This Is a Portrait If I Say So: Identity in American Art, 1912 to Today
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Charles H. Cecil Studios Studio Handbook
CHARLES H. CECIL STUDIOS STUDIO HANDBOOK Fl o rence, 1998 CHARLES H. CECIL STUDIOS STUDIO HANDBOOK Compiled by Marc Dalessio with contributions by Nicholas Beer, Brandon Soloff, Hazel Morgan, Patrick Graham, Scott Pohlschmidt, Lee Johnson, Greg Horwitch, and Charles Cecil. TABLE OF CONTENTS Introduction vi Introduction, history of the school, map of Florence, useful information, studio rules Drawing 13 Introductory notes, materials checklist, paper, media, additional materials, introduction to the sight size technique, Bargue drawings, suggested evening, drawing schedule Painting 23 Introductory notes, materials checklist, canvas, panel, grounds, size, stretcher bars, panels, drying oils, sun-thickened oil, volatile oils, balsams, siccatives, resins, varnishes, mediums, pigments, flesh palette, extended palette, grinding colors, brushes, palettes, painting basics, landscape painting basics, trouble shooting, glossary Reading 50 Silence and Slow Time by Charles Cecil Materials Addendum 54 Europe and the US Bibliography 57 And suggested reading Introduction A Brief History of the Studio This manual is intended as a companion guide to the drawing Charles H. Cecil Studios descends from the great Parisian and painting techniques taught over a four year course at Charles ateliers of the nineteenth century. The materials and methods H. Cecil Studios. For those not fortunate enough to be able to stay used today are, however, not the same as those which were the rule the full course, hopefully this booklet will assist you in in the studios of David or Gerôme. Many of the paintings from remembering your brief training in times of need. If nothing else, the last century have suffered from the use of materials we now the materials addendum at the end should help you to find the know to be impermanent and each teacher over the last two highest quality supplies when you return home. -
The Glass Case Modern Literature Published After 1900
The Glass Case Modern Literature Published After 1900 On-Line Only: Catalogue # 209 Second Life Books Inc. ABAA- ILAB P.O. Box 242, 55 Quarry Road Lanesborough, MA 01237 413-447-8010 fax: 413-499-1540 Email: [email protected] The Glass Case: Modern Literature Terms : All books are fully guaranteed and returnable within 7 days of receipt. Massachusetts residents please add 5% sales tax. Postage is additional. Libraries will be billed to their requirements. Deferred billing available upon request. We accept MasterCard, Visa and American Express. ALL ITEMS ARE IN VERY GOOD OR BETTER CONDITION , EXCEPT AS NOTED . Orders may be made by mail, email, phone or fax to: Second Life Books, Inc. P. O. Box 242, 55 Quarry Road Lanesborough, MA. 01237 Phone (413) 447-8010 Fax (413) 499-1540 Email:[email protected] Search all our books at our web site: www.secondlifebooks.com or www.ABAA.org . 1. ABBEY, Edward. DESERT SOLITAIRE, A season in the wilderness. NY: McGraw-Hill, (1968). First Edition. 8vo, pp. 269. Drawings by Peter Parnall. A nice copy in little nicked dj. Scarce. [38528] $1,500.00 A moving tribute to the desert, the personal vision of a desert rat. The author's fourth book and his first work of nonfiction. This collection of meditations by then park ranger Abbey in what was Arches National Monument of the 1950s was quietly published in a first edition of 5,000 copies ONE OF 10 COPIES, AUTHOR'S FIRST BOOK 2. ADAMS, Leonie. THOSE NOT ELECT. NY: Robert M. McBride, 1925. First Edition. -
ISM WORKSHEET Template
