DOCSLIB.ORG

Selected New York Seens

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Selected New York Seens SELECTED NEW YORK SEENS 1979 opened with a whoop, holler, and focus on the "New" sound/slides/improvisation in "Homerunrnuse" by Carolee and "Old": "New Image Painting" at the Whitney Museum Schneemam. An informal documentation slide showing of centered on ten painters using isolated images in new con- Fandango's history was screened, dong with original broad- texts, simplifying recognizable objects placed on non-associ- side issues of their earliest editions. ative grounds, transforming scale and color to yield "new" "New" style spectacles of "old" favorites were presented meanings. Artists included Nicholas Africano, Jennifer Bart- at the newly-refurbi~hedEntermedia Theatre in the Nova lett, Denise Greene (also showing drawings and paintings at Convention, a gathering of artists, writers, fhmakers, thin- Max Protetch), Michael Hurson, Neil Jenney, Lois Lane, kers, and the like, dedicated to the writings and ideas of Robert Moskowitz, Susan Rothenberg, David True, Joe Zuc- William ~~~o~ghs:readings and performances by Allen ker. Other museum and gallery exhibitions of new works Ginsberg, JO~Cage, Merce Cunningham, Anne WaIdman, Ed included two by Robert Rauschenberg (Sonnabend), wall Sanders, Tim teary, Les Levine, theatrical events with Bel- works by Rosemary Mayer (55 Mercer), metal reliefs by gium's Le Plan K, Frank Zappa reading Burroughs, and Frank Stella (Leo Castelli), photoworks by Al Souza (O.K. Laurie Anderson and Julia Heyward presenting a new audio- Harris), acrylicjskrim paintings by Chris Darton (Mary distortion story. A second event celebrated the New Year in Boone), "new Wave" collage by Henry Benvenuti (Monson), a benefit for the recently burnt-out St. Marks' Church with Charlemagne Palestine's "RedjBlack" and Keith Sonnier's a similar six-hour all-star cast. "Porte-Voix" installations (The Clocktower), Marta Samson's Nova Convention film screenings presented One Vims, "Miss Behave Uncovered" moving stills (Bertha Urdang), including Bruce Connor's Devo: The Mangoloid, Kathy sculpture by Jackie Winsor (Museum of Modern Art), new AckerYs~lood and Cuts in Highs&ool, Amos Poe's The suite "Faites Memorables" by Jean Dubuffet (Pace Editions), End of the Film World, Kathy BigeIowysSet- up, Eric and a dynamic group show of sculpture by Gerard Hovagim- Mitchell's &r oash and Michael Oblowitz's Circuits of yan, Chiara Smith and paintings by John Shaw, Hany Spitz control. (75 Warren Street). Other fdm showings included four nights of new-no-now- Retrospective showings included Illark Rothko and Man- wave fims and performance (57 Club) in Double Exposure drian (Guggenheim), Matis= paintings and book illustrations including new works by Kathy Acker, J~~~ Aherne,Scott (Museum of Modern "Willim Williams & The Beth B., John Lurk, James Naires; fims by Joanna Kiernan American Scene" tWhitney Museum), Le Va's "Four (Milennium), Kathy Bigelow & Betty Ferguson & Manuel Consecutive Installations and Drawings" (New Museum), Delanda (mitney Museum), and Anthony McCall & Andrew drawings by sculptors Mark DiSuvero, Mary Miss, Jackie Tyndall's Argument (Millenium) with attendant discussion Fern, Sol LeWitt, Alice Avcock, Christ0 (Touchstone), of contests and entertainments (Whitney Museum's New "Georgia O'Keeffe" by Alfred Steiglitz (Metropolitan