Oral History Interview with Luchita Hurtado
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Gordon Onslow Ford Voyager and Visionary
Gordon Onslow Ford Voyager and Visionary 11 February – 13 May 2012 The Mint Museum 1 COVER Gordon Onslow Ford, Le Vallee, Switzerland, circa 1938 Photograph by Elisabeth Onslow Ford, courtesy of Lucid Art Foundation FIGURE 1 Sketch for Escape, October 1939 gouache on paper Photograph courtesy of Lucid Art Foundation Gordon Onslow Ford: Voyager and Visionary As a young midshipman in the British Royal Navy, Gordon Onslow Ford (1912-2003) welcomed standing the night watch on deck, where he was charged with determining the ship’s location by using a sextant to take readings from the stars. Although he left the navy, the experience of those nights at sea may well have been the starting point for the voyages he was to make in his painting over a lifetime, at first into a fabricated symbolic realm, and even- tually into the expanding spaces he created on his canvases. The trajectory of Gordon Onslow Ford’s voyages began at his birth- place in Wendover, England and led to the Royal Naval College at Dartmouth and to three years at sea as a junior officer in the Mediterranean and Atlantic fleets of the British Navy. He resigned from the navy in order to study art in Paris, where he became the youngest member of the pre-war Surrealist group. At the start of World War II, he returned to England for active duty. While in London awaiting a naval assignment, he organized a Surrealist exhibition and oversaw the publication of Surrealist poetry and artworks that had been produced the previous summer in France (fig. -
Sonja Sekula's Time May Have Finally Come
PETER BLUM GALLERY Sonja Sekula’s Time May Have Finally Come Sekula was part of a number of different overlapping scenes, and she was loved and thought highly of by many. And then nearly everything about her and her work got forgotten. GALLERIES | WEEKEND By John Yau Saturday April 29, 2017 Sonja Sekula (1918-1963) piqued my curiosity when I first saw some of her works just a few months ago. Still, I was not sure what to expect when I went to the current exhibition Sonja Sekula: A Survey at Peter Blum Gallery (April 21 – June 24, 2017). I had known that this troubled, Swiss-born artist was part of an international circle of artists, writers, choreographers, and composers in New York in the 1940s, when she was in her early twenties, and that since her death by suicide in 1963, she and her work have largely been effaced from history. But aside from a few biographical facts and the handful of works I saw, I knew little else, but it was more than enough to bring me back. Ethnique, (1961), gouache on paper, 20 1/8 x 20 1/8 inches (all images courtesy Peter Blum At one point, while circling the Gallery, New York) galleries two space for the second or third time, I stopped to peer into a vitrine and saw photographs of a young woman sitting in the apartment of Andre Breton when he lived in New York during World War II. In another photograph she and sister are hugging Frida Kahlo, who is recuperating in a New York hospital room. -
André Breton Och Surrealismens Grundprinciper (1977)
Franklin Rosemont André Breton och surrealismens grundprinciper (1977) Översättning Bruno Jacobs (1985) Innehåll Översättarens förord................................................................................................................... 1 Inledande anmärkning................................................................................................................ 2 1.................................................................................................................................................. 3 2.................................................................................................................................................. 8 3................................................................................................................................................ 