Jacob Lawrence
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Pat Adams Selected Solo Exhibitions
PAT ADAMS Born: Stockton, California, July 8, 1928 Resides: Bennington, Vermont Education: 1949 University of California, Berkeley, BA, Painting, Phi Beta Kappa, Delta Epsilon 1945 California College of Arts and Crafts, summer session (Otis Oldfield and Lewis Miljarik) 1946 College of Pacific, summer session (Chiura Obata) 1948 Art Institute of Chicago, summer session (John Fabian and Elizabeth McKinnon) 1950 Brooklyn Museum Art School, summer session (Max Beckmann, Reuben Tam, John Ferren) SELECTED SOLO EXHIBITIONS 2017 Bennington Museum, Bennington, Vermont 2011 National Association of Women Artists, New York 2008 Zabriskie Gallery, New York 2005 Zabriskie Gallery, New York, 50th Anniversary Exhibition: 1954-2004 2004 Bennington Museum, Bennington, Vermont 2003 Zabriskie Gallery, New York, exhibited biennially since 1956 2001 Zabriskie Gallery, New York, Monotypes, exhibited in 1999, 1994, 1993 1999 Amy E. Tarrant Gallery, Flyn Performing Arts Center, Burlington, Vermont 1994 Jaffe/Friede/Strauss Gallery, Dartmouth College, Hanover, New Hampshire 1989 Anne Weber Gallery, Georgetown, Maine 1988 Berkshire Museum, Pittsfield, Massachusetts, Retrospective: 1968-1988 1988 Addison/Ripley Gallery, Washington, D.C. 1988 New York Academy of Sciences, New York 1988 American Association for the Advancement of Science, Washington, D.C. 1986 Haggin Museum, Stockton, California 1986 University of Virginia, Charlottesville, Virginia 1983 Image Gallery, Stockbridge, Massachusetts 1982 Columbia Museum of Art, University of South Carolina, Columbia, -
Download NARM Member List
Huntsville, The Huntsville Museum of Art, 256-535-4350 Los Angeles, Chinese American Museum, 213-485-8567 North American Reciprocal Mobile, Alabama Contemporary Art Center Los Angeles, Craft Contemporary, 323-937-4230 Museum (NARM) Mobile, Mobile Museum of Art, 251-208-5200 Los Angeles, GRAMMY Museum, 213-765-6800 Association® Members Montgomery, Montgomery Museum of Fine Arts, 334-240-4333 Los Angeles, Holocaust Museum LA, 323-651-3704 Spring 2021 Northport, Kentuck Museum, 205-758-1257 Los Angeles, Japanese American National Museum*, 213-625-0414 Talladega, Jemison Carnegie Heritage Hall Museum and Arts Center, 256-761-1364 Los Angeles, LA Plaza de Cultura y Artes, 888-488-8083 Alaska Los Angeles, Los Angeles Contemporary Exhibitions, 323-957-1777 This list is updated quarterly in mid-December, mid-March, mid-June and Haines, Sheldon Museum and Cultural Center, 907-766-2366 Los Angeles, Museum of Contemporary Art (MOCA), Los Angeles, 213-621-1794 mid-September even though updates to the roster of NARM member Kodiak, The Kodiak History Museum, 907-486-5920 Los Angeles, Skirball Cultural Center*, 310-440-4500 organizations occur more frequently. For the most current information Palmer, Palmer Museum of History and Art, 907-746-7668 Los Gatos, New Museum Los Gatos (NUMU), 408-354-2646 search the NARM map on our website at narmassociation.org Valdez, Valdez Museum & Historical Archive, 907-835-2764 McClellan, Aerospace Museum of California, 916-564-3437 Arizona Modesto, Great Valley Museum, 209-575-6196 Members from one of the North American -
Curator of Native American Art DEPARTMENT: Curatorial SUPERVISOR: Chief Curator DIRECT REPORTS: None LAST REVISION DATE: August 2020
POSITION DESCRIPTION POSITION TITLE: Curator of Native American Art DEPARTMENT: Curatorial SUPERVISOR: Chief Curator DIRECT REPORTS: none LAST REVISION DATE: August 2020 The Montclair Art Museum is conducting a search to fill a three-year position of Curator of Native American Art. Funded by the Luce Foundation, the position offers an exciting opportunity for the Curator to work with the Museum’s renowned collection of Native art of North America. Overview The Montclair Art Museum (MAM) is currently accepting applications for a three- year, grant funded position of Curator of Native American Art. The Museum’s goal is to engage in further fundraising to establish this position as permanent. The selected hire will have a unique opportunity to make a meaningful impact on the presentation of MAM’s renowned collection of Native art of North America in its dedicated Rand