Benny Andrews Papers Renowned Master Visual Artist, Educator, Lecturer Activist and Arts Advocate 2016

Total Page:16

File Type:pdf, Size:1020Kb

Benny Andrews Papers Renowned Master Visual Artist, Educator, Lecturer Activist and Arts Advocate 2016 Benny Andrews Papers Renowned Master Visual Artist, Educator, Lecturer Activist and Arts Advocate 2016 MS-ARL104 Blair-Caldwell African American Research Library Denver Public Library Benny Andrews Papers PROVENANCE: The items in the collection were donated by Mr. Benny Andrews. ACCESS: The collection is open for research. OWNERSHIP: Literary rights and copyrights have been assigned to the Denver Public Library. PUBLICATION RIGHTS: All requests for permission to publish, reproduce, or quote from materials in the collection should be discussed with the appropriate librarian or archivist. Permission for publication may be given on behalf of the Denver Public Library as the owner of the physical item. It is not intended to include or imply permission of the copyright holder, which also must be obtained by the customer. The Library does not assume any responsibility for infringement of copyright or publication rights of the manuscript held by the writer, heirs, donors, or executors. Reproduction restrictions are decided on a case-by-case basis. PREFERRED CITATION: Benny Andrews Papers, MS-ARL104, Blair-Caldwell African American Research Library Collection, The Denver Public Library SIZE: 1 box (.25 linear feet) Location: AARL MS-ARL104; Rg6A; Sec5; Sf2, 1 Box PROCESSED by: Deborah Parsons, Volunteer Archivist PROJECT MANAGER: Charleszie Terr Nelson BIOGRAPHICAL NOTE: Benny Andrew was an internationally renowned master visual artist, educator and lecturer. The Benny Andrews Estate archives are housed at Eor Uiersits Rose Lirar. Additioal arhial materials are housed with the Andrews-Humphrey Family Foundation which oversees the estate. The Michael Rosenfeld Galler i Ne York eae the estates artisti represetatie i 2008. SCOPE AND CONTENT: The collection contains several folders of miscellaneous exhibition cards, flyers, and announcements. Most are illustrated by Benny Andrews. SERIES DESCRIPTION: The box contains four file folders with information regarding his career as a master artist, educator and lecturer. The first one includes several exhibition announcements. The other three are divided by decade: s, s, ad, s. The are eah arked Misellaeous Ehiitio Cards/Flers/Aoueets. The ajorit of the ards ad/or progras hae Be Adres illustrations on them or another of the extended artistic Andrews- Humphrey members, CONTAINER LISTING: Box 1 FF1 Master Visual Artist/Educator/Lecturer 1 Xeroxed op of a artile Field, Boll, ad Mouet: Toard A Ioograph of Cotto i Afria Aeria Art, Julie L. McGee in The International Review of African American Art, olue , Nuer .; Treasures fro the Amistad Research Ceter, The Ogde Museu of Souther Art, Uiersit of Ne Orleans, August 4-29, 2001; Alma Simmons Memorial Art Gallery, Atlata Puli Shools, Art ad Literature The Adres: Be, George, Viola, Christopher, Thoas, ad Raod, March 18-29, 1991; Barnes & Noble Welcome Illustrator Benny Adres, Ne York; Hutsille Museu of Art Meet the Masters: A Contemporary Series with Benny Andrews, February 7, ; Noel Galler Be Adres COLLAGE aoueet, Noel Galler, Ne York, Be Adres & Bo Gra announcement card, Southside Gallery, Oxford, Mississippi; Be Adres Preie Reeptio, The MItosh Galler, Atlanta, GA. Box 1 FF2 Miscellaneous Exhibition Cards/Flyers/Announcements – ’s Be Andrews Recent Works o Paper, The Ala Museu of Art postard; Works o Paper, Glass Galler, Ne York; Afria American Master Artists in Residency Program (AAMARP) Northeaster Uiersit, Bosto, MA; Be Adres Portraits of…, The High Museu at Georgia-Pacific Center, Atlanta; Be Adres, Arstrog Galler, Ne York; Be Adres A Moder Master, Sherr Washigto Fie Arts, The Milleder