green Library Stanford University Libraries Stanford, CA 94305-6004 Email: [email protected] URL: http://library.stanford.edu/spc/ © 2005 The Board of Trustees of Stanford University. All rights reserved. Guide to the Herbert Matter M1446 1 Papers Guide to the Herbert Matter Papers Collection number: M1446 Department of Special Collections and University Archives Stanford University Libraries Stanford, California Processed by: Jeffrey C. Head, et al. Date Completed: December, 2005 Encoded by: Bill O'Hanlon © 2005 The Board of Trustees of Stanford University. All rights reserved. Descriptive Summary Title: Herbert Matter papers Dates: ca. 1937-1984 Collection number: M1446 Creator: Matter, Herbert, 1907-1984 Collection Size: ca. 310 linear feet Repository: Stanford University. Libraries. Dept. of Special Collections and University Archives. Abstract: Original artwork, photographs, letters, manuscripts, process materials, memorabilia, negatives, transparencies, film, printed material, and working equipment. Physical location: Special Collections Green Library Stanford University Languages: Languages represented in the collection: English Access Collection is open for research; materials must be requested at least 24 hours in advance of intended use. Publication Rights Property rights reside with the repository. Literary rights reside with the creators of the documents
    [Show full text]
  • Italian Modern Art Journal ISSN 2640
    ITALIAN MODERN ART | ISSUE 3: ISSN 2640-8511 “Positively the only person who is really interested in the show”: Romeo Toninelli, Collector and Cultural Diplomat Between Milan and New York “POSITIVELY THE ONLY PERSON WHO IS REALLY INTERESTED IN THE SHOW”: ROMEO TONINELLI, COLLECTOR AND CULTURAL DIPLOMAT BETWEEN 0MILAN AND NEW YORK italianmodernart.org/journal/articles/positively-the-only-person-who-is-really- Laura Moure Cecchini Methodologies of Exchange: MoMA’s “Twentieth- Century Italian Art” (1949), Issue 3, January 2020 ABSTRACT Romeo Toninelli was a key figure in the organization of Twentieth-Century Italian Art, and given the official title of Executive Secretary for the Exhibition in Italy. An Italian art dealer, editor, and collector with an early career as a textile industrialist, Toninelli was not part of the artistic and cultural establishment during the Fascist ventennio. This was an asset in the eyes of the James Thrall Soby and Alfred H. Barr, Jr., who wanted the exhibition to signal the rebirth of Italian art after the presumed break represented by the Fascist regime. Whether Toninelli agreed with this approach we do not know, but he played a major part in the tortuous transatlantic organization of the show. He acted as the intermediary between MoMA curators and Italian dealers, collectors, and artists, securing loans and paying for the shipping of the artworks. He also lent several works from his collection, and arranged for the printing of the catalogue. A recent collector and gallery owner, Toninelli was mistrusted by many Italian critics and collectors, who suspected him of having commercial motives.
    [Show full text]
  • Abstract Expressionism 1 Abstract Expressionism
    Abstract expressionism 1 Abstract expressionism Abstract expressionism was an American post–World War II art movement. It was the first specifically American movement to achieve worldwide influence and put New York City at the center of the western art world, a role formerly filled by Paris. Although the term "abstract expressionism" was first applied to American art in 1946 by the art critic Robert Coates, it had been first used in Germany in 1919 in the magazine Der Sturm, regarding German Expressionism. In the USA, Alfred Barr was the first to use this term in 1929 in relation to works by Wassily Kandinsky.[1] The movement's name is derived from the combination of the emotional intensity and self-denial of the German Expressionists with the anti-figurative aesthetic of the European abstract schools such as Futurism, the Bauhaus and Synthetic Cubism. Additionally, it has an image of being rebellious, anarchic, highly idiosyncratic and, some feel, nihilistic.[2] Jackson Pollock, No. 5, 1948, oil on fiberboard, 244 x 122 cm. (96 x 48 in.), private collection. Style Technically, an important predecessor is surrealism, with its emphasis on spontaneous, automatic or subconscious creation. Jackson Pollock's dripping paint onto a canvas laid on the floor is a technique that has its roots in the work of André Masson, Max Ernst and David Alfaro Siqueiros. Another important early manifestation of what came to be abstract expressionism is the work of American Northwest artist Mark Tobey, especially his "white writing" canvases, which, though generally not large in scale, anticipate the "all-over" look of Pollock's drip paintings.
