Yale University Art Gallery Bulletin 2012 Online Supplement
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Oral History Interview with Ann Wilson, 2009 April 19-2010 July 12
Oral history interview with Ann Wilson, 2009 April 19-2010 July 12 Funding for this interview was provided by the Terra Foundation for American Art. Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a recorded interview with Ann Wilson on 2009 April 19-2010 July 12. The interview took place at Wilson's home in Valatie, New York, and was conducted by Jonathan Katz for the Archives of American Art, Smithsonian Institution. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview ANN WILSON: [In progress] "—happened as if it didn't come out of himself and his fixation but merged. It came to itself and is for this moment without him or her, not brought about by him or her but is itself and in this sudden seeing of itself, we make the final choice. What if it has come to be without external to us and what we read it to be then and heighten it toward that reading? If we were to leave it alone at this point of itself, our eyes aging would no longer be able to see it. External and forget the internal ordering that brought it about and without the final decision of what that ordering was about and our emphasis of it, other eyes would miss the chosen point and feel the lack of emphasis. -
Remembering Robert Venturi, a Modern Mannerist
The Plan Journal 4 (1): 253-259, 2019 doi: 10.15274/tpj.2019.04.01.1 Remembering Robert Venturi, a Modern Mannerist In Memoriam / THEORY Maurizio Sabini After the generation of the “founders” of the Modern Movement, very few architects had the same impact that Robert Venturi had on architecture and the way we understand it in our post-modern era. Aptly so and with a virtually universal consensus, Vincent Scully called Complexity and Contradiction in Architecture (1966) “probably the most important writing on the making of architecture since Le Corbusier’s Vers une architecture, of 1923.” 1 And I would submit that no other book has had an equally consequential impact ever since, even though Learning from Las Vegas (published by Venturi with Denise Scott Brown and Steven Izenour in 1972) has come quite close. As Aaron Betsky has observed: Like the Modernism that Venturi sought to nuance and enrich, many of the elements for which he argued were present in even the most reduced forms of high Modernism. Venturi was trying to save Modernism from its own pronouncements more than from its practices. To a large extent, he won, to the point now that we cannot think of architecture since 1966 without reference to Robert Venturi.2 253 The Plan Journal 4 (1): 253-259, 2019 - doi: 10.15274/tpj.2019.04.01.1 www.theplanjournal.com Figure 1. Robert Venturi, Complexity and Contradiction in Architecture (London: The Architectural Press, with the Museum of Modern Art, New York, 1977; or. ed., New York: The Museum of Art, 1966). -
From Lasvegas
.c .~ OJ ~ ~ <Il ~ u [) o > --~----- -- r t'11 > ~ ,....z z o "'!j ~ ~ r >C/l <: M Copyright ©1977, 1972 by ~ The Massachusetts Institute of Technology C/l Originally published as Learning from Las Vegas <: All rights reserved. No part of this book may be reproduced in any form or by any means, eke i1> tronic or mechanical, including photocopying, recording, or by any information storage and re ::l LEARNING trieval system, without permission in writing from the publisher. =.2 V! 8 >: b:I Library of Congress Cataloging in Publication Data 3 ,>. Venturi, Robert. ::l FROM Learning from Las Vegas. ,... N i1> Bibliography: p. ::l o 1. Architecture-Nevada-Las Vegas. 