DOCSLIB.ORG

Robin A. Kingston Master of Fine Arts (Visual Art)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Robin A. Kingston Master of Fine Arts (Visual Art) ‘The Un-limiting Conditions’: An Investigation into the Roles of Intuitive and Rational Thought in the Construction of Abstract Painting. An exegesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy Robin A. Kingston Master of Fine Arts (Visual Art) School of Art Portfolio of Design and Social Context RMIT University June 2007 Volume Two Declaration I certify that except where due acknowledgement has been made, the work is that of the author alone; the work has not been submitted previously, in whole or in part, to qualify for any other academic award; the content of the thesis is the result of work which has been carried out since the official commencement date of the approved research program; and, any editorial work, paid or unpaid, carried out by a third party is acknowledged. Robin A. Kingston June 2007 Acknowledgements I extend my personal thanks and gratitude for their assistance to: My supervisors Dr. Sophia Errey and Dr. David Thomas My family My colleagues Contents List of Illustrations ii Introduction 1 Chapter One: The Nature of My Practice Beginnings 8 Overview of my Practice 13 Drawing: The Trace from the Mind to the Hand 21 Materials, Marks and Forms: The Signification of Process 34 Painting: Paint as a Finely Tuned Antenna for the Body/Hand of the Artist 42 Chapter Two: The Attentive Mind Game Intuition and Conscious Thought 53 Chapter Three: Personal Methods Repeat with Variations: Serial/Repetition 80 Play 99 The Performative 110 Chapter Four: Painting the Space Painting and Context 120 Conclusion 146 Bibliography 154 List of Illustrations. Page. 1. Albert Pinkham Ryder. Moonlight Marine 10 2. Milton Avery. Onrushing Wave Detail 11 3. Charles Burchfield. Winter Moonlight 11 4. Myron Stout. Untitled 12 5. Myron Stout. Untitled 12 8. Robin Kingston. Untitled red/green 15 9. Fabric, in Polly Apfelbaum’s studio 16 6. Sol LeWitt, Wall Drawing #51 18 7. Sol LeWitt. Wall Drawing #358 18 8. Sol LeWitt. Execution of Wall Drawing #123 19 9. Robin Kingston. Untitled Drawing 2000 22 10. Robin Kingston. Untitled red/black grid 23 11. Robin Kingston. Untitled orange grid/white ground 23 12. Robin Kingston. Untitled, February 25 13. Robin Kingston. Large Horizontal Painting, 2006 25 14. Robin Kingston. Early stage of drawing 2006, Detail 26 15. Robin Kingston. Final stage of drawing 2006. Detail 27 16. Robin Kingston. Untitled. Nagy. #1. Detail 28 17. Agnes Martin. Wood 29 18. Agnes Martin. Untitled 33 19. Robin Kingston. Untitled watery green grid. Detail 35 20. Cy Twombly. School of Athens 37 21. Richard Tuttle. 20 Pearls. (14) 38 22. Richard Tuttle. Work at Brent Sikkema Gallery 38 23. Richard Tuttle. Fiction Fish 40 24. Robin Kingston. Drawing. 2006 45 25. Robin Kingston. Untitled. Nagy # 46 26. Thomas Nozkowski. Untitled (7-8) 50 27. Thomas Nozkowski. Untitled. (8-27) 50 28. Thomas Nozkowski. Untitled (8-45) 51 29. Thomas Nozkowski. Untitled. (8 – 56) 51 30. Tantra Drawing. Udaïpur 54 31. Hilma af Klint. Group Series SUW. Swan no 17 55 32. Hilma af Klint. From The Blue Books, No. 5 58 33. Hilma af Klint, Parcifal Series, Group 2, Section 4: The Convolute of the Physical Plane, Outwards 58 34. Jessica Stockholder’s work at Gorney, Bravin + Lee 60 35. Robin Kingston. Bell’s Hill 62 36. Robin Kingston. Bell’s Hill. Detail 62 37. Robin Kingston. Window 63 38. Marion Milner. Summer Morning 65 39. Marion Milner. Summer Beeches 65 40. Tantra Drawing. Untitled. Jaïpur 68 41. Tantra Drawing. Untitled. Bikaner 69 42. Robin Kingston. Drawing on studio wall. Detail 73 43. Robin Kingston. Untitled Painting 73 44. Robin Kingston. Untitled Drawing 73 45. Robin Kingston. Daylight falling on the wall 75 ii 46. Robin Kingston. Studio installation of paintings 76 47. Robin Kingston. Detail of studio installation above 76 48. Robin Kingston. Tight Blue Grid 81 49. Robin Kingston. On the Wall. Detail 81 50. Robin Kingston. Before and After. Studio ‘drawing’ 82 51. Robin Kingston. Untitled 83 52. Robin Kingston. Untitled 83 53. Kolo Moser. Amsel. Fabric Sample 85 54. Dagobert Peche. Wierner-Werkstätte’s Zurich Salesroom 86 55. Sonia Delaunay. Sketch for a fabric pattern 86 56. Dagobert Peche. Falte. Fabric design 86 57. Dagobert Peche. Kardinal. Length of fabric 86 58. Sèvres Vase. Detail 87 59. James Siena. Four Nesting Spirals 89 60. James Siena. Three Combs (Boustrophedonic) 89 61. Sol LeWitt. Wall Drawing #696 91 62. Sol LeWitt. Wall Drawing #696 91 