Gallery and throughout the Museum more broadly. The Curator will work to achieve key goals of engaging current, innovative ideas around the representation of Indigenous communities and art museum collections and exhibitions, via collaborative approaches. Throughout the three- year period, the Curator will have access to an eight member Advisory Board of leading Native and non-Native scholars and artists, as well as MAM’s Chief Curator, all of whom will offer ideas and perspectives for consideration in developing the Museum’s Native American programs. The Curator will oversee the presentation of the Fall 2021 incoming traveling exhibition, Color Riot!, from the Heard Museum, featuring Navajo textiles from c. 1860 to 2018. Additional projects will include curating a site-specific artistic intervention opening in early 2022, and will culminate in September 2023 with a new installation of the Museum’s Native American collections in the Rand Gallery. -
Download Lot Listing
IMPRESSIONIST & MODERN ART POST-WAR & CONTEMPORARY ART Wednesday, May 10, 2017 NEW YORK IMPRESSIONIST & MODERN ART EUROPEAN & AMERICAN ART POST-WAR & CONTEMPORARY ART AUCTION Wednesday, May 10, 2017 at 11am EXHIBITION Saturday, May 6, 10am – 5pm Sunday, May 7, Noon – 5pm Monday, May 8, 10am – 6pm Tuesday, May 9, 9am – Noon LOCATION Doyle New York 175 East 87th Street New York City 212-427-2730 www.Doyle.com Catalogue: $40 INCLUDING PROPERTY CONTENTS FROM THE ESTATES OF IMPRESSIONIST & MODERN ART 1-118 Elsie Adler European 1-66 The Eileen & Herbert C. Bernard Collection American 67-118 Charles Austin Buck Roberta K. Cohn & Richard A. Cohn, Ltd. POST-WAR & CONTEMPORARY ART 119-235 A Connecticut Collector Post-War 119-199 Claudia Cosla, New York Contemporary 200-235 Ronnie Cutrone EUROPEAN ART Mildred and Jack Feinblatt Glossary I Dr. Paul Hershenson Conditions of Sale II Myrtle Barnes Jones Terms of Guarantee IV Mary Kettaneh Information on Sales & Use Tax V The Collection of Willa Kim and William Pène du Bois Buying at Doyle VI Carol Mercer Selling at Doyle VIII A New Jersey Estate Auction Schedule IX A New York and Connecticut Estate Company Directory X A New York Estate Absentee Bid Form XII Miriam and Howard Rand, Beverly Hills, California Dorothy Wassyng INCLUDING PROPERTY FROM A Private Beverly Hills Collector The Collection of Mr. and Mrs. Raymond J. Horowitz sold for the benefit of the Bard Graduate Center A New England Collection A New York Collector The Jessye Norman ‘White Gates’ Collection A Pennsylvania Collection A Private -
MAM Annual Report July 1, 2010 – June 30, 2011 Contents
2011 MAM ANNUAL REPORT JULy 1, 2010 – June 30, 2011 CONTENTS Mission, Vision and Values, and Diversity Statements 3 From the President 4 From the Director 5 Board of Trustees 7 Statement of Finances 8 MAM at a Glance 9 Exhibitions 11 Snapshots from Special Events 12 Gifts and Purchases 13 Gifts to the Education Handling Collection 17 Contributions Individual Support 18 Corporate, Foundation, and Government Support 21 Matching Gifts 22 Honor and Memorial Gifts 23 Heritage Society 24 Gifts in Kind 24 Volunteers 25 Staff 28 All Museum programs are made possible, in part, by the New Jersey State Council on the Arts/Department of State, a Partner Agency of the National Endowment for the Arts, and by funds from the National Endowment for the Arts, the Vance Wall Foundation, the Geraldine R. Dodge Foundation, and Museum Members. 2 MISSION STATEMENT The Montclair Art Museum (MAM), along with its Yard School of Art, engages a diverse community through its distinctive collection of American and Native American art, exhibitions, and educational programs that link art to contemporary life in a global context. VISION AND vaLUES STATEMENT As the Montclair Art Museum approaches its Centennial in 2014, we seek to elevate our profile as a nationally recognized leader of mid-sized, regional art museums. Valuing diversity, innovation, and the importance of art to society, we will invigorate our curatorial presentations, expand our educational mission, promote greater connections to our community, engage in fruitful partnerships that reach deep into our region and beyond, embrace new media and technologies, pursue responsible facilities management and environmental impact, and secure our financial stability. -