2. Symbolism in architecture. I. SCOtt Brown, Denise, C.., 1931- ,joint author. II. Izenour, Steven, joint author. III. Tide. NA735.L3V4 1977 720'.9793'13 77-1917 ISBN 0·262·72006-X (paperback) LAS VEGAS 20 Revised Edition 11111\1. Robert Venturi Denise Scott Brown Steven Izenour OJ , J::"' (l) -l-J 01: ..... u Ql " ~ 4 LEARNING FROM LAS VEGAS THE ARCHITECTURE OF THE STRIP 35 lot required along the Strip because interaction is by car and highway. distances between buildings; because they are far apart, they can be {ou drive from one casino to another even when they are adjacent be comprehended at high speeds. Front footage on the Strip has not yet ause of the distance between them, and an intervening service station reached the value it once had on Main Street, and parking is still an ap ; not disagreeable. propriate filler. Big space between buildings is characteristic of the Strip. -
Pale Intrusions Into Blue: the Development of a Color Hannah Rose Mendoza
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2004 Pale Intrusions into Blue: The Development of a Color Hannah Rose Mendoza Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY SCHOOL OF VISUAL ARTS AND DANCE PALE INTRUSIONS INTO BLUE: THE DEVELOPMENT OF A COLOR By HANNAH ROSE MENDOZA A Thesis submitted to the Department of Interior Design in partial fulfillment of the requirements for the degree of Master of Fine Arts Degree Awarded: Fall Semester, 2004 The members of the Committee approve the thesis of Hannah Rose Mendoza defended on October 21, 2004. _________________________ Lisa Waxman Professor Directing Thesis _________________________ Peter Munton Committee Member _________________________ Ricardo Navarro Committee Member Approved: ______________________________________ Eric Wiedegreen, Chair, Department of Interior Design ______________________________________ Sally Mcrorie, Dean, School of Visual Arts & Dance The Office of Graduate Studies has verified and approved the above named committee members. ii To Pepe, te amo y gracias. iii ACKNOWLEDGMENTS I want to express my gratitude to Lisa Waxman for her unflagging enthusiasm and sharp attention to detail. I also wish to thank the other members of my committee, Peter Munton and Rick Navarro for taking the time to read my thesis and offer a very helpful critique. I want to acknowledge the support received from my Mom and Dad, whose faith in me helped me get through this. Finally, I want to thank my son Jack, who despite being born as my thesis was nearing completion, saw fit to spit up on the manuscript only once. -
TRANSLATING SIZE to COLOUR and COLOUR to SIZE Jeroen P
Master’s Tesis TransArts Summer Semester 2014. Accompanying the Presentation of Colours by Jeroen P. Visser. T A!S"AT#!$ S#%& T' ('"')R A!* ('"') T' S#%& Jeroen P. Visser )ni+ersit,t -.r Angewan0te 1unst 2ien 3etreuers: Matthias Micha56a 7 oman P-efer. T A!S"AT#!$ S#%& T' ('"')R A!* ('"') T' S#%& Jeroen Visser )ni+ersit,t -.r Ange/an0te 1unst 2ien9 AT 0. A3ST A(T Tis paper /i55 0iscuss the basics o- co5our theory9 starting -rom !ewton’s 0isco+ery o- the spectrum to $oethe’s Teory of Colours an0 the /ay co5ours are used an0 0efned in mo0ern times, through $39 (M;1 an0 <SV systems. It /i55 -urthermore ta56 about co5our in art by a00ressing the systematic approach o- Josef Albers an0 his Interaction of Colours9 the more per-ormati+e actions o- ;+es 15ein an0 his International Klein Blue an0 the mythica5 Mar6 oth6o /ith his mu5ti-orms. Afer /hich # /i55 get into my o/n system o- translating si>e to co5our an0 co5our to si>e an0 its application. # /i55 conc5u0e /ith some in-ormation on my so5o?sho/ as part o- my gra0uation in June 2014. 1. #!T '*)(T#'! Since # /as not yet able to paint9 0ra/ or scu5pt # 0eci0ed that my best bet o- getting into art schoo5 /as to apply at the photography 0epartment o- the oya5 Aca0emy o- @ine Arts in Ant/erp, 3elgium. Photography a5/ays ha0 a strange position -or me9 nicely :tted bet/een the :el0 o- applied an0 :ne art. 2e /ere encouraged to +isit a number o- photography museums9 most o- /hich sho/ed some -orm o- 0ocumentary photography9 I enAoyed the museums o- mo0ern art a 5ot more ho/ever. -