INDIAN SCHOOL MUSCAT SENIOR SECTION DEPARTMENT OF FINE ARTS CLASS: X PAINTING (049) WORKSHEET No. 7 THEORY Unit – II – (a) METHODS AND MATERIALS OF PAINTING – TOOLS Questions and Answers Very short Answer Type Questions Q. 1) What are the categories of materials of painting? Ans: The materials of painting can be broadly classified into 3 categories: (A) Tools (B) Surfaces and (C) Medium. Q. 2) Define the following (1) Tools of Art (2) Surfaces for painting (3) Eraser (4) Hand-held Sharpener (5) Paintbrush (6) Bristles (7) Ferrule (8) Crimp Ans-: (1) Tools of Art - Tools of art are the physical materials used to create the artwork which we see without leaving any mark on the surface. Further no part of the tool is supplied to surface. (2) Surfaces for painting - When we speak of a surface for painting we mean the surface which absorbs the paint or a colour. In other words, a surface is that part of a painting which receives colour on it. (3) Eraser - An eraser is an article of stationery that is used for removing marks from paper. Eraser is used to rub off a mistake made in a pencil drawing. (4) Pencil Sharpener - A pencil sharpener is a mechanical gadget used for sharpening pencils by shaving the casing and the core of the wooden pencil until it shapes the point. (5) Paintbrush- A paintbrush is a brush used to apply paint or sometimes ink to an underlying. ISM/CLASS X/ WORKSHEET NO.7/PAINTING/2020-21 (6) Bristles - Bristles are the hairy part of the brush which transfer paint onto an underlying surface. -
Eleanor ANTIN B. 1935, the Bronx, NY Lives and Works in San Diego, CA, US
Eleanor ANTIN b. 1935, The Bronx, NY Lives and works in San Diego, CA, US EDUCATION 1958 BA Creative Writing and Art, City College of New York, NY 1956 Studied theatre at Tamara Dayarhanova School, New York, NY 1956 Graduate Studies in Philosophy, New School of Social Research, New York, NY SELECTED AWARDS 2011 Anonymous Was a Women Foundation, New York, NY 2009 Honorary Doctorate, School of the Arts Institute of Chicago, IL 2006 Honour Awards for Lifetime Achievements in the Visual Art, Women’s Caucus for Art, New York, NY 1996 UCSD Chancellor’s Associates Award for Excellence in Art, San Diego, CA 1984 VESTA Award for performance presented by the Women’s Building, Los Angeles, CA 1979 NEA Individual Artist Grant, Washington D.C. SELECTED SOLO EXHIBITIONS 2017 Eleanor Antin: Romans & Kings, Richard Saltoun Gallery, London, UK 2016 CARVING: A Traditional Sculpture, (one work exhibition), Henry Moore Foundation, Leeds, UK I wish I had a paper doll I could call my own…, Ronald Feldman Fine Arts, New York, NY What time is it?, Diane Rosenstein Fine Arts, Los Angeles, CA 2014 Eleanor Antin: The Passengers, Diane Rosenstein Fine Arts, Los Angeles, CA Multiple Occupancy: Eleanor Antin’s “Selves”, ICA, Boston, MA. This exhibition travelled to: The Miriam and Ira D. Wallach Art Gallery, Columbia University, New York, NY 2009 Classical Frieze, Galerie Erna Hecey, Brussels, Belgium Classical Frieze, Los Angeles County Museum of Art, Los Angeles, CA 2008 Eleanor Antin: Historical Takes, San Diego Art Museum, San Diego, CA Helen’s Odyssey, Ronald Feldman Fine Arts, New York, NY 2007 The Empire of Signs, Galerie Erna Hecey, Brussels, Belgium 2006 100 Boots, Erna Hecey Gallery, Brussels, Belgium 2005 Roman Allegories, 2005 & 100 Boots, 1971 – 73, Marella Arte Contemporanea, Milan, Italy Roman Allegories, Ronald Feldman Fine Arts, New York, NY 2004 The Last Days of Pompeii, Mandeville Art Gallery, San Diego, CA 2002 The Last Days of Pompeii, Marella Arte Contemporanea, Milan, Italy. -
The Influence of Gertrude Stein on Marsden Hartley’S Approach to the Object Portrait Genre Christal Hensley
One Portrait of One Woman: The Influence of Gertrude Stein on Marsden Hartley’s Approach to the Object Portrait Genre Christal Hensley Marsden Hartley’s 1916 painting One Portrait of One Woman Hartley’s circle that assembled abstract and/or symbolic forms is an object portrait of the American abstractionist poet and in works called “portraits.”4 writer Gertrude Stein (Figure 1). Object portraits are based on Although several monographs address Stein’s impact on an object or a collage of objects, which through their associa- Hartley’s object portraits, none explores the formal aspects of tion evoke the image of the subject in the title. In this portrait, this relationship.5 This paper first argues that Hartley’s initial the centrally located cup is set upon an abstraction of a checker- approach to the object portrait genre developed independently board table, placed before a half-mandorla of alternating bands of that of other artists in his circle. Secondly, this discussion of yellow and white, and positioned behind the French word posits that Hartley’s debt to Stein was not limited to her liter- moi. Rising from the half-mandorla is a red, white and blue ary word portraits of Picasso and Matisse but extended to her pattern that Gail Scott reads as an abstraction of the Ameri- collection of “portraits” of objects entitled Tender Buttons: can and French flags.1 On the right and left sides of the can- Objects, Food, Rooms, published in book form in 1914. And vas are fragments of candles and four unidentified forms that finally, this paper concludes that Hartley’s One Portrait of echo the shape of the half-mandorla. -
