Peter Saul Born 1934, San Francisco, California
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NINA CHANEL ABNEY BIOGRAPHY Born In
NINA CHANEL ABNEY BIOGRAPHY Born in Chicago, Illinois, 1982. Education: Augustana College, Rock Island, Illinois, B.F.A., 2004. Parsons School of Design, NYC, NY, M.F.A., 2007. Lives and works in New York City. Selected Solo Shows: 2019 Neuberger Museum of Art, Purchase, New York. “Nina Chanel Abney: Royal Flush”. 2018 Institute of Contemporary Art, Los Angeles, California, and California African American Museum, Los Angeles, California. “Nina Chanel Abney: Royal Flush”. Chicago Cultural Center, Chicago, Illinois. “Nina Chanel Abney: Royal Flush”. 2017 Mary Boone Gallery, NYC, NY. “Safe House”. Jack Shainman Gallery, NYC, NY. “Seized the Imagination”. Nasher Museum of Art, Duke University, Durham, North Carolina. “Nina Chanel Abney: Royal Flush”. 2016 The Gateway Project, Newark, New Jersey. “If You Say So…”. 2015 Kravets/Wehby Gallery, NYC, NY. “Always a Winner”. Monique Meloche Gallery, Chicago, Illinois. “Run Run”. Galeria Rabieh, São Paulo, Brazil. “If You Say So…”. 2012 Anna Kustera Gallery, NYC, NY, and Kravets/Wehby Gallery, NYC, NY. “I Dread To Think”. 2010 Fred Gallery, London, England. “Go Berserker!”. 2009 Kravets/Wehby Gallery, NYC, NY. “Emma’s Basement”. 2008 Kravets/Wehby Gallery, NYC, NY. “Dirty Wash”. NINA CHANEL ABNEY BIOGRAPHY (continued) : Selected Group Shows: 2017 The Brant Foundation Art Study Center, Greenwich, Connecticut. “Animal Farm”. 2016 Vancouver Art Gallery, Vancouver, Canada. “Juxtapoz x Superflat”. Dio Horia Gallery, Mykonos, Greece. “Greek Gotham”. Nicole Ripka Gallery, Watermill, New York. “AfterModernism Hamptons”. Jack Shainman Gallery, NYC, NY. “For Freedom”. Whitney Museum of American Art, NYC, NY. “Flatlands”. Brand New Gallery, Milan, Italy. “Imagine”. 2015 Rubell Family Collection, Miami, Florida. “NO MAN’S LAND: Women Artists from the Rubell Family Collection”. -
Renovation Moves Forward
oi.uchicago.edu THE ORIENTAL INSTITUTE & NOTES NO. 150 SUMMER 1996 @THE ORIENTAL INSTITUTE OF THE UNIVERSITY OF CHICA REN OVATION MOVES FORWARD By Emily Teeter, Ph.D., Assistant Curator, Oriental Institute Museum The renovation of the Oriental Insti On February 5, 1996 the Egyptian tute Museum is a reality. For the frrst Gallery closed to the public. Small ob time in over sixty years, the galleries jects were packed, but the oversize ob will be completely refurbished and jects such as large stelae required brought up to modern museum stan special treatment. The firm of Belding dards with the installation of climate Walbridge was contracted to move control. It is a mammoth undertaking those items. The really oversized ob that leaves no one happy for the jects-the Assyrian winged bull and time-being, but it will have tremen the statue of Tutankhamun-were dous rewards when the museum sheathed in plastic, and protective bar reOpens in the spring of 1998. riers were built in front of them. Mu The project calls for the con seum Curator Karen L. Wilson struction of a 14,000 square foot ensured the safety of the winged bull wing on the southern side of the Ori by posting a copy of an ancient curse ental Institute building that will on the bull's protective box. Finally, house artifact storage, the museum the alcove walls were demolished. * It archives (photograph and paper was an amazing sight to see the Egyp records), a new conservation labora tian gallery virtually empty. tory, and book stack areas for the Re April 1, 1996 marked the next search Archives. -
Uchicagomag-Spring20.Pdf