Ceter, Detroit, MI; Be Adres, Gross MCleaf Galler, Philadelphia, PA; Be Adres: With Georgia o M Mid, Wedell Street Galler, Bosto, MA; Be Adres, AAMARP Visual Arts Complex; Northeastern University; Boston, MA; Be Adres, The Galler, Fie Arts Hall, Coluus College, Coluus, GA; Master Visual Artist Be Adres Ehiitio, Portraits of…, The CRTS CRAFTERY GALLERY, Hartford, CT; Ios ad Iages i the Work of Be Adre, Souther Arts Federation, Atlanta, GA; Black Emergency Cultural Coalition, Third Aual Nesletter, BECC Art Progras, pg. Box 1 FF3 Miscellaneous Exhibition Cards/Flyers/Announcements – ’s Be Adres: Seleted Works, Boai Galler, Sa Fraiso, CA; The Reial Series Be Adres, A. F. T. U., Bill Hodges Galler, Ne York; The Art of Be Adres Boai Galler, San Francisco, CA; Be Adres George Adres, Diggs Gallery At Winston-Salem State University, Winston-Salem, NC; Be Adres Musi Iterludes, Sherr Washigto Galler, Detroit, MI; Hoeoig Be Adres, Tua Afria Aeria Museu, Mao, GA; Be Adres, MItosh Galler, Atlata, GA; Be Adres The Aeria Series, Arkasas Artist Ceter, Little Rok, AR; Be Adres, ACA Galleries, Ne York; Be Adres: Seleted Works, Heare Fie Art, Little Rok, AR; Be Adres: Collages and Draigs, The MItosh Galler, Atlata, GA; Be Adres: A Different Drummer, Changing Gallery, American Jazz Museum, Kasas Cit, MO; Be Adres The Muses of Be Adres, New Collages and Drawings; Sherry Washington Gallery; Detroit, MI; Be Adres Aeria Series, Wedell Street Galler, Bosto, MA; Be Adres: People, Quees Museu of Art, Quees, NY; Be Adres Pre-Museu Ehiitio Cruelt ad Sorro, CRTs Crafter Galler, Hartford, CT; Be Adres The Criti Series ad a Musial Iterlude, ACA Galleries, Ne York; Ne south old south soehere i etee, Galler Oe. Withrop Uiersit Galleries, Rok Hill, NC; Be Adres Works o Paper, Gross MCleaf Galler, Philadelphia, PA; Be Adres Reet Work, Gross MCleaf Galler, Philadelphia, PA; The Dot Ma: George Adres of Madiso Georgia, The Brooe Street Galler, Ne York, NY; FOLK: The Art of Be ad George Adres, The Coluus Museu, Coluus, GA; Be Adres i the Big Eas, Stella Jones Gallery, New Orleas, LA; The Adres Fail of Morga Cout, Georgia: "Arts & Letters i Rural Georgia, the Ule Reus Regioal Library System & the Madison-Morgan Cultural Center, Madison, GA; The Reial Series Be Adres, A.F.T.U/Bill Hodges Galler, Ne York, NY; FOLK: The Art of Be & George Adres, The Marietta/Co Museu of Art, Marietta, GA; Be Adres: Ne Work, Susa Coa Galleries, Washigto, D. C.; puliatio aoueet of Sk Sash So Blue, a hildres book illustrated by Benny Andrews, Wendell Street Galler, Bosto, MA; Be Adres: Years of Be Adres Seleted Works, Afria-American Cultural Center, North Carolia State Uiersit, Raleigh, NC; FOLK, The Art of Be & George Adres, Mephis Brooks Museum of Art, Memphis, TN; Benny Andrews, J. Richard Gruber, Libby Hathorn Book Signing Party, ACA Galleries, New York, NY; Benny Andrews Major Museum Collections, Gross McCleaf Gallery, Philadelphia, PA; a differet druer: Be Adres, the music series, 1991-1998, Dorothy W. and C. Lawson Reed, Jr. Gallery, University of Ciiati, Ciiati, OH; Be Adres Reial Series New Collages and Drawings, Sherry Washington Gallery, Detroit, MI; Be Adres, Artist, To M. Cordell Distinguished Lecture Series, Cordell Conference Room, Baldwin Library, Araha Baldi College, Tipto, GA; Be Adres: Like a Sulie Loe, Sherr Washigto Galler, Detroit, MI; Be Andrews Artist Reception, Noel Gallery, Charlotte, NC; Refletios o Souther Life, The MItosh Galler, Atlata, GA; Iterludes Opeig Reeptio, Thoas J. Walsh Art Galler, Fairfield, CT; Noel Gallery opeig ard; The Reial Series Be Adres, A.F.T. U./Bill Hodges Galler, Ne York, NY; Artists for Mumia 911 (National Day of Art to Stop the Execution of Mumia Abu-Jaal ard; Be Adres: The Musi Series, Visual Arts Buffet Luheo & Galler Talk ith Be Adres, The Black Academy of Arts and Letters, James E. Kemp Gallery, Dallas, TX; Be Adres: Chroiles