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D. Wigmore Fine Art, Inc
OUR POSTWAR FOCUS: THE 1960 s-1970 s Richard Anuszkiewicz Frederick Hammersley Sam Gilliam The 22 works in this exhibition reflect the gallery’s focus on the artists of the 1960s-1970s who participated in the inter - national debate on the course of abstract painting after Abstract Expressionism. This debate was framed by two major exhibitions: Clement Greenberg’s 1964 exhibition Post-Painterly Abstraction at the Los Angeles County Museum of Art and William Seitz’s 1965 exhibition The Responsive Eye at the Museum of Modern Art. Post-Painterly Abstraction took from Abstract Expressionism its large format and added open compositions with expan - sive, flattened planes of color, or “color fields.” Clement Greenberg championed this style, favoring “staining” where artists use as little pigment as possible and let the unprepared canvas absorb the paint. Other artists within the Color Field style refused to sacrifice the even, smooth, and controlled surfaces achieved with prepared canvases. By preparing the ground of their paintings, these artists went against Greenberg’s theories. The two opposing approaches to Color Field painting are shown in our exhibition. Greenberg’s “staining” is represented by Sam Gilliam’s (b. 1933) Red Linger , 1972 and Paul Reed’s (b. 1919) 16I , 1963, while Paul Jenkins’ (1923-2012) Phenomena Maimonides Mantle , 1979 and Phenomena Sufi Procession , 1974 are examples of the free-flowing color achieved with primed canvases. In addition to Color Field painting, the 1960s saw groups of artists return to geometric compositions. In California one of these geometric groups was called the Abstract Classicists. They reacted against the emphasis Abstract Expressionism had placed on personal emotions. -
A Finding Aid to the Lorser Feitelson and Helen Lundeberg Papers, Circa 1890S-2002, in the Archives of American Art
A Finding Aid to the Lorser Feitelson and Helen Lundeberg Papers, circa 1890s-2002, in the Archives of American Art Michael Yates and Jayna Josefson Funding for the processing of this collection was provided by the Getty Foundation; funding for the digitization of the collection was provided by the Terra Foundation for American Art. September 12, 2007 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 Biographical Note............................................................................................................. 2 Scope and Content Note................................................................................................. 3 Arrangement..................................................................................................................... 4 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 6 Series 1: Biographical Materials, 1922-1995........................................................... 6 Series 2: Correspondence, 1932-1998................................................................... -
Helen Pashgianhelen Helen Pashgian L Acm a Delmonico • Prestel
HELEN HELEN PASHGIAN ELIEL HELEN PASHGIAN LACMA DELMONICO • PRESTEL HELEN CAROL S. ELIEL PASHGIAN 9 This exhibition was organized by the Published in conjunction with the exhibition Helen Pashgian: Light Invisible Los Angeles County Museum of Art. Funding at the Los Angeles County Museum of Art, Los Angeles, California is provided by the Director’s Circle, with additional support from Suzanne Deal Booth (March 30–June 29, 2014). and David G. Booth. EXHIBITION ITINERARY Published by the Los Angeles County All rights reserved. No part of this book may Museum of Art be reproduced or transmitted in any form Los Angeles County Museum of Art 5905 Wilshire Boulevard or by any means, electronic or mechanical, March 30–June 29, 2014 Los Angeles, California 90036 including photocopy, recording, or any other (323) 857-6000 information storage and retrieval system, Frist Center for the Visual Arts, Nashville www.lacma.org or otherwise without written permission from September 26, 2014–January 4, 2015 the publishers. Head of Publications: Lisa Gabrielle Mark Editor: Jennifer MacNair Stitt ISBN 978-3-7913-5385-2 Rights and Reproductions: Dawson Weber Creative Director: Lorraine Wild Designer: Xiaoqing Wang FRONT COVER, BACK COVER, Proofreader: Jane Hyun PAGES 3–6, 10, AND 11 Untitled, 2012–13, details and installation view Formed acrylic 1 Color Separator, Printer, and Binder: 12 parts, each approx. 