Llyn Foulkes Between a Rock and a Hard Place
LLYN FOULKES BETWEEN A ROCK AND A HARD PLACE LLYN FQULKES BETWEEN A ROCK AND A HARD PLACE Initiated and Sponsored by Fellows ol Contemporary Art Los Angeles California Organized by Laguna Art Museum Laguna Beach California Guest Curator Marilu Knode LLYN FOULKES: BETWEEN A ROCK AND A HARD PLACE This book has been published in conjunction with the exhibition Llyn Foulkes: Between a Rock and a Hard Place, curated by Marilu Knode, organized by Laguna Art Museum, Laguna Beach, California, and sponsored by Fellows of Contemporary Art, Los Angeles, California. The exhibition and book also were supported by a grant from the National Endowment for the Arts, Washington, D.C., a federal agency. TRAVEL SCHEDULE Laguna Art Museum, Laguna Beach, California 28 October 1995 - 21 January 1996 The Contemporary Art Center, Cincinnati, Ohio 3 February - 31 March 1996 The Oakland Museum, Oakland, California 19 November 1996 - 29 January 1997 Neuberger Museum, State University of New York, Purchase, New York 23 February - 20 April 1997 Palm Springs Desert Museum, Palm Springs, California 16 December 1997 - 1 March 1998 Copyright©1995, Fellows of Contemporary Art, Los Angeles All rights reserved. No part of the contents of this book may be reproduced, in whole or in part, without permission from the publisher, the Fellows of Contemporary Art. Editor: Sue Henger, Laguna Beach, California Designers: David Rose Design, Huntington Beach, California Printer: Typecraft, Inc., Pasadena, California COVER: That Old Black Magic, 1985 oil on wood 67 x 57 inches Private Collection Photo Credits (by page number): Casey Brown 55, 59; Tony Cunha 87; Sandy Darnley 17; Susan Einstein 63; William Erickson 18; M. -
The Curatorial Intensive Teachers & Advisors Fall 2010
INDEP INDEPENDENT CURATORS INTERNATIONAL THE CURATORIAL INTENSIVE TEACHERS & ADVISORS FALL 2010 ICI Key Personnel: Tracy Candido is the Program Administrator for The Curatorial Intensive at ICI. She is a cultural producer who organizes social practice projects and public programs in New York City and Brooklyn. Recent endeavors include Community Cooking Club, hosted by the Bruce High Quality Foundation University, which combines the concept of the potluck with the environment of the critical classroom, Sweet Tooth of the Tiger, a two-year experiment in baking with, eating, and selling sugar, and the Bake Sale Residency, a mico-granting project for artists. Tracy holds a Master's Degree from New York University in Visual Culture Theory. Kate Fowle is ICI’s Executive Director. She most recently worked as the International Curator at the Ullens Center for Contemporary Art in Beijing. Prior to her time in Beijing, Fowle spent six years in San Francisco at the California College of the Arts, where she was the director of the MA Program in Curatorial Practice, which she founded in 2002 with Ralph Rugoff. This was the first graduate course of its kind on the West coast. During her tenure as program director Fowle built extensive international networks, bringing over 100 artists, curators and writers from places as diverse as Chiang Mai, Paris, São Paulo, Johannesburg, Copenhagen, Beijing, Vilnius, Frankfurt, Tokyo, London, and Mexico City, to share their knowledge and expertise through lectures, round-table discussions, symposia and an annual journal. Chelsea Haines is the Public Programs Manager at ICI. In addition to her position with the organization, she has worked on a range of independent projects and publications, most recently publishing a revised version of her thesis, A New State of the Arts: Developing the Biennial Model as Ethical Arts Practice, for the upcoming fall issue of Museum Management and Curatorship. -
Endowment Gifts at Work