Muse- American Filmmakers Series).Anton Perich created video um of Art), Jack Levine (Jewish Museum). nightmajik (Robert Friedus Gallery ), and Dieter Froese "The New West" series at the Kitchen Center for Video and opened in ill ~~i~~~'~videotape Streetworks (~~th~l~~~ Music presented West Coast visual artists Chris Langdon Video). (films), James Welling (photographs/video), Pat O'Neill Musical offerings ranged from Michael Sahl & Beth An- (animated film loops), Morgan Fisher (fh-as-scul~ture)and derson's Cabaret of Neurosis and Nostalgia through a electronic music composers David Durn (sonic "pictures" of new Eno.produced Lp with DNA, Contortions, ~erfomancesites), Ron Robboy (sound tour of Sari Diego), Mars, Teenage Jesus & The Jerks, "new-wave" exprimen- "Blue" Gene Tyranny (Polymoog orchestrations), Frankie tal synthesizers Suicide, 6-52's, Walter Stedding, Model Ci- Mann (synthesizer-minicomputer-electric bass solos). Also, tizens, to a LcProgressiveManifestivaln presented by Zu a new version of composer/piani~tIvan Tcherepnin's Santur including Daevid Alien and Fred Frith, and at the other Opera, ~ichaelNyman and Peter Greenway in ffim/music end of the spectrum new music from international corn- intercollaboration, and vocal compositions of Meredith posers Peter Garland, Michael Byron, Tim Souster, lngram Monk were performed. Marshall, John Adams, Paul Dresher, and Michael Nyman A "new" episode in Bland Man's life, hilarious brainchild organized under the aegis of The Reich Music Foundation, of Michael Smith, premiered at Artists' Space; also, Me1 which also presented an evening with James Tenney, perfor- Andringa's "Babylon/34th Street: A Lecture/Perfomance," ming 8 dynamic pieces. Phil Niblock and Greg Sandow drawings by Tom Martin, Auste Peciura, Alan Saret, Patti performed their compelling new works at Intermedia. Smith, Nancy Spero, photographs by Laurie Simmons~video Outstanding performances by Vancouver's Western Front installation by Peter D'Agosfino, Pieter Holstein's Paper Society, droll comedy of Robert Carroll, incisive theatre collage "Waterfall" and R. M. Fisher's "Served Up!" from Britain's Theatre of Mistakes, a personal-perceptive lighting fixture installation. trilogy of plays by Spaulding Gray and Elizabeth LeCompte High ~ointsin P.S. 1's current exhibition program included titled Three Places in Rhode Island, and more delightful, Organization of Independent Artists' postcard size art, work provocative readings from the works of Henw James Korn of Pal Oleszko, drawings by Anthony Thompson, and and Richard Kostelanetz highlighted the new year's opening, couple^" curated by Alanna Heiss-a look at the collabora- heralding a concern with communication and context. Notes tive and independent work of 16 artists, among them Helen in the next issue will provide detailed reviews of new works and Newton Harrison, Klaus Rinke, Annette Messager ;also on the New York Scene. Watch for news of your old fa- music tapes by Eberhard Blum. vorites and new interests! Franklin Furnace mounted exhibitions including front win- -Judith Aminoff dew by D~~ ~~~h~~,photographs and new book works of Editor's Note: Judith Aminoff is a writer, currently working as a free- Barbara Krueger, and a variable work-in-progress using lance reviewer for Flash Art and various New York City publications. She is now Contributing Editor (New York) for Umbrella. .