96 17 ⁄2 20 inches PR1MARY COLOR In Helen Pashgian: Light Invisible, Los Angeles County Museum of Art, 2014 This book is typeset in Locator. PAGE 9 Helen Pashgian at work, Pasadena, 1970 Copyright ¦ 2014 Los Angeles County Museum of Art Printed and bound in Los Angeles, California Published in 2014 by the Los Angeles County Museum of Art In association with DelMonico Books • Prestel Prestel, a member of Verlagsgruppe Random House GmbH Prestel Verlag Neumarkter Strasse 28 81673 Munich Germany Tel.: +49 (0)89 41 36 0 Fax: +49 (0)89 41 36 23 35 Prestel Publishing Ltd. -
The Body, the Brain and Modern Art
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sheldon Museum of Art Catalogues and Publications Sheldon Museum of Art 2001 Making Sense of the Senses: The Body, the Brain and Modern Art Will South Curator of Collections, Weatherspoon Art Museum, University of North Carolina at Greensboro Follow this and additional works at: https://digitalcommons.unl.edu/sheldonpubs Part of the Art and Design Commons South, Will, "Making Sense of the Senses: The Body, the Brain and Modern Art" (2001). Sheldon Museum of Art Catalogues and Publications. 43. https://digitalcommons.unl.edu/sheldonpubs/43 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. Making Sense of the Senses: The BoCiYL the Brain and Modern Art The barking of dogs Is deepening the yellow Of the sunflowers. -Richard Wright (1908-1960)1 magine, as so many artists, musicians, writers, as none of us actually ever sees a collapsed lung. I poets and dreamers have tried to do so many Yet, all of us, including the most reasonable among times in so many ways, a universal Ian - us, use metaphor constantly. guage-one that could be understood by anyone And, apparently for good, unavoidable and in any place at any time. However implausible such wholly natural reasons. What both contemporary a language may seem, however romantic, naIve, or linguists and cognitive neuroscientists are now flatly impossible, its creation in visual terms was a telling us about the brain is that metaphors are not common pursuit of early modern painters, those dispensable decorations. -
Vija Celmins in California 1962-1981
City University of New York (CUNY) CUNY Academic Works School of Arts & Sciences Theses Hunter College Winter 1-3-2020 Somewhere between Distance and Intimacy: Vija Celmins in California 1962-1981 Jessie Lebowitz CUNY Hunter College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/hc_sas_etds/546 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Somewhere between Distance and Intimacy: Vija Celmins in California 1962-1981 by Jessie Lebowitz Submitted in partial fulfillment of the requirements for the degree of Master of Arts in Art History, Hunter College The City University of New York 2019 December 19, 2019 Howard Singerman Date Thesis Sponsor December 19, 2019 Harper Montgomery Date Signature of Second Reader Table of Contents List of Illustrations ii Introduction 1 Chapter 1: The Southern California Renaissance 8 Chapter 2: 1970s Pluralism on the West Coast 29 Chapter 3: The Modern Landscape - Distant Voids, Intimate Details 47 Conclusion 61 Bibliography 64 Illustrations 68 i List of Illustrations All works are by Vija Celmins unless otherwise indicated Figure 1: Time Magazine Cover, 1965. Oil on canvas, Private collection, Switzerland. Figure 2: Ed Ruscha, Large Trademark with Eight Spotlights, 1962. Oil, house paint, ink, and graphite pencil on canvas, Whitney Museum of American Art, New York. Figure 3: Heater, 1964. Oil on canvas, Whitney Museum of American Art, New York. Figure 4: Giorgio Morandi, Still Life, 1949. Oil on canvas, Museum of Modern Art, New York. -