UNIVERSITY OF WASHINGTON PRESS A few of the books supported by the Naomi B. Pascal Editor’s Endowment. ENDOWMENT GIFTS AT WORK THE EDITOR WHO INSPIRED AN ENDOWMENT Naomi Pascal’s high school Lévi-Strauss’ “Saudades do Brasil,” a classmates voted her “most likely to photographic memoir of the famed become a Supreme Court Justice.” anthropologist’s ethnographic work Instead she turned her considerable among that country’s Indigenous talents to publishing. In her 53 years communities, to Margaret Willson’s as an editor at UW Press, including “Seawomen of Iceland,” a finalist nearly 30 years as editor-in-chief, for the 2017 Washington State Pascal helped turn the press into a Book Award. It features memoirs leading publisher of books by and by Native American leaders and about people whose communities scholars, including Lawney Reyes have too often been marginalized. (Colville), Harriette Shelton Dover (Tulalip) and Virginia Beavert When Pascal retired in 2002, (Yakama). It also includes the the press established the Naomi stories of Chinese immigrants B. Pascal Editor’s Endowment detained at San Francisco’s to provide ongoing support for Angel Island Immigration Station, A BOOK IN COMMON such work. Contributors to the gathered together in “Island”; Marie “Tulalip, From My Heart: An endowment include Pascal’s Rose Wong’s look at Portland’s Autobiographical Account of a colleagues at the press — some Chinatowns in “Sweet Cakes, Reservation Community,” by of whom have made regular gifts Long Journey”; and a collection Harriette Shelton Dover, was chosen through payroll deductions for by renowned playwright Philip recently as Western Washington years — along with authors, series Kan Gotanda, “No More Cherry University’s 2017-18 common book. -
On Fellow Ous Ulletin
on fellow ous L g ulletinH e Volume No. A Newsletter of the Friends of the Longfellow House and the National Park Service June New Study ExaminesThe Song of HiawathaB as Controversial Bestseller atthew Gartner’s recent work on noted in his journal: “Some of the MH.W. Longfellow’s most popular newspapers are fierce and furious about poem asserts that The Song of Hiawatha was Hiawatha,” and a few weeks later, he both a bestseller and a subject of contro- wrote, “There is the greatest pother versy as soon as it was published, and about Hiawatha. It is violently assailed, quickly became a cultural phenomenon. and warmly defended.” The historian Gartner, who is writing a book called The William Prescott, a friend of Longfel- Poet Longfellow: A Cultural Interpretation, will low’s, wrote the poet from New York of present his findings and analysis this July “the hubbub that Hiawatha has kicked up at the Society for the History of Author- in the literary community.” ship, Reading, and Publishing. At the heart of the controversy lay When Hiawatha was first published in Longfellow’s decision to use a poetic it sold rapidly. With an initial print- meter called “trochaic dimeter.” The ing of five thousand volumes, four thou- George H. Thomas illustration, The Song of Hiawatha, London, nineteenth century was an age of great sand were already sold as of its November nationwide by , making it not only sensitivity to the art of prosody, or poetic publication date. By mid-December Longfellow’s best-selling poem ever, but, meter, and Longfellow surely knew Hiawa- eleven thousand volumes were in print. -
CONTEMPORARY AMERICAN PAINTING and SCULPTURE 1969 University of Illinois at Urbana-Champaign Js'i----».--:R'f--=
Arch, :'>f^- *."r7| M'i'^ •'^^ .'it'/^''^.:^*" ^' ;'.'>•'- c^. CONTEMPORARY AMERICAN PAINTING AND SCULPTURE 1969 University of Illinois at Urbana-Champaign jS'i----».--:r'f--= 'ik':J^^^^ Contemporary American Painting and Sculpture 1969 Contemporary American Painting and Sculpture DAVID DODD5 HENRY President of the University JACK W. PELTASON Chancellor of the University of Illinois, Urbano-Champaign ALLEN S. WELLER Dean of the College of Fine and Applied Arts Director of Krannert Art Museum JURY OF SELECTION Allen S. Weller, Chairman Frank E. Gunter James R. Shipley MUSEUM STAFF Allen S. Weller, Director Muriel B. Christlson, Associate Director Lois S. Frazee, Registrar Marie M. Cenkner, Graduate Assistant Kenneth C. Garber, Graduate Assistant Deborah A. Jones, Graduate Assistant Suzanne S. Stromberg, Graduate Assistant James O. Sowers, Preparator James L. Ducey, Assistant Preparator Mary B. DeLong, Secretary Tamasine L. Wiley, Secretary Catalogue and cover design: Raymond Perlman © 1969 by tha Board of Trustees of the University of Illinois Library of Congress Catalog Card No. A48-340 Cloth: 252 00000 5 Paper: 252 00001 3 Acknowledgments h.r\ ^. f -r^Xo The College of Fine and Applied Arts and Esther-Robles Gallery, Los Angeles, Royal Marks Gallery, New York, New York California the Krannert Art Museum are grateful to Marlborough-Gerson Gallery, Inc., New those who have lent paintings and sculp- Fairweother Hardin Gallery, Chicago, York, New York ture to this exhibition and acknowledge Illinois Dr. Thomas A. Mathews, Washington, the of the artists, Richard Gallery, Illinois cooperation following Feigen Chicago, D.C. collectors, museums, and galleries: Richard Feigen Gallery, New York, Midtown Galleries, New York, New York New York ACA Golleries, New York, New York Mr. -