Faltblatt Retrospective.Indd
Mexico, 1963 London, England, 1966 New York City, 1963 Paris, France, 1967 JOEL New Yok City, 1975 Five more found, New York City, 2001 MEYEROWITZ RETROSPECTIVE curated by Ralph Goertz Sarah, Cape Cod, Cape Sarah, 1981 Roseville Cottages, Truro, Massachusetts, 1976 Bay.Sky, Provincetown, Massachusetts, 1985 1978 City, York New Dancer, Young JOEL MEYEROWITZ RETROSPECTIVE Joel Meyerowitz, born and grown up in New York, belongs to a generation of photographers - together with William Eggleston, Diane Arbus, Lee Friedlander, Stephen Shore, Tony Ray-Jones and Garry Winogrand - who are equipped with a unique sensitivity towards the daily, bright, hustle and bustle on the streets, who are able to grasp a human being as an individual as well as in their social context. Starting in the early 1960s, Joel Meyerowitz went out on the streets, day in, and day out, powered by his passion and devotion to photography, in order to study people and see how photographs described what they were doing. In order to catch the vibes he ranges over the streets of New York, together with Tony Ray-Jones and later with his friend Garry Winogrand. Different from Tony Ray-Jones and Garry Winogrand, Meyerowitz loaded his camera with color film in order to capture life realistically, which meant shooting in color for him. While his first photographs are often determined in a situational way, he starts, early on, putting the subject not only in the centre, but consciously leaving the centre of the picture space free and extending the picture-immanent parts over the whole frame. His dealing with picture space and composition, which consciously differ from those of his idols like Robert Frank and Cartier-Besson, create a unique style. -
Books Keeping for Auction
Books Keeping for Auction - Sorted by Artist Box # Item within Box Title Artist/Author Quantity Location Notes 1478 D The Nude Ideal and Reality Photography 1 3410-F wrapped 1012 P ? ? 1 3410-E Postcard sized item with photo on both sides 1282 K ? Asian - Pictures of Bruce Lee ? 1 3410-A unsealed 1198 H Iran a Winter Journey ? 3 3410-C3 2 sealed and 1 wrapped Sealed collection of photographs in a sealed - unable to 1197 B MORE ? 2 3410-C3 determine artist or content 1197 C Untitled (Cover has dirty snowman) ? 38 3410-C3 no title or artist present - unsealed 1220 B Orchard Volume One / Crime Victims Chronicle ??? 1 3410-L wrapped and signed 1510 E Paris ??? 1 3410-F Boxed and wrapped - Asian language 1210 E Sputnick ??? 2 3410-B3 One Russian and One Asian - both are wrapped 1213 M Sputnick ??? 1 3410-L wrapped 1213 P The Banquet ??? 2 3410-L wrapped - in Asian language 1194 E ??? - Asian ??? - Asian 1 3410-C4 boxed wrapped and signed 1180 H Landscapes #1 Autumn 1997 298 Scapes Inc 1 3410-D3 wrapped 1271 I 29,000 Brains A J Wright 1 3410-A format is folded paper with staples - signed - wrapped 1175 A Some Photos Aaron Ruell 14 3410-D1 wrapped with blue dot 1350 A Some Photos Aaron Ruell 5 3410-A wrapped and signed 1386 A Ten Years Too Late Aaron Ruell 13 3410-L Ziploc 2 soft cover - one sealed and one wrapped, rest are 1210 B A Village Destroyed - May 14 1999 Abrahams Peress Stover 8 3410-B3 hardcovered and sealed 1055 N A Village Destroyed May 14, 1999 Abrahams Peress Stover 1 3410-G Sealed 1149 C So Blue So Blue - Edges of the Mediterranean -
Mineral Glass Crystals
