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Annual Report 1995
19 9 5 ANNUAL REPORT 1995 Annual Report Copyright © 1996, Board of Trustees, Photographic credits: Details illustrated at section openings: National Gallery of Art. All rights p. 16: photo courtesy of PaceWildenstein p. 5: Alexander Archipenko, Woman Combing Her reserved. Works of art in the National Gallery of Art's collec- Hair, 1915, Ailsa Mellon Bruce Fund, 1971.66.10 tions have been photographed by the department p. 7: Giovanni Domenico Tiepolo, Punchinello's This publication was produced by the of imaging and visual services. Other photographs Farewell to Venice, 1797/1804, Gift of Robert H. and Editors Office, National Gallery of Art, are by: Robert Shelley (pp. 12, 26, 27, 34, 37), Clarice Smith, 1979.76.4 Editor-in-chief, Frances P. Smyth Philip Charles (p. 30), Andrew Krieger (pp. 33, 59, p. 9: Jacques-Louis David, Napoleon in His Study, Editors, Tarn L. Curry, Julie Warnement 107), and William D. Wilson (p. 64). 1812, Samuel H. Kress Collection, 1961.9.15 Editorial assistance, Mariah Seagle Cover: Paul Cezanne, Boy in a Red Waistcoat (detail), p. 13: Giovanni Paolo Pannini, The Interior of the 1888-1890, Collection of Mr. and Mrs. Paul Mellon Pantheon, c. 1740, Samuel H. Kress Collection, Designed by Susan Lehmann, in Honor of the 50th Anniversary of the National 1939.1.24 Washington, DC Gallery of Art, 1995.47.5 p. 53: Jacob Jordaens, Design for a Wall Decoration (recto), 1640-1645, Ailsa Mellon Bruce Fund, Printed by Schneidereith & Sons, Title page: Jean Dubuffet, Le temps presse (Time Is 1875.13.1.a Baltimore, Maryland Running Out), 1950, The Stephen Hahn Family p. -
Questions of Feminism
AYISHAABRAHAM (Question 2) I wonder if it is possible to demarcatethe 1960s and '80s in termsof clearly distinguishablecategories of "grassroots" and "theory."Would our understanding be where it is without the pathbreaking grass roots-theoreticalwork done by activists/artists/theoristswho have traditionallybelonged to marginalized communities? The issue of formationsand expressionsof subjectivityin and throughart is crucialhere. In the United States,with the help of the popular pressand media, politics tends to be reduced to essentializedand deterministicnotions of race, ethnicity,femininity, otherness, etc. This convenientlycloaks all the othercategories thathave not been legitimizedwithin the classicself/other binary debates. In a recentarticle entitled "Interior Colonies: Franz Fanon and the Politics of Identification,"Diana Fuss locates psychoanalyticdiscourse and the politicsof identificationwithin colonial historyand otherhistorical genealogies: It therefore becomes necessary for the colonizer to subject the colonial other to a double command: be like me, don't be like me; be mimeticallyidentical, be totallyother. The colonial other is situated somewherebetween differenceand similitude,at the vanishingpoint of subjectivity.' While it is stillhard forartists from marginalized communities to negotiatetheir identities within the context of the art world, there are manywho have used strategies such as autobiography to explore a history that has never been interrogatedbefore. The problem only arises when termssuch as "the body," "autobiography,"etc., are taken out of their historical contexts and thrown around like disembodiedand rarefiedconcepts. I findmyself becoming more conscious of the extentto whichmy work has to be informedboth by theoreticalanalyses and directpractical engagement with complex issues of subjectivity,identity, etc. I feel the need to look at the specifics of these issues.It is the politicsof processthat interests me. -
FOR IMMEDIATE RELEASE Through September 30 Contact: Sandra Q