    [Show full text]
  • Pan Am, Engineers Settlelabordispute
    : Distribution fair M% iMi a UCh Today tan rf* totow*. T TooijW ta- WBBAM « Sw Shmrtn Itte 18,700 (Night «r «a Tlmraday. 1MW tenlcht la O* Ma, Ufhett naif day in the 7ta. Friday fair and I pleasant. Set Weather, page X Dial SH 14)010 VOL. 85. NO. 21 utM duir. Honlw ureoj» rndtr. ucmi CIU Pmujt RED BANK, N. J., WEDNESDAY, JULY 25, 1962 F»1J U Rtd Bui "* u" lAdntoat--—• ] U»uit| OffleM. 7c PER COPY PAGE ONE Levitt School Fight Brewing MATAWAN TOWNSHIP - A The clubs have taken the in the final stages of negotia- Said the board president: fight may be In the offing here position that since the 1,250- tions to increase the school size "If they go too far on this, over the question of who gets house Levitt project is geo- from 24 room — Levitt's orig- we (the school board) will let Pan Am, Engineers the 34-room Levitt school. graphically in the township, the inal "limit,"—to 34. them have the Levitt school— The Regular Democratic clubs deed to the school should go and they can rent it out for No Deed Transfer office space or turn it into a in all three districts of Mat- to the township, not the school Although- no formal docu- awan Township recently went district, as such. municipal building or whatever ments of deed transfers have they like—because they will not on record as opposed to the Harold J, Dolan, president of been signed, the school head school's being donated to the the school board and a member be able to operate it as a pointed out yesterday that the school." Matawan regional school dis- of the township's Planning Levitt-Planning Board agree- trict.
    [Show full text]
  • REVOLT, THEY SAID. 1 a Project by Andrea Geyer
    REVOLT, THEY SAID. 1 a project by Andrea Geyer INSTALLATION MUSEUM OF MODERN ART NEW YORK Ida York Abelman (1908–2002) was a highly regarded Social OCTOBER 16th - NOVEMBER 27th 2015 Realist, known for the graphic work that she produced for the various Federal Art Projects in New York during the Depression. BIOGRAPHIES FOR DRAWING Her etchings and lithographs of the 1930s depict the difficult living conditions endured by many. Abelman also completed two murals for the Federal Art Projects: Lewiston Milestones in Lewiston, Illinois, and Booneville Beginnings in Booneville, Indiana, both extant. Her art training included the National Academy of Design, Grand Central Art School, College of the City of New York, and Hunter College, all in New York City. She was a member of the American Artists Congress and exhibited at the Museum of Modern Art, the Whitney Museum Louise Abbéma (1853–1927) was an artist known for her of American Art, and the Berkshire Museum, Massachusetts, portraits of notable figures of the Belle Époque, including among other venues. Her work is the collections of numerous Emperor Dom Pedro II of Brazil, architect Charles Garnier, and museums as well as the Library of Congress. actress Sarah Bernhardt. Bernhardt and Abbéma were lovers and exhibited artworks together at the 1893 World’s Columbian Gertrude Abercrombie (1909–1977) was an American Exposition in Chicago. Abbéma was a regular exhibitor at the painter. She spent much of her childhood traveling Europe with Paris Salon and regular contributor to the journals Gazette des her parents who toured with an opera company. The outbreak of Beaux-Arts and L’Art.
    [Show full text]
  • THE MUSEUM of MODERN ART ' If WEST 53 STREET, NEW YORK 19, N
    / THE MUSEUM OF MODERN ART ' If WEST 53 STREET, NEW YORK 19, N. Y. ffllPHONl! CIRCII 5-8900 500727 - 51 FOR WEDNESDAY RELEASE RECENT SCULPTURE, PREPARED FOR CIRCULATION THROUGHOUT THE COUNTRY, TO BE SHOWN AT MUSEUM "CARVERS* MODELERS, WELDERSr A Selection of Recent American Sculpture/' will be on view on the first floor of the Museum of Modern Art, 11 West 53 Street, from August 2 through September 10. The exhibition consists of work by 11 artists, some already established and some belonging to a younger group whose work has not yet been shown widely. The 1I4. pieces selected range in style from realistic to abstract and show the wide variety of materials and methods used by representa­ tive artists in America today. Experiments with new materials such as plastics, and the adoption to artistic purposes of industrial tech* niques such as metal welding, are presented along with works in the traditional materials of stone, wood and bronze. "Despite the variety of approaches," says Jane Sabersky, Assistant Curator who prepared the exhibition, "a certain skeletal aspect recurs in much recent American sculpture• Whether modeler or welder, these sculptors outline form rather than build in the round. A variety of metals are now being welded together and often stretched into thin bands, creating the effect of drawings in space. Only the carver in wood or stone still builds his forms significantly in the round." Of the sculptors included,Mary Callery, David Hare, Leo Amino, David Smith and Theodore Roszak are mature artists who have established an international reputation. Of the younger artists,William King is at present on a Fulbright Fellowship in Italy.
    [Show full text]