Spring & Summer 2019
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Library of Professor Eric G. Carlson
The Library of Professor Eric G. Carlson Part II: Rare Illustrated Books and Print Portfolios, ca. 1850-1930 405 titles, in ca. 585 physical volumes The Library of Professor Eric G. Carlson Part I: Art of France from the French Revolution to the End of the Third Republic, 1790-1940. General Reference Works and Monographs on Artists, with a special emphasis on prints and printmaking The art historian and art dealer Eric G. Carlson (1940-2016) was a noted specialist in French and American prints and drawings of the nineteenth and early twentieth centuries. A mediaevalist by training (Ph.D. Yale University), and professor at the State University of New York at Purchase from 1978 to 2006, Carlson brought a scholar's acumen to his exploration of lesser-known fields and figures of French art. His library reflects this, being exceptionally rich not just on the major artists of the era, but on the many painters and printmakers who remain to this day little known to the general public. Its coverage of the art of Romanticism, Realism, and Post-Impressionism, with very impressive concentrations on Géricault, Delacroix, Courbet, Degas and Gauguin, among others, is matched by a fascinating depth in the Symbolist and Nabi movements and the School of Pont-Aven, and the myriad Academic and Salon artists, illustrators and caricaturists who flourished between the start of the Second Empire and the end of the Third Republic. The library is unusually complete and sophisticated in the documentation and critical study of all aspects of the period, with rare exhibition and auction catalogues, and scarce early monographs, as well as the latest academic scholarship. -
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. -
Campus Throughout Their Lives Lives Their Throughout Campus to Back Come Also Alumni These Of
home to the Hagerty Family Café, Modern Market, and Star Ginger. Star and Market, Modern Café, Family Hagerty the to home attended the University. the attended s parent whose students ) ( Open to the public, the Duncan Student Center is is Center Student Duncan the public, the to Open 1254 4F FAST FOOD. FOOD. FAST family. About one-quarter of undergraduate students are “legacy” “legacy” are students undergraduate of one-quarter About family. POINTS OF INTEREST —places like the Notre Notre the like —places area metropolitan the throughout places weddings and baptisms, and for other reasons tied to the Notre Dame Dame Notre the to tied reasons other for and baptisms, and weddings Subway, Taco Bell/Pizza Hut, and a mini-mart. a and Hut, Bell/Pizza Taco Subway, Notre Dame’s presence extends to to extends presence Dame’s Notre south. the to miles two about for reunions, football weekends, spiritual milestones such as as such milestones spiritual weekends, football reunions, for Center is open to the public and houses Smashburger, Starbucks, Starbucks, Smashburger, houses and public the to open is Center neighbors and neighborhoods. South Bend’s downtown is is downtown Bend’s South neighborhoods. and neighbors BASILICA OF THE SACRED HEART. 3E basilica.nd.edu GROTTO OF OUR LADY OF LOURDES. 3E of these alumni also come back to campus throughout their lives lives their throughout campus to back come also alumni these of Open seven days a week, LaFortune Student Student LaFortune week, a days seven Open 1012 4E FAST FOOD. FOOD. FAST Our life as a community is integrated with the life of our our of life the with integrated is community a as life Our Consecrated in 1888, this is the center of Catholic liturgy and worship A 1/7-scale replica of the renowned Marian apparition site in France, participate in a worldwide network of Notre Dame clubs. -
Art of Judging
NEW YORK UNIVERSITY LAW REVIEW VOLUME 71 JUNE 1996 NUMBER 3 THE ART OF JUDGING STEWART G. POLLOCK* In the second annual William J. Brennan, Jr. Lectur4 New Jersey Supreme Court Justice Stewart G. Pollock explores the relationship between art and adjudication. The separationof powers, the federalist system, and the inherent constraints of the common law confine state courts. Notwithstanding those constraints,state courts have demonstrated creativity when interpretingstate statutes and constitutionsand when adapting the common law to changing conditions. Thus, Justice Pollock fnds artistry in the work of state courts. He begins by exploring creativity in statu- tory interpretation. Then, Justice Pollock examines two areasof substantive law of greatpublic concern: public-school-financelitigation under state constitutions and the common-law redefinition of the modem family. Justice Pollock demonstrates how state appellate courts, through public-school-finance litigation, have shaped the constitutionalright to a