DOCSLIB.ORG

CONTEMPORARY AMERICAN PAINTING and SCULPTURE 1969 University of Illinois at Urbana-Champaign Js'i----».--:R'f--=

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
CONTEMPORARY AMERICAN PAINTING and SCULPTURE 1969 University of Illinois at Urbana-Champaign Js'i----».--:R'f--= Arch, :'>f^- *."r7| M'i'^ •'^^ .'it'/^''^.:^*" ^' ;'.'>•'- c^. CONTEMPORARY AMERICAN PAINTING AND SCULPTURE 1969 University of Illinois at Urbana-Champaign jS'i----».--:r'f--= 'ik':J^^^^ Contemporary American Painting and Sculpture 1969 Contemporary American Painting and Sculpture DAVID DODD5 HENRY President of the University JACK W. PELTASON Chancellor of the University of Illinois, Urbano-Champaign ALLEN S. WELLER Dean of the College of Fine and Applied Arts Director of Krannert Art Museum JURY OF SELECTION Allen S. Weller, Chairman Frank E. Gunter James R. Shipley MUSEUM STAFF Allen S. Weller, Director Muriel B. Christlson, Associate Director Lois S. Frazee, Registrar Marie M. Cenkner, Graduate Assistant Kenneth C. Garber, Graduate Assistant Deborah A. Jones, Graduate Assistant Suzanne S. Stromberg, Graduate Assistant James O. Sowers, Preparator James L. Ducey, Assistant Preparator Mary B. DeLong, Secretary Tamasine L. Wiley, Secretary Catalogue and cover design: Raymond Perlman © 1969 by tha Board of Trustees of the University of Illinois Library of Congress Catalog Card No. A48-340 Cloth: 252 00000 5 Paper: 252 00001 3 Acknowledgments h.r\ ^. f -r^Xo The College of Fine and Applied Arts and Esther-Robles Gallery, Los Angeles, Royal Marks Gallery, New York, New York California the Krannert Art Museum are grateful to Marlborough-Gerson Gallery, Inc., New those who have lent paintings and sculp- Fairweother Hardin Gallery, Chicago, York, New York ture to this exhibition and acknowledge Illinois Dr. Thomas A. Mathews, Washington, the of the artists, Richard Gallery, Illinois cooperation following Feigen Chicago, D.C. collectors, museums, and galleries: Richard Feigen Gallery, New York, Midtown Galleries, New York, New York New York ACA Golleries, New York, New York Mr. and Mrs. Rick Nelson, Los Angeles, Feingorten Galleries, Los Angeles, The Albreaux Gallery, Son Francisco, California California California Lee Nordness Galleries, York, Allan Frumkin Gallery, Inc., Chicago, New Aldrich Museum of Contemporary Art, Illinois New York Ridgefield, Connecticut Allan Frumkin Gallery, Inc., New York, Palm Springs Desert Museum, Inc., Palm Mr. and Mrs. Harry W. Anderson, Atherton, New York Springs, California California Gilman Galleries, Chicago, Illinois Mr. and Mrs. John J. Pascoe, Tacoma, Ankrum Gallery, Los Angeles, California Washington Richard Gray Gallery, Chicago, Illinois The Arleigh Gallery, Son Francisco, Quay Gallery, San Francisco, California Gump's Gallery, San Francisco, California California Dr. Nathaniel Ritter, York, The Hansen Gallery, San Francisco, S. New Babcock Galleries, New York, New York California New York Mr. Jerrold C. Ballaine, Berkeley, Mr. Roger Hull, Evanston, Illinois Galleria Roma, Chtcogo, Illinois California Martha Jackson Gallery, New York, Paul Rosenberg & Co., New York, Molly Barnes Gallery, Los Angeles, New York New York Collfornia Mr. Rodger Jocobsen, San Francisco, Mr. Victor A. Royer, Berkeley, California Adele Bednarz Galleries, Los Angeles, California Bertha Schaefer Gallery, New York, California Coe Kerr Gallery, New York, New York New York Berkeley Gallery, San Francisco, California Mr. and Mrs. Edward Kienholz, Los Mr. and Mrs. Jack Schafer, San Francisco, Angeles, Californlo Mr. and Mrs. Robert E. Bernard, Lafayette, California California M. Knoedler & Co., Inc., New York, Gallery 669, Sacramento, California New York Mr. David E. Black, Columbus, Ohio Stable Gallery, New York, New York Dr. and Mrs. Leonard Kornblee, New York, John Bolles Gallery, San Francisco, New York Stoempfli Gallery, New York, New York California Kornblee Gallery, New York, New York Allan Stone Galleries, Inc., New York, Galeria Bonino, Ltd., New York, New York New York Kroushoor Galleries, New York, New York Leo Castelli Gallery, New York, New York David Stuart