12 4................................................................................................................................................ 15 5................................................................................................................................................ 21 6................................................................................................................................................ 26 7................................................................................................................................................ 30 8............................................................................................................................................... -
Luchita Hurtado Dark Years
HAUSER & WIRTH Press Release Luchita Hurtado Dark Years 31 January – 6 April 2019 Hauser & Wirth New York, 69th Street Opening reception: Thursday 31 January, 6 – 8 pm ‘When that first photograph was taken of the world from space and you saw this little ball in blackness… I became aware of what I felt I was. I feel very much that a tree is a relative, a cousin. Everything in this world, I find, I’m related to.’ – Luchita Hurtado, 2018 New York... For more than seventy years, Los Angeles-based artist Luchita Hurtado has merged abstraction and representation with mystical effect, exploring connections between the body and its larger context – nature, the environment, and the cosmos – in an effort to express universality and transcendence. ‘Dark Years,’ Hurtado’s first solo exhibition with Hauser & Wirth, focuses on the artist’s early works from the 1940s to the 1950s, a period defined by prolific experimentation. Comprising of crayon and ink paintings on board and paper, graphite and ink drawings, and oil paintings on canvas, the works on view range stylistically from surrealist figuration and geometric patterning to biomorphic forms executed with expressive acuity. Together, they underscore the vast scope of Hurtado’s early expression and illuminate the origins of an artistic output that would continue to evolve for decades to come. Hurtado’s multicultural life and career reflect in the eclectic mediums and formal techniques of her oeuvre. Born in Maiquetia, Vargas, Venezuela in 1920, she emigrated to the United States in 1928, settling in New York where she attended classes at the Art Students League. -
Es Probable, De Hecho, Que La Invencible Tristeza En La Que Se
Surrealismo y saberes mágicos en la obra de Remedios Varo María José González Madrid Aquesta tesi doctoral està subjecta a la llicència Reconeixement- NoComercial – CompartirIgual 3.0. Espanya de Creative Commons. Esta tesis doctoral está sujeta a la licencia Reconocimiento - NoComercial – CompartirIgual 3.0. España de Creative Commons. This doctoral thesis is licensed under the Creative Commons Attribution-NonCommercial- ShareAlike 3.0. Spain License. 2 María José González Madrid SURREALISMO Y SABERES MÁGICOS EN LA OBRA DE REMEDIOS VARO Tesis doctoral Universitat de Barcelona Departament d’Història de l’Art Programa de doctorado Història de l’Art (Història i Teoria de les Arts) Septiembre 2013 Codirección: Dr. Martí Peran Rafart y Dra. Rosa Rius Gatell Tutoría: Dr. José Enrique Monterde Lozoya 3 4 A María, mi madre A Teodoro, mi padre 5 6 Solo se goza consciente y puramente de aquello que se ha obtenido por los caminos transversales de la magia. Giorgio Agamben, «Magia y felicidad» Solo la contemplación, mirar una imagen y participar de su hechizo, de lo revelado por su magia invisible, me ha sido suficiente. María Zambrano, Algunos lugares de la pintura 7 8 ÍNDICE INTRODUCCIÓN 13 A. LUGARES DEL SURREALISMO Y «LO MÁGICO» 27 PRELUDIO. Arte moderno, ocultismo, espiritismo 27 I. PARÍS. La «ocultación del surrealismo»: surrealismo, magia 37 y ocultismo El surrealismo y la fascinación por lo oculto: una relación polémica 37 Remedios Varo entre los surrealistas 50 «El giro ocultista sobre todo»: Prácticas surrealistas, magia, 59 videncia y ocultismo 1. «El mundo del sueño y el mundo real no hacen más que 60 uno» 2. -