Is it possible to feel nostalgic the first time you visit a place? KIAWAH GETS YOU COVID-19 … BRENT STAPLES … RECESSION LIT … IMPROVING MEDICAL IMAGING … COACH OF COACHES A Curated Collection of Homes and Homesites with Club Memberships in the Heart of the South Carolina Lowcountry. kiawahisland.com/ivyleague | 866.312.1791 SPRING 2020 Obtain the Property Report required by Federal Law and read it before signing anything. No Federal or State agency has endorsed or judged the merits of value, if any, of this property. This is not intended to be an offer to sell nor a solicitation of offer to buy real estate in any jurisdiction where prohibited by law. This offer is made pursuant to the New York State Department of Law’s Simplified Procedure for Homeowners Associations with a De Minimis Cooperative Interest (CPS-7). The CPS-7 application (File No. HO16-0007) and related documents may be obtained from the sponsor. This project is registered with the State of New Jersey Department of Banking and Insurance Real Estate Commission. Obtain and read the NJ Public Offering Statement before signing anything (NJ Reg#16-15-0011 and 0012). An affiliate of Kiawah Partners. SPRING 2020, VOLUME 112, NUMBER 3 UCH_Spring2020 cover and spine_v1.indd 1 5/15/20 11:46 AM 200319_Kiawah_Chicago.indd 1 1/30/20 8:54 AM UCH_ADS_v1.indd 2 5/13/20 1:16 PM EDITORˆS NOTES VOLUME 112, NUMBER 3, SPRING 2020 EDITOR Laura Demanski, AM’94 SENIOR EDITOR Mary Ruth Yoe FROM A DISTANCE ASSOCIATE EDITOR Susie Allen, AB’09 MANAGING EDITOR Rhonda L. -
This Is Chicago
“You have the right to A global city. do things in Chicago. A world-class university. If you want to start The University of Chicago and its a business, a theater, namesake city are intrinsically linked. In the 1890s, the world’s fair brought millions a newspaper, you can of international visitors to the doorstep of find the space, the our brand new university. The landmark event celebrated diverse perspectives, backing, the audience.” curiosity, and innovation—values advanced Bernie Sahlins, AB’43, by UChicago ever since. co-founder of Today Chicago is a center of global The Second City cultures, worldwide organizations, international commerce, and fine arts. Like UChicago, it’s an intellectual destination, drawing top scholars, companies, entrepre- neurs, and artists who enhance the academic experience of our students. Chicago is our classroom, our gallery, and our home. Welcome to Chicago. Chicago is the sum of its many great parts: 77 community areas and more than 100 neighborhoods. Each block is made up CHicaGO of distinct personalities, local flavors, and vibrant cultures. Woven together by an MOSAIC OF extensive public transportation system, all of Chicago’s wonders are easily accessible PROMONTORY POINT NEIGHBORHOODS to UChicago students. LAKEFRONT HYDE PARK E JACKSON PARK MUSEUM CAMPUS N S BRONZEVILLE OAK STREET BEACH W WASHINGTON PARK WOODLAWN THEATRE DISTRICT MAGNIFICENT MILE CHINATOWN BRIDGEPORT LAKEVIEW LINCOLN PARK HISTORIC STOCKYARDS GREEK TOWN PILSEN WRIGLEYVILLE UKRAINIAN VILLAGE LOGAN SQUARE LITTLE VILLAGE MIDWAY AIRPORT O’HARE AIRPORT OAK PARK PICTURED Seven miles UChicago’s home on the South Where to Go UChicago Connections south of downtown Chicago, Side combines the best aspects n Bookstores: 57th Street, Powell’s, n Nearly 60 percent of Hyde Park features renowned architecture of a world-class city and a Seminary Co-op UChicago faculty and graduate alongside expansive vibrant college town. -
Museum Oi.Uchicago.Edu