FOR IMMEDIATE RELEASE through September 30 Contact: Sandra Q. Firmin Curator, UB Art Galleries 716.645.0570 [email protected] UB Anderson Gallery is pleased to present Fifty at Fifty: Select Artists from the Gerald Mead Collection Opening Public Reception: Saturday, August 18, 6-8 pm The exhibition is free and open to the public and will be on view through September 30, 2012. Fifty at Fifty: Select Artists from the Gerald Mead Collection is a survey exhibition featuring 86 works in all media by 50 of the most significant historical and contemporary artists associated with Western New York. The selection by the collector was guided by the artists’ art historical imprint as measured by the inclusion of their artwork in several major museum collections worldwide such as the Whitney Museum of American Art, the Museum of Modern Art, the Smithsonian American Art Museum, the Art Institute of Chicago, the J. Paul Getty Museum, the Tate Gallery, and the Centre Georges Pompidiou, among others. The exhibition has been organized on the occasion of noted collector and UB alumnus Gerald Mead’s 50th birthday. Since he began collecting in 1987, Mead has researched and assembled an art collection of more than 670 works by over 600 artists who were born or have lived in the Western New York region. His intent is to form an encyclopedic collection of noteworthy artists affiliated with organizations such as the Buffalo Society of Artists, Patteran Society, Hallwalls Contemporary Arts Center, CEPA, and Big Orbit Gallery. He also collects the work of educators and alumni of the Art Institute of Buffalo, University at Buffalo, and Buffalo State College. -
Bulletin 2002 Art/Pages-Final
School of Art 2002–2003 bulletin of yale university Series 98 Number 1May 10, 2002 Bulletin of Yale University Postmaster: Send address changes to Bulletin of Yale University, PO Box 208227, New Haven ct 06520-8227 PO Box 208230, New Haven ct 06520-8230 Periodicals postage paid at New Haven, Connecticut Issued sixteen times a year: one time a year in May, October, and November; two times a year in June and September; three times a year in July; six times a year in August Managing Editor: Linda Koch Lorimer Editor: David J. Baker Editorial and Publishing Office: 175 Whitney Avenue, New Haven, Connecticut Publication number (usps 078-500) Printed in Canada The closing date for material in this bulletin was April 2, 2002. The University reserves the right to withdraw or modify the courses of instruction or to change the instructors at any time. ©2002 by Yale University. All rights reserved. The material in this bulletin may not be reproduced, in whole or in part, in any form, whether in print or electronic media, without written permission from Yale University. Content Questions regarding the editorial content of this publication may be referred to Patricia Ann DeChiara, Director of Academic Affairs, Yale School of Art. Inquiries All inquiries regarding admission to graduate programs in art and requests for application forms should be addressed to the Office of Academic Affairs, Yale School of Art, 1156 Chapel Street, PO Box 208339, New Haven ct 06520-8339, or telephone 203.432.2600. (School of Art bulletins are mailed through periodicals postage and usually take at least three weeks to reach their destinations. -
Recorded Jazz in the 20Th Century
Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana -
Alain Kirili with Robert C