ad Reolletios Reception, Brandywine Workshop, Printed Image Gallery, Philadelphia, PA; The Art of Be Adres, Mailou ArtFest, Museum of African-American Art. Box 1 FF4 Miscellaneous Exhibition Cards/Flyers/Announcements – ’s Oseratios: Major Works Be Adres, SuTrust Plaza Assoiates; The Art of Fail: Be Adres ad Nee Huphre, Ogde Museu of Souther Art, Ne Orleas, LA; Gettig The Spirit: Religious Works Be Adres, Zora Neale Hurston National Museum of Fine Arts, Eatonville, FL; Be Adres Migrat Series:, ACA Galleries, Ne York, NY; ed papers: Draigs -1900 and 1990-2000, Neuberger Museu of Art, Purhase, NY; Rhth & Blues Galler Opeig Reception and Jazz, Hati Cultural Ceter, Durha, NC; Be Adres Natie So, Sios Visual Arts Ceter, Gaiesille, FL; Be Adres Iteriors, Saaah College of Art ad Desig, Atlata, GA; Ehoes of a Era: Jazz Photograph of Lou Joes, The Benny Andrews Foundation, Huntington House Museum, Widsor, CT; A oersatio ith Be Adres, Art i the Atriu, Morristo, NJ; Beie sp. Adres: Religious Works, Zora Neale Hurston National Museum of Fine Arts, Eatonville, FL; Zora Neale Hurston National Museum of Fine Arts 2003-2004 ehiitio seaso shedule; Master Visual Artist Reisited: Be Adres Ehiitio, State of Coeticut, African-American Affairs Coissio, Crafter Galler, Hartford, CT; The Art of Be Adres & Testaets of the Spirit, Lda Moore Merrik Gallery, Hayti Heritage Center, Durham, NC; Be Adres: A Retrospective:1959-, Gross MCleaf Gallery, Philadelphia, PA; Detroit Collets Be Adres, Wae Cout Couit College Distrit, Be Adres Colleges & Prits, Wedell Street Galler, Caridge, MA; The Works Gallers Masterorks Series: Paying Homage to Great American Artists of African Deset: Be Adres, Guild Galler, Ura League of Esse Cout, Neark, NJ; Master Visual Artist Be Adres Ehiitio: Portraits of …, The CRTs Crafter Galler, Hartford, CT; Be Adres Seletios, Cuerlad Galler, Nashille, TN; The Amistad Foundation 1999 Artist Conversation Series: Benny Andrews, The Museum Theater at the Wadsworth Atheaeu, Hartford, CT; Be Adres Coed ard, The McIntosh Gallery, Atlanta, GA; Benny Andrews
Recommended publications
  • DETROIT FOCUS QUARTERLY Volume 2 Number 2 J U N E 1 9 8 3 a Visual Arts Publication
    DETROIT FOCUS QUARTERLY Volume 2 Number 2 J u n e 1 9 8 3 A Visual Arts Publication A photograph Davidby Griffith from the Michigan Friends of Photography exhibition at Meadow Brook Gallery. See page 11. Judging the Jury System: jury system. Do you believe this is a valid way of selecting shows? P lag en s: An Interview with Peter Plagens I think a juried exhibition admits at the outset either that it is a by Dolores S. Slowinski regional show seeking judgment from a major urban art center or from a person from a major urban art center, or that it is something a little Peter Plagens is an artist and the author of The Sunshine Muse. He less professional, such as a juried show of student work. I don’t has written extensively for Art in America and Artforum and is Chair­ know of any serious, professional artist with any semblance of a man of the art department at the University of North Carolina at career in a major urban art center who submits to jurying, except in Chapel Hill. Mr. Plagens was interviewed on February 14, 1983, the most exceptional circumstances. Likewise, I don't submit to when he served as juror for the exhibition “ Peter Picks Paintings" at juries, but not as a matter of principle I submit to juries for such the Detroit Focus Gallery. The interview has been abridged. things as NEA artists fellowships, and I would submit to a jury if S lo w in s k i: there were a competition for a large work to go on a site I operate The Exhibition Committee wonders if there is any validity left to throughthe dealers, mainly three, one in New York, one in L A., and Continued next page Continued from cover Detroit Focus Quarterly Detroit Focus one in Chicago.
