Annual Report for the Year 2007–2008
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THE AMERICAN ART-1 Corregido
THE AMERICAN ART: AN INTRODUCTION Compiled by Antoni Gelonch-Viladegut For the Gelonch Viladegut Collection Paris-Boston, April 2011 SOMMARY INTRODUCTION 3 18th CENTURY 5 19th CENTURY 6 20th CENTURY 8 AMERICAN REALISM 8 ASHCAN SCHOOL 9 AMERICAN MODERNISM 9 MODERNIST PAINTING 13 THE AMERICAN SOUTHWEST 14 HARLEM RENAISSANCE 14 NEW DEAL ART 14 ABSTRACT EXPRESSIONISM 15 ACTION PAINTING 18 COLOR FIELD 19 POLLOCK AND ABSTRACT INFLUENCES 20 ART CRITICS OF THE POST-WORLD WAR II ERA 21 AFTER ABSTRACT EXPRESSIONISM 23 OTHER MODERN AMERICAN MOVEMENTS 24 THE GELONCH VILADEGUT COLLECTION 2 http://www.gelonchviladegut.com The vitality and the international presence of a big country can also be measured in the field of culture. This is why Statesmen, and more generally the leaders, always have the objective and concern to leave for posterity or to strengthen big cultural institutions. As proof of this we can quote, as examples, the Bibliothèque Nationale de France, the British Museum, the Monastery of Escorial or the many American Presidential Libraries which honor the memory of the various Presidents of the United States. Since the Holy Roman Empire and, notably, in Europe during the Renaissance times cultural sponsorship has been increasingly active for the sake of art or for the sense of splendor. Nowadays, if there is a country where sponsors have a constant and decisive presence in the world of the art, this is certainly the United States. Names given to museum rooms in memory of devoted sponsors, as well as labels next to the paintings noting the donor’s name, are a very visible aspect of cultural sponsorship, especially in America. -
March 3-9, 2017 Books/Talks Santa Fe Ukulele Social Club Events ¡Chispa! at El Mesón Jordan Flaherty Thebeestrobistro, 101 W
CALENDAR LISTING GUIDELINES •Tolist an eventinPasa Week,sendanemail or press release to [email protected] or [email protected]. •Send material no less than twoweeks prior to the desired publication date. •For each event, provide the following information: time,day,date, venue/address,ticket prices,web address,phone number,and brief description of event(15 to 20 words). •All submissions arewelcome; however, events areincluded in Pasa Week as spaceallows. Thereisnocharge forlistings. • Returnofphotos and other materialscannot be guaranteed. • Pasatiempo reserves the righttopublish received information and photographs on The NewMexican's website. ARTS AND ENTERTAINMENT CALENDAR •Toadd your eventtoThe New Mexican online calendar,visit santafenewmexican.com and click on the Calendar tab. March3-9,2017 •For further information contactPamela Beach: [email protected], 202 E. MarcySt., Santa Fe,NM87501, phone: 505-986-3019. CALENDAR COMPILED BYPAMELABEACH FRIDAY 3/3 available,505-988-1234, ticketssantafe.org, Saturdayencore. Galleryand Museum Openings Enfrascada AdobeGallery Teatro Paraguas Studio,3205 Calle Marie, 505-424-1601 221 Canyon Rd., 505-955-0550 Teatro Paraguas presents acomedy by playwright ACenturyofSan Ildefonso Painters: 1900-1999; TanyaSaracho,7:30 p.m., $12 and $20, enfrascada reception 5-7 p.m.; through April. .brownpapertickets.com, Thursdays-Sundays Axle Contemporary through March12. Look forthe mobile galleryinfront of the New Mexico Spring IntoMotion Museum of Art, 107W.PalaceAve. National DanceInstituteNew MexicoDanceBarns, Physical,mixed-media installation by Kathamann; 1140 Alto St. reception 5-7 p.m. Visit axleart.com forvan Astudentproduction, 7p.m., $10 and $15, locations through March26. ndi-nm.org, 505-983-7661. Back PewGallery UnnecessaryFarce First Presbyterian Church of SantaFe, 108 GrantAve., SantaFePlayhouse,142 E. -
The Los Angeles
