Joan Mitchell. N.P., 1962
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A Finding Aid to the Elaine De Kooning Papers, Circa 1959-1989, in the Archives of American Art
A Finding Aid to the Elaine de Kooning papers, circa 1959-1989, in the Archives of American Art Harriet E. Shapiro and Erin Kinhart 2015 October 21 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 / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 2 Arrangement..................................................................................................................... 2 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Personal Papers, circa 1960s-1989.......................................................... 4 Series 2: Interviews, Conversations, and Lectures, 1978-1988............................... 5 Series 3: Photographs, circa 1960s, 2013............................................................... 7 Series 4: Printed Material, 1961-1982.................................................................... -
Ernest Briggs' Three Decades of Abstract Expressionist Painting
Ernest Briggs' Three Decades its help in allowing artists of the period to go to school. They were set of Abstract Expressionist Painting free economically, and were allowed to live comfortably with tuition and supplies paid for. The Fine Arts School would last about 3 years Ernest Briggs, a second generation Abstract Expressionist painter under McAgy. The program took off due to the presence of Clyfford known for his strong, lyrical, expressive brushstrokes, use of color and Still, Ad Reinhardt, along with David Park, Richard Diebenkorn, Elmer sometimes geometric composition, first came to New York in late 1953. Bischoff and others. Most of the students at the school, about 40-50 He had been a student of Clyfford Still at the California School of Fine taking painting, such luminaries as Dugmore, Hultberg, Schueler and Arts. Frank O’Hara first experienced the mystery in the way Ernest Crehan, had had some exposure to art through university or art school. Briggs’ splendid paintings transform, and the inability to see the shape But there had been no exposure to what was going on in New York or in as a shape apart from interpretation. Early in 1954, viewing Briggs’ first Europe in the art world, and Briggs and the others were little prepared one man show at the Stable Gallery in New York, O’Hara said in Art for the onslaught that was to come. in America “From the contrast between the surface bravura and the half-seen abstract shapes, a surprising intimacy arises which is like The California Years seeing a public statue, thinking itself unobserved, move.” With the entry of Still, the art program would “blow apart”. -
Spotlight on Shawne Major
EXHIBITION ANNOUNCEMENT Hilliard University Art Museum University of Louisiana at Lafayette 710 East Saint Mary Blvd. Lafayette, LA 70503 Laura Blereau, Curator [email protected] (337) 482-0823 Spotlight on Shawne Major Exhibition Dates: Dec 9, 2016 – May 13, 2017 Reception: 6:00-8:00 PM, Friday, Feb 3, 2017 Artist Talk: 6:00 PM, Wednesday, March 6, 2017 The Hilliard University Art Museum is pleased to announce Spotlight on Shawne Major. This display on the museum’s second floor features three large scale works by the Opelousas-based artist: Bud Sport (2008), Nadir (2011) and Vestige (2001). Her mixed-media assemblage work is also represented in the concurrent exhibition Spiritual Journeys: Homemade Art from the Becky and Wyatt Collins Collection. Biography Shawne Major was born in New Iberia in 1968. She earned a BFA in painting in 1991 from the University of Southwestern Louisiana Shawne Major. Nadir, 2011 (now known as the University of Louisiana at Lafayette). In 1995, © Shawne Major she also earned an MFA in sculpture from the Mason Gross School of the Arts at Rutgers University in New Brunswick, New Jersey. The recipient of many awards, Major has been recognized with many residencies including the Hermitage Artist Retreat in Englewood, Florida (2017); Joan Mitchell Center in New Orleans, LA (2016); Robert Rauschenberg Foundation in Captiva Island, FL (2015); Art Omi in Ghent, NY (2009); Sculpture Space in Utica, NY (1997); Corporation of Yaddo in Saratoga Springs, NY (1995); and the Skowhegan School of Painting and Sculpture in Maine (1992). She has also received fellowships and grants from the Pollock-Krasner Foundation (2008) and the Dieu Donne Papermill in New York (1996). -
Creating a Living Legacy Program for Visual Artists