Load more

Recommended publications
  • William Anastasi
    WILLIAM ANASTASI Born Philadelphia, PA, in 1933 Lives and works in New York, NY AWARDS 2010 John Cage Award, Foundation for Contemporary Art SOLO EXHIBITIONS 2012 Jarry:Du/Joy, Blind Drawings, Walking, Subway, Drop, Vetruvian Man, Still, Galerie Jocelyn Wolff, Paris 2010 Drawings, Gering & López Gallery, New York, NY Isabelle Du Moulin und Nils Borch Jensen Galerie, Berlin, Germany William Anastasi, John Cage Award (Biennial Award) 2009 William Anastasi, Emilio Mazzoli Gallery, Modena, Italy William Anastasi Retrospective, curator: Inge Merete Kjeldgaard, The Esberg Museum of Modern Art, Esbjerg, Denmark 2008 Opposites Are Identical, Peter Blum Gallery (Chelsea), New York New works, Stalke Galleri / Stalke Up North / Stalke Out Of Space, Kirke Saaby, DK 2007 William Anastasi, Raw [Seven works from 1963 to 1966], The Drawing Center, New York William Anastasi, Paintings and drawings, Michael Benevento, The Orange Group, Los Angeles 2006 William Anastasi, Bjorn Ressle Fine Art, New York William Anastasi, Baumgartner Gallery, New York 2005 Drawings 1970-2005, Stalke Gallery, Copenhagen Blind, art agents, Hamburg William Anastasi, Rehbein Gallery, Cologne 2004 William Anastasi, SolwayJones, Los Angeles Galerie Jocelyn Wolff 2003 Blind, The Annex, NY 2001 William Anastasi: 1961-2000: A Retrospective at the Nikolaj Contemporary Art Center, Copenhagen 2000 William Anastasi, art agents, Hamburg 1999 ...vor mehr alseinem halben Jahrhundert, Landes Museum, Linz, Germany Drawings, Gary Tatintsian Gallery, NY 1998 I Am A Jew, The Philadelphia Museum
    [Show full text]
  • JANUARY 2018 Having Been Included In
    JANUARY 2018 Having been included in William C. Seitz’s Museum of Modern Art exhibition “The Art of Assemblage” in 1961, and with a solo debut at the Leo Castelli Gallery the following year, Robert Moskowitz has maintained a quiet but persistent presence on the New York scene for more than half a century. Quiet persistence has been a characteristic quality of his art as much as of his career. That tenacity pays off was demonstrated by his recent exhibition of six paintings, some of which were probably among his best, and, for that matter, are among the best anyone is making today. Observers have always struggled to pigeonhole Moskowitz’s work or to sort out its affinities and affiliations. Early on, he was seen as a fellow traveler of Pop; later, as the godfather of the New Image painting of the late 1970s (Susan Rothenberg, Lois Lane, Joe Zucker et al.). Today, I’d think of Ellsworth Kelly as a close relation. But mainly Moskowitz just seems to have gone his own way, somehow imbibing various influences and influencing others in turn while following his own path. Among the first works he showed were collages made of window shades; since then, while eventually eschewing the use of found objects, he has continued to be fascinated by the visual form of quotidian things—and particularly things that are part of the built environment. At the same time, he has usually depicted those things—if depicted is even the right word—with the eye of an abstractionist, even a kind of small-m minimalist, a parer-down rather than an elaborator.
    [Show full text]
  • The Museum of Modern Art: the Mainstream Assimilating New Art
    AWAY FROM THE MAINSTREAM: THREE ALTERNATIVE SPACES IN NEW YORK AND THE EXPANSION OF ART IN THE 1970s By IM SUE LEE A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2013 1 © 2013 Im Sue Lee 2 To mom 3 ACKNOWLEDGMENTS I am deeply grateful to my committee, Joyce Tsai, Melissa Hyde, Guolong Lai, and Phillip Wegner, for their constant, generous, and inspiring support. Joyce Tsai encouraged me to keep working on my dissertation project and guided me in the right direction. Mellissa Hyde and Guolong Lai gave me administrative support as well as intellectual guidance throughout the coursework and the research phase. Phillip Wegner inspired me with his deep understanding of critical theories. I also want to thank Alexander Alberro and Shepherd Steiner, who gave their precious advice when this project began. My thanks also go to Maureen Turim for her inspiring advice and intellectual stimuli. Thanks are also due to the librarians and archivists of art resources I consulted for this project: Jennifer Tobias at the Museum Library of MoMA, Michelle Harvey at the Museum Archive of MoMA, Marisa Bourgoin at Smithsonian Institution’s Archives of American Art, Elizabeth Hirsch at Artists Space, John Migliore at The Kitchen, Holly Stanton at Electronic Arts Intermix, and Amie Scally and Sean Keenan at White Columns. They helped me to access the resources and to publish the archival materials in my dissertation. I also wish to thank Lucy Lippard for her response to my questions.