Otis College of Art and Design Ben Maltz Gallery 9045 Lincoln Boulevard, Los Angeles, CA 90045 www.otis.edu/benmaltzgallery; [email protected]; (310) 665-6905 ©2014, Binding Desire: Unfolding Artists Books Otis College of Art and Design, Ben Maltz Gallery ISBN: 0-930209-34-6 This book is published in conjunction with the exhibition Binding Desire: Unfolding Artists Books, January 25-March 30, 2014, organized by the Ben Maltz Gallery at Otis College of Art and Design. The project is funded in part by The Gladys Krieble Delmas Foundation. All rights reserved. No part of this book may be reproduced in any form by any electronic or me- chanical means (including photography, recording, or information stor- age and retrieval) without permission in writing from publisher. Publisher: Otis College of Art and Design, Ben Maltz Gallery Editors: Cathy Chambers, Meg Linton, Sue Maberry Designer: Sheldon Forbes Publication Format: iBook Images: Unless noted otherwise, photography and videography by Kathleen Forrest, Derek McMullen, Sarah Morton, and Chris Warner i Contents • Introduction – Meg Linton • L.A. Bound – Kathleen Walkup • Plates of Works in the Exhibition • Curricular Connections • Public Programming • Biographies • Acknowledgements ii Introduction by Meg Linton Binding Desire: Unfolding Artists Books presents a sampling of works from the Otis Millard Sheets Library’s Spe- cial Collection of artists’ books dating from the 1960s to the present. This teaching collection is one of the larg- est in Southern California with over 2,100 objects and it includes work by such luminaries as Vito Acconci, Joseph Beuys, and Ed Ruscha as well as significant work from major pro- duction centers like Beau Geste Press, Paradise Press, Printed Matter, Red Fox Press, and Women’s Studio Workshop. -
Modernism 1 Modernism
Modernism 1 Modernism Modernism, in its broadest definition, is modern thought, character, or practice. More specifically, the term describes the modernist movement, its set of cultural tendencies and array of associated cultural movements, originally arising from wide-scale and far-reaching changes to Western society in the late 19th and early 20th centuries. Modernism was a revolt against the conservative values of realism.[2] [3] [4] Arguably the most paradigmatic motive of modernism is the rejection of tradition and its reprise, incorporation, rewriting, recapitulation, revision and parody in new forms.[5] [6] [7] Modernism rejected the lingering certainty of Enlightenment thinking and also rejected the existence of a compassionate, all-powerful Creator God.[8] [9] In general, the term modernism encompasses the activities and output of those who felt the "traditional" forms of art, architecture, literature, religious faith, social organization and daily life were becoming outdated in the new economic, social, and political conditions of an Hans Hofmann, "The Gate", 1959–1960, emerging fully industrialized world. The poet Ezra Pound's 1934 collection: Solomon R. Guggenheim Museum. injunction to "Make it new!" was paradigmatic of the movement's Hofmann was renowned not only as an artist but approach towards the obsolete. Another paradigmatic exhortation was also as a teacher of art, and a modernist theorist articulated by philosopher and composer Theodor Adorno, who, in the both in his native Germany and later in the U.S. During the 1930s in New York and California he 1940s, challenged conventional surface coherence and appearance of introduced modernism and modernist theories to [10] harmony typical of the rationality of Enlightenment thinking. -
Ryan Molenkamp
RYAN MOLENKAMP Selected solo exhibitions 2018 The Last Frontier, Kirkland Arts Center/Kirkland Public Library, Kirkland, WA 2017 Vancouver! Vancouver! This is It!, Linda Hodges Gallery, Seattle, WA 2016 Still Afraid, Linda Hodges Gallery, Seattle, WA 2016 New Paintings, Duplex Gallery, Portland, OR 2014 Fear of Volcanoes, Linda Hodges Gallery, Seattle, WA 2011 The Watcher, Bryan Ohno Gallery, Seattle, WA 2010 Flood, Gallery4Culture, Seattle, WA Sound Plans, Handforth Gallery @ Tacoma Public Library, Tacoma, WA 2008 View Lots, SOIL Gallery, Seattle, WA 2003 Automatic Style, Brick and Mortar Gallery, Tacoma, WA Selected group exhibitions 2018 Collectors Choice, SAM Gallery, Seattle, WA 2018 Outside Influences, SAM Gallery, Seattle, WA 2017 Point of View, LAUNCH LA/KP Projects, Los Angeles, CA 2017 Seeing Northwest Nature, SAM Gallery, Seattle, WA 2016 Urban Artist