This Page Intentionally Left Blank JAN MATULKA: the UNKNOWN MODERNIST EXHIBITION (Jan Matulka: the Modernist)
This page intentionally left blank JAN MATULKA: THE UNKNOWN MODERNIST EXHIBITION (Jan Matulka: The Modernist) By Rachael L. Holstege THESIS PROJECT Presented to the Arts Administration Faculty at the University of Michigan-Flint in partial fulfillment of the requirements for the Master of Arts Administration August 6, 2020 2 Jan Matulka: The Unknown Modernist (Jan Matulka: The Modernist) Exhibition A Thesis Presented to the Faculty of the Masters of Arts Administration In Partial Fulfillment of the Requirements For the Degree of Master of Arts Administration From the Rackham School of Graduate Studies at the University of Michigan-Flint Rachael Holstege August 6, 2020 ____ _____________________________ Linda Johnson, PhD Thesis Committee Chair Lecturer II—DePartment of Art and Art History University of Michigan-Flint _________________________________ Nicole Broughton Thesis Committee Member Program Director-MA Arts Administration Lecturer IV—Theatre Management University of Michigan-Flint _________________________________ Benjamin Gaydos Thesis Committee Member Chair and Associate Professor of Design—DePartment of Art and Art History University of Michigan-Flint ACKNOWLEDGEMENTS I am incredibly grateful to the Flint Institute of Arts (FIA) for allowing me the time, space, and resources to execute this exhibition and accompanying online catalog. I’d like to especially thank FIA Curator of Collections and Exhibitions Tracee Glab for going above-and-beyond the duties of a boss to help me accomplish this entire endeavor. Thank you, Tom McCormick of the Estate of Jan Matulka, for your kindness, generosity, and most of all the loans for this exhibition. Thank you, Dr. Linda Johnson, for your continued advice and for stepping in when needed. -
Francine Seders Gallery: a Case Study Rachel Ballister
Seattle nivU ersity ScholarWorks @ SeattleU Francine Seders Gallery Arts Ecosystem Research Project 2019 Francine Seders Gallery: A Case Study Rachel Ballister Follow this and additional works at: https://scholarworks.seattleu.edu/francine-seders-gallery Running Head: FRANCINE SEDERS GALLERY 1 Francine Seders Gallery: A Case Study Rachel Ballister Seattle University Seattle Arts Ecosystem Research Project June 13, 2019 FRANCINE SEDERS GALLERY 2 Abstract The Francine Seders Gallery was an important player in the Seattle art scene from the 1960s until its close in 2013. Seders ran her gallery with a low key, unintimidating sales approach, welcoming artists, art enthusiasts, collectors, and students to her space to indulge in the enjoyment of the art. The Francine Seders Gallery represented well-known, established, and developing artists such as Jacob Lawrence, Michael Spafford, Mark Tobey, Barbara Earl Thomas, Marita Dingus, and Alan Lau. Years later, the Francine Seders Gallery is remembered as an industry standard, as many gallerists continue to seek her advice and influence. FRANCINE SEDERS GALLERY 3 Francine Seders Gallery: A Case Study Seattle Arts Ecosystem and the Francine Seders Gallery Seattle sits on a far corner of the country, nestled in between the Olympic and Cascade mountain ranges, with Puget Sound on one side and Lake Washington on the other. The region’s lumber and coal industries grew with the extension of the Northern Pacific Railroad in the 1880s. Fishing, shipping, and manufacturing industries grew throughout the late 1890s and early 1900s. Following the Boeing Company’s introduction of the 707 commercial jet in the 1950s, the city adopted a futuristic vision of innovation (City of Seattle, n.d.).