CALL CREATING A LIVING LEGACY PROGRAM FOR VISUAL ARTISTS Career Documentation for the Visual Artist: An Archive Planning Workbook and Resource Guide Getting artwork ready for sorting Neal Ambrose-Smith CALL CREATING A LIVING LEGACY Table of Contents An Introduction to the Workbook 1 » CHAPTER 1 Importance of Documenting and Archiving Your Work 3 » CHAPTER 2 Getting Started and Setting Goals 9 Setting Manageable Goals 10 Chapter 2 Worksheet 11 » CHAPTER 3 Getting Assistance 15 » CHAPTER 4 The Legacy Specialist 19 Getting Started with a Legacy Specialist 21 Chapter 4 Worksheet 22 Chapter 4 Worksheet 23 » CHAPTER 5 The Physical Inventory 25 Steps for Organizing and Taking Care of Your Physical Inventory 26 Resources 29 Chapter 5 Worksheet 30 » CHAPTER 6 The Record-Keeping System 33 Spreadsheets and Databases 35 Information Your Records Should Contain 37 Artwork Record 37 Unique inventory number 37 Contact Record 40 Exhibition Record 40 Archive Record 41 Resources 42 » CHAPTER 7 Photographing Your Work 45 Resources 46 » CHAPTER 8 Budgeting 47 Chapter 8 Worksheet 49 A Final Note 50 Bios 51 Glossary 52 Overloaded storage shed Neal Ambrose-Smith CALL CREATING A LIVING LEGACY An Introduction to the Workbook This workbook was created to help an artist, artist’s assistant, Legacy Specialist, family member, or friend of an artist in the process of career documentation FOR ARTISTS: This workbook will help you to: » assess what you have or have not archived » develop and/or improve on an inventory and archiving system » set realistic archiving goals -
Hedda Sterne and Abstract Expressionism
1 Menacing Machines and Sublime Cities: Hedda Sterne and Abstract Expressionism Tasia Kastanek Art History Honors Thesis April 12, 2011 Primary Advisor: Kira van Lil – Art History Committee Members: Robert Nauman – Art History Nancy Hightower – Writing and Rhetoric 2 Abstract: The canon of Abstract Expressionism ignores the achievements of female painters. This study examines one of the neglected artists involved in the movement, Hedda Sterne. Through in-depth analysis of her Machine series and New York, New York series, this study illuminates the differences and similarities of Sterne‟s paintings to the early stages of Abstract Expressionism. Sterne‟s work both engages with and expands the discussions of “primitive” signs, the sublime and urban abstraction. Her early training in Romania and experience of WWII as well as her use of mechanical symbols and spray paint contribute to a similar yet unique voice in Abstract Expressionism. Table of Contents Introduction: An Inner Necessity and Flight from Romania…….…………..……………….3 Machines: Mechanolatry, War Symbolism and an Ode to Tractors……………………......13 New York, New York: Masculine Subjectivity, Urban Abstraction and the Sublime...…...26 Instrument vs. Actor: Sterne’s Artistic Roles………………..………………………….……44 Conclusion………………………………………………………………………………………49 Images…………………………………………………………………………………………...52 Works Cited……………………………………………………………………………………..67 3 “Just as each spoken word rouses an internal vibration, so does every object represented. To deprive oneself of this possibility of causing a vibration -
Bma to Open Major Retrospective on Artist Joan Mitchell in March 2022
BMA TO OPEN MAJOR RETROSPECTIVE ON ARTIST JOAN MITCHELL IN MARCH 2022 Co-Organized by BMA and SFMOMA, Joan Mitchell Offers New Scholarship on Mitchell’s Vision, History, and Artistic Process BALTIMORE, MD (UPDATED March 1, 2021)—Joan Mitchell has long been hailed as a formidable creative force—a woman artist who attained critical acclaim and success in the male- dominated art circles of the 1950s, and then went on to make her own distinctive way in the world for four decades. From March 6 through August 14, 2022, The Baltimore Museum of Art (BMA) will present a comprehensive survey of Mitchell’s oeuvre that establishes a new depth of scholarship on her work. Titled Joan Mitchell, the retrospective will feature approximately 60 works, including rarely seen early paintings and drawings, the vibrant gestural compositions that established her career, and large-scale, colorful, multi-panel masterpieces from her later years. With suites of major paintings as well as sketchbooks, charcoal drawings, and pastels on paper, the exhibition will open a new window into the richness of Mitchell’s practice and present a model of art history that accommodates multiple chapters and evolving styles. Joan Mitchell is accompanied by a catalogue that will provide further essential insight into Mitchell’s artistic achievements and the inspirations that drove them. Co-organized by the BMA and San Francisco Museum of Modern Art (SFMOMA), the exhibition is grounded in more than two years of archival research and an extensive firsthand review of Mitchell’s works conducted by co-curators Katy Siegel, BMA Senior Programming & Research Curator and Thaw Chair of Modern Art at Stony Brook University, and Sarah Roberts, Andrew W. -
PAVIA, PHILIP, 1915-2005. Philip Pavia and Natalie Edgar Archive of Abstract Expressionist Art, 1913-2005