oi.uchicago.edu MUSEUM oi.uchicago.edu Overleaf: Strainer jug; ceramic. Iron I period, 1200–975 B.C. Megiddo, Israel. Photo by Anna Ressman oi.uchicago.edu MUSEUM MUSEUM Geoff Emberling The Museum has had a another successful year in the midst of these difficult economic times. We continue to welcome about 50,000 visitors annually to the Oriental Institute to introduce them to the history, written traditions, and art of the ancient cultures of the Middle East. We generate widespread publicity and interest in the Oriental Institute at the same time as we work to improve access to our amazing collection. The Museum also contributes in many ways to the financial support of the Institute, through donations at the front desk, sales in the Suq, a wide range of grants, and by serving as a venue for a variety of events. As you will see in the sections that follow, our special exhibits, education programs, and docent tours have had great success this past year, and we have taken some significant steps in publicity and marketing that we hope will lead to greater attendance in the future. Our collections staff has also made numerous improvements to cataloging and storage that enhanced our ability to facilitate use of the collection for research, teaching, and exhibits. As usual, the successes of the Museum are inevitably joint projects relying on cooperation of many staff members, and I would like to express my thanks to everyone who has made it such a pleasure to work in the Oriental Institute over the past year. -
2001 Future of the Arts Report
2001 Future of the Arts Report 1 The Future of the Arts at the University of Chicago August 2001 Table of Contents Introduction Page 2 Study Recommendations Page 4 Role of the Arts Page 5 The Arts Curriculum Page 7 Student Arts Page 9 Professional Arts Organizations Page 11 Arts in the City Page 13 Organization and Process Recommendations Page 15 Facilities Needs and Objectives Page 17 Facilities Recommendations Page 23 Conclusion Page 29 Appendices Page 30 Introduction Introduction Experiencing the creative arts is a fundamental part of knowing ourselves as humans and of understanding those different from ourselves. Whether painting or poetry, film or theater, music or dance, artistic creation addresses the deepest questions of the human condition. A great research university should nurture the unique and powerful role of the arts in the education of the whole person. University President Ernest DeWitt Burton recognized this when he wrote in 1925: “We need to supplement science and the scientific study of all branches of knowledge with the finer arts of music and painting, of sculpture and architecture. We owe it to our students, to whom it is our ambition to give the best possible education. We owe it to our professors, that they not become dry-as- dust investigators and lecturers but symmetrically developed and cultivated personalities. We owe it to our community.” Today, more students, faculty, staff, and general audiences engage with the arts on our campus than ever before. This increased participation has been paralleled by growth in the quality and diversity of our arts programs and activities. -
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. -
Mary Boone's Business Partner Is Suing the Jailed Dealer Over $15
AiA News-Service Art and Law Mary Boone’s Business Partner Is Suing the Jailed Dealer Over $15 Million in Art That She Allegedly Took From the Gallery for Herself The lawsuit alleges that Boone sold gallery-owned artworks and pocketed the money. Sarah Cascone, February 26, 2020 Mary Boone in 2013. Photo by Neil Rasmus, courtesy of BFA. The legal woes continue for imprisoned art dealer Mary Boone. A gallery partner and former employee, James Oliver, has filed a lawsuit against Boone seeking $44,325 in unpaid wages and to protect his 10 percent equity share in the gallery, accusing the dealer of transferring millions in gallery funds to her personal bank account. In 2019, Boone pleaded guilty to filing false tax returns. She was subsequently sentenced to 30 months in jail, despite appeals for leniency from many prominent members of the art world. As a result, Boone closed the gallery she had run