Alain Kirili with Robert C. Morgan On the occasion of the current exhibit Te Drawing Show: Lines in Charcoal, Ink, Watercolor, Galvanized Iron and Black Rubber (January 3 – June 30, 2012), the sculptor Alain Kirili and Contributing Editor Robert Morgan paid a visit to the Rail’s headquarters to talk about his life and work. Robert C. Morgan (Rail): What was your motivation in coming to New York City in the ’60s? Alain Kirili: I was born in 1946, so I belong to the frst generation of artists afer the Second World War. In fact, when I reached the age of about 18 or 20 years, I felt that the major artists in France were writers and philosophers. Te milieu that stimulated me the most was really Tel Quel and Roland Barthes, Philippe Sollers, and Julia Kristeva, all of whom became my very close friends. I collaborated with them on many projects, so Paris gave me the best exposure to literature and philosophy. Slowly I became familiar with the American art; I mostly heard about Jackson Pollock. Portrait of the artist. Pencil on paper by Phong Bui. Rail: I know that David Smith was a major infuence on you. Did you ever meet him? Kirili: No, but in 1965 I saw my frst David Smith sculpture at the Musée Rail: And what impressed you the most during those travels? Rodin in Paris. In fact, it was that series of sculptures, Cubi, that made Kirili: Tat it was impossible, at least I felt, to be a French artist if you had me decide to go to the United States. -
At the Met, Baby Boomers Leap Onstage
Philip Martin Gallery ART & DESIGN | ART REVIEW | 'THE PICTURES GENERATION' At the Met, Baby Boomers Leap Onstage By HOLLAND COTTER APRIL 23, 2009 Apart from a few years in the 1960s when the New York culture czar Henry Geldzahler tossed some stardust around, the Metropolitan Museum was a fusty backwater for contemporary art, and an object of scorn in the art world. New work seemed to arrive only in bland job-lot batches. Exhibitions kept being awarded to angsty British painters who had peaked before World War II. A few years ago things began to sharpen up. Modest but on-the-ball displays of recent photography quietly appeared, and, for the first time, video. Damien Hirst’s silly shark arrived. Kara Walker was invited in as a guest curator. And now with “The Pictures Generation, 1974-1984,” the museum has finally made a big leap into the present, or near- present. A decades-long snooze may be over. The show is a winner. It tackles a subject — an innovative and influential body of art produced between two major American economic booms — that has been begging for museum attention. It does so at a time when the work in question has particular pertinence to what’s being made today. And it gives the subject something like classic old master treatment (decent space, big catalog) at probably a fraction of old master cost. As for the art itself — painting, drawing, sculpture, photography, video, installation, prints and books by 30 artists, most of them still active and caught young here — it looks terrific. -
Monographie Books by Alain Kirili Website Alain Kirili
ALAIN KIRILI - COMPLETE BIBLIOGRAPHY Monographie Morgan Robert C., Alain Kirili, Paris, éditions Flammarion, 2002. Dubbeld Sabrina Kirili à Grenoble, Paris, éditions Ereme, 2012 Books by Alain Kirili 1982 Yoni-Lingam, Munich, Schellman & Kluser. 1984 Alberto Giacometti, Plâtres peints, Paris, éditions Maeght. 1986 Kirili, Alain, Statuaire, Paris, éditions Denoël. 1987 Rodin, Dessins érotiques, avec Philippe Sollers Paris, Gallimard. 1996 Sculpture and Jazz, Paris, éditions Stock. 1997 Célébrations, Paris, éditions Christian Bourgois. 2003 Dessins de David Smith: Un choix de Alain Kirili, Paris, éditions ENSBA. 2007 Mémoires de sculpteur, collection “écrits d’artistes”, Paris éditions ENSBA. 2012 Alain Kirili, Art Absolument, Numéro Spécial, Paris Octobre 2012. Website Alain Kirili http://www.kirili.com/ Bibliographie AK_Version a jour decembre 2013 1 Exhibitions Catalogues 1974 Pleynet Marcelin, Alain Kirili: peintures, dessins, sculptures, gravures, Paris, Galerie Sonnabend. 1976 Rooms, New York, Institute of Art and Urban Ressources, P.S.1. Soho-Downtown Manhattan, Berlin, Akademie der Kunst. 