    [Show full text]
  • Harold Stevenson
    Harold Stevenson Harold Moncreau Stevenson Jr. (March 11, 1929 – October 21, 2018) was an Harold Stevenson American painter known for his paintings of the male nude.[1] He was a friend, a mentor, and an associate of Andy Warhol, and appeared in the Warhol film, Heat Born March 11, 1929 (credited as "Harold Childe").[2] Idabel, Oklahoma, U.S. Died October 21, 2018 Biography (aged 89) Idabel, Oklahoma, U.S. [3] Stevenson was born in Idabel, Oklahoma in 1929 and attended the University Nationality American of Oklahoma before moving to New York City in 1949.[3] He moved to Paris in Known for Painting 1952 and exhibited at European galleries for the next 20 years. Movement Pop art Stevenson's most well-known works were painted in the 1960s, including his Patron(s) Peggy Guggenheim, most famous works, Eye of Lightning Billy and The New Adam. Eye of Lightning Iris Clert, Andy Warhol, Billy was exhibited at the Sidney Janis Gallery in 1962 as part of the "New Alexander Iolas Realists" exhibit, which included works by Warhol (including his 200 Campbell’s Soup Cans), Claes Oldenburg, Roy Lichtenstein, Robert Moskowitz, Robert Indiana, George Segal, Jim Dine, Peter Agostini, James Rosenquist, Wayne Thiebaud and Tom Wesselmann. The Eye of Lightning Billy was acquired by the Museum of Modern Art in 2008.[2] In 1963, Stevenson's massive mural, The New Adam, was displayed at the Iris Clert Gallery in Paris. The mural is an 8-foot by 39-foot reclining nude man. The model was young actor Sal Mineo, and the painting was dedicated to Stevenson's lover at the time, Lord Timothy Willoughby de Eresby, the heir to the Earl of Ancaster.
    [Show full text]
  • Fame-Obsessed 'Forty' at Moma PS1 Shows An
    Fame-Obsessed ‘Forty’ at MoMA PS1 Shows an Alternative Art Scene That No Longer Exists The original alternative spaces movement captured the era’s raw- nerved energy. Ben Davis, August 22, 2016 Installation view of Ba-O-Ba Fluorescent by Keith Sonnier in FORTY. Image courtesy MoMA PS1. Photo by Pete Deevakul. PS1 began as the Institute for Art and Urban Resources, in a city mired in a nasty financial crisis. Throughout the 1970s and ’80s, Alanna Heiss’s risk- taking nonprofit was a major force in the “alternative spaces” movement, and https://news.artnet.com/exhibitions/forty-at-moma-ps1-review-611432 the art she presented looms large in the contemporary imagination. It’s important, today, to reckon with its legacy. This summer, to celebrate its birthday, PS1 (now MoMA PS1) has brought back its founding director to curate “Forty,” a love letter to its early legacy. The thing is, though, a love letter might not be the best place to look for a real critical reckoning with the past. The show, taking over the second floor of PS1, is a kind-of-sort-of tribute to “Rooms,” the legendary first show from 1976, back when it really was a scrubby old schoolhouse, not the dressed-down, hipper-than-thou annex of MoMA that it is now. Nam June Paik in “Forty” at PS1. Courtesy of Ben Davis. Overall, the vibe of the art here is inscrutable and scrappy. There’s plenty of charm nestled away in PS1’s various nooks, from Nam June Paik’s witty sculpture of a candle framed in an old-style TV tube, to Colette’s voluptuous, grotto-like environment, or Dennis Oppenheim’s tableaux that evokes a spooky marionette crime scene.