63. Sol LeWitt. Wall Drawing #896. Christies Lobby 95 64. Robin Kingston. Untitled. Trail off Grid. #5 96 65. Robin Kingston. Studio Wall 1. Detail 102 66. Robin Kingston. Studio Wall 2. Detail 102 67. Robin Kingston. Studio Wall 3. Detail 103 68. Robin Kingston. Studio Wall 4. Detail 103 69. Robin Kingston. Studio Wall 5. Detail 104 70. Robin Kingston. Two Drawings Juxtaposed 107 71. Robin Kingston. Untitled. On the Wall. Wall painting 108 72. Robin Kingston. An Exact Copy. Installation view 122 73. Robin Kingston. An Exact Copy. Installation view 122 74. Jessica Stockholder. Vortex in the Play of Theatre with 124 Real Passion: In Memory of Kay Stockholder 75. Judy Pfaff. Rock/Paper/ Scissors. Installation view 126 76. Katherina Grosse. Untitled. 1999. Installation view 127 77. Fred Sandback. Untitled 129 (Sculptural Study – Seventeen Part Right Angled Construction) 78. Fred Sandback. Alternate view of above 129 79. Richard Tuttle. Inside the Still Pure Form 131 80. Robin Kingston. Untitled Wall Painting 134 81. Robin Kingston. Untitled Wall Painting. Detail 134 82. Robin Kingston. On the Wall. Oil on linen paintings 135 83. Robin Kingston. On the Wall. Framed Drawings 135 84. Robin Kingston. On the Wall. Large Drawings installation 135 85. Robin Kingston. Untitled. On the Wall. Wall painting 136 86. Richard Wright. Untitled. 2000 137 87. Richard Wright. Untitled. 2000. Detail 137 88. Robin Kingston. Untitled.Gossard. Installation view 139 89. Robin Kingston. Untitled.Gossard. Detail 139 90. Robin Kingston. Untitled.Gossard Corridor 140 91. Robin Kingston. Untitled.Gossard Corridor 140 Detail of light moving over wall painting 92. Robin Kingston. Untitled (for Sol). 2007. 141 iii 93. Robin Kingston. Untitled (for Sol). Detail 142 94. Kazimir Malevich. Study for the décor of the opera 143 Victory over the Sun 95. Robin Kingston. The Un-limiting Conditions 143 96. Robin Kingston. Where Things Stop and Start 145 97. Robin Kingston. Untitled. Gossard. Detail 150 98. Robin Kingston. Untitled (for Sol). Installation view 153 iv Introduction This project has addressed the use of intuitive and rational thought in the construction of contemporary abstract painting and more particularly my painting practice. I am an abstract painter. My artwork is not an abstraction derived from realism or the figurative. It arises from another vocabulary of making an artwork, and from an inner impulse I name intuition rising from a subjective response. I also use a formal visual vocabulary. Its use corresponds with rational thought in my work and incorporates elements including line, colour, scale, form, rhythm, interval, touch, gesture and surface that are components of content expressing order, complexity and sensibility. The construction of the artwork is a contemplative1 process, which aims to enable viewers to become aware of their own looking through a vocabulary associated with the making of the work. This vocabulary is diverse and includes issues such as the choice of materials and their inherent qualities, the support and structure of visual forms and strategies of application including chance, risk, play and forgetting. After completing art school in Australia, my art education intensified when I travelled overseas for the first time at nineteen. It was a revelation. There was the realisation that it was essential to spend a considerable period of time in a place that afforded me contact with significant contemporary and historical artworks. New York was and still is that destination;2 I have lived in New York for ten years and make annual trips. Australian art, both historical and contemporary, is not the major source informing my painting. My experience has given me a unique understanding of the development of contemporary abstraction through developments in New York, which were influenced by the migration of artists such as Mondrian and De Kooning from Europe. The city also has been an important hub for contemporary art and the opportunity to see major collections and to learn directly from them has, for me, been vital. My practice has been informed from first hand experience of art works - standing in front of them, walking through the site of display, experiencing the scale, presence and nuances of the work. The chance to see work for myself, rather than it 1 I define contemplation as a mental state where one looks and thinks deeply about something or considers with ongoing attention. 2 Since 2002 I have coordinated and led the RMIT, New York Study Tour, which provides the opportunity for an annual three-week visit to refresh the connection and make further discoveries. 