Do It (Home) Do It (Home) Curated by Hans Ulrich Obrist
do it (home) do it (home) Curated by Hans Ulrich Obrist As social distancing requirements remain necessary, and many around the world are experiencing renewed calls to stay home, ICI and Hans Ulrich Obrist are expanding do it (home) with a new version of the project that features 54 artists’ instructions. These include new commissions as well as recent contributions from do it (around the world) at the Serpentine Galleries and do it (australia), produced by Kaldor Art Projects. Explore this additional collection of do it (home) instructions that will take you away from your screens, and recreate an art experience at home. You will respond to the artists’ call, follow their lead, enter their world, and realize an artwork on their behalf. When you’re ready to return to the screen, share that you did it! Make connections with other doers on Instagram, #doithome do it (home) was first conceived by Obrist and produced by ICI in 1995, as a collection of do it instructions that could easily be realized in one’s own home. In Spring 2020, in response to the global impact of the COVID-19 pandemic, a new version of do it (home) was launched and shared through more than 50 collaborating art spaces from within ICI’s international network. In 1993, Obrist together with artists Christian Boltanksi and Bertrand Lavier, conceived do it, an exhibition based entirely on artists’ instructions, which could be followed to create temporary art works for the duration of a show. do it has challenged traditional exhibition formats, questioned authorship, and championed art’s ability to exist beyond a single gallery space. -
Introduction: Future Varda
Introduction: Future Varda Rebecca J. DeRoo and Homay King Agnès Varda achieved success with award-winning films span- ning a directorial career of more than six decades; in the last years of her life she became a major public figure in the global press and on social media. Retrospectives following her death in March 2019 have further sparked interest and acclaim across gen- erations. Her final film,Varda by Agnès (Varda par Agnès, France, 2019), continues to be screened globally. Varda has attracted important scholarly and critical attention not only for her prolific cinematic career but also for her work across visual media, from photography to installation art. Moreover, people view her as someone who surmounted obstacles — creating her own produc- tion company and making work largely outside the mainstream industry — and who also confronted those obstacles on behalf of others, participating in women’s demonstrations and public activ- ism into the final years of her life. Now is a moment when every- one is discovering or looking anew at Varda. We contend that this is also the time to look at what is most extreme, innovative, and challenging in Varda’s work, at what speaks to the future. Building on generations of important schol- arship about Varda and her work, we continue the dialogue across Camera Obscura 106, Volume 36, Number 1 doi 10.1215/02705346-8838505 © 2021 by Camera Obscura Published by Duke University Press 1 Downloaded from http://read.dukeupress.edu/camera-obscura/article-pdf/36/1 (106)/1/916640/1deroo.pdf by guest on 23 September 2021 2 • Camera Obscura disciplines and focus on some key areas of Varda’s corpus. -
Leading Contemporary Artists to Donate Works for Auction at Sotheby's Supporting The
