E.G. Shows and Honors
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Irving Sandler
FROM THE ARCHIVES: HANS HOFMANN: THE PEDAGOGICAL MASTER By Irving Sandler May 30, 1973 Irving Sandler died on June 2, 2018 at the age of 92. A frequent contributor to A.i.A., Sandler was best known for chronicling the rise and the aftermath of Abstract Expressionism. One of his most significant articles for A.i.A., the impact of Hans Hofmann, who taught such artists as Helen Frankenthaler and Allan Kaprow, thereby influencing not only second- and third-generation Ab Ex painters but other developments in American art after 1945. Sandler highlights Hofmann’s interest in the deep traditions of European art, and his belief that the best abstract painting continues its manner of modeling the world. “It was in this cubic quality, this illusion of mass and space, that the man-centered humanist tradition—or what could be saved of it—was perpetuated,” Sandler wrote, summarizing a central tenet of Hofmann’s teachings. The full essay, from our May/June 1973 issue, is presented below. In June we re-published Sandler’s essay “The New Cool-Art,” on the rise of Minimalism. —Eds. As both a painter and a teacher Hans Hofmann played a germinal part in the development of advanced American art for more than thirty years. This article will deal only with his pedagogical role—a topic chosen with some trepidation, for to treat an artist as a teacher is often thought to demean his stature as an artist. The repute of Hofmann’s painting has suffered in the past because of this bias, but no longer, since he is now firmly and deservedly established as a pathfinding master of Abstract Expressionism. -
An Investigation of Children's Abilities to Form and Generalize Visual Concepts from Visually Complex Art Reproductions
DOCUMENT RESUME ED 061 228 TE 499 769 AUTHOR Clark, Gilbert A. TITLE An Investigation of Children's Abilities to Form and Generalize Visual Concepts from Visually Complex Art Reproductions. Final Report. INsTITUTION Ohio state Univ., Columbus. SPONS AGENCY Office of Education (DHEw), Washington, D.C. Bureau of Research. BUREAU NO BR-0-I-060 PUB DATE Jan 72 GRANT OEG-9-70-0031(057) NOTE 85p. EDRS PRICE MF-$0.65 HC-$3.29 DESCRIPTORS *Ability Identification; *Art; *children; Classification; *Concept Formation; Correlation; Data Analysis; Data Collection; Discrimination Learning; Individual Differences; Interaction; Rating Scales; Research; Standards; Stimuli; Student Evaluation; Tape Recordings; Task Performance: Test Results; Verbal Ability; *Visual Perception ABSTRACT The re earch reported here was designed to measure the abilities of school-age children to form and generalize "visual concepts" on the basis of their observation of prepared sets of art reproductions. The art reproduction sets displayed similarities based upon various visual attributes. Discrimination of theattributes common to any given set was taken as evidence of concept formation. Selection of similar reproductions in additional displays was taken as evidence of concept generalization. Additionally,tape-recorded discussions of the test administrations were analyzed. These discussions yielded additional evidence of successful test performance (on a verbal dimension) and were useful in describing the character of children's abilities to discuss the visual attributes of art reproductions. Evidence gathered indicates that students at all grades (except, possibly, kindergarten) are able to form visual concepts from their observation of selected sets of art reproductions. Subjects also successfully described their classification of observed visual similarities when discussing the items. -
R. Leroy Turner (American, 1905 - 1957) Third Movement, Ca
R. LeRoy Turner (American, 1905 - 1957) Third Movement, ca. 1930s Pastel, conté crayon and graphite on paper 20 x 11 1/2 inches (framed 28 1/4 x 18 1/2 inches) Signed and titled Third Movement, Le Roy Turner AB - 28 lower left. #4333 Exhibited: “Alexander Corazzo/LeRoy Turner, American Abstraction-Creation”, The University of Michigan School of Art and The University of Michigan Museum of Art, Ann Arbor, MI, October 4-31, 1976, #46. R. LeRoy Turner R. Leroy Turner is recognized for his vibrant Modern abstractions completed from the late 1920s through the early 1950s. His artwork emphasizes a lyrical form of Cubism, often inspired by visual interpretations of classical music. Many of his compositions are titled after specific pieces of music, and frequently they include themes of melodic symbols, devices and musical scores. Born in Sherwood, ND in 1905, Turner spent much of his childhood living in Minnesota. In Minneapolis, LeRoy Turner studied painting at the University of Minnesota with the noted artists and instructors, Cameron Booth and Edmund Kinzinger. Towards the late 1920s, Turner became highly influenced by the paintings styles of Pablo Picasso, Georges Braque, Juan Gris, and Paul Klee. In 1928 he traveled to Europe to further his art studies in Munich and Paris. While painting in Europe he continued his association with both instructors Booth and Kinzinger. Returning to the United States, Turner joined the faculty of the St. Paul School of Art in St Paul, MN, where he became a painting instructor from 1933 to 1936. In 1935, to favored reviews, Turner exhibited his abstract paintings at a one-man show at the Nash-Conley Galleries in Minneapolis. -