1 being filtered through other secondary sources has been of prime importance, allowing the experience of the work to enter into my consciousness and memory, quickly and at other times slowly. The actual experience of the artwork becomes immersive for the viewer and this experiential nature of painting has come to constitute important content in my painting. Such direct experience is difficult to convey through photography as I was reminded when viewing the Brice Marden retrospective.3 Photographs in the catalogue of his early body of painting, present the work as monochromatic, with smooth surfaces. The work does not translate well in documentation and, indeed, is completely misrepresented. On viewing the actual paintings they are haptic4 and sensuous, displaying evidence of the decisions, physical and mental, used in constructing them.
Load more

Recommended publications
  • American Prints 1860-1960
    American Prints 1860-1960 from the collection of Matthew Marks American Prints 1860-1960 from the collection of Matthew Marks American Prints 1860-1960 from the collection of Matthew Marks Bennington College, Bennington, Vermont Introduction The 124 prints which make up this exhibition have been selected from my collection of published on the occasion over 800 prints. The works exhibited at Bennington have been confined to those made by ot an exhibitionat the American artists between 1860 and 1960. There are European and contemporary prints in my A catalogue suchasthis and the exhibitionwhich collection but its greatest strengths are in the area of American prints. The dates 1860 to Suzanne Lemberg Usdan Gallery accompaniesit.. is ot necessity a collaborativeeffortand 1960, to which I have chosen to confine myself, echo for the most part my collecting Bennington College would nothave been possible without thesupport and interests. They do, however, seem to me to be a logical choice for the exhibition. lt V.'CIS Bennington \'ermonr 05201 cooperation of many people. around 1860 that American painters first became incerested in making original prints and it April 9 to May9 1985 l am especially graceful to cbe Bennington College Art was about a century later, in the early 1960s, that several large printmaking workshops were Division for their encouragementand interestin this established. An enormous rise in the popularity of printmaking as an arcistic medium, which projectfrom thestart. In particular I wouldlike co we are still experiencing today, occurred at that cime. Copyright © 1985 by MatthewMarks thankRochelle Feinstein. GuyGood... in; andSidney The first American print to enter my collection, the Marsden Hartley lirhograph TilJim, who originally suggestedche topicof theexhibi- (Catalogue #36 was purchased nearly ten years ago.
    [Show full text]
  • Phillips Gallery Guide.Indd
    919 BROADWAY NASHVILLE, TN 37203 WWW.FRISTCENTER.ORG FRISTFristFristFRIST CENTERCenterCenter CENTER forfor FOR FOR thethe THETHE VisualVisual VISUAL Arts ArtsARTS ARTS The Phillips Collection, America’s first museum of believed that we benefit as viewers by giving modern art, was founded in Washington, D.C. in ourselves over to the direct experience of a work 1921, a decade before the Museum of Modern Art of art. In this way we enter the artist’s world (est. 1929) and the Whitney Museum of American “to see as artists see.” Phillips responded to Art (est. 1930) opened in New York. From its individual artists on their own merits, not to artistic inception, The Phillips Collection has championed movements. In his extensive critical writings the very best American art and artists. Its in-depth Phillips made clear that he was seeking “artists of holdings of American paintings are broad in scope, creative originality and of sincere independence.” yet cannot be characterized as either encyclopedic To See as Artists See: American Art from The or strictly historical. Rather, it is a rich assembly Phillips Collection is divided into ten thematic of independent-minded American artists, most sections, which aim to reveal the breadth of of whom were actively exhibiting when their work America’s modernist vision from approximately entered the museum’s collection. In fact, many 1850 to 1960. The exhibition begins with the great of the more than seventy artists included in this heroes of American art of the late nineteenth exhibition became acquaintances and good friends century whose work set the course for modern art with the museum’s founder, Duncan Phillips in the United States.