Galleries, Los Angeles, Felix Landau Gallery, Los Angeles, The Chase Manhattan Bank, New York, California California New York Triangle Gallery, San Francisco, California Landau-Alan Gallery, New York, New York Comoro Gallery, Los Angeles, California Galeria Carl Van der Voort, San Francisco, Dr. and Mrs. Harold Laufman, New York, - Tibor de Nagy Gallery, New York, California New York t~^^ New York Catherine Vivlano Gallery, New York, Mr. and Mrs. Joseph E. Levine, New York, Dilexi Gallery, Son Francisco, California New York New York Terry Dintenfass, Inc., New York, New York Waddell Gallery, New York, New York Mr. and Mrs. Robert Levyn, Los Angeles, The Downtown Gallery, New York, California Ruth White Gallery, New York, New York New York Joseph Faulkner-Main Street Galleries, Howard Wise Gallery, New York, Dwan Gallery, New York, New York Chicago, Illinois New York Purchase Awards 1967 1948 1951 1957 DAVID ARONSON JOHN BATTENBERG LEONARD BECK WILLIAM BAZIOTES MAX FINKELSTEIN EUGENE BERMAN BYRON BROWNE JACOB EPSTEIN FRIEDENSOHN FRANK GALLO RAYMOND BREININ ADOLPH GOTTLIEB ELIAS JOHN HULTBERG CHARLES HINMAN JOSEPH DE MARTINI CLEVE GRAY KANTOR WOLF KAHN ROBERT INDIANA WILLIAM J. GORDON MORRIS CARL MORRIS JOSEF LEVI PHILIP GUSTON LEO MANSO UMLAUF JOSEPH RAFFAEL HAZEL JANICKI MATTA CHARLES NICHOLAS VA5ILIEFF KARL KNATHS GREGORIO PRESTOPINO SELIGMANN JULIAN E. LEVI KURT LESTER O. SCHWARTZ JEAN XCERON 1959 LAWRENCE CALCAGNO 1949 1953 FRED FARR KINIGSTEIN CLAUDE BENTLEY SAMUEL AOLER JONAH LEBRUN LOUIS BOSA TOM BENRIMO RICO OKAMURA FRED CONWAY CAROL BLANCHARD ARTHUR JOHN HELIKER CARIYLE BROWN REUBEN TAM CARL HOLTY WILLIAM CONGDON RICO LEBRUN WALTER MURCH 1961 TAMAYO ARTHUR OSVER RUFINO LEONARD BASKIN FELIX RUVOLO CHARLES BURCHFIELD YVES TANGUY 1953 DAVID PARK BRADLEY WALKER TOMLIN ROBERT L. GRILLEY JULIUS SCHMIDT YNEZ JOHNSTON 1950 GYORGY KEPES 1963 LAWRENCE KUPFERMAN MAX BECKMANN STUART DAVIS THEODORE J. ROSZAK DEAN ELLIS LOREN MAC IVER FREDERICK S. FRANCK BEN SHAHN GWATHMEY MARGARITA WORTH ROBERT 1965 HANS HOFMANN JAMES BROOKS CHARLES RAIN 1955 PAUL JENKINS ABRAHAM RATTNER RALPH S. DU CASSE ERLE LORAN HEDDA STERNE FRANK DUNCAN SALVATORE SCARPITTA TONEY ANTHONY LEONARD EDMONDSON MORRIS GRAVES MARGO HOFF ROGER KUNTZ GEORGE RATKAI KARL ZERBE Sales Many of the works in this exhibition are for sale. Visitors are invited to obtain price information at the Museum office. The Krannert Art Museum reserves the right of priority in purchases made from the exhibition. W-'^ ^te:.^. The New Artist Has there ever been a period in which the re- But side by side with the self-expressive stylists sponse of the artist to his society has been more is another group of artists — on the whole, a varied than it is today? On the one hand, we younger one — which directs its energies in very see a large number of artists who seem to deny different directions. These artists completely ac- the social situation, or reflect its efFect on them by cept the events and the objects of the life which an almost total rejection of it. This is not neces- surrounds them, either uncritically or with a cer- sarily bad. Art as on escape from life, as an tain impersonality. Old ideas of self-expression, opening up of new and otherwise unobtainable and still older ideas of beauty, seem meaningless vistas, has been a completely legitimate activity. to them. Reality, to them, is less the kind of This group, on the whole o very mature one, con- selection which artists have historically made of tinues a tradition which equates form with con- the objects and experiences which surround them tent, and places the highest possible value on than it is the isolation of experiences which more style. If is a group (one almost said a generation) and more often seem to be random. The specta- profoundly concerned with self-expression, and tor's initial feeling that this material is handled these artists react to life experiences in highly with elements of satire or Irony often turns out individualistic manners. This group has conse- to be incorrect: no such quality may be upper- quently achieved no uniformity of style, but con- most