Showcase, Chehalem Cultural Center, Newberg, OR 2015 Bellingham National 2015, Whatcom Museum, Bellingham, WA 2014 Made in the Northwest, SAM Gallery, Seattle, WA 2013 Suburbia: Dream or Nightmare?, Linda Hodges Gallery, Seattle, WA Connections, Cuchifritos Gallery, New York, NY Cascadia, Collar Works Galley, Troy, NY 2012 Conditions of Possibility, Umpqua Valley Arts Center, Roseburg, OR 2011 Earth Matters, SAM Gallery, Seattle, WA Home Away From Home, Jacob Lawrence Gallery, Seattle, WA Mad Homes, public art exhibition presented by MadArt, Seattle, WA Forecast: Communicating Weather and Climate, WA State Convention Center Bloom + Collapse, SOIL, Seattle, WA 2010 KAC Links Invitational, -
The Museum of Modern Art U West 53 Street, New York, N.Y
The Museum of Modern Art U west 53 Street, New York, N.Y. 10019 Tel. 956-6100 Cable: Modemart NO. 13 FOR RELEASE: FEBRUARY 11, 1972 RECENT ACQUISITIONS X A construction and a painting from the early twentieth century by two Russians and a group of six paintings from the sixties make up the exhibition of new acquisitions to The Museum of Modern Art Painting and Sculpture Collection on view on the first floor through March 5. The Russian works are a life-size figure constructed of painted wood elements (with some crushed eggshells applied for pointillist effect) by the virtually forgotten sculptor and painter Vladimir Baranoff-Rossine (1888-1942), and a large gouache by Ivan Puni (1894- 1956) called Flight of Forms. These purchases constitute major additions by artists not previously represented in the Museum's collection of the crucial, short-lived development of abstract art in Russia before and after the Revolution of 1917. Historically, the Bara- noff-Rossine is especially interesting. Called Symphony Number 1, it was done in Paris in 1913 under the influence of Cubism and establishes the artist as a pioneer experimenter, together with Picasso and Archipenko, with the concept of constructed sculpture, using found components and unconventional materials. In its ambitious scale and intricacy of construction and painted surface, however, it goes beyond anything produced until then by either Picasso or Archipenko. Its title parallels the use of musical nomenclature by the artist's fellow Russian, Wassily Kandinsky, and other works by Baranoff-Rossine confirm his interest in finding a means of integrating musical concepts with those of the visual arts. -
Oral History Interview with Edward B. Thomas, 1983 April 28-May 10
Oral history interview with Edward B. Thomas, 1983 April 28-May 10 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 Edward B. Thomas on April 28 & May 10, 1983. The interview took place in Seattle, Washington, and was conducted by John Olbrantz for the Archives of American Art, Smithsonian Institution. Interview DATE: APRIL 28, 1983 [Tape 1] JOHN OLBRANTZ: Ed, can you tell me a little bit about your background, where you were born, your early childhood experiences, your parents, who your father was, who your mother was, how they came to live in this part of the country? EDWARD THOMAS: Well, I was born in Cosmopolis, Washington, and many times when I've come through customs, when I was much younger and especially at the Mexican border, they would say, "Where were you born?" and I'd say, "Cosmopolis, Washington," they'd say, "Look, bud! Don't get funny with us." (laughter) But there actually is such a place as Cosmopolis, Washington. Nobody had any particular influence upon me, I would say, in my younger years as far as becoming interested in art, and particularly teaching art. I had a very severe illness when I was four and five years old and was confined to bed a lot, and so people brought me tablets and color crayons and pencils and stuff like that. -
2019-2020 Year in Review