    [Show full text]
  • Miami Preuiew
    MIAMI PREUIEW BY RONI FEINSTEIN he fifth edition of the international with them altogether. Also in this Dec. 5-6, just prior fair Art Basel Miami Beach location is Art Perform, a program of to the opening of (Dec. 7-10) once again offers daily performances curated by Jens ABMB. On Dec. 6, visitors a cornucopia of citywide Hoffman of the CCA Wattis lnstitute, Aquarelle, Guillermo exhibitions and events geared to San Francisco, and an artist DJ Kuitca's site-specif ic cutting-edge art. At the Miami Beach program organized by Alanna Heiss public art project Convention Center, the principal and Klaus Biesenbach of New York's for Aqua, a Dacra venue, some of the world's most P.S.1. Art Projects includes both Development project prominent galleries present their public works of art and performances on Allison lsland, is wares in the company of younger that are on view at various sites in being unveiled; last galleries comprising the Art Nova Miami Beach (maps are provided). year, a Richard Tuttle section of the fair. ln a beachfront ln the botanical gardens opposite the project was dedicat- village of converted shipping contain- convention center are the Art Video ed at the same site. ers situated a few blocks away, Art Lounge, programmed by Michael On Dec. 7, the night Positions offers the work of other Rush of the Rose Art Museum at of the fair's official Brandeis University, and the Art opening, Miami artist Sound Lounge, curated by David George Sanchez- Dale Chihuly: Niijima Floats,2005, hand-blown glass; Weinstein of P.S.1.
    [Show full text]
  • P.S.1 Contemporary Art Center Founder and Director Alanna Heiss to Retire on December 31
    P.S.1 CONTEMPORARY ART CENTER FOUNDER AND DIRECTOR ALANNA HEISS TO RETIRE ON DECEMBER 31 New York, December 29, 2008—Alanna Heiss, the founding director of P.S.1 Contemporary Art Center, who over the course of the last 37 years oversaw the transformation of a turn-of-the-century public school building in Long Island City, Queens, into a space that reflected the originality and independence of hundreds of artists, will retire from P.S.1 on December 31, 2008. An internationally recognized champion of contemporary artists for more than three decades, Ms. Heiss is also hailed as a visionary curator of adventurous exhibitions—more than 800 during her tenure—and as an arts leader whose support has nurtured the careers of young artists and curators around the world. “P.S.1 was founded with a particular mission, which was to allow for the discovery of many different points of view under one roof,” said Ms. Heiss. “Its special gift to those who appreciate art is its ability to mobilize artists both young and old, known and unknown, to explore their dreams and visions. The experiences I’ve had working with great curators and artists have been a tremendous honor.” Glenn D. Lowry, Director of The Museum of Modern Art, which became affiliated with P.S.1 in 2000, said: “Alanna Heiss is a creative and visionary leader whose efforts brought the originality of contemporary artists to a worldwide public and built a landmark center for the visual and performance arts. Literally hundreds of artists from around the world have felt the impact of her tireless efforts over the last 37 years, and that impact will continue to resonate with artists for years to come.” “It has been an incredible experience and honor to have served on the board of P.S.1 with Alanna since the 1970’s,” said Agnes Gund, who in addition to serving on P.S.1’s board is also President Emerita of MoMA.
    [Show full text]
  • Betty Parsons, Marcia Tucker, and Alanna Heiss Cyndi Conn Skidmore College
    Skidmore College Creative Matter Master of Arts in Liberal Studies (MALS) Student Academic Departments and Programs Scholarship 5-22-2010 Nerve Endings: Betty Parsons, Marcia Tucker, and Alanna Heiss Cyndi Conn Skidmore College Follow this and additional works at: https://creativematter.skidmore.edu/mals_stu_schol Part of the Arts and Humanities Commons, and the Arts Management Commons Recommended Citation Conn, Cyndi, "Nerve Endings: Betty Parsons, Marcia Tucker, and Alanna Heiss" (2010). Master of Arts in Liberal Studies (MALS) Student Scholarship. 66. https://creativematter.skidmore.edu/mals_stu_schol/66 This Thesis is brought to you for free and open access by the Academic Departments and Programs at Creative Matter. It has been accepted for inclusion in Master of Arts in Liberal Studies (MALS) Student Scholarship by an authorized administrator of Creative Matter. For more information, please contact [email protected]. Nerve Endings: Betty Parsons, Marcia Tucker, and Alanna Heiss by Cyndi Conn FINAL PROJECT SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN LIBERAL STUDIES SKIDMORE COLLEGE April 2010 Advisors: Kathryn Davis, Tom Huhn INTRODUCTION When initially presented, new forms of art and installation can incite hostility and derision among art patrons, critics, and general audiences. New paradigms are unsettling and artistic breakthroughs can threaten belief systems people hold dear to their understanding of the art world and how it functions. Some of the most distinguished and iconic artists in modem history have found notoriety and recognition through years, even decades, of slowly evolving acceptance into the cultural mainstream. Once labeled charlatans heralding a clear decline in culture, such eminent artists as Theodore Gericault, Edouard Manet, Pablo Picasso, and Marcel Duchamp incited public fury and scathing criticism in their respective eras for the ground-breaking work they produced.