    [Show full text]
  • Inside This Issue
    the Bullfrom johnny cake hill | etinspring 2020 Inside this issue: High School Apprenticeship Program’s 10th Anniversary | Upcoming Exhibition on Albert Pinkham Ryder Lighting the Way Celebrates the Centennial of the Ratification of the 19th Amendment HelmFROM THE A Tribute to Llewellyn Howland, III Members and Friends: By Lloyd Macdonald You will likely be reading this Bulletin while we are still in the midst of the coronavirus public health emergency and it is my greatest hope that this edition finds you safe and healthy. With that in mind, there Llewelyn Howland, III (“Louie” to all who knew him), a four-term Trustee of the Museum, former Chair of the may be dates published in these pages that may shift as a result of the situation. While I certainly hope that Scholarship and Publications Committee, long-serving member of the Collections Committee and member during this crisis comes to a speedy conclusion, I am more mindful now than ever of the value of togetherness. his tenure on the Executive and Governance Committees, died on June 21, 2019. He was 81. As a Museum, we are a place of gathering on many levels. We collect and steward the objects, literature, and stories of our region’s history. We protect and share some of the most vital data and research in the Louie’s and my service on the Board coin- to Louie himself. He also co-edited the world of marine mammal bioacoustics. We unearth hidden stories of some of the most impactful women cided almost exactly. Early in our tenure, Museum’s 2007 publication of On the to have walked our streets.
    [Show full text]
  • Albert Pinkham Ryder 1 S Two Wagnerian Paintings: the Flying Dutchman and Siegfried and the Rhine Maidens
    ABSTRACT Title of Thesis: Albert Pinkham Ryder 1 s Two Wagnerian Paintings: The Flying Dutchman and Siegfried and the Rhine Maidens Sharon Dale Carman, Master of Arts, 1988 Thesis directed by: John Peters-Campbell, Assistant Professor, Art History Albert Pinkham Ryder (1847-1917) has traditionally been regarded as an anomalous figure in the history of art. A small, but growing, body of scholarship has recently been devoted to correcting this view of the artist and to establishing his relationship to the aes- thetic currents of his time. This study explores the influence on his art of Ryder's environment, late nineteenth-century New York. Two of Ryder's paintings, each based on an incident in an opera by Richard Wagner, are examined: Siegfried and the Rhine Maidens, drawn from Gotterdammerung; and The Flying Dutchman, inspired by Der fliegende Hollander. The history of opera in nineteenth- century New York helps to explain how an American painter came to be influenced by such distinctly German operatic themes. German immigration patterns are linked with changes in operatic taste, and the interest of native intellectuals in Wagner's music and ideas is discussed. Wagnerian staging tradition is posited as a source for the compositions of both Siegfried and the Rhine Maidens and The Flying Dutchman. It is demonstrated that the set designed by Josef Hoffmann for the original Bayreuth pro­ duction of Gotterdammerung, Act III, Scene I, served as the specific compositional basis for Ryder's Siegfried and the Rhine Maidens. ALBERT PINKHAM RYDER'S TWO WAGNERIAN PAINTINGS: THE FLYING DUTCHMAN AND SIEGFRIED AND THE RHINE MAIDENS by Sharon Dale Carman 111 Thesis submitted to the Faculty of the Graduate School of The University of Maryland in partial fulfillment of the requirements for the degree of Master of Arts 1988 C-, ( \ I ~·1 '" I () ,,.