1977 Documenta 6 Cassel, Verlag und Gesamtherstellung, Paul Dierichs KG & Co. 1978 Kirili Alain, Storck Gerhard, Alain Kirili geschmiedete Eisenskulpturen, Krefeld, Kaiser Wilhelm Museum der Stadt Krefeld. Welermair Peter, Kirili, Innsbruck, Taxispalais Museum. 1980 Franz Erich, Zeitenossisches Plastik, Bielefeld, Kulturhistoriche Museum. Kirili Alain, “Vive New York, Bye-Bye puritan Landscape, für Thomas Hess”, Zeitenossisches Plastik, Bielefeld, Kulturhistoriche Museum. 1981 Mc Clintic Miranda, Directions, Washington D.C., USA Hirshhorn Museum and Sculpture Garden, Smthsonian Institution. Nash Steven, A.Kirili: Recent Sculpture, Dallas, Museum of Art, USA. 1982 Rosenblum Robert, « Essay » Von Wiese Stephen, Weiermair Peter, Alain Kirili, Frankfurt, Germany, Frankfurter Kunstverein. 1984 Kuspit Donald, Sollers Philippe, Alain Kirili, Paris, galerie Adrien Maeght. -
News Release
NEWS RELEASE FOURTH STREET AT CONSTITUTION AVENUE NW WASHINGTON DC 20565 . 737-4215/842-6353 CONTACT: Dena Crosson Ellen Stanley (202) 842-6353 FOR IMMEDIATE RELEASE ** PRESS PREVIEW: Tues., June 23, 11:00 a.m - 2:00 p.m. MODERN SCULPTURE FROM THE NASHER COLLECTION TO OPEN AT NATIONAL GALLERY Title: A Century of Modern Sculpture: The Patsy and Raymond Nasher Collection WASHINGTON - A major exhibition of modern European and American sculpture, selected from the collection of Patsy and Raymond Nasher, opens at the National Gallery of Art on Sunday, June 28 and continues through January 3, 1988. The exhibition consists of more than 68 works by 36 artists, ranging in date from Auguste Rodin's Eve (1881) to Jonathan Borofsky's Hammering Man (1984-85). The sculpture is installed in front of the East Building and in the public areas of the mezzanine, main floor, and concourse, as well as on the north sculpture terrace, which will be open to the public for the first time. The exhibition is supported by Northern Telecom. (more) nasher collection ... page 2 "The Nashers' is one of the finest private collections of modern sculpture in the world in terms both of the quality of the objects and the comprehensiveness of its sweep," said J. Carter Brown, director of the National Gallery. "We expect this exhibition to be a particularly exciting way for the public to view the masters of the figurative and constructivist traditions and some of the most interesting recent sculpture." The exhibition encompasses almost every major area of 20th-century sculpture, including important works by Rodin, Rosso, Picasso, Matisse, Brancusi, Duchamp-Villon, Gabo, Giacometti, Arp, Ernst, Calder, Moore, Dubuffet, David Smith, Caro, Oldenburg, Segal, Judd and Serra. -
NANCY DWYER Born in New York City, NY Lives and Works in New
NANCY DWYER Born in New York City, NY Lives and works in New Paltz, NY EDUCATION 1972-74 State University College, New Paltz, NY 1975 Empire State College, “Studio Program”, NYC 1974-76 B.F.A., Cum Laude, State University of New York, Buffalo, NY 2000-2002 Masters degree in Interactive Telecommunications, New York University SOLO EXHIBITIONS 2017 Western New York Collects: Nancy Dwyer, Castellani Art Museum, Niagara University, NY 2015 Nancy Dwyer, Sandra Gering Inc., New York, NY 2014 What, David Richard Gallery, Santa Fe, NM 2013 Painting & Sculpture, 1982-2012, Fisher Landau Center for Art, Long Island City, NY 2006 New Work, Sandra Gering Gallery, New York, NY Nancy Dwyer, Firehouse Gallery, Burlington City Arts, Burlington, VT 2001 Coming Up Next…, Dunedin Public Art Gallery, Dunedin, New Zealand 1998 Cristinerose Gallery, New York, NY 1997 Galerie Xippas, Paris, France 1996 Cristinerose Gallery, New York, NY Say What?, Burchfield-Penny Art Center, Buffalo, NY 1995 Galleria Emi Fontana 1994 Gallerie Renos Xippas, Paris, France 1992 Less Is Less, Galerie Renos Xippas, Paris, France Empty Promises, Josh Baer Gallery, NYC Galleria Emi Fontana, Milan, Italy 1991 Linda Cathcart Gallery, Santa Monica, CA 1990 Josh Baer Gallery, NYC 1989 Rhona Hoffman Gallery, Chicago, IL 1988 Meyers/Bloom, Santa Monica, CA Josh Baer Gallery, NYC 1987 Josh Baer Gallery, NYC 1986 Josh Baer Gallery, NYC Cash/Newhouse, NYC 1985 Semaphore Gallery, NYC 1984 Texas Gallery, Houston, Texas Cash/Newhouse, NYC 1983 Semaphore Gallery, NYC (January) Semaphore Gallery, -