John Mclaughlin
John McLaughlin Born 1898 in Sharon, MA Died 1976 in Los Angeles, CA Education 1962 San Francisco Art Institute, San Francisco, CA, M.F.A. 1961 San Francisco Art Institute, San Francisco, CA, B.F.A. Selected Solo Exhibitions 2017 John McLaughlin: Marvelous Void, Van Doren Waxter, New York, NY 2016 John McLaughlin Paintings: Total Abstraction, Los Angeles County Museum of Art, Los A Angeles, CA Baltimore Museum of Art, MD John McLaughlin, Museum of New Art, Detroit, MI 2014 John McLaughlin, Galerie Thomas Zander, Cologne, Germany 2013 John McLaughlin: Paintings 1947-1974, Van Doren Waxter, New York, NY 2012 Frieze Masters Spotlight: John McLaughlin, Franklin Parrasch Gallery, New York, NY 2010 Hard Edge Classicist: Paintings from the 1950s to the 1970s, Greenberg Van Doren Gallery, New York, NY 2007 John McLaughlin: The Tamarind Prints, Palm Springs Art Museum, Palm Springs, CA 2006 John McLaughlin: The Complete Prints, Susan Sheehan Gallery, New York, NY 2005 John McLaughlin: Paintings from the Estate of the Artist, Ameringer Yohe Fine Art, New York, NY California Modern, Orange County Museum of Art, Newport Beach, CA 1999 John McLaughlin: Paintings and Prints, Inverleith House, Edinburgh, Scotland John McLaughlin: Paintings, PACE Gallery, Beverly Hills, CA 1998 John McLaughlin: Paintings, Paula Cooper Gallery, New York, NY 1997 John McLaughlin: Western Modernism/Eastern Thought, Laguna Art Museum, Laguna, CA; Museum of Fine Arts, Houston, TX; Baltimore Museum of Art, Baltimore, MD; Joslyn Museum, Omaha, NE 1996 John McLaughlin, Orange -
Jules Langsner Papers, 1941-1967
http://oac.cdlib.org/findaid/ark:/13030/kt5v19r00h No online items Finding Aid for the Jules Langsner papers, 1941-1967 Processed by UCLA Library Special Collections staff; machine-readable finding aid created by Caroline Cubé. UCLA Library Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 Email: [email protected] URL: http://www.library.ucla.edu/libraries/special/scweb/ © 2007 The Regents of the University of California. All rights reserved. Finding Aid for the Jules Langsner 1748 1 papers, 1941-1967 Descriptive Summary Title: Jules Langsner papers Date (inclusive): 1941-1967 Collection number: 1748 Creator: Jules Langsner, 1911-1967. Extent: 26 boxes (13 linear feet)1 oversize box. Abstract: Jules Langsner was born on May 5, 1911, in New York, New York and died in Los Angeles, California, on September 29, 1967. Langsner was surrounded by intellectuals and artists from a young age, and became a celebrated art writer, critic and curator. The collection consists of correspondence, manuscripts, ephemera, and photographs related to Langsner's writing, research and curatorial work. Language: English Repository: University of California, Los Angeles. Library Special Collections. Los Angeles, California 90095-1575 Physical location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact the UCLA Library Special Collections Reference Desk for paging information. Restrictions on Access COLLECTION STORED OFF-SITE AT SRLF: Open for research. Advance notice required for access. Contact the UCLA Library Special Collections Reference Desk for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UCLA Library Special Collections. -
Helen Lundeberg (1908-1999)
HELEN LUNDEBERG (1908-1999) SELECTED CHRONOLOGY 1908 Born Chicago, June 24th 1912 Moves with her family to Pasadena CA 1921 Enters Pasadena High School Enrolled in Stanford University “Gifted Children Study” 1927 Attends Pasadena Junior College 1930-33 Stickney Memorial School of Art, Pasadena. Teacher:Lorser Feitelson. 1931 Moves to Los Angeles; joins Federal Public Works Art Project(PWAP) Formulates Post-Surrealism/Subjective Classicism with Lorser Feitelson 1933 Begins attempting to reconcile subjective, introspective material with the logical and rational conscious mind in her artwork 1933-41 Becomes easel painter and muralist for the southern California Federal Art Project 1934 Writes manifesto 'New Classicism' (Post-Surrealism) Association of Post-Surrealist Artists formed: Lorser Feitelson, Lundeberg, Lucian Labaudt, Ben Berlin, Knud Merrild, Grace Clements, Philip Guston and Reuben Kadish. 