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Archived News
Archived News 2007-2008 News articles from 2007-2008 Table of Contents Alumnae Cited for Accomplishments and Sage Salzer ’96................................................. 17 Service................................................................. 5 Porochista Khakpour ’00.................................. 18 Laura Hercher, Human Genetics Faculty............ 7 Marylou Berg ’92 ............................................. 18 Lorayne Carbon, Director of the Early Childhood Meema Spadola ’92.......................................... 18 Center.................................................................. 7 Warren Green ................................................... 18 Hunter Kaczorowski ’07..................................... 7 Debra Winger ................................................... 19 Sara Rudner, Director of the Graduate Program in Dance .............................................................. 7 Melvin Bukiet, Writing Faculty ....................... 19 Rahm Emanuel ’81 ............................................. 8 Anita Brown, Music Faculty ............................ 19 Mikal Shapiro...................................................... 8 Sara Rudner, Dance Faculty ............................. 19 Joan Gill Blank ’49 ............................................. 8 Victoria Hofmo ’81 .......................................... 20 Wayne Sanders, Voice Faculty........................... 8 Students Arrive on Campus.............................. 21 Desi Shelton-Seck MFA ’04............................... 9 Norman -
William Burback
THE MUSEUM OF MODERN ART ORAL HISTORY PROGRAM INTERVIEW WITH: WILLIAM (BILL) BURBACK (BB) INTERVIEWER: PATTERSON SIMS (PS) LOCATION: THE MUSEUM OF MODERN ART, PATTERSON SIMS’ OFFICE (OFFICE OF THE DEPUTY DIRECTOR FOR EDUCATION AND RESEARCH SUPPORT) DATE: APRIL 9, 1999 BEGIN TAPE 1, SIDE 1 PS: You‟re a New Yorker [Pause]. BB: Yes, I am a New Yorker. PS: You came here as a junior member of the Photography Department. [Pause] BB: A curatorial intern. It was the New York State Council program. PS: We didn‟t have an internship program then, so you were among the vanguard of interns at the Museum. Now we have a very ambitious intern program. BB: I think it was probably different curatorial departments who took the initiative. There were a number of people who had proceeded... PS: Peter [Galassi] came an intern. BB: I think so, yes, PS: Yes. BB: And [Maria] Morris [Hambourg], at the Met, quite a few people, Anne Tucker, a lot of interesting people. MoMA Archives Oral History: W. Burback page 1 of 29 PS: And it was a part of the national program, NEA, which sent people? BB: No, it was here, the New York Council, but John [Szarkowski] had quite a network, and I met him actually at the Oakland Museum. I was working there as a curatorial assistant in their photography division and I was lucky enough to know him. He was going to Hawaii or someplace like that, probably, though I learned from him in an hour than I had to that point, because the way he saw things and the way he saw that they should be presented were so exciting. -
The WEBER List
the WEBER list ............................................................................................. BEAUX BOOKS 42 Harebell Close Hartley Wintney Hampshire RG27 8TW UK 07783 257 663 [email protected] www.beauxbooks.com The books are listed in chronological order. Please contact us for a full condition report. All titles are offered subject to prior sale. Additional copies of some titles are available but may be subject to a change in price or condition. .................................................................. BEAUX BOOKS ............................................................................................. “It's true to say that I've been searching for my lost youth in my pictures and am basically still looking for it.” (Bruce Weber, Roadside America) the WEBER list Bruce Weber (b.1946) is one of our greatest living photographers. His books, films and exhibitions have placed him at the forefront of American photography for the past 40 years. His ground-breaking work for fashion brands such as Calvin Klein, Ralph Lauren, Versace and Abercrombie & Fitch has changed the face of fashion advertising. Weber's photography is inextricably linked with his own life. His subjects are his friends, and his friends are his subjects. These are real people. They give an honesty to the photographs which have, at the same time, an almost mythical quality. The beautiful, often naked, bodies against the raw American landscape echo a classical, pastoral ideal. This is Weber's American dream – a joyous road-trip around America -