MINERAL GLASS CRYSTALS 36 pc. Assortment Clear Styrene Storage Box Contains 1 Each of Most Popular Sizes From 19.0 to 32.0 $45.00 72 pc. Assortment Clear Styrene Storage Box Contains 1 Each of Most Popular Available Sizes From 14.0 to 35.0 On All Sizes $90.00 FREE ,_ Special -Oiler With Elt4er A5Sortm,nt UJtraviolefGJQss:Adhesive In Needle P-Omt Tube ' ' ' • • ·- : -- '\. • •!< Perfect fQ~ ~~Glass Ct:ys~ - · ~ fu_~nds in s_w ' ~ u11ravi,olet li~ . S-am~ ~l~ty ?S gia.ss. W & V Crown Assortment Spring Bar Assortment 500 Piece Spring Bar Assortment Crown Assortment Cost You Less Than .1 O Each! for Seiko - Pulsar - Lorus #8501 $44.50 Handy plastic case contains 1O of the most popular numbers used daily - including double flange type used on buckles. Made to fit Seiko, Citizen, Bulova, Pulsar, Lorus and other The most popular crowns both white and yellow are watch cases and bracelets. included in this 24 bottle assortment. There are a total of Ultra thin (1.3mm) 40 crowns. A "must• unit for all stores servicing watches. 100% Stalnless Steel In stock for immediate delivery. Refills available. #PP500 $44.95 Spring Bars by Kreisler 24-HOUR FAX ORDERING 612·452·4298 FREE Information Available *Quartz Movements * Crystals & Fittings * * Resale Merchandise * Findings * Serving The Trade Since 1923 * Stones * Tools & Supplies * VOLUME 16, NUMBER 1 JANUARY 1992 HOROLOGICAL Official Publication of the American Watchmakers Institute Read About Miniature Alice B. Carpenter 2 PRESIDENT'S MESSAGE Enamel Painting Henry B. Fried 4 QUESTIONS & ANSWERS J.G. Tongue Keyless Mechanism 8 Charles Cleves 8 OLD WATCHES Miniature Enamel Painting Archie B. -
Carrie Patterson
CARRIE PATTERSON Artist, Professor of Art Po Box 1825 Leonardtown, MD 20650 Phone: 301.904.5704 Email: [email protected] Web: www.carriepatterson.com EDUCATION 1998 University of Pennsylvania, Philadelphia, PA M.F.A. Painting 1996 New York Studio School, New York, NY Student Resident 1992 James Madison University, Harrisonburg, VA B.F.A., Painting, magna cum laude 1991 British Institute, Florence, Italy Student Resident ACADEMIC AND ADMINISTRATIVE EXPERIENCE 2015-present Professor of Art, St. Mary’s College of Maryland, St. Mary’s City, MD 2009 - 2015 Associate Professor, St. Mary’s College of Maryland, St. Mary’s City, MD 2011-2014 Chair, Department of Art and Art History, St. Mary’s College of Maryland 2014-2015 Coordinator for Community Engagement, St. Mary’s College of Maryland 2013-2014 Interim Director, Artist House Residencies, St. Mary’s College of Maryland 2009-present Owner and Director, Yellow Door Art Studios, Leonardtown, Maryland 2004 - 2009 Assistant Professor, St. Mary’s College of Maryland, St. Mary’s City, MD 2000 - 2004 Visiting Instructor, The College of William and Mary, Williamsburg, VA 1999 - 2000 Visiting Instructor, Cheyney State University of Pennsylvania, Cheyney, PA SOLO EXHIBITIONS 2016 Lightbox, Hunt Gallery, Mary Baldwin College, Staunton VA 2014 Mistaken Identity, Lexington Park Library Art Gallery, Lexington Park, MD 2012 Groundtruthing: Painted Constructions Southwest Minnesota State University Art Museum, Marshall, MN 2010 Objects and Fields, AxD Gallery, Philadelphia, PA 2010 Color -
Waltham Land Trust
Waltham Land Trust is a non-profit corporation dedicated to creating a legacy of land conservation in Waltham by promoting, protecting, restoring, and acquiring open space. JOURNAL SPRING 2017 Waltham Then and Now The original commercial center of Waltham was near the Linden Street – Main Street intersection, Marie Daly and businesses spread westward along Main Street, When we drive down Moody Street today, many of a busy thoroughfare for traffic and stagecoaches us are unaware that this busy thoroughfare and dense plying between Boston and Framingham, Worcester neighborhood were once a bucolic farm and abundant and Springfield. By 1830, the business and domestic riverside marshes. Previously a community of farms populace centered along Main, Elm, and River and woodlands, Waltham is now an urban district of Streets near the mill. In the 1830s, Central Street was housing, industries and commercial businesses. Yet developed, and in the following decades, residential and some areas of the city have been preserved as open business growth continued westward along Main Street, space for all to enjoy. This initial article of a series on Felton Street, Charles Street and School Street. Until the changes in Waltham’s environment over the years 1847, when the Moody Street Bridge was built, only a will document one of the first large-scale developments foot bridge on the dam spanned the river near the mill. – the Southside neighborhood. By the 1850s, mill employees and commercial shops The population of Waltham in 1790 was 882, and were expanding southward from Main Street along the vast majority of households were engaged in Moody Street and across the Charles River. -