PAVIA, PHILIP, 1915-2005. Philip Pavia and Natalie Edgar archive of abstract expressionist art, 1913-2005 Emory University Stuart A. Rose Manuscript, Archives, and Rare Book Library Atlanta, GA 30322 404-727-6887 [email protected] Descriptive Summary Creator: Pavia, Philip, 1915-2005. Title: Philip Pavia and Natalie Edgar archive of abstract expressionist art, 1913-2005 Call Number: Manuscript Collection No. 981 Extent: 38 linear feet (68 boxes), 5 oversized papers boxes and 5 oversized papers folders (OP), 1 extra oversized papers folder (XOP) and AV Masters: 1 linear foot (1 box) Abstract: Philip Pavia and Natalie Edgar archive of abstract expressionist art including writings, photographs, legal records, correspondence, and records of It Is, the 8th Street Club, and the 23rd Street Workshop Club. Language: Materials entirely in English. Administrative Information Restrictions on Access Unrestricted access. Terms Governing Use and Reproduction All requests subject to limitations noted in departmental policies on reproduction. Source Purchase, 2004. Additions purchased from Natalie Edgar, 2018. Citation [after identification of item(s)], Philip Pavia and Natalie Edgar archive of abstract expressionist art, Stuart A. Rose Manuscript, Archives, and Rare Book Library, Emory University. Processing Processed by Elizabeth Russey and Elizabeth Stice, October 2009. Additions added to the collection in 2018 retain the original order in which they were received. Emory Libraries provides copies of its finding aids for use only in research and private study. Copies supplied may not be copied for others or otherwise distributed without prior consent of the holding repository. Philip Pavia and Natalie Edgar archive of abstract expressionist art, Manuscript Collection No. -
Press Review
Press SUN WOMEN Louise Bourgeois Helen Frankenthaler Eva Hesse Jacqueline Humphries Lee Krasner Joan Mitchell Louise Nevelson Curated by Jérôme Neutres April 24 – June 29 2019 Whitewall , June 27, 2019 “SUN WOMEN” Pays Tribute to the Artists Who Fought for Equal Acknowledgment By Pearl Fontaine At the Charles Riva Collection in Brussels, curator Jérômre Neutres has conceived an exhibition of works by seven artists, entitled “SUN WOMEN.” Named for Lee Krasner’s series “The Sun Woman,” the exhibition features a group of artists whose works are, today, known to be part of the women’s emancipation movement of the 20th century. “I feel totally female. I didn’t compete with men and I don’t want to look like a man!” said Louise Nevelson. Not to be categorized because of gender, the artists on view—including Krasner, Nevelson, Louise Bourgeoise, Helen Frankenthaler, Eva Hesse, Jacqueline Humphries, and Joan Mitchell— sought to obtain equal acknowledgment as their male counterparts. Great masters throughout the ages were never referred to as “da Vinci, the male artist,” or “Hemingway, the male writer,” so neither should female creators be referred to as such. Instead of essentializing the work of these women, the exhibition presents them as artists neglected in a scene that has always favored males. A recurring theme of abstraction runs amongst each artist’s style—something which Eric de Chassey suggests is to be expected, since abstraction is “a liberation, the triumph of artistic freedom as a possibility, unhindered by external references.” By committing to an abstracted practice, these artists were essentially pledging themselves to defying the norms (social, sexual, political, and psychological) of their times, where women were held to standards of domesticated delicacy. -
Joan Mitchell
Joan Mitchell Bleibtreustraße 45, Berlin-Charlottenburg 10 November 2013 – 18 January 2014 Opening: 10 November, 11 am-5 pm Untitled, 1951 Oil on canvas 80 x 70 in / 203.2 x 177.8 cm © Estate of Joan Mitchell Galerie Max Hetzler is pleased to present an exhibition by Joan Mitchell in Bleibtreustraße 45, Berlin-Charlottenburg from November 10, 2013 until January 18, 2014. For the first time in Berlin, an exceptional ensemble of paintings and pastels from the almost 50 years of the artist's career will be featured. One of the most respected figures of Abstract Expressionism, Joan Mitchell (1925-1992) came to an early attention with her lyrical abstract paintings. In 1951, at the age of 26, she participated in the Ninth Street Art Exhibition in New York, alongside Willem de Kooning, Jackson Pollock, Clyfford Still, Mark Rothko, Franz Kline, Philip Guston and Helen Frankenthaler, among others. In 1955, she began dividing her time between New York and Paris. She maintained close relation- ships with many New York School painters and poets even after 1968, when she settled in Vétheuil, a small town in the countryside outside of Paris. She worked there continuously until her death in 1992. Mitchell’s commitment to the tenets of gestural abstraction remained firm and uncompromising during all her life, as to be seen in the paint- ings from the exhibition. A dense and striking composition cha- racterizes the early Untitled painting from 1951 (see fig.), while the Untitled painting from 1958 (see fig.) depicts a more tempestuous and expressive surface, whereas Le chemin des écoliers, 1960, betrays the inspiration from the French landscapes. -
“Just What Was It That Made U.S. Art So Different, So Appealing?”