    [Show full text]
  • Catalyst: Art and Social Justice Mayors and First Ladies Since 1942, When the People’S House Became the Mayoral Residence
    CATALYST: ART AND SOCIAL JUSTICE MAYORS AND FIRST LADIES SINCE 1942, WHEN THE PEOPLE’S HOUSE BECAME THE MAYORAL RESIDENCE BILL DE BLASIO CHIRLANE MCCRAY 2014 – MICHAEL R. BLOOMBERG 2002 – 2013 RUDOLPH W. GIULIANI DONNA HANOVER 1994 – 2001 DAVID N. DINKINS JOYCE DINKINS 1990 – 1993 EDWARD I. KOCH 1978 – 1989 ABRAHAM D. BEAME MARY BEAME 1974 – 1977 JOHN V. LINDSAY MARY LINDSAY 1966 – 1973 ROBERT F. WAGNER SUSAN E. WAGNER 1954 – 1965 VINCENT R. IMPELLITTERI BETTY IMPELLITTERI 1950 – 1953 WILLIAM O’DWYER CATHERINE LENIHAN O’DWYER SLOAN SIMPSON O’DWYER 1946 – 1950 FIORELLO H. LAGUARDIA MARIE FISHER LAGUARDIA 1934 – 1945 CATALYST: ART AND SOCIAL JUSTICE WORKS BY NEW YORK ARTISTS AND ACTIVISTS SINCE 1960, CELEBRATING THE POWER OF ART TO SPARK CHANGE AND SPUR PROGRESS Dear Friends, Who can imagine a world without art? I certainly cannot. As I was growing up, the arts inspired me to use my voice, and helped me discover the supportive communities around me. The arts were a conduit for emotion, a declaration of political stance, and an expression of ideas. Where would any of us be without the vigorous mix of art and activism that has been part of every social movement, sparking change, educating and transforming our relationships with each other and the world around us? In New York City, we believe the arts are for everyone. CreateNYC, the City’s first-ever comprehensive cultural plan, was launched by the de Blasio administration to ensure that all New Yorkers can fully experience the artistic and cultural life of our city. This commitment to affirmative and inclusive employment and leadership, with pathways to positions for students from underrepresented communities is a guarantee there will be an abundance of talent and myriad perspectives in our cultural institutions.
    [Show full text]
  • Benny Andrews, Visual Artist
    Benny Andrews, Visual artist Benny Andrews (November 13, 1930 – November 10, 2006) was an American painter, printmaker, creator of collages and educator. He was born November 13, 1930 in Plainview, Georgia and died November 10, 2006 in Brooklyn, New York. Andrews was an African American who was one of 10 children of sharecroppers raised in Georgia while it was still segregated. He was the first in his family to graduate from high school. Andrews then went on to serve in the U.S. Air Force. Afterwards, the G.I. Bill of Rights afforded him training at the School of the Art Institute of Chicago. His first New York solo show was in 1962. From 1968 to 1997, Andrews taught at Queens College, City University of New York, and created a prison arts program that became a model for the nation. In 1969, Andrews co-founded the Black Emergency Cultural Coalition (BECC) an organization that protested the 'Harlem on my Mind' exhibit at the Metropolitan Museum of Art in New York. They protested the fact that no African-Americans were involved in organizing the show. The BECC then persuaded the Whitney museum to launch a similar exhibition of African American Artists, but later boycotted that show as well for similar reasons. In 2006, he traveled to the Gulf Coast to work on an art project with children displaced by Hurricane Katrina. He was the director of visual arts for the National Endowment for the Arts from 1982 to 1984. In 1983 he was instrumental in helping form The National Arts Program, which today is the largest coordinated visual arts program in the nation's history.