Fine Printing & Small Presses A
Fine Printing & Small Presses A - K Catalogue 354 WILLIAM REESE COMPANY 409 TEMPLE STREET NEW HAVEN, CT. 06511 USA 203.789.8081 FAX: 203.865.7653 [email protected] www.williamreesecompany.com TERMS Material herein is offered subject to prior sale. All items are as described, but are consid- ered to be sent subject to approval unless otherwise noted. Notice of return must be given within ten days unless specific arrangements are made prior to shipment. All returns must be made conscientiously and expediently. Connecticut residents must be billed state sales tax. Postage and insurance are billed to all non-prepaid domestic orders. Orders shipped outside of the United States are sent by air or courier, unless otherwise requested, with full charges billed at our discretion. The usual courtesy discount is extended only to recognized booksellers who offer reciprocal opportunities from their catalogues or stock. We have 24 hour telephone answering and a Fax machine for receipt of orders or messages. Catalogue orders should be e-mailed to: [email protected] We do not maintain an open bookshop, and a considerable portion of our literature inven- tory is situated in our adjunct office and warehouse in Hamden, CT. Hence, a minimum of 24 hours notice is necessary prior to some items in this catalogue being made available for shipping or inspection (by appointment) in our main offices on Temple Street. We accept payment via Mastercard or Visa, and require the account number, expiration date, CVC code, full billing name, address and telephone number in order to process payment. Institutional billing requirements may, as always, be accommodated upon request. -
Catalogue 58 – Contemporary Book Arts
Priscilla Juvelis – Rare Books Catalogue 58 – Contemporary Book Arts Bindings Bound by Samuel Feinstein in gilt and black with a pattern of gold dots, top edge gilt, publish- ers full brown morocco slipcase, 1. Caliban Press. McMurray, Mark. Lecons de Livre pour spine paneled, with press, title, Calyban or Prosper’s Parisian Printing Parade. Bon mots, author, binder, designer, place and bagatelles, & tableaux de l’imprimerie. Also a sometime type date stamped in gold gilt on spine, specimen & leaf book. As Told to an American. Pochoir by Jef signed on the lower rear turn-in in Aerosol. St-Zotique, Quebec [Canton, NY]: Cat’s Head Press gold gilt, “R. Ashwin Maynard” [Caliban Press], 2008. $2,500 on left and “George Fisher” on One of 114 copies, all on various papers including Rives and Arches, right above double gilt rule and vintage Barcham Green handmade, St-Armand handmade from Montreal, “The Gregynog Press” centered Quebec, Kochi from Japan and handmade lokta from Nepal, each signed below double gilt rule, the fine by the author / printer. Mark McMurray has created his own look at John Roland Abby copy with his printing history in Paris, with a dark back story of immigrant life in the ex-libris on the front pastedown. “City of Light.” Page size: 8-¼ x 12 inches; 48pp. This is a beautiful binding, de- Unique binding by Samuel Feinstein: full dusty rose morocco goatskin, signed by R. Ashwin Maynard naturally grained with pigmented finish, resembling stingray skin and who also engraved the portrait of called by same name, Chagreen; hand-sewn double-core silk headbands in Christina Rossetti which opens pale salmon, front panel with 12 black fillets in string-shaped twist the Introduction on p. -
Art in the Twenty-First Century Screening Guide: Season