Table of Contents 3 Director’s Welcome 7 Objects in Space: A Conversation with Barry Bergdoll and Charlotte Vignon 17 Glorious Excess: Dr. Susan Weber on Victorian Majolica 23 Object Lessons: Inside the Lab for Teen Thinkers 33 Teaching 43 Faculty Year in Review 50 Internships, Admissions, and Student Travel and Research 55 Research and Exhibitions 69 Gallery 82 Publications 83 Digital Media Lab 85 Library 87 Public Programs 97 Fundraising and Special Events Eileen Gray. Transat chair owned by the Maharaja of Indore, from the Manik Bagh Palace, 1930. Lacquered wood, nickel-plated brass, leather, canvas. Private collection. Copyright 2014 Phillips Auctioneers LLC. All Rights Reserved. Director’s Welcome For me, Bard Graduate Center’s Quarter-Century Celebration this year was, at its heart, a tribute to our alumni. From our first, astonishing incoming class to our most recent one (which, in a first for BGC, I met over Zoom), our students are what I am most proud of. That first class put their trust in a fledgling institution that burst upon the academic art world to rectify an as-yet-undiagnosed need for a place to train the next generation of professional students of objects. Those beginning their journey this fall now put their trust in an established leader who they expect will prepare them to join a vital field of study, whether in the university, museum, or market. What a difference a generation makes! I am also intensely proud of how seriously BGC takes its obligation to develop next-generation scholarship in decorative arts, design his- tory, and material culture. -
French Impressionism and the Northwest
Contact: Hillary Ryan, 253.272.4258 ext 3051 [email protected] Tacoma Art Museum presents New Exhibition Monet, Renoir, Degas, and Their Circle: French Impressionism and the Northwest IMAGES AVAILABLE August 2, 2019 (Tacoma, WA)— Opening on September 28, Tacoma Art Museum will present Monet, Renoir, Degas, and Their Circle: French Impressionism and the Northwest, a new exhibition that examines how the work of French Impressionists and their immediate precursors made their way into Northwest public and private collections. It also will include selected paintings by American and Northwest artists to illustrate the spread of Impressionism across the country. “The purpose of this exhibition is deeply connected to the same passion that drove the French Impressionists, to transform the way we see,” said David F. Setford, TAM’s Executive Director and curator of this exhibition. “It does this in two ways. First, it puts rarely seen works from TAM’s European art collection into context and allows for an expanded visitor learning opportunity. In addition, it is also the first time that these Impressionist works from museums and private collections in the Northwest have been seen together. It will provide a lasting resource about French Impressionism and its historical impact for curators and collectors in our region and beyond.” Monet, Renoir, Degas, and Their Circle: French Impressionism and the Northwest was organized and curated by the Tacoma Art Museum, and includes approximately fifty (50) works of art. The exhibition is accompanied by a small publication including essays by Setford and TAM curator Margaret Bullock, as well as an online listing of French Impressionist works currently in Northwest public collections. -
Edward Ruscha
Edward Ruscha Born December 16, 1937, Omaha, Nebraska. Moved to Oklahoma City, Oklahoma, 1941. Moved to California in 1956. Currently lives in Culver City, CA. Education Chouinard Art Institute, Los Angeles, 1956 - 1960 Awards & Grants 1967 National Council on the Arts Grant 1969 National Endowment for the Arts Grant Tamarind Lithography Workshop Fellowship 1971 Guggenheim Foundation Fellowship 1974 Skowhegan School of Painting and Sculpture Award in Graphics 1988 Graphic Arts Council of the Los Angeles County Museum of Art, Achievement in Printmaking Award 1995 California Arts Council, Governor’s Awards for the Arts, Achievement in Visual Arts Award 2009 Artistic Excellence Award, Americans for the Arts Selected Exhibitions 1969 La Jolla Museum of Art, California 1972 University of California, Santa Cruz (Jan.17-Feb.11) Catalogue Minneapolis Institute of Arts, Minneapolis, Minnesota (April-May) 1973 Books by Edward Ruscha. University of California, San Diego (January 9- 26) WORKS BY EDWARD RUSCHA FROM THE COLLECTION OF PAUL J. SCHUPF, Picker Gallery, Colgate University, Hamilton, New York (November 2 - December 2) WORKS BY EDWARD RUSCHA. Francoise Lambert, Milan, Italy. EDWARD RUSCHA PRINTS / BOOKS, Root Art Center, Hamilton College, Clinton, New York (Jan. 3 - 23) 1974 FILM PREMIUM AND BOOKS, Contemporary Graphics Center, Santa Barbara Museum of Art, Santa Barbara, California (Oct. 29 - Dec. 5) Golden West College, Huntington Beach, California EDWARD RUSCHA, PRINTS / PUBLICATIONS 1962-74. The Arts Council of Great Britain, traveling exhibition to twelve Arts Council member galleries; Northern Kentucky State University, Highland Heights, Kentucky; Los Angeles. Catalog. ED RUSCHA: PRINTS, Northern Kentucky State University, Highland Height, Kentucky AUSTIN ART PROJECTS RING. -
Northwest Fine Art & Antique Auction
Northwest Fine Art & Antique Auction August 27th, 2009 - 717 S 3rd St, Renton 14% Buyers Premium in Effect Auction Pick-up: Half Hour Following Auction or Friday, 08/28 & Tuesday, 09/01: Noon-5PM Lot Description 21 2 Boxes Loose Richard Lachman Cut Ink Drawings 1 Richard Kirsten "House of Many 22 3ea Richard Lachman Colored Ink Drawings Memories" Acrylic 22x16" 23 Box Richard Lachman Square Ink Drawings 2 Edna Crews "Snowcapped Forest" 24 4ea Richard Lachman Portrait Ink Drawings Watercolor 16x20.75" 25 Richard Lachman Large Sketchbook & 3 James Farr "Infinite Cycle of Renewal" Loose Ink Drawings 1973 Tempera 23.5x18.5" 26 Stack Richard Lachman Ink Drawings - 4 1997 S/N Abstract Etching Sketchbook Pages 5 Norman Lundin "Russian Landscape: 27 5x11' Oriental Rug Morning River" Charcoal/Pastel 26x37" 28 2 Carol Stabile Pastel Framed Paintings 6 K.C. McLaughlin "Exterior with 29 1969 Surrealist Mixed Media Painting Awnings" Dry Pigment 17x25" 34x30" - Signed Riote? 7 Edna Crews "Moonlit Meadow" 30 Signed F.W. Die? "Eye" Ink/Canvas 16x20" Watercolor 16.5x21.5" 31 Fred Marshall A.W.S. "Harbor - Puget 8 Edna Crews "Winter Meadow" Acrylic Sound" 1970 Watercolor 17x20.5" 31.5x23" 32 Fred Marshall Framed Watercolor 9 Richard Lachman "Cocktail Party" 1980 "Landscape with Deer" 16x21" Ink/Paper 16x22" 33 Flora Correa "Weeds Blowing" 1977 Collage 10 Richard Lachman "Dixy & Jaques" 24x12" Mixed Media 18x26" 34 Bonnie Anderson "Bucket of Lemons" Oil 11 Richard Lachman "Day Before Eden" 8x10" Mixed Media 18x26" 35 Bonnie Anderson "Lemon Drop Tree" Oil 12 Natalie McHenry Untitled – 38x14.25" "Marionettes" Watercolor 19x25" 36 Ray Hill Untitled - "Lake Scene" 1969 13 Edna Crews Untitled - "Mystic Bird" Watercolor 14x20" Oil/Board 40x30" 37 Signed S. -
Northwest Modernism & Western Fine Art Thursday June 20Th @ 5:00PM
Northwest Modernism & Western Fine Art Thursday June 20th @ 5:00PM 20% Buyers Premium In-House 25% Buyers Premium Online/Phone (425) 235-6345 SILENT AUCTIONS custom made Northwest Designer Craftsmen tansu chest with four drawers and door with Featuring a Large Silent Auction of metal pulls. Burned in mark on interior of Northwest Art & Native Books! drawer. Some scattered light surface wear. 5 Eames for Herman Miller Rosewood Lounge Lots 1,000’s End @ 8:00PM Chair & Ottoman. A vintage 670 & 671 set with black leather cushions. One of a pair Lot Description being offered. Chair 32''x33.5''x32'' and ottoman 17''x26''x22''. Original labels on 1 George Nakashima Studio Lounge Chair bottom dated Nov. 1 1978. Scattered wear to Rocker with Free Arm 32.5"x31"x34". A leather from use and one leather button is custom walnut rocking lounge chair with missing on chair seat. Overall excellent right free edge arm. Hickory wood spindles. condition. Charles and Ray Eames. Burned in mark on bottom with family name 6 Eames for Herman Miller "Time-Life" Stool on tape. Break to one spindle with scattered 15"x13". A vintage walnut stool or bench. light surface wear. Some light surface wear to top. Overall 2 Nakashima Style Free Edge Walnut Coffee excellent condition. Unmarked. Charles and Table 17.5"x79.5"x35". A long free edge Ray Eames. coffee table with trestle base. Unsigned. 7 Eames for Herman Miller Rosewood Lounge Some scattered light surface wear. From the Chair & Ottoman. A vintage 670 & 671 set same collection as the George Nakashima with black leather cushions.