in the artist's mind. Subjects and themes tains strong individual talents. Much of the which have traditionally been the vehicles for abstract and non-objective art which has been a emotive reactions are more and more frequently dominant aspect of contemporary art for two presented with a singular impersonality, as if the generations belongs in this basic category of artist is deliberately avoiding those responses self-expressive stylists, but the artist who places which these same themes would have evoked in the highest value on form, style, and self-expres- an earlier period. We see more and more works sion can also deal effectively with objective ex- in which overtones, associations (which are im- periences. When he does so, however, it is the plicit and essential in all forms of art conceived impact which such experiences have upon his primarily as expressive of the unique personality Inner being which gives character and quality of the creator) are played down. When they are to his work. Such an artist tends to be highly suggested by the creations of the new brand of selective, to worry about subtle adjustments and realists, they seem to be brought to the work by relationships, to play numerous variations upon the spectator rather than either consciously or the same theme. To him, experimentation tends unconsciously called forth by the creator. Such to be an investigation in expression, rather than artists accept their surroundings almost com- a material investigation, and it is often done in pletely, embracing themes, attitudes, and ma- an intuitive fashion. terials which were formerly rejected by artists as unsuitable for expressive personal material. The He bears little relationship to the abstract ex- fact that a thing exists is reason enough for its pressionists of the immediate post-World War II use; total availability seems to be the rule. period, to say nothing of his predecessors in the A third tendency emphasizes technological more remote past. The new breed of artist creates discipline and focuses upon very pure and in response to a new aesthetic, a new sensibility frequently very restricted expressions. Like the so- and state of mind which is utterly different from called new realists, these artists have abandoned that which we have known heretofore.
Load more

Recommended publications
  • “L.A. Raw” RADICAL CALIFORNIA by Patricia Cronin
    “L.A. Raw” hris Burden Donatello, 1975 RADICAL CALIFORNIA private collection by Patricia Cronin Maverick independent curator Michael Duncan has mounted a visceral, hair-raising survey exhibition of figurative art by more than 40 Los Angeles artists in “L.A. RAW: Abject Expressionism in Los Angeles 1945-1980, from Rico LeBrun to Paul McCarthy,” Jan. 22-May 20, 2012, at the Pasadena Museum of California Art. The show is a revelatory part of the Getty Initia- Nancy Buchanan tive’s 60-exhibition extravaganza “Pacific Standard Time,” whose various Wolfwoman, 1977 events have been reviewed prolifically byArtnet Magazine’s own Hunter courtesy of the artist and Drohojowska-Philp. Cardwell Jimmerson Contemporary Art In Los Angeles, artists responded to post-war existential questions in a dramatically different fashion than their East Coast counterparts. While the New York School turned to Abstract Expressionism (simultaneously shift- ing the epicenter of the art world from Paris and Europe), artists in L.A. fashioned a much more direct and populist response to the realities of the Vietnam war, the horrors of Auschwitz and Hiroshima, and the threat of McCarthyism. The hallmark of this kind of work is the expressively distort- ed human body, constitutig a new, distinctly West Coast kind of human- ism. Of the 41 artists in the show, ten percent had fled Europe and immigrated to the U.S., and nearly half of them, including the occult performance art- Rico Lebrun The Oppressor (after de Sade, 6–8) ist Marjorie Cameron (1922-1995), served in the Armed Forces in WWII. 1962 Ben Sakoguchi was sent to a wartime internment camp when he was only courtesy of Koplin Del Rio Gallery, four years old, and Kim Jones served in Vietnam.