    [Show full text]
  • A Catalogue of the Collection of American Paintings in the Corcoran Gallery of Art
    A Catalogue of the Collection of American Paintings in The Corcoran Gallery of Art VOLUME I THE CORCORAN GALLERY OF ART WASHINGTON, D.C. A Catalogue of the Collection of American Paintings in The Corcoran Gallery of Art Volume 1 PAINTERS BORN BEFORE 1850 THE CORCORAN GALLERY OF ART WASHINGTON, D.C Copyright © 1966 By The Corcoran Gallery of Art, Washington, D.C. 20006 The Board of Trustees of The Corcoran Gallery of Art George E. Hamilton, Jr., President Robert V. Fleming Charles C. Glover, Jr. Corcoran Thorn, Jr. Katherine Morris Hall Frederick M. Bradley David E. Finley Gordon Gray David Lloyd Kreeger William Wilson Corcoran 69.1 A cknowledgments While the need for a catalogue of the collection has been apparent for some time, the preparation of this publication did not actually begin until June, 1965. Since that time a great many individuals and institutions have assisted in com- pleting the information contained herein. It is impossible to mention each indi- vidual and institution who has contributed to this project. But we take particular pleasure in recording our indebtedness to the staffs of the following institutions for their invaluable assistance: The Frick Art Reference Library, The District of Columbia Public Library, The Library of the National Gallery of Art, The Prints and Photographs Division, The Library of Congress. For assistance with particular research problems, and in compiling biographi- cal information on many of the artists included in this volume, special thanks are due to Mrs. Philip W. Amram, Miss Nancy Berman, Mrs. Christopher Bever, Mrs. Carter Burns, Professor Francis W.
    [Show full text]
  • Susan Howe Papers
    http://oac.cdlib.org/findaid/ark:/13030/tf5q2nb4cj No online items Susan Howe Papers Special Collections & Archives, UC San Diego Special Collections & Archives, UC San Diego Copyright 2005 9500 Gilman Drive La Jolla 92093-0175 [email protected] URL: http://libraries.ucsd.edu/collections/sca/index.html Susan Howe Papers MSS 0201 1 Descriptive Summary Languages: English Contributing Institution: Special Collections & Archives, UC San Diego 9500 Gilman Drive La Jolla 92093-0175 Title: Susan Howe Papers Creator: Howe, Susan, 1937- Identifier/Call Number: MSS 0201 Physical Description: 29 Linear feet(69 archives boxes, 4 card file boxes, 6 oversize folders) Date (inclusive): 1942-2002 Abstract: Papers of Susan Howe, American poet. The collection consists of Howe's literary correspondence, poetry manuscripts, notes and typescripts for readings and talks, personal and working journals, recordings, research files, and art/poetry installations dating from the 1950s to 2002. Scope and Content of Collection The collection consists of Susan Howe's literary correspondence, poetry manuscripts, notes and typescripts for readings and talks, personal and working journals, recordings, research files, and art/poetry installations dating from the 1950s to 2002. The collection is arranged in three accessions: an accession processed in 1991, an accession processed in 2003, and a small additional accession of manuscripts for Coracle Press Publications acquired in 2009. Accession Processed in 1991: Correspondence, poetry manuscripts, typescripts and notes for readings and talks, personal and working journals, art/poetry installations and over 100 tape recordings from Howe's WBAI Radio program, "Poetry." Most of the material dates from the early 1970s to the mid-1980s.
    [Show full text]
  • 5441 Ca Object Representations
    (1) Robin Winters and Christy Rupp at the (2) Arleen Schloss at the opening reception for (3) Anton van Dalen, Two-Headed Monster (4) Dave Sander and Ethan Swan at the opening reception for “Come Closer: Art Around “Come Closer: Art Around the Bowery, 1969– Destroys Community, 1981. Aerosol paint on opening reception for “Come Closer: Art the Bowery, 1969–1989,” New Museum, 1989,” New Museum, New York, September 19, paper, 29 x 23 in (73.7 x 58.4 cm). Installation Around the Bowery, 1969–1989,” New New York, September 19, 2012. Photo: Jesse 2012. Photo: Jesse Untracht-Oakner view: “Come Closer: Art Around the Bowery, Museum, New York, September 19, 2012. Untracht-Oakner 1969–1989,” New Museum, New York, 2012. Photo: Jesse Untracht-Oakner Courtesy the artist. Photo: Jesse Untracht-Oakner Published by When we announced that the New To date, the Bowery Artist Tribute has We are indebted to Hermine and Museum would construct a freestanding conducted over seventy interviews David B. Heller for funding the research, building on a parking lot at 235 Bowery, with artists, curators, and authors who development, and presentation of this one of our first concerns was finding a helped build the creative community archive, and for providing endowment newmuseum.org way to acknowledge the rich history of of the Bowery for the past seventy funds for its future. We are also grateful creative activity in our new neighbor- years. We’ve encountered artists who to a number of individuals who have Editor: Ethan Swan Designer: Chelsea Amato hood. We thought about 222 Bowery, were grateful for the opportunity to tell been instrumental in the research and Copy Editors: Frances Malcolm and Olivia Casa Printed by: Linco William Burroughs’s “Bunker” that shel- their Bowery stories for the first time, coordination of these efforts over the tered Lynda Benglis, John Giorno, Mark and others who weren’t convinced past nine years: Ethan Swan, Eungie Cover: Sylvia Plimack Mangold on the roof of her Grand Rothko, and a dozen more.