New York | +1 212 606 7176 | Darrell Rocha | [email protected] | Melanie Brister | [email protected] Sotheby’s to Present ARTISTS FOR THE HAMMER MUSEUM Leading Contemporary Artists to Donate Works For Auction at Sotheby’s Supporting the Creation of A New Artist Fund at the Hammer Museum at UCLA *Participating Artists Include* Mark Bradford | Cecily Brown | Vija Celmins | Jimmie Durham Charles Gaines | Mark Grotjahn | Jim Hodges | Rashid Johnson Barbara Kruger | Glenn Ligon | Laura Owens | Ed Ruscha Henry Taylor | Mary Weatherford | Ai Weiwei | Jonas Wood And More To Be Offered across Sotheby’s Marquee May Auctions of CONTEMPORARY ART In New York Mark Bradford Mark Grotjahn Barbara Kruger Jonas Wood Scratch Pink Untitled (Poppy Red Untitled (Avoid eye contact) Shio Butterfly Still Life Estimate $2/3 million and Yellowed Orange Estimate $200/300,000 Estimate $300/400,000 Butterfly 50.94) Estimate $600/800,000 Public Exhibitions Los Angeles (UTA Artist Space): 17 - 20 April New York (Sotheby’s): 3 - 16 May NEW YORK, 28 March 2019 – Sotheby’s is thrilled to announce that important works by nearly 40 celebrated artists with strong ties to the Hammer Museum at UCLA have been donated for auction this May at Sotheby’s New York. Under the visionary direction of Ann Philbin, the Los Angeles institution has emerged over the past two decades as one of the most vibrant and influential museums in America. This historic sale will support the creation of a new Artist Fund, which will directly support the museum’s pioneering exhibition program and work with emerging artists. -
Agnes Varda's Uncle Yanco
Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College History of Art Faculty Research and Scholarship History of Art 2021 Floating Roots: Agnes Varda's Uncle Yanco Homay King Bryn Mawr College, [email protected] Follow this and additional works at: https://repository.brynmawr.edu/hart_pubs Part of the Film and Media Studies Commons, and the History of Art, Architecture, and Archaeology Commons Let us know how access to this document benefits ou.y Custom Citation King, H. 2021. "Floating Roots: Agnès Varda's Uncle Yanco." Camera Obscura 36.1.106: 9–39. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. https://repository.brynmawr.edu/hart_pubs/116 For more information, please contact [email protected]. 1 <fig. 1; opening image; includes caption> Floating Roots: Agnès Varda’s Uncle Yanco Homay King Agnès Varda’s 1967 short portrait film Uncle Yanco (US/France) begins with an image of San Francisco at dawn. From a distance, the city appears to hover over the water. Yanco Varda speaks in voice-over: “Heavenly cities float. They have no top or bottom. They call San Francisco the Holy City. It’s the city of love.” This image was taken in October, a time of year that, due to the San Francisco Bay’s unique microclimate, tends to be clear and warm. In the summer months an opaque morning fog funnels through the Golden Gate, blanketing the city’s hills and spilling into its valleys, obscuring the skyline, evaporating only during a narrow window of afternoon sun. -
Hickory Museum of Art Page 14 - Mouse House / Susan Lenz & One Eared Cow Glass Page 18 - Hickory Museum of Art Cont., Blue Moon Gallery & Asheville Gallery of Art
ABSOLUTELY FREE Vol. 23, No. 1 January 2019 You Can’t Buy It Happy New Year! Artwork, Buffoon, is by Luis Ardila and is part of the exhibit ARTE LATINO NOW 2019 on view at the Max L. Jackson Gallery, Watkins building, Queens University of Charlotte, Charlotte, NC. This is the eighth annual exhibition featuring the exciting cultural and artistic contributions of Latinos in the United States. A reception will be held on January 17, 2019 from 5:30 - 7:30pm. Article is on Page 17. ARTICLE INDEX Advertising Directory This index has active links, just click on the Page number and it will take you to that page. Listed in order in which they appear in the paper. Page 1 - Cover - Queens University of Charlotte - Luis Ardila Page 3 - Karen Burnette Garner & Wells Gallery at the Sanctuary Page 2 - Article Index, Advertising Directory, Contact Info, Links to blogs, and Carolina Arts site Page 4 - Halsey-McCallum Studio & Whimsy Joy by Roz Page 3 - City of North Charleston Page 5 - Emerge SC Page 4 - Editorial Commentary & City of North Charleston cont. Page 5 - Editorial Commentary cont. Page 6 - Avondale Therapy / Susan Irish Page 6 - Charleston Artist Guild & Gibbes Museum of Art Page 7 - Helena Fox Fine Art, Corrigan Gallery, Halsey-McCallum Studio, Rhett Thurman, Page 8 - Coastal Discovery Museum Page 9 - Art League of Hilton Head x 2 & University of SC - Upstate Anglin Smith Fine Art, Spencer Art Galleries, The Wells Gallery at the Sanctuary, Page 11 - University of SC - Upstate cont. & West Main Artists Co-op & Saul Alexander Foundation Gallery Page 12 - West Main Artists Co-op, Converse College & Page 8 - Art League of Hilton Head USC-Upstate / UPSTATE Gallery on Main Page 13 - USC-Upstate / UPSTATE Gallery on Main cont. -