    [Show full text]
  • Weaverswaver00stocrich.Pdf
    University of California Berkeley Regional Oral History Office University of California The Bancroft Library Berkeley, California Fiber Arts Oral History Series Kay Sekimachi THE WEAVER'S WEAVER: EXPLORATIONS IN MULTIPLE LAYERS AND THREE-DIMENSIONAL FIBER ART With an Introduction by Signe Mayfield Interviews Conducted by Harriet Nathan in 1993 Copyright 1996 by The Regents of the University of California Since 1954 the Regional Oral History Office has been interviewing leading participants in or well-placed witnesses to major events in the development of Northern California, the West, and the Nation. Oral history is a modern research technique involving an interviewee and an informed interviewer in spontaneous conversation. The taped record is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The resulting manuscript is typed in final form, indexed, bound with photographs and illustrative materials, and placed in The Bancroft Library at the University of California, Berkeley, and other research collections for scholarly use. Because it is primary material, oral history is not intended to present the final, verified, or complete narrative of events. It is a spoken account, offered by the interviewee in response to questioning, and as such it is reflective, partisan, deeply involved, and irreplaceable. ************************************ All uses of this manuscript are covered by a legal agreement between The Regents of the University of California and Kay Sekimachi dated April 16, 1995. The manuscript is thereby made available for research purposes. All literary rights in the manuscript, including the right to publish, are reserved to The Bancroft Library of the University of California, Berkeley. No part of the manuscript may be quoted for publication without the written permission of the Director of The Bancroft Library of the University of California, Berkeley.
    [Show full text]
  • Oral History Interview with Ann Wilson, 2009 April 19-2010 July 12
    Oral history interview with Ann Wilson, 2009 April 19-2010 July 12 Funding for this interview was provided by the Terra Foundation for American Art. Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a recorded interview with Ann Wilson on 2009 April 19-2010 July 12. The interview took place at Wilson's home in Valatie, New York, and was conducted by Jonathan Katz for the Archives of American Art, Smithsonian Institution. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview ANN WILSON: [In progress] "—happened as if it didn't come out of himself and his fixation but merged. It came to itself and is for this moment without him or her, not brought about by him or her but is itself and in this sudden seeing of itself, we make the final choice. What if it has come to be without external to us and what we read it to be then and heighten it toward that reading? If we were to leave it alone at this point of itself, our eyes aging would no longer be able to see it. External and forget the internal ordering that brought it about and without the final decision of what that ordering was about and our emphasis of it, other eyes would miss the chosen point and feel the lack of emphasis.
    [Show full text]
  • Grounds for Sculpture Organizes Major Retrospective of Bruce Beasley Featuring Iconic Works That Span the Groundbreaking Artist’S 60-Year Career
    Grounds For Sculpture Organizes Major Retrospective of Bruce Beasley Featuring iconic works that span the groundbreaking artist’s 60-year career HAMILTON, NJ (April 22, 2021) – For six decades, sculptor Bruce Beasley has worked in a range of media to build complex, resonant arrangements from simple shapes that communicate the primacy of form and express the complexity of human emotion. This spring, Grounds For Sculpture (GFS) will present a major retrospective of the prolific pioneer, showcasing 62 of Beasley’s most important works, from his early iron assemblages featured in the influential exhibition, The Art of Assemblage (1961), at the Museum of Modern Art (MoMA) to his latest collages on canvas, a first for the sculptor. Bruce Beasley: Sixty Year Retrospective, 1960-2020 is the California-based artist’s first solo museum exhibition on the East Coast and will be on view in Grounds For Sculpture’s indoor galleries as well as in eight outdoor locations throughout the 42-acre landscaped park, from May 2, 2021 through January 9, 2022. “Bruce Beasley is a fearless experimenter and one of the foremost sculptors on the West Coast, who has made significant and lasting contributions to the field for over sixty years,” said Gary Garrido Schneider, Executive Director of Grounds For Sculpture. “Through our work to advance the field of sculpture at large, we build strong relationships with contemporary practitioners. Beasley is a notable example of an artist who we have been fortunate to call a friend for decades, beginning with an early loan of Dorion, now a part of the permanent collection and a regular feature on our grounds.