    [Show full text]
  • Download the Exhibition Essay Here
    The Passing of Time Michael Hurson at Work 1971-2001 Curated by Dan Nadel Michael Hurson: The Passing of Time Dan Nadel Any approach to Michael Hurson needs to begin with a few salient facts and carry through with his own words. Hurson was an artist whose drawings, paintings, prints and sculptures carefully and with great humanity depicted his and his friend’ spaces, times, and relationships. He also wrote a number of plays, and quite a bit of prose about his own work with precision and an inquisitive wit. He constantly circled around the geographic and social constellations of his life – he did not want, nor did he need, to escape from where he came. He was born in 1941 to a well-to-do Christian Scientist family in Youngstown, Ohio. He had a twin sister who died in childbirth, and an older sister with whom he was not close. The family moved to Chicago shortly thereafter, where his father was a successful businessman, and his mother a well-liked person of elegance and, by all accounts, impeccable taste. Hurson attended the School of the Art Institute of Chicago, where he was a star student amongst schoolmates including Elizabeth Murray, Jim Nutt, Suellen Rocca, and Karl Wirsum. His painting, Ballet of the Left-Handed Piano, appeared in the Institute’s 1962 Annual Exhibition of Artists of Chicago and Vicinity where it was spotted by Henry Geldzahler, who subsequently purchased a drawing by the young artist. In his senior year he was mentored by Robert Pincus Witten, who would later write: “Hurson’s work is not critical stimulus/response art; rather it deals with a constant imagery that at its core is curiously uninflected and behaviorally white bread – WASP, spearmint, if you see what I mean – New Yorkers would think of it as Hurson himself wrote: Midwestern, down home.”1 Hurson graduated in 1963, traveled a bit, and assisted his childhood hero, the “The Eyeglass paintings represent three years’ work – 1969 to 1971.
    [Show full text]
  • Gvdw CV Logo
    Gerald van de Wiele Born Chicago, IL 1932 Currently lives and works in New York Education. 1950 School of the Art Institute of Chicago (National Scholastic Scholarship) 1954-56 Black Mountain College, NC (Studied with Joe Fiore + Charles Olson + Stefan Wolpe) Military Service. 1952-54 US Marine combat artist, stationed at Camp Lejeune, NC Teaching. 1970-73 Painting and drawing, Queens College, NY Grants/Residency. 1968 Grant recipient, National Endowment for the Arts 1974 Artist-in-Residence, Harriman State Park, NY 2018 Artist-in-Residence, Norte Maar, Jay, NY Selected One-Person Exhibitions. 1957 Wells Street Gallery, Chicago, IL, October 4-October 24. 1962 “Gerald van de Wiele,” Leo Castelli Gallery, New York, NY, December 8, 1962-January 9, 1963. 1967 “Gerald van de Wiele: Paintings,” Peridot Gallery, New York, NY, May 6-May 31. 1969 “Gerald van de Wiele,” Peridot Gallery, New York, NY. 1970 “Gerald van de Wiele: Recent Paintings and Drawings,” Peridot Gallery, May 5-May 29. 1973 “Landscape Trilogy: Gerald van de Wiele,” Washburn Gallery, New York, NY,, Sep- tember 10-29. 1990 “Gerald van de Wiele,” Pike Street Art Center, Port Jervis, NY. 2005 “Gerald van de Wiele,” Ansonia Pharmacy Window Show, New York, NY. 2017 “Gerald van de Wiele: A Retrospective,” (curated by Jason Andrew) Black Mountain Col- lege Museum and Arts Center, Asheville, NC, January 19-May 19. 2019 “Gerald vand de Wiele: New Work,” Tracey Morgan Gallery, Asheville, NC, (forthcoming) Selected Group Exhibitions. 1957 “Exhibition Momentum 1957,” (juried by Franz Kline, Philip Guston and Sam Hunter), Chicago, IL, November. 1958 Group Exhibition, Wells Street Gallery, Chicago, IL, May 30-July 9.
