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Artist Information Binder
50th Reunion Art Exhibition years—the distance between Gothic and Renaissance art; between Mannerism and Baroque; and between Impressionism and Surrealism. Has 50 that much time passed since we left Smith? The variety of styles and ways of working represented in this exhibition is vast. The predominance of media, whose new digital processes would have been unfathomable, urges us to examine our situation as Smith art students from 1963 to 1967? What did we learn? What have we lived through? How different are we now from who we were? Who are we—as artists—now? We were taught by male artists who were trained as Social Realists. Some were painterly abstractionists, some were figurative. All of them had to contend with the war’s aftermath. Most had a profound sense of social justice and they passed that sense of purpose on to us. Female role models were not present within the studio faculty. The Smith College Museum of Art’s collection included few works by women artists. We could study painting, drawing, design, sculpture, printmaking (relief, intaglio, and lithography – black-and-white only), typography and book design, and even architecture. We could take Smith’s magnificent classes in art history – a history that omitted women. During our time at Smith, the inventor of polymer acrylic paint visited to promote and extoll this revolutionary medium. It was a cutting-edge experience. However, the College did not offer ceramics, photography, or film making. If you studied those media elsewhere, you were unable to earn academic credit. Video and computer graphics did not exist except in the minds of the most visionary, experimental artists. -
Jean-Noel Archive.Qxp.Qxp
THE JEAN-NOËL HERLIN ARCHIVE PROJECT Jean-Noël Herlin New York City 2005 Table of Contents Introduction i Individual artists and performers, collaborators, and groups 1 Individual artists and performers, collaborators, and groups. Selections A-D 77 Group events and clippings by title 109 Group events without title / Organizations 129 Periodicals 149 Introduction In the context of my activity as an antiquarian bookseller I began in 1973 to acquire exhibition invitations/announcements and poster/mailers on painting, sculpture, drawing and prints, performance, and video. I was motivated by the quasi-neglect in which these ephemeral primary sources in art history were held by American commercial channels, and the project to create a database towards the bibliographic recording of largely ignored material. Documentary value and thinness were my only criteria of inclusion. Sources of material were random. Material was acquired as funds could be diverted from my bookshop. With the rapid increase in number and diversity of sources, my initial concept evolved from a documentary to a study archive project on international visual and performing arts, reflecting the appearance of new media and art making/producing practices, globalization, the blurring of lines between high and low, and the challenges to originality and quality as authoritative criteria of classification and appreciation. In addition to painting, sculpture, drawing and prints, performance and video, the Jean-Noël Herlin Archive Project includes material on architecture, design, caricature, comics, animation, mail art, music, dance, theater, photography, film, textiles and the arts of fire. It also contains material on galleries, collectors, museums, foundations, alternative spaces, and clubs. -
NANCY GOLDRING 463 West St. Apt. A1112 NY NY 10014
NANCY GOLDRING 463 West St. Apt. A1112 NY NY 10014 INDIVIDUAL EXHIBITIONS Projections: Place without Description by Nancy Goldring, Devi Art Foundation, The Sarai Center for Developing Studie, sponsored by Goethe House and Thyssen-Bornemisza Museum, Delhi, 2012-2013 Vanishing Points (Punti di Fuga), The Monitor Space, Casa dell'Architettura, Rome, April 2012: Galleria Martini Ronchetti, Genoa Sept. Jan 2013 Nancy Goldring, Carrie Haddad Gallery, Hudson, NY, Sept 2010 The Last Days of Print Culture, European Institute, Columbia University, NY, Sept 2009 Lo Studiolo di Nancy Goldring, Palazetto di Eucherio Sanvitale, Parma, Italy, Sept 2008 Sense of Place, KIKA Gallery, Parma, Italy, Sept 2008 Palimpsest, Gallery 138, New York City, March 2006 Palinsesto, Palazzo Pigorini, Parma, Italy, Feb -April, 2005, catalog with essays by David Levi Strauss, Paolo Barbaro (Mazzotta Ed.) Nancy Goldring, Foto Fo, International Month of Photography, Galerie Z, Bratislava, Czech Republic, cat. repro, Nov 2003 Duet, San Vitale, Comune di Parma, Italy, cat. essay by Paolo Barbaro, Sept 2003 Legend, Lyman Allen Museum, New London, CT, Sept 2002 Foto Fest, Houston Center for Photography, Houston, TX, March 2002 Sites and Sets, Baruch College, Sept 2001 Distillations, Southeast Museum of Photography, Daytona Beach, FL, Oct 2000 DIF, web gallery, University of Houston, March 2000 Distillations, National Centre for Photography as an Art Form, Bombay, India, Nov 1997 The Ocular Proof, ACTA International, Rome Italy, Oct-Nov 1996 Speculations, R. Duane Reed Gallery, St. Louis, MO, April 1996 Cibachrome Foto-Projections, Elliot Smith Contemporary Art, St. Louis, MO, March 1994 Foto-Projections, Hampshire College, Amherst, MA, Sept-Oct 1993 Dream Stills, Jayne H. -
The Library of Professor Leo Steinberg
The Library of Professor Leo Steinberg 4164 titles in ca. 4600 physical volumes INTRODUCTORY MATERIAL DICTIONARY OF ART HISTORIANS A Biographical Dictionary of Historic Scholars, Museum Professionals and Academic Historians of Art Steinberg, Leo, né Zalman Lev Date born: July 9, 1920 Place Born: Moscow, Russia Date died: March 13, 2011 Place died: New York, NY Michelangelo- and modernist art historian; Benjamin Franklin professor of art at University of Pennsylvania, 1975- 1991. Steinberg was born in Moscow of German-Jewish parents (his mother was Anyuta Esselson [Steinberg], 1890- 1954) and his father, Isaac Nachman Steinberg (1888-1957), government figure and lawyer in revolutionary Russia. Lenin appointed Steinberg's father commissar of justice. His idealism, (he wanted to abolish the prison system, for example) forced the family into exile in Berlin, where the younger Steinberg grew up. After the rise of the Nazis in Germany, the family moved to London where Steinberg studied (studio) painting and sculpture at the Slade School in London from 1936 to 1940. After World War II he immigrated to New York working initially as a freelance writer and translator (including a holocaust account, Ashes and Fire, 1947). He also taught drawing at the Parsons School of Design. He studied art history at the Institute of Fine Arts, New York University, under Richard Krautheimer and Wolfgang Lotz, receiving his Ph.D., in 1960. His dissertation, written under Lotz, was on Borromini's San Carlo alle Quattro Fontane. In 1962 he an art editor for Life magazine married Dorothy Seiberling (later divorced). Between 1962-1975 Steinberg taught art history and life drawing at Hunter College, the City University of New York.