    [Show full text]
  • Benny Andrews Papers
    Benny Andrews papers 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 Scope and Contents........................................................................................................ 2 Biographical / Historical.................................................................................................... 1 Names and Subjects ...................................................................................................... 2 Container Listing ...................................................................................................... Benny Andrews papers AAA.andrbenn Collection Overview Repository: Archives of American Art Title: Benny Andrews papers Identifier: AAA.andrbenn Date: 1945-1968 Creator: Andrews, Benny, 1930-2006 Extent: 5 Microfilm reels Language: English . Administrative Information Acquisition Information Lent for microfilming 1968 by Benny Andrews. Location of Originals Originals returned to the lender Benny Andrews after microfilming. Related Materials Emory University Stuart A. Rose Manuscript, Archives, and Rare Book Library holds the Benny Andrews papers, 1940-2006. Available Formats 35mm microfilm reels N68-76 &
    [Show full text]
  • CREATING COMMUNITY. CINQUE GALLERY ARTISTS MAY 3 – JULY 4, 2021 1 Charles Alston
    CREATING COMMUNITY. CINQUE GALLERY ARTISTS MAY 3 – JULY 4, 2021 1 Charles Alston. Emma Amos. Benny Andrews. Romare Bearden. Dawoud Bey. Camille Billops. Robert Blackburn. Betty Blayton-Taylor. Frank Bowling. Vivian Browne. Nanette Carter. Elizabeth Catlett-Mora. Edward Clark. Ernest Crichlow. Melvin Edwards. Tom Feelings. Sam Gilliam. Ray Grist. Cynthia Hawkins. Robin Holder. Bill Hutson. Mohammad Omar Khalil. Hughie Lee-Smith. Norman Lewis. Whitfield Lovell. Alvin D. Loving. Richard Mayhew. Howard McCalebb. Norma Morgan. Otto Neals. Ademola Olugebefola. Debra Priestly. Mavis Pusey. Ann Tanksley. Mildred Thompson. Charles White. Ben Wigfall. Frank Wimberley. Hale Woodruff ESSAY BY GUEST EXHIBITION CURATOR, SUSAN STEDMAN RECOLLECTION BY GUEST PROGRAMS CURATOR, NANETTE CARTER 2 CREATING COMMUNITY. CINQUE GALLERY ARTISTS CREATING COMMUNITY. CINQUE GALLERY ARTISTS Charles Alston. Emma Amos. Benny Andrews. Romare Bearden. Dawoud Bey. Camille Billops. Robert Blackburn. Betty Blayton-Taylor. Frank Bowling. Vivian Browne. Nanette Carter. Elizabeth Catlett-Mora. Edward Clark. Ernest Crichlow. Melvin Edwards. Tom Feelings. Sam Gilliam. Ray Grist. Cynthia Hawkins. Robin Holder. Bill Hutson. Mohammad Omar Khalil. Hughie Lee-Smith. Norman Lewis. Whitfield Lovell. Alvin D. Loving. Richard Mayhew. Howard McCalebb. Norma Morgan. Otto Neals. Ademola Olugebefola. Debra Priestly. Mavis Pusey. Ann Tanksley. Mildred Thompson. Charles White. Ben Wigfall. Frank Wimberley. Hale Woodruff ESSAY BY GUEST EXHIBITION CURATOR, SUSAN STEDMAN RECOLLECTION BY GUEST PROGRAMS CURATOR, NANETTE CARTER MAY 3 — JULY 4, 2021 THE PHYLLIS HARRIMAN MASON GALLERY THE ART STUDENTS LEAGUE OF NEW YORK Cinque Gallery Announcement. Artwork by Malcolm Bailey (1947—2011). Cinque Gallery Inaugural, Solo Exhibition, 1969—70. 3 CREATING COMMUNITY. CINQUE GALLERY ARTISTS A CHRONICLE IN PROGRESS Former “306” colleagues.