    [Show full text]
  • Oral History Interview with Viola Frey, 1995 Feb. 27-June 19
    Oral history interview with Viola Frey, 1995 Feb. 27-June 19 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Viola Frey on February 27, May 15 & June 19, 1995. The interview took place in oakland, CA, and was conducted by Paul Karlstrom for the Archives of American Art, Smithsonian Institution. Interview Session 1, Tape 1, Side A (30-minute tape sides) PAUL KARLSTROM: Archives of American Art, Smithsonian Institution. An interview with Viola Frey at her studio in Oakland, California, February 27, 1995. The interviewer for the Archives is Paul Karlstrom and this is what we hope will be the first in a series of conversations. It's 1:35 in the afternoon. Well, Viola, this is an interview that has waited, I think, about two or three years to happen. When I first visited you way back then I thought, "We really have to do an interview." And it just took me a while to get around to it. But at any rate what I would like to do is take a kind of journey back in time, back to the beginning, and see if we can't get some insight into, of course, who you are, but then where these wonderful works of art come from, perhaps what they mean.
    [Show full text]
  • Civic-Center-Final-Web-081621.Pdf
    The History of Transportation Helen Lundeberg, Artist 1940, Petromosaic mural 230 S. Grevillea Ave., Inglewood, CA 90301 The History of Transportation by Helen Lundeberg shows the history of human transportation in the Centinela Valley, including Inglewood. The mural, comprised of 60 panels with crushed rock set in mortar, showcases technological changes in transportation from walking to horses and carts, to railroads and propeller-driven airplanes. A playful small white dog appears throughout the artwork’s 240’ length. The History of Transportation was a commission from the Federal Works Progress Administration, and is the largest mural in that program. The mural was originally built along one of Inglewood’s most traveled commuter arteries. After auto incidents destroyed two of the sixty panels, a multifaceted, four-year conservation effort began. The mural was re-installed in 2009 on city property specially landscaped as Grevillea Art Park. It faces Inglewood High School and is perpendicular to the bustling Manchester Boulevard. The relocation was led by Landscape Architect Randall Meyer and Associates with restoration and interpretive kiosks by Sculpture Conservation Studios in partnership with the Feitelson/Lundeberg Art Foundation. Inglewood War Memorial Designer unknown 1970, Monument City Hall, 1 W. Manchester Blvd., Inglewood, CA 90301 The Inglewood War Memorial is sited on the green expanses fronting City Hall’s Manchester Boulevard entrance. The memorial is comprised of a marble obelisk on a granite base before a flag court. The center panel on the granite base holds the words: “To keep forever living the freedom for which they died. We dedicate this memorial to our dead in World War II, Korea and Vietnam.” Service veteran’s names are on the plinth.
    [Show full text]
  • Oral History Interview with Anne Wilson, 2012 July 6-7
    Oral history interview with Anne Wilson, 2012 July 6-7 Funding for this interview was provided by the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America. Transcription of this oral history interview was made possible by a grant from the Smithsonian Women's Committee. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a recorded interview with Anne Wilson on July 6 and 7, 2012. The interview took place in the artist's studio in Evanston, Illinois, and was conducted by Mija Riedel for the Archives of American Art, Smithsonian Institution. This interview is part of the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America. Anne Wilson and Mija Riedel have reviewed the transcript. Their heavy corrections and emendations appear below in brackets with initials. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview MIJA RIEDEL: This is Mija Riedel with Anne Wilson at the artist's studio in Evanston, Illinois, on July 6, 2012, for the Smithsonian Institution's Archives of American Art. This is disc number one. So, Anne, let's just take care of some of the early biographical information first. You were born in Detroit in 1949? ANNE WILSON: I was. MS. RIEDEL: Okay. And would you tell me your parents' names? MS.