    [Show full text]
  • Gerald Van De Wiele: Variations Seven Decades of Painting, Drawing and Sculpture
    Gerald van de Wiele: Variations Seven Decades of Painting, Drawing and Sculpture curated by Jason Andrew January 19-May 19, 2018 This historic retrospective captures seven-decades of art by Gerald van de Wiele; an exhibition that highlights the artist’s distinctive calibration of color and line while tapping the pulse-rhythm of the natural world. Gerald van de Wiele: Ever the Dreamer by Jason Andrew Black Mountain College has a rich and complex narrative. It’s a story full of many colorful characters, suspenseful chapters, and historic scenes. One such narrative that hasn’t been told, until now of course, is the story of Gerald van de Wiele. “By the time I was in my early teens, I knew I wanted to be a painter. There was no question about it,” van de Wiele told author and historian Martin Duberman in 1968, “I didn’t know what it meant and everything, but I knew a lot about art at a very early age, maybe even 13 or 14 years old—maybe even earlier. And the path ahead seemed very clear. I knew that’s what I’d be, a painter.”1 Gerald van de Wiele was born in 1932 and raised in Detroit. He attended Cass Technical High School from 1947-1950. One day, a recent grad of the school by the name of Ray Gerald van de Wiele Johnson visited his class “singing the praises of a place called Untitled (Black Mountain College) (1956) Black Mountain College. That was the first time I heard of Oil on canvas, 20 x 16 in.
    [Show full text]
  • The Everyday Object in American Art... NEW YORK STATE MUSEUM
    By David Brickman Extra-Ordinary: The Everyday Object in American Art... NEW YORK STATE MUSEUM. THROUGH JULY 16 , HO-HUM-ANOTHER EXHIBITION of museum-quality pop and post pop artists comes to the Capital Region. Who would have thought it possible even a few years ago to be bored at such a prospect? But now, events like this are- amazingly-becoming routine around here. Just recalling two shows from the last couple of years-Strangely Familiar at the New York State Museum, which featured postmodernist work from the collection of the Museum of Modern Art, and the Tang Teaching Museum's out- standing show drawn from the Sonnabend collection in 2002-makes the point pretty clear. Ordillary DO more: Neil WiDokur". Telephone. Yet, Extra-Ordinary: The Everyday Object in American Art, which is the 13th install- ment in the Bank of America (formerly Fleet Bank) Great Art series at the State Museum, is still cause for celebration. Incorporating just over 40 pieces by 22 artists, the earliest a 1938 Man Ray ink drawing and the latest a 2000 graphite on canvas by Shimon Okshteyn, the show is a treasure trove of (mostly) witty and masterful works bv some of the best artists of recent times, all culled from the vast holdings of New York City's Whitney Museum. Curated by the Whitney's Dana Miller, and accompanied by a nice color brochure with several reproductions and an informa- tive, clearly written essay by Miller, Ex:tra- Ordinary aims to "[illuminate] unexpected facets of the familiar. ... through artworks that compel uS.to e~ne our surroundings with fresh eyes." This goal is both apt and achievable by the show--except for the likelihood that we've seen these works, or ones much the same, over the several decades since Dada and pop swept away the old conventions.
    [Show full text]