    [Show full text]
  • David Houston Resume Edited
    David W. Houston Director’s Advisor PROFILE Art Historian and museum professional with over twenty-five years of experience with the planning and opening of new facilities, exhibition design, curatorial, publications, university teaching, educational outreach, public speaking, fundraising, and media relations. EXPERIENCE Art Historian and Consultant Current Projects; Setting up Kendall Shaw Foundation to benefit mid and late career artists, Consulting with the T. Griffith Photo Archives from the Harlem based artist collective the Kamoinge Workshop ( current project Jimmie Mannes vintage photos of the origins of avant-garde jazz in New York in the late 60’s and early 70’s), consultant for the renovation and an addition to the LaGrange Museum of Art, Georgia, book essay for the upcoming career retrospective of Manning Williams (1939-2012), Gibbes Museum of Art 2020, Charleston, SC, Curatorial work with The Kentler International Drawing Center, Red Hook, New York. Executive Director, Bo Bartlett Center and Archives, College for the Arts, Columbus State University; Columbus, GA — February 2012- June 2019 New center opening January 18, 2018 for the exhibition and study of contemporary art with an emphasis on narrative and figurative work to feature a collection of paintings by the American realist Bob Bartlett and an active archive of drawings, sketchbooks, letters, and papers by a wide range of historical and contemporary artists. Major responsibilities include long-range planning, fundraising, interdisciplinary institutional collaborations, publications, public speaking, media relations, facilities planning and coordination with architectural design. Director of Curatorial, Crystal Bridges Museum of American Art; Bentonville, AR — 2010-2012 Member of senior staff management team, member of acquisition committee, Director of Curatorial Department responsible for planning, layout, lighting, and labeling the grand opening of the museum.
    [Show full text]
  • ANDREWS, BENNY, 1930-2006. Benny Andrews Papers, 1940-2006
    ANDREWS, BENNY, 1930-2006. Benny Andrews papers, 1940-2006 Emory University Stuart A. Rose Manuscript, Archives, and Rare Book Library Atlanta, GA 30322 404-727-6887 [email protected] Descriptive Summary Creator: Andrews, Benny, 1930-2006. Title: Benny Andrews papers, 1940-2006 Call Number: Manuscript Collection No. 845 Extent: 97.75 linear feet (159 boxes), 3 oversized papers boxes and 4 oversized papers folders (OP), 15 bound volumes (BV), 7 oversized bound volumes (OBV), AV Masters: 2.75 linear feet (3 boxes), and 68 MB born digital material (586 files) Abstract: Papers of African American artist Benny Andrews including correspondence, photographs, exhibit files, printed material, family papers, and artwork. Language: Materials entirely in English. Administrative Information Restrictions on Access Special restrictions apply: Series 9, Andrews family correspondence and papers, personal correspondence between Benny Andrews and Nene Humphrey is restricted to researchers until December 31, 2020. Researchers must contact the Rose Library in advance to access audiovisual materials in this collection. Access to processed born digital materials is only available in the Stuart A. Rose Manuscript, Archives, and Rare Book Library (the Rose Library). Use of the original digital media is restricted. Terms Governing Use and Reproduction All requests subject to limitations noted in departmental policies on reproduction. Related Materials in Other Repositories Benny Andrews papers, Auburn Avenue Research Library on African-American Culture and History, Atlanta, Georgia. 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.