Abstract Addictions
VALLARINO FINE ART 222 EAST 49TH STREET NEW YORK, NY 10017 FINE ART VALLARINO VALLARINOFINEART.COM ABSTRACT ADDICTIONS: .. .WHAT’S NEXT ....WHO KNOWS?.... .WHAT’S MODERN/POST-WAR ABSTRACT ADDICTIONS: 2020 WHAT’S NEXT.... WHO KNOWS?.... 2020 MODERN/POST-WAR 222 EAST 49TH STREET, NEW YORK, NY 10017 212.628.0722 66 ROUTE 343, MILLBROOK, NEW YORK 12545 [email protected] VALLARINOFINEART.COM ABSTRACT ADDICTIONS: WHAT’S NEXT....WHO KNOWS?.... What’s Next…..Who Knows?? Is a very fitting subtitle for our annual catalogue. What has happened in the past four-five months seems unimaginable, then again, it could be a blessing in disguise, a kind of wake-up call for all of us. Our global treatment of humanity, our planet’s environment, economic collapse, civil rights and politics have caused a boiling point in our society and then add the Covid-19 Pandemic to top things off and there you have “What’s Next…..Who Knows? One thing I know is art and the art market has literally been around forever and has weathered centuries of wars, economic crashes and many other global disasters and will continue to prevail perhaps in new ways to which it will need to reinvent itself. I believe a correction is taking place as has happened in every market throughout history when strained by historic events. The brick & mortar gallery model is becoming a thing of the past and the existence of art fairs in the near future is questionable regarding the current health situations for the dealers and the collectors who attend. I believe that a large group of galleries are going to close as their business models aren’t strong enough to survive these extreme times. -
S. Price Patchwork History : Tracing Artworlds in the African Diaspora Essay on Interpretations of Visual Art in Societies of the African Diaspora
S. Price Patchwork history : tracing artworlds in the African diaspora Essay on interpretations of visual art in societies of the African diaspora. Author relates this to recent shifts in anthropology and art history/criticism toward an increasing combining of art and anthropology and integration of art with social and cultural developments, and the impact of these shifts on Afro-American studies. To exemplify this, she focuses on clothing (among Maroons in the Guianas), quilts, and gallery art. She emphasizes the role of developments in America in these fabrics, apart from just the African origins. In: New West Indian Guide/ Nieuwe West-Indische Gids 75 (2001), no: 1/2, Leiden, 5-34 This PDF-file was downloaded from http://www.kitlv-journals.nl SALLY PRICE PATCHWORK HISTORY: TRACING ARTWORLDS IN THE AFRICAN DIASPORA This paper considers interpretations of visual art in societies of the African diaspora, setting them within the context of recent theoretical shifts in the dis- ciplines of anthropology and art history/criticism. I will be arguing for the relevance to Afro-American studies of these broader disciplinary changes, which have fundamentally reoriented scholarship on arts that, for the most part, fall outside of what Joseph Alsop (1982) has dubbed "The Great Tradi- tions." Toward that end, I begin with a general assessment of these theoretical shifts (Part 1: Anthropology and Art History Shake Hands) before moving into an exploration of their impact on Afro-American studies (Part 2: Mapping the African-American Artworld). I then -
Nber Working Paper Series the Rise and (Partial)
NBER WORKING PAPER SERIES THE RISE AND (PARTIAL) FALL OF ABSTRACT PAINTING IN THE TWENTIETH CENTURY David Galenson Working Paper 13744 http://www.nber.org/papers/w13744 NATIONAL BUREAU OF ECONOMIC RESEARCH 1050 Massachusetts Avenue Cambridge, MA 02138 January 2008 The views expressed herein are those of the author(s) and do not necessarily reflect the views of the National Bureau of Economic Research. NBER working papers are circulated for discussion and comment purposes. They have not been peer- reviewed or been subject to the review by the NBER Board of Directors that accompanies official NBER publications. © 2008 by David Galenson. All rights reserved. Short sections of text, not to exceed two paragraphs, may be quoted without explicit permission provided that full credit, including © notice, is given to the source. The Rise and (Partial) Fall of Abstract Painting in the Twentieth Century David Galenson NBER Working Paper No. 13744 January 2008 JEL No. J01 ABSTRACT Non-representational painting was one of the most radical artistic innovations of the twentieth century. Abstract painting was created independently by three great pioneers - the experimental innovators Kandinsky and Mondrian, and the conceptual Malevich - virtually simultaneously, in the years immediately before and after the outbreak of World War I. It became the dominant form of advanced art in the decade after the end of World War II, as Pollock, de Kooning, Rothko, and their colleagues developed the experimental forms of Abstract Expressionism. But in the late 1950s and early ‘60s, Johns, Rauschenberg, Warhol, and a host of other young artists abruptly made a conceptual revolution in advanced art, and in the process reduced abstract painting to a minor role. -