    [Show full text]
  • The Written Word (1972)
    THE WRITTEN WORD (1972) The Written Word is Tom Van Sant’s public art treatment for three distinct con- Artist: crete areas of the Inglewood Public Library. The work is cast into the concrete Tom Van Sant surfaces of the exterior stairwell column on Manchester; the lower level of an interior lobby, and an exterior wall of the Lecture Hall. Collection: City of Inglewood Van Sant explores the development of written thought in numbers, letters, Medium: theories and histories from diverse cultures in diverse times. Egyptian hiero- Bas-Relief glyphics, Polynesian counting systems, European cave painting and Einstein’s mathematical equations are some of the many images to inspire Library’s Material: patrons with the wealth of words found inside. Poured-in-place concrete Van Sant was commissioned through the NEA Art in Architecture program to work with Civic Center architects Charles Luckman and Associates, This artwork required special molds built in reverse so the texts and drawings would be cor- rectly read, a technique requiring a high degree of craft. The Written Word is one of the few examples of a poured-in-place concrete bas-relief in the Los Angeles basin and one of the largest to employ this technique in the world. Inglewood Public Library 101 West Manchester Boulevard Inglewood, CA INGLEWOOD PUBLIC ART EDUCATION PROJECT 1 Tom Van Sant Tom Van Sant is a sculptor, painter, and conceptual artist with major sculpture and mural commissions for public spaces around the world. His art is collected globally. His professional skills and interests include archi- tecture, planning, education, an advanced technical invention.
    [Show full text]
  • Dick Polich in Art History
    ww 12 DICK POLICH THE CONDUCTOR: DICK POLICH IN ART HISTORY BY DANIEL BELASCO > Louise Bourgeois’ 25 x 35 x 17 foot bronze Fountain at Polich Art Works, in collaboration with Bob Spring and Modern Art Foundry, 1999, Courtesy Dick Polich © Louise Bourgeois Estate / Licensed by VAGA, New York (cat. 40) ww TRANSFORMING METAL INTO ART 13 THE CONDUCTOR: DICK POLICH IN ART HISTORY 14 DICK POLICH Art foundry owner and metallurgist Dick Polich is one of those rare skeleton keys that unlocks the doors of modern and contemporary art. Since opening his first art foundry in the late 1960s, Polich has worked closely with the most significant artists of the late 20th and early 21st centuries. His foundries—Tallix (1970–2006), Polich of Polich’s energy and invention, Art Works (1995–2006), and Polich dedication to craft, and Tallix (2006–present)—have produced entrepreneurial acumen on the renowned artworks like Jeff Koons’ work of artists. As an art fabricator, gleaming stainless steel Rabbit (1986) and Polich remains behind the scenes, Louise Bourgeois’ imposing 30-foot tall his work subsumed into the careers spider Maman (2003), to name just two. of the artists. In recent years, They have also produced major public however, postmodernist artistic monuments, like the Korean War practices have discredited the myth Veterans Memorial in Washington, DC of the artist as solitary creator, and (1995), and the Leonardo da Vinci horse the public is increasingly curious in Milan (1999). His current business, to know how elaborately crafted Polich Tallix, is one of the largest and works of art are made.2 The best-regarded art foundries in the following essay, which corresponds world, a leader in the integration to the exhibition, interweaves a of technological and metallurgical history of Polich’s foundry know-how with the highest quality leadership with analysis of craftsmanship.
    [Show full text]
  • Selected Bibliography and Exhibition History
    6/6/11 n11 Karlstrom_bib.doc: 163 Selected Bibliography and Exhibition History The following selected bibliography and exhibition history have been compiled by Jeff Gunderson, longtime librarian at the San Francisco Art Institute, the intended repository for the Peter Selz library. Gunderson worked closely with the author of this book, along with Selz himself, in setting up the guidelines for inclusion. For a full bibliography of articles, essays, books, and catalogues by Peter Selz, as well as a complete list of exhibitions for which he was curator, see www.ucpress.edu/go/peterselz. The lists presented here demonstrate Selz’s wide range of interests and expertise, as well as his advocacy for fine artists and his belief that art can be a fitting vehicle for social and political commentary. For the two bibliographic sections, “Books and Catalogues” and “Journal Articles and Essays,” the selection of titles was made on the basis of their significance and the contribution that they represent. Although Selz has been involved in and responsible for numerous exhibition-related publications, the extent of his involvement in these catalogues has varied widely. Those listed here (and indicated by an asterisk) are for the projects in which he took the lead authorial role, whatever his position in conceiving or producing the accompanying exhibition. Selz wrote a great number of magazine articles and reviews as well, many of them as West Coast correspondent for Art in America. With few exceptions, the regional exhibition reviews are not included. On the other hand, independent articles that represent the development and application of his thinking about modernist art are cited.