Here the Fourth-Floor Galleries Are Named for Her, and Where She Serves on the Board of Trustees
STUDIO TRAVELER WEATHERSPOON ART MUSEUM CONTEMPORARY COLLECTORS GROUP TRIP New York, New York April 4 to 7, 2013 The Warwick is expecting individual group members to arrive the morning of the 7th. If your room is not yet ready, bags can be checked with the front desk. We are to gather on the 53rd Street side of the Museum of Modern Art lobby across from the admissions desks anytime after 12:30 p.m. If you are a member please remember to bring your membership card. Important: If you are to arrive later than 12:50 p.m., please be in touch, 336.312.5654 or [email protected]. Thursday, April 4 12:50 p.m. Tour of Inventing Abstraction: 1910-1925, Museum of Modern Art, 11 West 53rd, NYC If you wish to travel by taxi to our next stop please be in ‘our’ meeting area in the lobby no later than 2:40 p..m.. For those who wish to walk, please allow 15 minutes transit time. 3:00 p.m. Tour of Playing With Fire: 50 Years of Contemporary Glass, Museum of Art and Design, 2 Columbus Circle, NYC If you wish to travel by taxi to our next stop please be in the lobby no later than 4:35p.m. For those who wish to walk, please allow 20 minutes transit time. 5:00 -6:00p.m. Private collection tour and cocktails Friday, April 5 Please gather in the lobby as early as 9:00 a.m. and no later than 9:10 a.m. to allow for loading time. -
Annual Report 2008–2009 Board of Directors the Buffalo Fine Arts Academy 2008–2009
The Buffalo Fine Arts Academy ANNUAL REPORt 2008–2009 BOARD OF DIRECTORS The Buffalo Fine Arts Academy 2008–2009 Susan O’Connor Baird Charles W. Banta Steven G. Biltekoff Robert J. Bojdak Donald K. Boswell Robert T. Brady Helen Cappuccino, M.D. Brian Carter James W. Derrick MISSION Catherine B. Foley The Albright-Knox Art Gallery, one of the nation’s oldest public Scott E. Friedman arts organizations, has a clear and compelling mission to Sally Gioia Robert M. Greene acquire, exhibit, and preserve both modern and contemporary L. N. Hopkins, M.D. art. It focuses especially on contemporary art, with an active Peter F. Hunt commitment to taking a global and multidisciplinary approach Thomas R. Hyde to the presentation, interpretation, and collection of the artistic Roberta Joseph expressions of our times. In an enriching, dynamic, and vibrant Northrup R. Knox, Jr. environment that embraces diverse cultures and traditions, the Seymour H. Knox IV Jordan A. Levy Gallery seeks to serve a broad and far-reaching audience. Brian J. Lipke Gerald S. Lippes Judith C. Lipsey VISION Annmarie L. Maxwell Katherine McDonagh It is the commitment of the Albright-Knox Art Gallery to be one of Mark R. Mendell the world’s best and most dynamic modern and contemporary art Victoria Beck Newman institutions. Alphonso O’Neil-White Frederick G. Pierce II It will be recognized locally as a vital and energetic cultural Bruce D. Reinoso gathering place and as an indispensable educational resource for Deborah Ronnen the community. John R. Sanderson Robert B. Skerker Through its outstanding programs, creative collaborations, and an Elisabeth Roche Wilmers extraordinary new addition that will address pressing space issues Leslie H.