since 1977. Oliver, who first began working for Boone in 1995, was among those who spoke up in Boone’s defense. He praised his boss, noting that Boone had “successfully trained dozens of aspiring gallerists who have gone on to very successful careers as gallery owners themselves or directors of other major galleries. Along the way she has given endless hours of her time instilling the positive attitude and the exacting work ethic that her employees have needed to succeed in a very difficult business.” But their relationship has soured since Oliver resigned in March 2019. “Mr. Oliver attempted on numerous occasions to amicably resolve this dispute before filing a complaint,” wrote his attorney, Brett Gallaway, in an email to Artnet News. -
Press Release Al Held
PRESS RELEASE AL HELD Black and White Paintings 1967–1969 Opens Thursday February 18 from 6-8 pm Exhibition continues through March 26, 2016 Cheim & Read is pleased to present eight monumental black and white paintings, dating from 1967 to 1969, Al Held (1928–2005). An exhibition of Held’s “Alphabet Paintings,” made between 1961 and 1967, was exhibited at the gallery in 2013. This exhibition focuses on the unique series of paintings Held began in 1967, in which various geometric forms, arranged in multiple perspectives, are rendered within the strict confines of a black-and-white palette. Perhaps inspired by the India ink drawings of lines, circles, triangles, and squares that he made in 1966, Held had already begun moving away from the flat, boldly-colored shapes of his earlier work. Using charcoal and white acrylic directly on canvas, he started sketching multi-dimensional, interlocking configurations, surrounding them with colored ground. In late 1967, this B/W V 1967-68 acrylic on canvas experimentation yielded to an increasingly graphic, complex, and illusory 114 x 114 in 289.6 x 289.6 cm space. While compositions were still worked out on the canvas, often in several iterations, Held’s soft-edged charcoal was replaced by the sharply defined contours of uniformly painted forms, their thick black outlines positioned against a stark white field. The paintings featured in this exhibition encompass the initial phase of this new body of work. The “B/W series” is comprised of Held’s first fully realized canvases in his new style and limited palette, while works from the “Phoenicia” series are more explicit in their development of multiple perspectives and vanishing points, resulting in evermore ambiguous spatial relationships. -
Robert Rauschenberg Bibliography
Robert Rauschenberg Bibliography Books and Catalogues. 2007 Sachs, Tom. Tom Sachs: The Island: Guide. New York: Allied Cultural Prosthetics. Sachs, Tom. Tom Sachs: Islandia. Paris: Galerie Thaddaeus Ropac. Sachs, Tom. Logjam. Montréal, Canada: Transcontinental. 2006 Celant, Germano & Malcome Gladwell. Tom Sachs. Milan: Fondazione Prada. ----------. This is America! Contemporary Art and American Photorealism. Utrecht, Netherlands: Centraal Museum. ----------. Tom Sachs: Survey, America—Modernism—Fashion. Oslo, Norway: Astrup Fearnley Museet for Moderne Kunst. 2005 ----------. Die Dritte Dimension. Berlin: Galerie Haas & Fuchs; Galerie Michael Haas. 2004 Healy, Tom. Sculptural Sphere, Munich, Germany: Sammlung Goetz. Villasenor, Maria-Christina. Tom Sachs: Nutsy’s. New York: Solomon R. Guggenheim Foudation. 2001 Russ, Lawrence. Art at the Edge of the Law.Ridgefield, CT: Aldrich Museum of Contemporary Art. 1999 Sachs, Tom. SONY Outsider. Santa Fe, NM: SITE Santa Fe. ----------. Thinking Aloud. Cambridge, England: Camden Arts Center. Selected Articles and Reviews: 2009 Schneier, Matthew. “Sachs Appeal.” GQ online, March 5. 