art:21 ART IN2 THE TWENTY-FIRST CENTURY SCREENING GUIDE: SEASON TWO SEASON TWO GETTING STARTED ABOUT THIS SCREENING GUIDE ABOUT ART21, INC. This screening guide is designed to help you plan an event Art21, Inc. is a non-profit contemporary art organization serving using Season Two of Art in the Twenty-First Century. This guide students, teachers, and the general public. Art21’s mission is to includes a detailed episode synopsis, artist biographies, discussion increase knowledge of contemporary art, ignite discussion, and inspire questions, group activities, and links to additional resources online. creative thinking by using diverse media to present contemporary artists at work and in their own words. ABOUT ART21 SCREENING EVENTS Public screenings of the Art:21 series engage new audiences and Art21 introduces broad public audiences to a diverse range of deepen their appreciation and understanding of contemporary art contemporary visual artists working in the United States today and and ideas. Organizations and individuals are welcome to host their to the art they are producing now. By making contemporary art more own Art21 events year-round. Some sites plan their programs for accessible, Art21 affords people the opportunity to discover their broad public audiences, while others tailor their events for particular own innate abilities to understand contemporary art and to explore groups such as teachers, museum docents, youth groups, or scholars. possibilities for new viewpoints and self-expression. Art21 strongly encourages partners to incorporate interactive or participatory components into their screenings, such as question- The ongoing goals of Art21 are to enlarge the definitions and and-answer sessions, panel discussions, brown bag lunches, guest comprehension of contemporary art, to offer the public a speakers, or hands-on art-making activities. -
ELEANOR ANTIN Artist Talk + Screening
ELEANOR ANTIN Artist Talk + Screening Tuesday, May 19, 2009 6:30 pm Electronic Arts Intermix (EAI) 535 West 22nd Street, 5th Floor (between 10th & 11th Avenues) www.eai.org Admission free ___________________________________________________________________ Eleanor Antin has worked in film, video, photography, installation and performance for four decades. In the 1970s, Antin produced a series of feature-length narrative videos starring hand-painted paper dolls. Performing with a cast of two-dimensional characters, Antin tackled major issues of the day, while lampooning contemporary gender roles and cultural stereotypes. Antin will speak about this series and screen excerpts from works including The Adventures of a Nurse (1976), The Nurse and the Hijackers (1977) and The Angel of Mercy (1981). In The Adventures of a Nurse, Antin introduces her paper doll protagonist, "Nurse Eleanor," who becomes the brave, and much put-upon, heroine of a succession of cliché romances with a dying poet, a biker, a doctor, a French ski bum, and an anti-war senator. The Nurse and the Hijackers employs the structure of a popular movie genre as an armature for Antin's theater of ideas. Featuring a cast of hand-painted paper dolls, who display more than a coincidental resemblance to figures in the art world of the 1970s, Antin's drama recounts the hijacking of "Nurse Eleanor's" plane on the way to St. Tropez. Finally, in The Angel of Mercy, Antin's paper dolls become life-size in a live performance restaged for video in 1981. Here, Antin replaces "Nurse Eleanor," her ironic amalgamation of 1970s bimbo stereotypes, with "Eleanor Nightingale," who leaves the silken prison of her Victorian home and goes off to war in the Crimea. -
How Art Is Made
How Art is Made Sculpture What is Sculpture? • Three dimensional media and their relation to the space we ourselves occupy. • One of the oldest of the arts. Types of Sculpture Carving Modeling Casting Assemblage Installation Earthworks Performance Art Sculptural Processes • Subtractive - Begins with a mass and the artist removes material to create the finished piece of art. • Additive - The artist builds the work by adding material. Carving • Cut from a larger piece. • A large piece of marble, or other material is cut and chipped away with tools. Types of Carving – Low relief: shallow depth of a carving – High relief: deep relief of a carving Title: Senwosret I led by Atum to Amun-Re Artist: n/a Date: c. 1930 BCE Title: Maidens and