Catalogue 234 Jonathan A
Catalogue 234 Jonathan A. Hill Bookseller Art Books, Artists’ Books, Book Arts and Bookworks New York City 2021 JONATHAN A. HILL BOOKSELLER 325 West End Avenue, Apt. 10 b New York, New York 10023-8143 home page: www.jonathanahill.com JONATHAN A. HILL mobile: 917-294-2678 e-mail: [email protected] MEGUMI K. HILL mobile: 917-860-4862 e-mail: [email protected] YOSHI HILL mobile: 646-420-4652 e-mail: [email protected] Further illustrations can be seen on our webpage. Member: International League of Antiquarian Booksellers, Antiquarian Booksellers’ Association of America We accept Master Card, Visa, and American Express. Terms are as usual: Any book returnable within five days of receipt, payment due within thirty days of receipt. Persons ordering for the first time are requested to remit with order, or supply suitable trade references. Residents of New York State should include appropriate sales tax. COVER ILLUSTRATION: © 2020 The LeWitt Estate / Artists Rights Society (ARS), New York PRINTED IN CHINA 1. ART METROPOLE, bookseller. [From upper cover]: Catalogue No. 5 – Fall 1977: Featuring european Books by Artists. Black & white illus. (some full-page). 47 pp. Large 4to (277 x 205 mm.), pictorial wrap- pers, staple-bound. [Toronto: 1977]. $350.00 A rare and early catalogue issued by Art Metropole, the first large-scale distributors of artists’ books and publications in North America. This catalogue offers dozens of works by European artists such as Abramovic, Beuys, Boltanski, Broodthaers, Buren, Darboven, Dibbets, Ehrenberg, Fil- liou, Fulton, Graham, Rebecca Horn, Hansjörg Mayer, Merz, Nannucci, Polke, Maria Reiche, Rot, Schwitters, Spoerri, Lea Vergine, Vostell, etc. -
David Humphrey
DAVID HUMPHREY Lives and works in New York 1956-73 Grows up in Pittsburgh, PA 1973-77 Attends Maryland Institute College of Art, Baltimore, Receives BFA 1976-77 Studies at New York Studio School of Painting, Drawing, and Sculpture 1977-80 Attends New York University, New York, Receives MA 1979-80 Receives New York State CAPS grant 1985 Receives New York State Council for the Arts Grant 1987 Receives fellowship from the National Endowment for the Arts 1995 Receives fellowship from the National Endowment for the Arts 2002 Receives fellowship from the John Simon Guggenheim Memorial Foundation Receives the Thomas B. Clarke prize from the National Academy of Design 2008 Rome Prize, American Academy in Rome SOLO EXHIBITIONS 2010 Solomon Projects, Atlanta Derfrosted, in collaboration with Adam Cvijanovic, Postmasters, NY 2008 Keith Talent Gallery, London Parisian Laundry, Montreal 2007 Amaya Gallery, Miami, FL 2006 Solomon Projects, Atlanta, GA Fredric Snitzer Gallery, Miami FL Snowman in Love, Triple Candie, NY Team ShaG, I Space, Chicago 2005 Next of Kin, Rebecca Ibel Gallery, Columbus, OH Oven Stuffer Roaster, Morsel, NY 2004 Brent Sikkema, New York, NY 2002 Both Less and More, paintings and sculpture, Littlejohn Contemporary, NY Holiday Melt, Solomon Projects, Atlanta, GA *Lace, Bubbles, Milk, digital Works Pittsburgh Filmmakers, Pittsburgh, PA Fredric Snitzer Gallery, Miami FL 2001 University of Santa Barbara, Santa Barbara CA Holiday Melt, Saks Project Art holiday windows, Palm Beech FL 2000 Mckee Gallery, New York, NY 1999 Sculptures, Deven GoldenFine Art, LTD, New York, NY Me and My Friends, The Phillip Feldman Gallery, Pacific Northwest College of Art, Portland, OR 1998 Zolla/Lieberman Gallery, Chicago, IL Works on Paper, Roy G Biv Gallery, Columbus OH 1997 SHaG, team paintings by A. -
FILM MANUFACTURERS INC. Presents MAPPLETHORPE: LOOK at the PICTURES a Film by Fenton Bailey & Randy Barbato
FILM MANUFACTURERS INC. Presents MAPPLETHORPE: LOOK AT THE PICTURES A film by Fenton Bailey & Randy BArbAto BERLINALE SCREENING SCHEDULE (PREMIERE) Sunday, February 14th at 5:00 PM @ (P&I SCREENING) Sunday, FebruAry 14th At 9:00 PM @ Running Time: 1:48:24 minutes For press materials, please visit: Press ContAct Press ContAct Public Insight Dogwoof Andrea Klasterer Yung Kha Office: +49/ 89/ 78 79 799-12 Office: +44(0)20 7253 6244 Andrea cell: +49 163 680 51 37 Yung cell: +44 7788546706 Email: [email protected] Email: [email protected] InternAtionAl Sales InternAtionAl Press DOGWOOF [email protected] Vesna Cudic [email protected] / +44 7977 051 577 www.mapplethorpefilm.com www.facebook.com/MapplethorpeFilm www.twitter.com/Mapplethorpedoc www.filminc.com MAPPLETHORPE: LOOK AT THE PICTURES A film by Fenton Bailey & Randy Barbato SHORT SYNOPSIS MAPPLETHORPE: LOOK AT THE PICTURES is the first definitive, feature length portrait of the controversial artist since his untimely death in 1989. A catalyst and an illuminator, but also a magnet for scandal, Robert