Van Gogh Museum Journal 1995
Van Gogh Museum Journal 1995 bron Van Gogh Museum Journal 1995. Waanders, Zwolle 1995 Zie voor verantwoording: http://www.dbnl.org/tekst/_van012199501_01/colofon.php © 2012 dbnl / Rijksmuseum Vincent Van Gogh 6 Director's Foreword The Van Gogh Museum shortly after its opening in 1973 For those of us who experienced the foundation of the Van Gogh Museum at first hand, it may come as a shock to discover that over 20 years have passed since Her Majesty Queen Juliana officially opened the Museum on 2 June 1973. For a younger generation, it is perhaps surprising to discover that the institution is in fact so young. Indeed, it is remarkable that in such a short period of time the Museum has been able to create its own specific niche in both the Dutch and international art worlds. This first issue of the Van Gogh Museum Journal marks the passage of the Rijksmuseum (National Museum) Vincent van Gogh to its new status as Stichting Van Gogh Museum (Foundation Van Gogh Museum). The publication is designed to both report on the Museum's activities and, more particularly, to be a motor and repository for the scholarship on the work of Van Gogh and aspects of the permanent collection in broader context. Besides articles on individual works or groups of objects from both the Van Gogh Museum's collection and the collection of the Museum Mesdag, the Journal will publish the acquisitions of the previous year. Scholars not only from the Museum but from all over the world are and will be invited to submit their contributions. -
Dana Anderson
Huntsville, Alabama dana anderson Untitled s Acrylic on Canvas s 20 " x 30 " Still s Acrylic on Canvas s 36 " x 24 " s $3,200.00 s Dana Anderson $1,600.00 s Dana Anderson Dana Anderson, a 28-year-old Huntsville native and resident, is the South’s first artist with special needs to be given her own solo gallery exhibit. She made history as the first such artist in several states including an upcom - ing exhibit September through December 2021 on Chicago’s Michigan Avenue. Anderson, who has Down syn - drome and autism, is low-functioning and does not care for herself, read, write or speak. Painting has become her voice and she has been featured on local, regional and national media outlets, which has resulted in a large following with sales of more than 100 paintings in 35 states. Unlike neurotypical professional artists, Anderson’s work is her only voice, and she is prolific with more than 300 pieces in less than three years. She paints weekly at the Inside Out Studio, a local studio for adults with disabilities, where she creates museum-worthy art. She works with canvas or board to create landscape and abstract art. She often paints over her work several times before she is finished, and uses a broadly generalized brushstroke, roller or sponge, with smaller, articulate, accentuating strokes. An emerging career artist, Anderson is breaking down barriers. Her exhibit, “Beyond Barriers,” is educating the public that persons with disabilities can do amazing things if given the opportunity. www.danaandersonart.com, facebook.com/danaandersonart.huntsville 50 Nashville, Tennessee kim barrick Chickadees s Oil s 14 " x 11 " s $850.00 s Kim Barrick Nap s Oil s 8" x 10 " s $550.00 s Kim Barrick Kim Barrick is as diverse and complex as the work she creates. -
Robert Lehman Papers
Robert Lehman papers Finding aid prepared by Larry Weimer The Robert Lehman Collection Archival Project was generously funded by the Robert Lehman Foundation, Inc. This finding aid was generated using Archivists' Toolkit on September 24, 2014 Robert Lehman Collection The Metropolitan Museum of Art 1000 Fifth Avenue New York, NY, 10028 [email protected] Robert Lehman papers Table of Contents Summary Information .......................................................................................................3 Biographical/Historical note................................................................................................4 Scope and Contents note...................................................................................................34 Arrangement note.............................................................................................................. 36 Administrative Information ............................................................................................ 37 Related Materials ............................................................................................................ 39 Controlled Access Headings............................................................................................. 41 Bibliography...................................................................................................................... 40 Collection Inventory..........................................................................................................43 Series I. General -