    [Show full text]
  • Placing Harvey Quaytman Dore Ashton Early in Our Friendship Harvey Quaytman Made Me a Gift of His Cherished Copy of Artur Schnab
    Placing Harvey Quaytman Early in our friendship Harvey Quaytman made me a gift of his Dore Ashton cherished copy of Artur Schnabel’s My Life and Music. Years later, he titled a painting after the pianist’s book. Quaytman’s tread, as a visual artist, was always tempered by his inner ear, alert to intervals played out in time and space. While Quaytman was a highly literate painter, well acquainted with all the arts and their history, I believe he felt the deepest affinities with what his idol Schnabel called the ‘direct musician,’ who is a gardener, while the indirect musician is a botanist. During a question period after the lectures that make up his book, Schnabel was asked what the ideal should be for a person performing music, and ‘if it all comes from within a person.’ Without hesitation he responded: ‘Love has to be the starting point – love of music. It is one of my firmest convictions, that love always produces some knowledge, while knowledge only rarely produces something similar to love.’ Sometimes, embedded in a title, Quaytman’s affinities for the other arts appear, as when he titled a painting Warsaw Thirds (no. 57) in 1986. Since a third is a musical interval, I took this painting to be a tribute to Chopin, the celebrated Polish pianist, and a hint of Quaytman’s thoughts transposed into a painting. In a different key is the title Quince Days, a painting of 1979. Fellow travellers would recognize immediately Wallace Stevens’ poem Peter Quince at the Clavier, especially as Quaytman’s visual construction hints at the strings of a piano.
    [Show full text]
  • A Critical Evaluation of the Pioneer American Romantic Painter Albert Pinkham Ryder
    University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 2003 Alone with everybody| A critical evaluation of the pioneer American Romantic painter Albert Pinkham Ryder William Bliss The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Bliss, William, "Alone with everybody| A critical evaluation of the pioneer American Romantic painter Albert Pinkham Ryder" (2003). Graduate Student Theses, Dissertations, & Professional Papers. 1502. https://scholarworks.umt.edu/etd/1502 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. Maureen aud Mike MANSFIELD I IBRARY The University of Montana Permission is granted by the author to reproduce this material in its entirety, provided that this material is used for scholarly purposes and is properly cited in published works and reports. **Please check "Yes" or "No" and provide signature ** Yes, I grant permission __ No, I do not grant permission _ Author's Signature: ^ Date : Any copying for commercial purposes or financial gain may be undertaken only with the author's explicit consent. 8/98 ALONE WITH EVERYBODY: A CRITICAL EVALUATION OF THE PIONEER AMERICAN ROMANTIC FAINTER ALBERT PINKHAM RYDER By William Bliss B.A., University of the Pacific Presented in partial fulfillment of the requirements for the degree of Master of Arts UNIVERSITY OF MONTANA 2003 Approved by: Chairman, M.A.