Mapplethorpe had but one goal: to ‘make it’ as an artist and as an art celebrity. He could not have picked a better time: the Manhattan of Warhol’s Factory, Studio 54, and an era of unbridled hedonistic sexuality. His first solo exhibition in 1976 already unveils his subjects: flowers, portraits and nudes. Mapplethorpe quickly gains notoriety through his explicitly sexual photographs from the gay sadomasochistic scene as well as nude pictures of black men. Directors Fenton Bailey and Randy Barbato were given unrestricted access to Mapplethorpe’s archives for their documentary Mapplethorpe: Look at the Pictures, in which this exceptional artist talks candidly about himself in recently discovered interviews. -
Chapter 1 in 1977, a Graffiti Duo with the Name Of
Chapter 1 ART, CULTURE, AND NEW YORK CITY In 1977, a graffiti duo with the name of SAMO (standing for Same Old Shit) began bombarding New York subways and slums. It was the height of graffiti’s hold on the city, with thousands of kids running through subway tunnels deep into the night, away from cops and into subway yards where they spent hours painting masterpieces and signature tags on the sides of the subway cars so that, come morning, the trains would barrel through the city displaying their names and artwork like advertisements to anyone waiting on the platform. Thousands of kids wrote graffiti through their teenage years, only to put aside their artistic leanings by the time they reached their twenties, remaining unknown and invisible to anyone who didn’t ride the New York subway system during the 1970s and ’80s. But SAMO was different. Still living in the gritty East Village, working and DJ-ing at downtown clubs, by 1981, one-half of the duo, Jean-Michel Basquiat, had attained recognition in the art world as the “Radiant Child” in ArtForum magazine. By the early eighties, Basquiat was being shown alongside Julian Schnabel, David Salle, Francesco Clemente, and Keith Haring. Between 1982 and 1985, Basquiat dated a then little-known musician named Ma donna, began working with Andy Warhol, was shown by the star- maker gallery owner Mary Boone (his paintings sold for over $20,000), and landed on the cover of the New York Times Maga zine. In 1988, he died of a heroin overdose. He was twenty-seven years old. -
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. -
Phenomenal California Light, Space, Surface
PHENOMENAL CALIFORNIA LIGHT, SPACE, SURFACE EDITED BY ROBIN CLARK ESSAYS BY MICHAEL AUPING, ROBIN CLARK, StePHANie HANOR, AdriAN KOHN FOREWORD BY HUGH M. DAVIES AND DAWNA SCHULD MUSEUM OF CONTEMPORARY ART SAN DIEGO UNIVERSITY OF CALIFORNIA PRESS BERKELEY LOS ANGELES LONDON PUBLISHED WITH THE ASSISTANCE OF THE GETTY FOUNDATION WORK AND WORDS the wall behind an Irwin disc. Something like illuminated shadows, maybe. And the right prepositions and verbs are tough to pick out when saying what Bell’s glass does. As you look at or into or through a panel, it both reflects and trans- mits light and obscures the distinction implied there. Such phenomena strain Work and Words the language, and the resulting verbal muddle offers the chance to see, for a Adrian Kohn change, without reading or reading into. LEARNING ESOTERICA It is hard to keep clear how words work as you hold forth on strange art. Meta- Making an art object provides new knowledge about the piece itself, of course, phor, analogy, and other abstract conceits tend to treat a piece under examination but also to some extent about the world in which it exists—about, attested Larry as already well enough understood that it can be tellingly likened to something Bell, “light, physics, matter in general.”1 “As I look back on the early pieces,” he else, another artwork perhaps or a theoretical concept, that is itself regarded as wrote years later, “the thing that is most dramatic about them to me is how much well enough understood to anchor the suggested correlation. Such a structure I learned from them, how much I learned on my own about things that I never presupposes considerable knowledge of both entities to be compared and, for before even considered relevant.”2 That realization prompted another in turn, a that reason, seems unpromising if you are just beginning to learn about either of broader claim on behalf of both his own creations and creative activity at large. -
DISBAND Press Release