Nel Mondo Di Mark Kostabi
Nel mondo di Mark Kostabi di LUCIANO MARUCCI Recentemente a San Benedetto del Tronto si sono avuti due eventi culturali di rilievo: l’inaugurazione della terza scultura en plein air dell’artista siciliano Salvo (torinese di adozione) nella zona pedonale denominata “isola dell’arte” e l’apertura alla Palazzina Azzurra di una bella mostra (catalogo Skira), che resterà aperta fino al 15 settembre, di Mark Kostabi (anch’egli autore di una scultura), il quale, come da programma dell’Amministrazione comunale, quest’anno ha presentato la sua produzione pittorica per meglio essere conosciuto dal grosso pubblico che, tra l’altro, in due applauditi concerti all’aperto ha potuto apprezzare la sua verve di compositore musicale e di pianista. Nel mondo dell’arte Kostabi è un personaggio noto, soprattutto in America, Giappone e Italia, per la sua multiforme attività e per l’organizzazione di un moderno gruppo operativo per l’esecuzione e la promozione di manufatti artistici. Nella mostra sambenedettese ha proposto una serie di dipinti, quasi tutti insolitamente in bianco e nero, in segno di partecipazione ai drammi del mondo, un po’ come fece Picasso in “Guernica” il quale però lanciò la sua vibrante protesta contro la guerra di Spagna con linguaggio cubo-espressionista. Le opere, caratterizzate dalla presenza di angeli e di riferimenti musicali, mantengono la consueta carica ironica espressa da associazioni figurali spiazzanti alla Magritte, che vede protagonista un uomo-simbolo senza i lineamenti del volto. Ultimamente l’artista si è ispirato specialmente alla metafisica di Giorgio De Chirico, al novecentismo di Mario Sironi e all’iperrealismo dell’americano Hopper. -
Architectsnewspaper 11 6.22.2005
THE ARCHITECTSNEWSPAPER 11 6.22.2005 NEW YORK ARCHITECTURE AND DESIGN WWW.ARCHPAPER.COM $3.95 GUGGENBUCKS, GUGGENDALES, CO GUGGENSOLES 07 MIAMI NICE LU ARTISTIC Z O GO HOME, LICENSING o DAMN YANKEES 12 Once again, the ever-expanding Guggenheim is moving to new frontiers. TOP OF THE A jury that included politicians, Frank CLASS Gehry and Thomas Krens has awarded 4 the design commission for the newest 17 museum in the Guggenheim orbitto VENTURI AND Enrique Norten for a 50-story structure on a cliff outside Guadalajara, Mexico's sec• SCOTT BROWN ond-largest city. The museum will cost BRITISH TEAM WINS VAN ALEN COMPETITION PROBE THE PAST the city about $250 million to build. 03 EAVESDROP But there is now a far less expensive 18 DIARY range of associations with the Guggenheim 20 PROTEST Coney Island Looks Up brand. The Guggenheim is actively 23 CLASSIFIEDS exploring the market for products that it On May 26 Sherida E. Paulsen, chair of the Fair to Coney Island in 1940, closed in 1968, can license, in the hope of Guggenheim- Van Alen Institute's board of trustees, and but the 250-foot-tall structure was land- ing tableware, jewelry, even paint. An Joshua J. Sirefman, CEO of the Coney marked in 1989. eyewear deal is imminent. Island Development Corporation (CIDC), Brooklyn-based Ramon Knoester and It's not the museum's first effort to announced the winners of the Parachute Eckart Graeve took the second place prize license products but it is its first planned Pavilion Design Competition at an event on of S5,000, and a team of five architects strategy to systematize licensing.