    [Show full text]
  • Crocker Art Museum Members Magazine May | Jun | Jul | Aug
    MAY | JUN | JUL | AUG 2021 CROCKER ART MUSEUM MEMBERS MAGAZINE d b an e k tte c r a t B h a n e art v e r ! Three ways to support local artists auction and the Crocker! 1 2 3 Virtual Art Auction Live Art Auction Sponsorships BIDDING BEGINS MAY 10 SATURDAY, JUNE 5 at 5:30 PM Promote your organization through an ONLINE AT BIDSQUARE.COM CROCKER ART MUSEUM Art Auction Season Sponsorship, and Starting May 10, two virtual art Bring your mask for our socially support the Museum. auctions — Big Names, Small Art distanced, in-person Live Auction Visit crockerart.org/sponsor to see (BNSA) and the Silent Art Auction — featuring ten exclusive artworks and a available opportunities. are open for online bidding. Bid on Fund-A-Need paddle raiser in support Contact us: small (12 x 12” or less) works of art of the Museum’s education programs Email Sheena Link at starting at $25, or works of all sizes and exhibitions. [email protected] to learn more or and price points by renowned artists. This festive and lively event in the to discuss a customized sponsorship. Get ready: Visit BidSquare.com and Museum’s courtyard includes a plated click “Sign up” if you are new to the dinner by Hawks Restaurant, delicious platform or click “Log in” to view and libations, and the opportunity to update your information from last year. acquire incredible works of art. To ensure your safety and comfort, limited tables of two, four, six, and eight are available. Get ready: Purchase your table at crockerart.org/artauction / TABLE OF CONTENTS / 16 24 37 News On View Members
    [Show full text]
  • Norman Lewis: Looking East November 16, 2018 – January 26, 2019
    Norman Lewis: Looking East November 16, 2018 – January 26, 2019 Norman Lewis (1909 - 1979), New York City, February 5, 1960. Photo: Arnold Newman; © Arnold Newman Collection/Getty Images; Courtesy of Howard Greenberg Gallery, New York, NY FOR IMMEDIATE RELEASE (NEW YORK, Nov 16, 2018) Michael Rosenfeld Gallery is pleased to present its fifth solo exhibition for abstract expressionist Norman Lewis (American, 1909-1979). Scheduled to be on view from November 16, 2018 to January 26, 2019, Norman Lewis: Looking East explores for the first time the profound impact of Asian thought, philosophy, literature and art on the life-long work of the artist. On view will be a selection of paintings, works on paper, and never-before- viewed artist sketchbooks (the latter are on loan from the Norman Lewis Archive); works included in the exhibition date from 1948 to 1977. Two distinctive elements of Lewis’ abstract practice – calligraphic and atmospheric abstraction – reflect the innovative incorporation of Eastern influences throughout his oeuvre. By way of his own literary and creative education and his immersion in the New York art world, Lewis’ work is a continuation of his intellectual pursuits within these realms. As a natural starting point, Lewis’ extensive library reveals a fascination with Eastern thought and aesthetics. From a booklet on Japanese puppets to multi-volume tomes on the art of India, what Lewis was reading and digesting reflects the immense range of inspiration that he encountered on a daily basis within his very own library. Many avant-garde artists of Lewis’ generation looked to Asian thought and aesthetics “to forge an independent artistic identity that would define the modern age – and the modern mind – through a new understanding of existence, nature, and consciousness.”1 Artists in Lewis’ circle, amongst them Mark Rothko, David Smith, Ad Reinhardt, and Adolph Gottlieb, drew ideas from Eastern religions, Zen Buddhism and Carl Jung’s theories on the unconscious.
    [Show full text]
  • The Studio Museum in Harlem Magazine / Spring 2007 from the Director SMH Board of to the Museum Can Also Pick up Trustees the Gift, a Mix CD Created by Raymond J
    The Studio Museum in Harlem Magazine / Spring 2007 From the Director SMH Board of to the museum can also pick up Trustees The Gift, a mix CD created by Raymond J. McGuire Paul D. Miller (a.k.a. DJ Spooky) Chairman as the new incarnation of Carol Sutton Lewis StudioSound. Vice-Chair Reginald Van Lee Treasurer The Studio Museum in Harlem Magazine / Spring 2007 This issue of Studio is jam- Gayle Perkins Atkins This spring we are pleased to packed with features about art, Kathryn C. Chenault introduce the paintings of Henry artists and the Harlem com- Gordon J. Davis Taylor in Sis and Bra, the artist’s munity. Following our previous Anne B. Ehrenkranz fi rst solo museum exhibition. features hrlm: beautiful people Susan Fales-Hill Dr. Henry Louis Gates Jr. Also on view is the fi lm installa- and hrlm: beautiful places, Eric Sandra Grymes Henderson trains his camera on Joyce Haupt unique and beautiful objects in Arthur J. Humphrey Jr. The Studio Museum in Harlem Harlem in the latest installment in George L. Knox has existed in several spaces this series, hrlm: beautiful things. Nancy L. Lane since its founding in the late Dr. Michael L. Lomax Tracy Maitland 02 / what’s up Philosophy of Time Travel / Sis and Bra / Duet /Harlem 1960s. Many of you have wit- I want to thank the supporters of Rodney M. Miller 12 nessed our transformation over all our spring exhibitions and pro- Eileen Harris Norton Postcards / upcoming exhibitions David Adjaye / Expanding the Walls the past ten years as our sculp- grams.