DISBAND Press Release Active in the downtown art scene in Manhattan from 1978-82, the members of DISBAND screamed, shouted, sang, and stomped through the heyday of New York City’s new- and no-wave scenes, blurring the line between performance art and live music. Members included Barbara Ess, Ilona Granet, Donna Henes, Daile Kaplan, Barbara Kruger, Ingrid Sischy, Diane Torr and Martha Wilson. Mirroring the chaos and temporality of that time, the band sang such songs as “The End,” “Five More Years,” “Every Day Same Old Way,” “Get Rebel,” “Sad,” “Iran-y” and “DOW.” They also addressed their status as women through songs such as “Girls’ Bill of Rights,” “Hey Baby,” “Fashions” and “Look at My Dick.” DISBAND has performed in many New York venues, such as PS1, the Kitchen, the Mudd Club, TR3, and nationally at such venues as Hallwalls, LAICA and Chicago’s Museum of Contemporary Art. In 1980 DISBAND toured Italy with Laurie Anderson, Chris Burden, and others. HISTORY OF DISBAND 1978-1982, by Martha Wilson in collaboration with band members Ilona Granet, Donna Henes, Ingrid Sischy and Diane Torr: My friend Marvin Taylor, founder of the Downtown Collection at NYU, said “Everybody was in three bands.” This was certainly true for the very first members of DISBAND, Daile Kaplan and Barbara Ess (except Martha Wilson). Daile was also in Rhys Chatham’s band, the Gynecologists, and Barbara Ess was in Glenn Branca’s band, Static, as well as founding her own all-girl band, Y-Pants. Other bands around in the late 70s were the Theoretical Girls, Bush Tetras, James White and the Blacks, Tone Death, Con Iced, A-Band, Daily Life, the Idiot Orchestra, the Diplomat Samurai Band, the Love of Life Orchestra. -
Peter Plagens Papers LSC.2255
http://oac.cdlib.org/findaid/ark:/13030/c88k7fhm No online items Finding Aid for the Peter Plagens papers LSC.2255 Kelly Besser in consultation with curator Genie Guerard and with supervision from Megan Hahn Fraser, 2014; machine-readable finding aid created by Caroline Cubé. UCLA Library Special Collections Online finding aid last updated 2019 November 15. Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: https://www.library.ucla.edu/special-collections Finding Aid for the Peter Plagens LSC.2255 1 papers LSC.2255 Contributing Institution: UCLA Library Special Collections Title: Peter Plagens papers Creator: Plagens, Peter Identifier/Call Number: LSC.2255 Physical Description: 13.4 Linear Feet(26 document boxes, 10 half document boxes, and 1 oversize flat box) Date (inclusive): 1938-2014 Abstract: Peter Plagens is an abstract painter, art critic, professor and novelist based in New York City. The collection consists of art work, exhibition materials, art criticism, published and unpublished novels, correspondence, lectures, course materials, photographs, slides, notebooks, datebooks, journals, and memorabilia. 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. Language of Material: Materials are in English. 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. Literary rights, including copyright, are retained by the creators and their heirs. -
David Humphrey Arms of the Law November 12 Through December 19, 2020
David Humphrey Arms of the Law November 12 through December 19, 2020 Fredericks & Freiser is pleased to present an exhibition of new paintings by David Humphrey. Arms of the Law takes the police as its principal subject. Originally inspired by images seen on the television show Body Cam the work has expanded to embrace a variety of points of view, including confrontations between protesters and armed law enforcement officers. Humphrey applies his wide-ranging genre-mixing (abstraction, pop-surrealism and photo-derived representation) to the paradoxical challenge of making works with authority and power committed to questioning authority and power. Authority’s gesture, the task of the violence worker (police), is to neutralize agency, to stop a person in their tracks; to arrest their ability to move. The cop’s task is to produce and distribute violence in the name of order; but the disorder that results often serves authority’s purpose just as well by “proving” the necessity for increased state violence. What kind of power can a painted image have? Like the police, a painting arrests motion, but in the service of poetic freedom. The application of an abstracting, formalized artifice can produce both a reflective distance for the viewer and an intense embodied presence that challenges detachment. A space is provided for sustained associative regard and a charged urgency. Some of these works fuse militarized police with neutralized citizens into a monstrous hybrid, a dynamic liquid whole in a space littered with trash and painterly affect. This show continues Humphrey’s forty-year commitment to making formally inventive, psycho- socially engaged paintings and sculpture and is accompanied by a 290 page monograph by Davy Lauterbach, with additional texts by Lytle Shaw, Wayne Koestenbaum, Humphrey himself and an interview with Jennifer Coates (published by Fredericks & Freiser and distributed by D.A.P).