Drawing Surrealism CHECKLIST
^ Drawing Surrealism CHECKLIST EILEEN AGAR Argentina, 1899–1991, active England Ladybird , 1936 Photograph with gouache and ink 3 3 29 /8 x 19 /8 in. (74.3 x 49.1 cm) Andrew and Julia Murray, Norfolk, U.K. Philemon and Baucis , 1939 Collage and frottage 1 1 20 /2 x 15 /4 in. (52.1 x 38.7 cm) The Mayor Gallery, London AI MITSU Japan, 1907–1946 Work , 1941 Sumi ink 3 1 10 /8 x 7 /8 in. (26.4 x 18 cm) The National Museum of Modern Art, Tokyo GUILLAUME APOLLINAIRE Italy, 1880–1918, active France La Mandoline œillet et le bambou (Mandolin Carnation and Bamboo), c. 1915–17 Ink and collage on 3 pieces of paper 7 1 10 /8 x 8 /8 in. (27.5 x 20.9 cm) Musée national d’art moderne, Centre Georges Pompidou, Paris, Purchase 1985 JEAN (BORN HANS) ARP Germany, 1886–1966, active France and Switzerland Untitled , c. 1918 Collage and mixed media 1 5 8 /4 x 11 /8 in. (21 x 29.5 cm) Mark Kelman, New York Untitled , 1930–33 Collage 1 5 6 /8 x 4 /8 in. (15.6 x 11.8 cm) Private collection Untitled , 1940 Collage and gouache 1 1 7 /4 x 9 /2 in. (18.4 x 24.1 cm) Private collection JOHN BANTING England, 1902–1972 Album of 12 Blueprints , 1931–32 Cyanotype 1 3 3 Varying in size from 7 3/4x 6 /4 in. (23.5 x 15.9 cm.) to 12 /4 x 10 /4 in. (32.4 x 27.3 cm) Private collection GEORGES BATAILLE France, 1897–1962 Untitled Drawings for Soleil Vitré , c. -
Ruth Asawa Born 1926 in Norwalk, California
This document was updated January 19, 2021. For reference only and not for purposes of publication. For more information, please contact the gallery. Ruth Asawa Born 1926 in Norwalk, California. Died 2013 in San Francisco. EDUCATION 1943-1946 Milwaukee State Teachers College 1946-1949 Black Mountain College, North Carolina 1974 Honorary Doctorate, California College of Arts and Crafts 1997 Honorary Doctorate, San Francisco Art Institute 1998 Honorary Doctorate, San Francisco State University B.F.A. University of Wisconsin (formerly Milwaukee State Teachers College) SOLO EXHIBITIONS 1953 Ruth Asawa & Jean Varda, Tin Angel Nightclub, San Francisco [two-person exhibition] Ruth Asawa, Sillman & McNair Associates, New Haven, Connecticut Design Research, Cambridge, Massachusetts 1954 Ruth Asawa, Peridot Gallery, New York 1956 Ruth Asawa, Peridot Gallery, New York 1958 Ruth Asawa, Peridot Gallery, New York 1960 Ruth Asawa: Paintings, Drawings and Sculptures, M.H. de Young Memorial Museum, San Francisco 1962 Ruth Asawa and Arthur Secunda, Ankrum Gallery, Los Angeles [two-person exhibition] 1964 Ruth Asawa: Drawings and Sculpture, Shop 1, Rochester Institute of Technology, New York 1965 Ruth Asawa, Pasadena Museum of Art, California 1969 Recent Drawings: Ruth Asawa, Capper Gallery, San Francisco 1970 Sculpture: Ruth Asawa, San Marco Gallery, Dominican College, San Rafael, California 1973 Ruth Asawa: A Retrospective View, San Francisco Museum of Modern Art [catalogue] Ruth Asawa, Baxter Gallery, California Institute of Technology, Pasadena Ruth Asawa, Van Doren Gallery, San Francisco 1978 Ruth Asawa, Fresno Art Center, California 1979 Ruth Asawa, Cabrillo College, Aptos, California Ruth Asawa, Cedar Street Gallery, Santa Cruz Ruth Asawa, Santa Cruz County Building, California 1987 Ruth Asawa and Imogen Cunningham, Charles Campbell Gallery, San Francisco [two-person exhibition] 2001 Ruth Asawa: Completing the Circle, Fresno Art Museum, California [itinerary: Oakland Museum of California] 2003 Ruth Asawa: Sculptures, Drawings, Lithographs, Tobey C.