2008 ----------. “Tom Sachs Interview.” Wallpaper online, May 17. ----------.”The Cat’s Meow.” WWD online, May 9. McMullan, Patrick. “Tom Sachs: Grand Theft Auto ‘The Most Important Artwork of Our Time.’” New York Magazine, May 9. Sheets, Hilarie. “This is his life: A Blue Whale and Hello Kitty.” The New York Times online, May 4. Collins, Lauren. Review: Tom Sachs at Lever House. The New Yorker, April. Jay, Rick. “The Wizard makes the Artist Tom Sachs: Talk like a Philosopher.” Interview, May, pp. 102-107. Collins, Lauren. “Sachs & Co.” The New Yorker, April 14. 2007 Dambrot, Shana Nys. Review: Tom Sachs at the Gagosian Gallery. Modern Painter, Nov., p. 95. -
Ross Bleckner
ROSS BLECKNER Ross Bleckner is an American painter. Bleckner was born May 12, 1949 in New York City and is an influential contemporary artist. Perhaps best known for his paintings dealing with loss and memory, Bleckner notably tackled the emotional toll brought by the AIDS crisis in the 1980s. “Life is short. Life goes fast,” he has said. “And what I really want to do in my life is to bring something new, something beautiful and something filled with light into the world.” His poetic works often employ recurring symbolic imagery, such as candelabras, doves, and flowers, rendered with a blurred, glowing sense of light. Bleckner began exhibiting with Mary Boone gallery in 1979, and was the subject of a retrospective at the Guggenheim Museum in New York in 1995. His work can be found in the collections of The Museum of Modern Art in New York, the National Gallery of Art in Washington, D.C., the Carnegie Museum of Art in Pittsburgh, and the Walker Art Center in Minneapolis, among others. Bleckner lives and works in New York, NY. Not only has Mr. Bleckner had a profound impact of shaping the New York art world, his philanthropic efforts have enabled many community organizations to perform their vital work. For ten years, Mr. Bleckner served as president of AIDS Community Research Initiative of America (ACRIA), a non-profit community-based AIDS research and treatment education center. More recently, he has been working with the United Nations Office on Drugs and Crime in Northern Uganda to help rehabilitate and raise money for ex-child soldiers. -
Barbara Kruger Born 1945 in Newark, New Jersey
This document was updated February 26, 2021. For reference only and not for purposes of publication. For more information, please contact the gallery. Barbara Kruger Born 1945 in Newark, New Jersey. Lives and works in Los Angeles and New York. EDUCATION 1966 Art and Design, Parsons School of Design, New York 1965 Syracuse University, Syracuse, New York SELECTED SOLO EXHIBITIONS 2021-2023 Barbara Kruger: Thinking of You, I Mean Me, I Mean You, Art Institute of Chicago [itinerary: Los Angeles County Museum of Art; The Museum of Modern Art, New York] [forthcoming] [catalogue forthcoming] 2019 Barbara Kruger: Forever, Amorepacific Museum of Art (APMA), Seoul [catalogue] Barbara Kruger - Kaiserringträgerin der Stadt Goslar, Mönchehaus Museum Goslar, Goslar, Germany 2018 Barbara Kruger: 1978, Mary Boone Gallery, New York 2017 Barbara Kruger: FOREVER, Sprüth Magers, Berlin Barbara Kruger: Gluttony, Museet for Religiøs Kunst, Lemvig, Denmark Barbara Kruger: Public Service Announcements, Wexner Center for the Arts, Columbus, Ohio 2016 Barbara Kruger: Empatía, Metro Bellas Artes, Mexico City In the Tower: Barbara Kruger, National Gallery of Art, Washington, DC 2015 Barbara Kruger: Early Works, Skarstedt Gallery, London 2014 Barbara Kruger, Modern Art Oxford, England [catalogue] 2013 Barbara Kruger: Believe and Doubt, Kunsthaus Bregenz, Austria [catalogue] 2012-2014 Barbara Kruger: Belief + Doubt, Hirshhorn Museum and Sculpture Garden, Washington, DC 2012 Barbara Kruger: Questions, Arbeiterkammer Wien, Vienna 2011 Edition 46 - Barbara Kruger, Pinakothek