1936 Paints two murals at Los Angeles County Hall of Records for WPA/FAP 1937 For the FAP, assists Feitelson on murals for Thomas A. Edison High School, L.A. Four lithographs at FAP/WPA Print Division: Enigma, The Planets, Arabesque and Ruins. 1938-1942 Designs and paints murals for WAP/FAP at Los Angeles Patriotic Hall, Venice High School, Gge Washington School, Fullerton Civic Center, and petrachrome mural walls at Canoga Park High School, “History of Transportation” in Centinela Park, Inglewood, CA 1940s Works in Post-surrealist explorations 1946 New York to visit Dorothy Miller and Holger Cahill; invited to a party by Peggy Guggenheim. 1948 Creates Moonrise at Lynton Kistler's Lithography Studio Workshop. 1950s Work shifted toward “mindscapes” 1950 $1000 First Purchase Award 1957 $400 prize for Selma. 1987 Helen Lundeberg-American Painter Video: 56 minutes, Atmosphere Productions 1990 Honorary Doctorate Degree: Otis-Parsons College of Art, Los Angeles Receives grant from the Richard A. -
Encyklopédia Kresťanského Umenia
Marie Žúborová - Němcová: Encyklopédia kresťanského umenia americká architektúra - pozri chicagská škola, prériová škola, organická architektúra, Queen Anne style v Spojených štátoch, Usonia americká ilustrácia - pozri zlatý vek americkej ilustrácie americká retuš - retuš americká americká ruleta/americké zrnidlo - oceľové ozubené koliesko na zahnutej ose, užívané na zazrnenie plochy kovového štočku; plocha spracovaná do čiarok, pravidelných aj nepravidelných zŕn nedosahuje kvality plochy spracovanej kolískou americká scéna - american scene americké architektky - pozri americkí architekti http://en.wikipedia.org/wiki/Category:American_women_architects americké sklo - secesné výrobky z krištáľového skla od Luisa Comforta Tiffaniho, ktoré silno ovplyvnili európsku sklársku produkciu; vyznačujú sa jemnou farebnou škálou a novými tvarmi americké litografky - pozri americkí litografi http://en.wikipedia.org/wiki/Category:American_women_printmakers A Anne Appleby Dotty Atti Alicia Austin B Peggy Bacon Belle Baranceanu Santa Barraza Jennifer Bartlett Virginia Berresford Camille Billops Isabel Bishop Lee Bontec Kate Borcherding Hilary Brace C Allie máj "AM" Carpenter Mary Cassatt Vija Celminš Irene Chan Amelia R. Coats Susan Crile D Janet Doubí Erickson Dale DeArmond Margaret Dobson E Ronnie Elliott Maria Epes F Frances Foy Juliette mája Fraser Edith Frohock G Wanda Gag Esther Gentle Heslo AMERICKÁ - AMES Strana 1 z 152 Marie Žúborová - Němcová: Encyklopédia kresťanského umenia Charlotte Gilbertson Anne Goldthwaite Blanche Grambs H Ellen Day -
Download Exhibition Catalogue
LIGHT / SPACE / CODE Opposite: Morris Louis, Number 2-07, 1961 (detail) Light / Space / Code How Real and Virtual Systems Intersect The Light and Space movement (originated in the 1960s) coincided with the Visual art and the natural sciences have long produced fruitful collaborations. development of digital technology and modern computer programming, and in Even Isaac Newton’s invention of the color wheel (of visible light spectra) has recent years artists have adapted hi-tech processes in greater pursuit of altering aided visual artists immensely. Artists and scientists share a likeminded inquiry: a viewer’s perception using subtle or profound shifts in color, scale, luminosity how we see. Today’s art answers that question in tandem with the expanded and spatial illusion. scientific fields of computer engineering, cybernetics, digital imaging, information processing and photonics. Light / Space / Code reveals the evolution of Light and Space art in the context of emerging technologies over the past half century. The exhibit begins by iden- — Jason Foumberg, Thoma Foundation curator tifying pre-digital methods of systems-style thinking in the work of geometric