    [Show full text]
  • Guide to the Papers of African American Artists and Related
    Guide to the Papers of January 2020 African American Artists and Related Resources 2 What We do Above: Titus Kaphar in his 11th Avenue Studio, New York City, 2008. Photograph by Jerry L. Thompson. Jerry L. Thompson papers. Cover: Chakaia Booker installing Foci (2010) at Storm King Art Center, Mountainville, New York, 2010. Photograph by Jerry L. Thompson. Jerry L. Thompson papers. 3 TABLE OF CONTENTS 05 Our History 06 What We Do 10 A Culture of Access 11 Archives in the World 12 Why the Archives of American Art? 15 Recent Acquisition Highlights 17 Guide to African American Collections 48 Additional Papers of African American Artists 56 Oral History Interviews 60 Related Resources 72 Administration and Staf 4 HISTORY AND ABOUT The Smithsonian’s Archives of American Art enlivens the extraordinary human stories behind the United States’ most signifcant art and artists. It is the world’s preeminent resource dedicated to collecting and preserving the papers and primary records of the visual arts in the United States. Constantly growing in range and depth, and ever increasing in its accessibility, it is a vibrant, unparalleled, and essential resource for the appreciation, enjoyment, and understanding of art in America. 5 Our History In a 1954 letter from then director of the Detroit Institute of Arts Edgar P. Richardson to Lawrence A. Fleischman, Richardson poses a question: “Do you realize what a big thing you have done in starting the Archives [of American Art]? I know you do. But do you? It is enormous in its implications; enormous!” Richardson and Fleischman, a Detroit businessman and an active young collector, had founded the Archives earlier that year.
    [Show full text]
  • AMERICA on PAPER Selections from the Cochran Collection
    AMERICA ON PAPER Selections From The Cochran Collection Catalog Design: Phillip Collier Design Studio, Metairie, Louisiana Phillip Collier | Chris Williams Installation Photographs and Elevations: G. Ray Sullivan Catalog Production: Isaac Sabelhaus THE BO BARTLETT CENTER COLLEGE OF THE ARTS, COLUMBUS STATE UNIVERSITY AMERICA ON PAPER Selections From The Cochran Collection Artists’ Rights Today, 1976 Robert Rauschenberg Mixed Media 35.25”x28.25”x1 This project is made possible by the generous support of Jimmy and Ruth Yancey. AMERICA ON PAPER by David Houston Executive Director, Bo Bartlett Center ny collection is by necessity a singular ad-hock pursue until his retirement in 2014. Wes deepened his commitment to assemblage of objects growing out of a matrix of art collecting at a moment that Pop Art was dominant and plentiful, and complex, interacting forces. Place, time, resources, it is only logical that Pop, that most iconic of American twentieth century and ever changing states of affairs, mean that the movements, is one of the cornerstones of the Cochran Collection. Cochran best planned intentions often fray into unexpected soon purchased works by the founders of the pop movement, James tangents and lines of flight. It is then that the Rosenquist, Larry Rivers, Roy Lichtenstein, and Andy Warhol. In 1980 successful collector learns to value the gods of Cochran decided to pursue further works by Warhol and bought Warhol’s Aserendipity and embrace that place where thought, intuition and chance hand painted flower and “Mick Jagger”. This lead to Warhol becoming a intermingle. The Cochran collection is made up of three complexly collection focus of his own with the purchase of the Cowboys and Indian intertwined, yet distinctly identifiable collections: African American works Series in and the Myths Series about fifteen years ago.
    [Show full text]