public-school education. Justice Pollock then discusses how state courts have reacted to the changing composition of the American family. By recognizing these changes, state courts have redefined the family in areas as diverse as zoning ordinances, surrogacy agreements, and same-sex marriages. Common to all these endeavors is protection of the inherent dignity of the individ- ual Justice Pollock concludes that an appreciationof the similarities between art and judging may lead to a better understandingof the judicial process. Delivering the Brennan Lecture in Vanderbilt Hall is for me deeply moving. Justice Brennan graced the New Jersey Supreme Court for four years before starting his remarkable service on the United States Supreme Court. Also, this building is named for the former dean of this law school and the Chief Justice of the New Jersey Supreme Court with whom Justice Brennan served, Arthur T. -
New Editions 2012
January – February 2013 Volume 2, Number 5 New Editions 2012: Reviews and Listings of Important Prints and Editions from Around the World • New Section: <100 Faye Hirsch on Nicole Eisenman • Wade Guyton OS at the Whitney • Zarina: Paper Like Skin • Superstorm Sandy • News History. Analysis. Criticism. Reviews. News. Art in Print. In print and online. www.artinprint.org Subscribe to Art in Print. January – February 2013 In This Issue Volume 2, Number 5 Editor-in-Chief Susan Tallman 2 Susan Tallman On Visibility Associate Publisher New Editions 2012 Index 3 Julie Bernatz Managing Editor Faye Hirsch 4 Annkathrin Murray Nicole Eisenman’s Year of Printing Prodigiously Associate Editor Amelia Ishmael New Editions 2012 Reviews A–Z 10 Design Director <100 42 Skip Langer Design Associate Exhibition Reviews Raymond Hayen Charles Schultz 44 Wade Guyton OS M. Brian Tichenor & Raun Thorp 46 Zarina: Paper Like Skin New Editions Listings 48 News of the Print World 58 Superstorm Sandy 62 Contributors 68 Membership Subscription Form 70 Cover Image: Rirkrit Tiravanija, I Am Busy (2012), 100% cotton towel. Published by WOW (Works on Whatever), New York, NY. Photo: James Ewing, courtesy Art Production Fund. This page: Barbara Takenaga, detail of Day for Night, State I (2012), aquatint, sugar lift, spit bite and white ground with hand coloring by the artist. Printed and published by Wingate Studio, Hinsdale, NH. Art in Print 3500 N. Lake Shore Drive Suite 10A Chicago, IL 60657-1927 www.artinprint.org [email protected] No part of this periodical may be published without the written consent of the publisher. -
First Year Experience Page 5
NOTRE DAME NOTRE DAME NOTRE DAME NOTRE DAME BARBARA JOHNSTON NDND MARCH 2018 News for Notre Dame faculty and staff and their families Moreau First Year Experience Page 5 Bernard Akatu A Moreau instructor OIT Pullout Section Center for Career Development Walk the Walk INSIDE Pages 7-10 Page 6 Page 16 2 | NDWorks | March 2018 NEWS MATT CASHORE MATT MATT CASHORE MATT PHOTO PROVIDED BARBARA JOHNSTON BRIEFS BARBARA JOHNSTON WHAT’S GOING ON ICEALERT SIGN INSTALLED BY Nucciarone Corcoran Seabaugh Haenggi Kamat STAIRS IN GRACE/VISITOR LOT A color-changing IceAlert sign, intended to make pedestrians aware areas of the University, including innovation in creating or facilitating pastoral leadership development of of icy or slick conditions on the Notre Dame Research, the IDEA outstanding inventions that have CAMPUS NEWS lay ministers early in their careers. stairs, walkway or parking lot, has Center, University Relations and made a tangible impact on quality of been installed along the staircase to the Office of Public Affairs and Com- life, economic development and wel- BREITMAN AND BREITMAN- NANOVIC INSTITUTE AWARDS the Grace Hall/Visitor parking lot munications, to positively affect both fare of society.” JAKOV NAMED 2018 DRIEHAUS LAURA SHANNON PRIZE TO south of Stepan Center. The color on the South Bend-Elkhart region and PRIZE LAUREATES ‘THE WORK OF THE DEAD’ the University. the sign transitions from gray to blue CORCORAN APPOINTED Marc Breitman and Nada The Nanovic Institute for Euro- whenever temperatures dip below EXECUTIVE DIRECTOR OF Breitman-Jakov, Paris-based architects pean Studies has awarded the 2018 freezing. NUCCIARONE TO SERVE ON THE KROC INSTITUTE known for improving cities through Laura Shannon Prize in Contempo- HIGHER EDUCATION Erin B. -
S.Macw / CV / NCAD