    [Show full text]
  • Beasley Center Announcement Release FINAL
    CONTACT: Scott Horton, 510-735-9200 Claudia Leung, 510-318-8453 OAKLAND MUSEUM OF CALIFORNIA ANNOUNCES MAJOR BEQUEST OF INTERNATIONALLY KNOWN SCULPTOR, INNOVATOR, AND COMMUNITY LEADER BRUCE BEASLEY’S WEST OAKLAND STUDIO COMPLEX AND ART WORK Future Bruce Beasley Sculpture Center Will Focus on Importance of Sculpture as an Art Form (OAKLAND, CA) October 9, 2014—Oakland Museum of California (OMCA) has announced that the Museum and internationally regarded sculptor and long-time West Oakland resident and community activist Bruce Beasley have entered into an agreement for his extensive West Oakland studio complex to be bequeathed to OMCA as the future Bruce Beasley Sculpture Center together with Beasley’s collection of his own work and related archival materials. The future Sculpture Center, an extremely unusual bequest from a living artist to a museum, will focus on the importance of sculpture as an art form and will represent Beasley’s legacy, inspiring other artists and engaging the public. The future Sculpture Center, which will offer a rare window into the life and working processes of an important American sculptor, is a testament to Beasley’s life-long interest in refined form, innovation, and civic involvement. The site, which Beasley has developed over the course of 50 years, features multiple working studio spaces and both indoor galleries and outdoor gardens of Beasley’s work. The complex extends on both sides of the street of its West Oakland neighborhood where it has evolved over half a century. The studio complex will come to the Oakland Museum of California with an endowment to support operations and programming for the future Sculpture Center.
    [Show full text]
  • W • 32°38'47.76”N 117°8'52.44”
    public access 32°32’4”N 117°7’22”W • 32°38’47.76”N 117°8’52.44”W • 33°6’14”N 117°19’10”W • 33°22’45”N 117°34’21”W • 33°45’25.07”N 118°14’53.26”W • 33°45’31.13”N 118°20’45.04”W • 33°53’38”N 118°25’0”W • 33°55’17”N 118°24’22”W • 34°23’57”N 119°30’59”W • 34°27’38”N 120°1’27”W • 34°29’24.65”N 120°13’44.56”W • 34°58’1.2”N 120°39’0”W • 35°8’54”N 120°38’53”W • 35°20’50.42”N 120°49’33.31”W • 35°35’1”N 121°7’18”W • 36°18’22.68”N 121°54’5.76”W • 36°22’16.9”N 121°54’6.05”W • 36°31’1.56”N 121°56’33.36”W • 36°58’20”N 121°54’50”W • 36°33’59”N 121°56’48”W • 36°35’5.42”N 121°57’54.36”W • 37°0’42”N 122°11’27”W • 37°10’54”N 122°23’38”W • 37°41’48”N 122°29’57”W • 37°45’34”N 122°30’39”W • 37°46’48”N 122°30’49”W • 37°47’0”N 122°28’0”W • 37°49’30”N 122°19’03”W • 37°49’40”N 122°30’22”W • 37°54’2”N 122°38’40”W • 37°54’34”N 122°41’11”W • 38°3’59.73”N 122°53’3.98”W • 38°18’39.6”N 123°3’57.6”W • 38°22’8.39”N 123°4’25.28”W • 38°23’34.8”N 123°5’40.92”W • 39°13’25”N 123°46’7”W • 39°16’30”N 123°46’0”W • 39°25’48”N 123°25’48”W • 39°29’36”N 123°47’37”W • 39°33’10”N 123°46’1”W • 39°49’57”N 123°51’7”W • 39°55’12”N 123°56’24”W • 40°1’50”N 124°4’23”W • 40°39’29”N 124°12’59”W • 40°45’13.53”N 124°12’54.73”W 41°18’0”N 124°0’0”W • 41°45’21”N 124°12’6”W • 41°52’0”N 124°12’0”W • 41°59’33”N 124°12’36”W Public Access David Horvitz & Ed Steck In late December of 2010 and early Janu- Some articles already had images, in which ary of 2011, I drove the entire California I added mine to them.
    [Show full text]