Stewards Artist: n/a Date: 447 – 438 BCE Title: Atlas Bringing Herakles the Golden Apples Artist: n/a Date: c. 470 – 456 BCE Sculpture in the Round • Meant to be seen from all sides • The viewer must move all the way around the piece Title: The Rape of the Sabine Women Artist: Giovanni da Bologna Date: Completed 1583 Title: Blackburn: Song of an Irish Blacksmith (frontal view) Artist: David Smith Date: 1949 – 1950 Title: Blackburn: Song of an Irish Blacksmith (profile view) Artist: David Smith Date: 1949 – 1950 Title: “Atlas” Slave Artist: Michelangelo Date: c. 1513 – 1520 Title: Nativity Artist: Patrocinio Barela Date: c. 1966 Title: Pair Statue of Menkaure and his Queen, Khamerernebty II Artist: n/a Date: Old Kingdon, Dynasty IV, c. 2548 – 2530 BCE Title: Kouros (also known as the Kritios Boy) Artist: n/a Date: c. -
La Mamelle and the Pic
1 Give Them the Picture: An Anthology 2 Give Them The PicTure An Anthology of La Mamelle and ART COM, 1975–1984 Liz Glass, Susannah Magers & Julian Myers, eds. Dedicated to Steven Leiber for instilling in us a passion for the archive. Contents 8 Give Them the Picture: 78 The Avant-Garde and the Open Work Images An Introduction of Art: Traditionalism and Performance Mark Levy 139 From the Pages of 11 The Mediated Performance La Mamelle and ART COM Susannah Magers 82 IMPROVIDEO: Interactive Broadcast Conceived as the New Direction of Subscription Television Interviews Anthology: 1975–1984 Gregory McKenna 188 From the White Space to the Airwaves: 17 La Mamelle: From the Pages: 87 Performing Post-Performancist An Interview with Nancy Frank Lifting Some Words: Some History Performance Part I Michele Fiedler David Highsmith Carl Loeffler 192 Organizational Memory: An Interview 19 Video Art and the Ultimate Cliché 92 Performing Post-Performancist with Darlene Tong Darryl Sapien Performance Part II The Curatorial Practice Class Carl Loeffler 21 Eleanor Antin: An interview by mail Mary Stofflet 96 Performing Post-Performancist 196 Contributor Biographies Performance Part III 25 Tom Marioni, Director of the Carl Loeffler 199 Index of Images Museum of Conceptual Art (MOCA), San Francisco, in Conversation 100 Performing Post-Performancist Carl Loeffler Performance or The Televisionist Performing Televisionism 33 Chronology Carl Loeffler Linda Montano 104 Talking Back to Television 35 An Identity Transfer with Joseph Beuys Anne Milne Clive Robertson -
An Overview of Art Paper Supply in Melbourne from 1940-1990
An overview of art paper supply in Melbourne from 1940-1990 Louise Wilson ABSTRACT The history of art paper supply in Melbourne encompasses the collective stories of artists, suppliers and paper mills based in Australia and overseas. In the late 1930’s, when the range of papers available to Melbourne artists was just beginning to expand, World War II abruptly interrupted supplies. The end of the war saw the rebirth of the industry at the hands of returned serviceman, Norman Kaye when he opened Camden Art Centre in 1948. The 1960’s saw a number of new suppliers emerge including N.S. Eckersley’s Pty Ltd, Art Stretchers and Graeme Brown Papers Pty Ltd. These enterprises brought with them new papers including the Arches range from France but as was the case throughout the 19th and early 20th Century, most of the paper available was designed specifically for watercolourists. Melbourne Etching Supplies was founded in the 1970’s with a vision to service the diverse needs of Melbourne’s printmakers, including providing them with a range of interesting and high quality papers. The choice of printmaking papers available to local artists expanded once again in the 1980’s when printmaker Robert Jones became the Australian agent for Magnani Papers. By the 1990’s a vast array of art paper was available to Melbourne artists in a kaleidoscope of colours and paper choice became more about personal preference than availability. KEYWORDS paper importation, art paper, Australian paper history INTRODUCTION This study documents the availability of art papers in Melbourne from 1940-1990, from the period of Modernism through to the contemporary art of the 1980’s, focussing particularly on the suppliers operating and the type of paper they were stocking.