“JUST WHAT WAS IT THAT MADE U.S. ART SO DIFFERENT, SO APPEALING?”: CASE STUDIES OF THE CRITICAL RECEPTION OF AMERICAN AVANT-GARDE PAINTING IN LONDON, 1950-1964 by FRANK G. SPICER III Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Adviser: Dr. Ellen G. Landau Department of Art History and Art CASE WESTERN RESERVE UNIVERSITY May, 2009 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of Frank G. Spicer III ______________________________________________________ Doctor of Philosophy candidate for the ________________________________degree *. Dr. Ellen G. Landau (signed)_______________________________________________ (chair of the committee) ________________________________________________Dr. Anne Helmreich Dr. Henry Adams ________________________________________________ Dr. Kurt Koenigsberger ________________________________________________ ________________________________________________ ________________________________________________ December 18, 2008 (date) _______________________ *We also certify that written approval has been obtained for any proprietary material contained therein. Table of Contents List of Figures 2 Acknowledgements 7 Abstract 12 Introduction 14 Chapter I. Historiography of Secondary Literature 23 II. The London Milieu 49 III. The Early Period: 1946/1950-55 73 IV. The Middle Period: 1956-59: Part 1, The Tate 94 V. The Middle Period: 1956-59: Part 2 127 VI. The Later Period: 1960-1962 171 VII. The Later Period: 1963-64: Part 1 213 VIII. The Later Period: 1963-64: Part 2 250 Concluding Remarks 286 Figures 299 Bibliography 384 1 List of Figures Fig. 1 Richard Hamilton Just What Is It That Makes Today’s Homes So Different, So Appealing? (1956) Fig. 2 Modern Art in the United States Catalogue Cover Fig. 3 The New American Painting Catalogue Cover Fig. -
The New American Painting, As Shown in Eight European Countries, 1958
The new American painting, as shown in eight European countries, 1958-1959 Organized by the International Program of the Museum of Modern Art, New York, under the auspicies of the International Council at the Museum of Modern Art Author Museum of Modern Art (New York, N.Y.). International Program Date 1959 Publisher The Museum of Modern Art: Distributed by Doubleday, Garden City, N.Y. Exhibition URL www.moma.org/calendar/exhibitions/1990 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art THE NEW AMERICAN PAINTING As shown in eight European countries 19581959 The Museum of Modern Art >New York MoMA 645 c.2 LIBRARY .fi '^Museumof ModernArt ARCHIVE VWffEt-EP. THE NEW AMERICAN PAINTING As Shown in Eight European Countries 1958-1:959 Organized by the International Program of The Museum of Modern Art , New York under the auspices of the International Council at The Museum of Modern Art , New York THE MUSEUM OF MODERN ART, NEW YORK Distributed by Doubleday & Company Inc., Garden City, New York TRUSTEES OF THE MUSEUM OF MODERN ART Henry Allen Moe, ist Vice-Chairman; William A. M. Burden, President; Mrs David M. Levy, ist Vice-President; Alfred H. Barr, Jr, Mrs Robert Woods Bliss, Stephen C. Clark*, Ralph F. Colin, Mrs W. Murray Crane*, Rene d'Harnoncourt, Mrs C. Douglas Dillon, Mrs Edsel B. Ford, A. Conger Goodyear, Mrs Simon Guggenheim*, Wallace K. -
Lee Krasner: Living Color
Press release Opening on September 18 Lee Krasner: Living Color Sponsored by We at Seguros Bilbao would like to welcome you to the exhibition Lee Krasner. Living Color, a vibrant explosion of color and form that resounds with the hopes that we now all place in recovery, within this suspended context in which we have all lived over the last few long months. Art has served to encourage humanity, especially in difficult times, and we believe that specifically the art of Lee Krasner can provide us with inspiration for dealing with the future at a time like this. Incessant creativity and constant reinvention are the hallmarks of this American artist’s work over the course of five decades, summarized in the Museum through a selection of her most emblematic pieces. Although today she is considered one of the most representative figures in American Abstract Expressionism, Krasner did not have it easy. Her status as a woman and the economic hardships of the Great Depression which dominated the US during her formative years turned her wish to become an artist into a fierce struggle. She managed to stand out in painting thanks to her talent, her iron will, and her solid work ethic. Today in Bilbao we can enjoy her astonishing output, which clearly reflects Krasner’s statement of intentions: “I like a canvas to breathe and be alive. Be alive is the point.” Without a doubt, the public will be able to take advantage of the unique opportunity provided by this exhibition to appreciate the vitality and organic qualities of her works.