A Finding Aid to the Carl Holty Papers, Circa 1860S-1972(Bulk 1940-1967), in the Archives of American Art
A Finding Aid to the Carl Holty Papers, circa 1860s-1972(bulk 1940-1967), in the Archives of American Art Catherine S. Gaines 2007 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 Biographical/Historical note.............................................................................................. 2 Scope and Content Note................................................................................................. 3 Arrangement note............................................................................................................ 3 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 5 Series 1: Correspondence, 1940-1972.................................................................... 5 Series 2: Writings, 1944-1967.................................................................................. 6 Series 3: Printed Material, 1931-1972..................................................................... 7 Series 4: Miscellaneous Records, 1900, 1966........................................................ -
Paintings by Streeter Blair (January 12–February 7)
1960 Paintings by Streeter Blair (January 12–February 7) A publisher and an antique dealer for most of his life, Streeter Blair (1888–1966) began painting at the age of 61 in 1949. Blair became quite successful in a short amount of time with numerous exhibitions across the United States and Europe, including several one-man shows as early as 1951. He sought to recapture “those social and business customs which ended when motor cars became common in 1912, changing the life of America’s activities” in his artwork. He believed future generations should have a chance to visually examine a period in the United States before drastic technological change. This exhibition displayed twenty-one of his paintings and was well received by the public. Three of his paintings, the Eisenhower Farm loaned by Mr. & Mrs. George Walker, Bread Basket loaned by Mr. Peter Walker, and Highland Farm loaned by Miss Helen Moore, were sold during the exhibition. [Newsletter, memo, various letters] The Private World of Pablo Picasso (January 15–February 7) A notable exhibition of paintings, drawings, and graphics by Pablo Picasso (1881–1973), accompanied by photographs of Picasso by Life photographer David Douglas Duncan (1916– 2018). Over thirty pieces were exhibited dating from 1900 to 1956 representing Picasso’s Lautrec, Cubist, Classic, and Guernica periods. These pieces supplemented the 181 Duncan photographs, shown through the arrangement of the American Federation of Art. The selected photographs were from the book of the same title by Duncan and were the first ever taken of Picasso in his home and studio. -
4 X 6 Four Works by Six Different Artists
C G H CALDWELL GALLERY HUDSON Jay Caldwell, Principal Joe Caldwell, Principal Marcy Caldwell, Principal Cynthia Caldwell Allen, Online Marketing Heather Caldwell, Special Projects 355 Warren Street Hudson New York 12534 800-331-1278 Upon his return to New York in 1936, Holty became part of a group of modern Carl Robert Holty (1900 – 1973) artists that included Joan Mir, Edvard Munch, Gino Severini, and Brassai. Critic Harold Rosenberg championed his work, and Holty became a founding member of the American Abstract Artists group, serving as their second chairman. He also lectured widely, with numerous artist-in-residence positions. At the American Art- Carl Holty was awakened to his interest in art as a child ists’ School in New York, Ad Reinhardt was among his students. He became a Pro- through visits to the Layton Art Gallery of Milwaukee, and began painting lessons fessor Emeritus at Brooklyn College, after entering the art department there in with Friedrich Wilhelm Heine at a young age. Though born in Freiburg, Germany in 1964. His talents also extended to the written word, completing a brief memoir of 1900, he was raised in Wisconsin and enrolled at Marquette University. Before long, Mondrian and discussions of painterly creativity. Together with Romare Bearden Holty abandoned his pre-medical studies in order to pursue art. He spent a sum- he published “The Painter’s Mind.” mer at the School of the Chicago Art Institute in Saugatuck, Michigan, and set off for New York in 1920. He then studied at the National Academy of Design under Holty exhibited consistently until his death in 1973, including numerous show- Francis Coates Jones.