    [Show full text]
  • Weir Farm: Home of an American Impressionist
    National Park Service Teaching with Historic Places U.S. Department of the Interior Weir Farm: Home of an American Impressionist Weir Farm: Home of an American Impressionist (Weir Farm National Historic Site) (Weir Farm National Historic Site) Sunny north light streams into the small wooden studio built high on New England’s rocky landscape. Paintbrushes, canvases, and sketchbooks still clutter the artist’s work space. The acrid smell of oil paint pervades the atmosphere and brings to mind a time when an artist National Park Service Teaching with Historic Places U.S. Department of the Interior Weir Farm: Home of an American Impressionist found creative energy at this rural escape from city life. Outside, the rolling green landscape is intersected by picturesque stone walls. The sweeping hillside is further punctuated by blossoming fruit trees and mature oaks and sugar maples. It is not hard to imagine a distinguished gentleman in a three-piece tweed suit standing before an easel, a paintbrush in one hand and a palette in the other. This is clearly the home of an artist. This is Weir Farm. Weir Farm, in Branchville, Connecticut, exemplifies the "quiet marriage of art and tended landscape that so clearly defined the American Impressionist movement."¹ The painter Julian Alden Weir (1852-1919) acquired the farm in 1882 and summered at this country retreat for nearly forty years. During a period when railroads were expanding, populations were increasing, and America’s agrarian system was being replaced by industry, Weir was one of a group of artists who found comfort and inspiration in the quiet everyday settings of New England, and, in many ways, defined our vision of the American landscape.
    [Show full text]
  • Dr. Jo-Anne Berelowitz Office: a 558, Ext 4995
    1 Dr. Jo-Anne Berelowitz Office: A 51058, ext 4995 SDSU, Spring 2014Fall 2009Fall 199986 Office hours:T., TH. 2:15- 3:15 3:15-4:415 orTh. 7:30-8, 11-12, or by appt. Art History 560: American Art by appt. Office phone: 594-4995 Room 512300 A 412, TTh 8:00-9:152:00-3:15TH.. 1:002:30 - 3:4103:30-6:10 Email: [email protected] Office phone: 594-4995 American Art Description/Objectives: This course is a survey of American art from colonial times to approximately 1940the present. It examines art produced in the U.S., American art institutions, and American attitudes toward art and artists. Our approach, while following a broadly chronological framework, will focus on particular issues and topics such as representations of the landscape, the politics of ethnicity, the mythology of the West, genre painting, the Gilded Age, urban monuments, paintings of city life, modernism, the the establishment of American art museums, documentary photography, and the Depression Decade, documentary photography, articulations of . sexuality, the artist’s relationship to nature and to industry. Throughout, we will view the production of art within the broader context of political, social, intellectual, and cultural issues. Prior requirements: SI expect that students enrolled in this course must have taken prior classes in Art History, particularly 258 and 259. If this is not the case, please see me before enrolling. If you have not had these courses or their equivalents, I strongly advise that you drop the course and delay taking it until you have the background that these 200 level courses provide.
    [Show full text]
  • FOR IMMEDIATE RELEASE Harvey Quaytman Blum
    FOR IMMEDIATE RELEASE Harvey Quaytman Blum & Poe, Los Angeles November 9, 2019-January 11, 2020 Opening reception: Saturday, November 9, 5-7pm Blum & Poe is pleased to present a selected survey of work spanning three decades by the late artist Harvey Quaytman. This is the gallery’s first exhibition of work by this critical figure in late-20th century American abstraction following the announcement earlier this year of co-representation of the artist’s estate along with Van Doren Waxter. Harvey Quaytman (b. 1937, Rockaway, NY; d. 2002, New York, NY) came of age in the downtown art scene of 1960s New York, living and working in SoHo studios first on Grand Street and later at 231 Bowery, where he would remain through the late ’90s. Long considered an artist’s artist, the painter enjoyed a close-knit and vibrant artistic and social milieu, over the years sharing studio addresses with Brice Marden, Ron Gorchov, and James Rosenquist, among others. Quaytman’s emerging career as a young painter began in the heyday of Ab Ex with a marked allegiance to Gorky and de Kooning. This approach was slowly shed as the decade unfolded, as his work began to lean towards sculpture— compositions with curvilinear shaped canvases and rectilinear U-shaped bases that inhabited a newfound objecthood. This was followed by a forty-year engagement with geometric abstraction, his approach to painting in contradistinction to the prevailing trends of the era—first with Pop Art and later Neo Expressionism. Despite painting being declared “dead” by Minimalist and Conceptual artists of the time, Quaytman maintained a commitment to the medium and to his vision throughout, helping to shape an alternate trajectory for American painting.
    [Show full text]