Susan MacWilliam Curriculum Vitae 1 / 8 http://www.susanmacwilliam.com/ Solo Exhibitions 2012 Out of this Worlds, Noxious Sector Projects, Seattle F-L-A-M-M-A-R-I-O-N, Open Space, Victoria, BC 2010 F-L-A-M-M-A-R-I-O-N, aceart inc, Winnipeg Supersense, Higher Bridges Gallery, Enniskillen Susan MacWilliam, Conner Contemporary, Washington DC F-L-A-M-M-A-R-I-O-N, Golden Thread Gallery, Belfast F-L-A-M-M-A-R-I-O-N, NCAD Gallery, Dublin 2009 Remote Viewing, 53rd Venice Biennale 2009, Solo exhibition representing Northern Ireland 13 Roland Gardens, Golden Thread Gallery Project Space, Belfast 2008 Eileen, Gimpel Fils, London Double Vision, Jack the Pelican Presents, New York 13 Roland Gardens, Video Screening, The Parapsychology Foundation Perspectives Lecture Series, Baruch College, City University, New York 2006 Dermo Optics, Likovni Salon, Celje, Slovenia 2006 Susan MacWilliam, Ard Bia Café, Galway 2004 Headbox, Temple Bar Gallery, Dublin 2003 On The Eye, Golden Thread Gallery, Belfast 2002 On The Eye, Butler Gallery, Kilkenny 2001 Susan MacWilliam, Gallery 1, Cornerhouse, Manchester 2000 The Persistence of Vision, Limerick City Gallery of Art, Limerick 1999 Experiment M, Context Gallery, Derry Faint, Old Museum Arts Centre, Belfast 1997 Curtains, Project Arts Centre, Dublin 1995 Liptych II, Crescent Arts Centre, Belfast 1994 Liptych, Harmony Hill Arts Centre, Lisburn List, Street Level Gallery, Irish News Building, Belfast Solo Screenings 2012 Some Ghosts, Dr William G Roll (1926-2012) Memorial, Rhine Research Center, Durham, NC. 2010 F-L-A-M-M-A-R-I-O-N, Sarah Meltzer Gallery, New York. -
Mary Cassatt
National Gallery of Art Summer 2008 ngakids inside scoop Washington Pull-out who?what?how? [images for this section: Leonardos’ Ginevra de’Benci; Leonardo’s self-portrait] [design: place quote somewhere inside] A face is not well done unless it expresses a state of mind. Leon- “I have had a joy from which no one can rob me — I have been able to touch some people with my art.” Mary Cassatt Mary Cassatt, The Boating Party (detail), 1893 / 1894, National Gallery of Art, Chester Dale Collection who? what? how? Impressionist Connection 2 Early in her career, Cassatt explored different styles exhibit with the Impressionists in 1879. The Impres- of painting. Soon, however, she began to observe and sionists depicted fleeting moments in both nature and paint the scenes around her in Paris, exploring the ordinary human activity and experimented with bright subject of modern life. But Cassatt was not a bohemian colors, loose brush strokes, and innovative angled artist. She was comfortable in her own social milieu, viewpoints. These techniques reflected a dynamic new and it is this world — populated by family, friends, and approach to painting. their children — that she depicted. Ladies seated in Among these artists, Cassatt was the only American — the theater, women reading or taking tea in homes or and one of only three women. Her artistic talent, gardens, mothers washing and swaddling babies, and understanding of French language and culture, and children playing were the subjects that were part of her independent thinking earned her the respect of everyday world. this selective group, whose membership included Her ability to capture a moment in time caught the Claude Monet, Auguste Renoir, Camille Pissarro, and attention of Edgar Degas, who invited Cassatt to Alfred Sisley. -
Berthe Morisot and Mary Cassatt. Jessica Cresseveur University of Louisville
University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 5-2016 The queer child and haut bourgeois domesticity : Berthe Morisot and Mary Cassatt. Jessica Cresseveur University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Part of the American Art and Architecture Commons, Modern Art and Architecture Commons, and the Theory and Criticism Commons Recommended Citation Cresseveur, Jessica, "The queer child and haut bourgeois domesticity : Berthe Morisot and Mary Cassatt." (2016). Electronic Theses and Dissertations. Paper 2409. https://doi.org/10.18297/etd/2409 This Doctoral Dissertation is brought to you for free and open access by ThinkIR: The nivU ersity of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The nivU ersity of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. THE QUEER CHILD AND HAUT BOURGEOIS DOMESTICITY: BERTHE MORISOT AND MARY CASSATT By Jessica Cresseveur B.A., University of Louisville, 2000 M.A., University College London, 2003 A Dissertation Submitted to the Faculty of the College of Arts and Sciences of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Humanities Department of Comparative Humanities University -
Double Vision: Woman As Image and Imagemaker