and Op painters, when radiant pigments and hypnotic compositions inferred the pow- er of light. Then, light sculpture introduces the medium of light as an expression of electronic tools. Finally, software-generated visualizations highlight advanced work in spatial imaging and cyberspace animation. Several kinetic and inter- active works extend the reach of art into the real space of viewer participation. A key sub-plot of Light / Space / Code concerns the natural world and its ecol- ogy. Since the Light and Space movement is an outgrowth of a larger environ- mental art movement (i.e., Earthworks), and its materials are directly drawn from natural phenomena, Light and Space artists address the contemporary conditions of organisms and their habitation systems on this planet. -
Birth of the Cool: California Art, Design, and Culture at Midcentury
BIRTH OF THE COOL: CALIFORNIA ART, DESIGN, AND CULTURE AT MIDCENTURY WORKING CHECKLIST GALLERY D: PERIOD ART GALLERY KARL BENJAMIN Karl Benjamin, Black Karl Benjamin, Small Pillars, 1957, oil on Planes: White, Blue and canvas, 48 x 24 in. (121.9 Pink, 1957, oil on linen, x 61 cm), private collection 36 x 48 in. (91.4 x 121.9 cm), The Buck Collection, Laguna Beach, California Karl Benjamin, Easter, Karl Benjamin 1957, oil on canvas, 36 x F.S. #20, 1963 48 in. (91.4 x 121.9 cm), Oil on Canvas, 32 x 42 in. private collection (81.3 x 106.7 cm), Courtesy Louis Stern Fine Arts, West Hollywood Karl Benjamin, Totem Karl Benjamin, F.S. #1, Group IV, 1957, oil on 1961, oil on canvas, 42 x canvas, 40 x 50 in. (101.6 50 in. (106.7 x 127 cm), x 127 cm), San Jose Santa Barbara Museum of Museum of Art Art, Museum Purchase Karl Benjamin, Red, Blue, Karl Benjamin, Pink, 1958, oil on canvas, Interlocking Forms (Big 30 x 40 in. (76.2 x 101.6 Magenta with Green), cm), courtesy Louis Stern 1959, oil on canvas, 40 x Fine Arts, West Hollywood 50 in. (101.6 x 127 cm), private collection Karl Benjamin Karl Benjamin, I.F. I.F. (Violet, Burnt Umber), (Interlocking Forms), 1958, oil on canvas, 50 x 1958, oil on canvas, 22 x 30 in. (127 x 76.2 cm), 14 in. (55.9 x 35.6 cm), Collection John and Collection of Carol Phyllis Kleinberg Sharer, Avon, Colorado LORSER FEITELSON Lorser Feitelson, Magical Lorser Feitelson, Untitled Space Forms: Stripes, Dichotomic Organization, 1954, oil on canvas, 60 x 1959, oil on canvas, 50 x 50 in. -
Paintings by Streeter Blair (January 12–February 7)
1960 Paintings by Streeter Blair (January 12–February 7) A publisher and an antique dealer for most of his life, Streeter Blair (1888–1966) began painting at the age of 61 in 1949. Blair became quite successful in a short amount of time with numerous exhibitions across the United States and Europe, including several one-man shows as early as 1951. He sought to recapture “those social and business customs which ended when motor cars became common in 1912, changing the life of America’s activities” in his artwork. He believed future generations should have a chance to visually examine a period in the United States before drastic technological change. This exhibition displayed twenty-one of his paintings and was well received by the public. Three of his paintings, the Eisenhower Farm loaned by Mr. & Mrs. George Walker, Bread Basket loaned by Mr. Peter Walker, and Highland Farm loaned by Miss Helen Moore, were sold during the exhibition. [Newsletter, memo, various letters] The Private World of Pablo Picasso (January 15–February 7) A notable exhibition of paintings, drawings, and graphics by Pablo Picasso (1881–1973), accompanied by photographs of Picasso by Life photographer David Douglas Duncan (1916– 2018). Over thirty pieces were exhibited dating from 1900 to 1956 representing Picasso’s Lautrec, Cubist, Classic, and Guernica periods. These pieces supplemented the 181 Duncan photographs, shown through the arrangement of the American Federation of Art. The selected photographs were from the book of the same title by Duncan and were the first ever taken of Picasso in his home and studio.