double vision WOMAN AS IMAGE AND IMAGEMAKER Everywhere in the modern world there is neglect, the need to be recognized, which is not satisfied. Art is a way of recognizing oneself, which is why it will always be modern. -------------- Louise Bourgeois HOBART AND WILLIAM SMITH COLLEGES The Davis Gallery at Houghton House Sarai Sherman (American, 1922-) Pas de Deux Electrique, 1950-55 Oil on canvas Double Vision: Women’s Studies directly through the classes of its Woman as Image and Imagemaker art history faculty members. In honor of the fortieth anniversary of Women’s The Collection of Hobart and William Smith Colleges Studies at Hobart and William Smith Colleges, contains many works by women artists, only a few this exhibition shows a selection of artworks by of which are included in this exhibition. The earliest women depicting women from The Collections of the work in our collection by a woman is an 1896 Colleges. The selection of works played off the title etching, You Bleed from Many Wounds, O People, Double Vision: the vision of the women artists and the by Käthe Kollwitz (a gift of Elena Ciletti, Professor of vision of the women they depicted. This conjunction Art History). The latest work in the collection as of this of women artists and depicted women continues date is a 2012 woodcut, Glacial Moment, by Karen through the subtitle: woman as image (woman Kunc (a presentation of the Rochester Print Club). depicted as subject) and woman as imagemaker And we must also remember that often “anonymous (woman as artist). Ranging from a work by Mary was a woman.” Cassatt from the early twentieth century to one by Kara Walker from the early twenty-first century, we I want to take this opportunity to dedicate this see depictions of mothers and children, mythological exhibition and its catalog to the many women and figures, political criticism, abstract figures, and men who have fostered art and feminism for over portraits, ranging in styles from Impressionism to forty years at Hobart and William Smith Colleges New Realism and beyond. -
West of Ireland Paintings at the National Gallery of Ireland from 1800 to 2000
West of Ireland Paintings at the National Gallery of Ireland from 1800 to 2000 I The West of Ireland National Gallery of Ireland / Gailearaí Náisiúnta na hÉireann West of Ireland Paintings at the National Gallery of Ireland from 1800 to 2000 Marie Bourke With contributions by Donal Maguire And Sarah Edmondson II Contents 5 Foreword, Sean Rainbird, Director, National Gallery of Ireland 23 The West as a Significant Place for Irish Artists Contributions by Donal Maguire (DM), Administrator, Centre for the Study of Irish Art 6 Depicting the West of Ireland in the Nineteenth and Twentieth Centuries, Dr Marie Bourke, Keeper, Head of Education 24 James Arthur O’Connor (1792–1841), The Mill, Ballinrobe, c.1818 25 George Petrie (1790–1866), Pilgrims at Saint Brigid’s Well, Liscannor, Co. Clare, c.1829–30 6 Introduction: The Lure of the West 26 Frederic William Burton (1816–1900), In Joyce Country (Connemara, Co. Galway), c.1840 6 George Petrie (1790–1866), Dún Aonghasa, Inishmore, Aran Islands, c.1827 27 Frederic William Burton (1816–1900), The Aran Fisherman’s Drowned Child, 1841 8 Timeline: Key Dates in Irish History and Culture, 1800–1999 28 Augustus Burke (c.1838–1891), A Connemara Girl 10 Curiosity about Ireland: Guide books, Travel Memoirs 29 Bartholomew Colles Watkins (1833–1891), A View of the Killaries, from Leenane 10 James Arthur O’Connor (1792–1841), A View of Lough Mask 30 Aloysius O’Kelly (1853–1936), Mass in a Connemara Cabin, c.1883 11 Frederic William Burton (1816–1900), Paddy Conneely (d.1850), a Galway Piper 31 Walter Frederick Osborne (1859–1903), A Galway Cottage, c.1893 32 Jack B. -
Timeline Mary Cassatt Cassatt & Degas
Mary Cassatt a biography Timeline Mary Stevenson Cassatt was born in 1844 in Allegheny City (now The artist’s focus on the lives of women, often depicted in their homes Pittsburgh), Pennsylvania. Although she was the American daughter of engaged in intellectual activities such as reading a book or newspaper, an elite Philadelphia family, she spent much of her childhood and later demonstrates a commitment to portraying them with rich inner 1840 life in France. Between 1860 and 1862, she studied at the Pennsylvania experiences, which was distinct from their roles as wives and mothers. Academy of Fine Arts. In Paris, she received classical artistic training As a female artist, she offered a unique insight into the private lives of 1844 Mary Stevenson Cassatt was born under the tutelage of the great Academic painter Jean-Léon Gérôme women, particularly in the upper class, and she lends significance to their (1824–1904), learning to paint by recreating the works of the Old domestic world. on May 22 in Allegheny City, Pennsylvania Masters. When she was 24, one of her paintings, The Mandolin Player Cassatt was also an influential advisor to American art collectors. was accepted to be shown at the 1868 Paris Salon, which was the official Her social position as the daughter of a prominent Philadelphia family exhibition of the Academy of Fine Arts. Due to the outbreak of the connected her to many upper class patrons, and she convinced friends, Franco-Prussian War two years later, the artist left Europe for a brief most notably Louisine Elder Havemeyer (1855–1929), to buy the work hiatus in Philadelphia.