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September-October 1990 CAA News
<:> '";;!i IlJ ,Jd'" 0 ...u 0 ~ IlJ'" "S .l!i Po, IlJ Cfl N W 5 tn... IlJ 1 CAA to z ~ IlJ Tour 5 .E Baltimore ~ J:: 0 .....''=... u <:> ..r:"''" s a complement to the 1991 ~ IlJ Wqshington conference sessions OJ) IlJ Aand special events, eAA is .-< pleased to offer a day-long tour of the -<:> museums and culhlral institutions of U Baltimore, Maryland. This postconfer- IlJ >:S ence tour will include visits to the National Aquarium ..... Baltimore Museum of Art; the Walters <:> Art Gallery; historic properties, with ... extensive art collections, on the campus ~ IlJ ofjohns Hopkins University; and the '" internationally acclaimed National -~ Aquarium, designed by Cambridge Z Seven Associates. The tour is scheduled IlJ for Sunday, February 24. The cost of the tour is $50 per person, which includes tl lunch, round-trip transportation, and all fees. Buses will depart from the Sheraton Hotel in Washington at 8:15 A.M. and return by 7:00 PM. The first stop will be at the National Aquarium, one of the largest and most sophisticated aquari ums in the world. Nicholas Brown, its director, will welcome the group. The aquarium's collection includes over 5,000 aquatic animals. While it is perhaps an unusual stop for CAA members, Paul Claudel, the early 20th- century poet, recognized the relevance Walters Art Gallery of aquariums to the art world. He structure is in its original form, includ dent on the continuing support and From the Executive Director Contents explained, IIAuqariums are the link ing the horse stalls and wood panels. involvement of CAA's increasing mem Annual between art and science." After lunch, the group will visit Ev bership. -
Modernism 1 Modernism
Modernism 1 Modernism Modernism, in its broadest definition, is modern thought, character, or practice. More specifically, the term describes the modernist movement, its set of cultural tendencies and array of associated cultural movements, originally arising from wide-scale and far-reaching changes to Western society in the late 19th and early 20th centuries. Modernism was a revolt against the conservative values of realism.[2] [3] [4] Arguably the most paradigmatic motive of modernism is the rejection of tradition and its reprise, incorporation, rewriting, recapitulation, revision and parody in new forms.[5] [6] [7] Modernism rejected the lingering certainty of Enlightenment thinking and also rejected the existence of a compassionate, all-powerful Creator God.[8] [9] In general, the term modernism encompasses the activities and output of those who felt the "traditional" forms of art, architecture, literature, religious faith, social organization and daily life were becoming outdated in the new economic, social, and political conditions of an Hans Hofmann, "The Gate", 1959–1960, emerging fully industrialized world. The poet Ezra Pound's 1934 collection: Solomon R. Guggenheim Museum. injunction to "Make it new!" was paradigmatic of the movement's Hofmann was renowned not only as an artist but approach towards the obsolete. Another paradigmatic exhortation was also as a teacher of art, and a modernist theorist articulated by philosopher and composer Theodor Adorno, who, in the both in his native Germany and later in the U.S. During the 1930s in New York and California he 1940s, challenged conventional surface coherence and appearance of introduced modernism and modernist theories to [10] harmony typical of the rationality of Enlightenment thinking. -
Tim Gardner's Transformative Paintingstim GARDNER
3 6 From Photo to Fine Art: Tim Gardner’s Transformative Paintings 65 TIM GARDNER, The Nature of Things, 1998, watercolor on paper, 27.3 × 18.4 cm. Copyright the artist. Courtesy 303 Gallery, New York. BY PAUL LASTER PAUL BY INSIDE BURGER COLLECTION BURGER INSIDE FEATURES artasiapacific.com He used these paintings toward his graduate school applications for Yale and Columbia. While he was accepted by both, he chose the latter for its “laid-back” atmosphere and its location, which puts New York’s vibrant art scene close at hand. While at Columbia, he started making watercolors from earlier snapshots of his brothers and friends in Ontario, where the Gardner family had lived before moving to Manitoba. Partly inspired by the voyeuristic paintings of suburban adolescent sexuality by Eric Fischl, and the punk, homoerotic paintings of skinheads and military cadets by Attila Richard Lukacs—whom he worked for as a studio assistant while at Columbia—Gardner’s watercolors caught the attention of photographer Collier Schorr, the 1999 visiting artist at Columbia’s MFA program. Schorr went on to acquire Gardner’s works for her private collection, and recommended him to New York’s 303 Gallery, where she also showed. The gallery presented a selection of Gardner’s realistic watercolors of people in rural settings in its May group exhibition, even before he graduated. His first solo show with 303 Gallery in January 2000 sold out and garnered critical acclaim. Exhibiting sensitively rendered TIM GARDNER, Untitled (Sto with Girl and Liquor), 1999, watercolor on paper, paintings and watercolors depicting carefree middle-class youths 14.6 × 15.2 cm. -
R.B. Kitaj Papers, 1950-2007 (Bulk 1965-2006)
http://oac.cdlib.org/findaid/ark:/13030/kt3q2nf0wf No online items Finding Aid for the R.B. Kitaj papers, 1950-2007 (bulk 1965-2006) Processed by Tim Holland, 2006; Norma Williamson, 2011; machine-readable finding aid created by Caroline Cubé. UCLA Library, Department of Special Collections Manuscripts Division Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 Email: [email protected] URL: http://www.library.ucla.edu/libraries/special/scweb/ © 2011 The Regents of the University of California. All rights reserved. Finding Aid for the R.B. Kitaj 1741 1 papers, 1950-2007 (bulk 1965-2006) Descriptive Summary Title: R.B. Kitaj papers Date (inclusive): 1950-2007 (bulk 1965-2006) Collection number: 1741 Creator: Kitaj, R.B. Extent: 160 boxes (80 linear ft.)85 oversized boxes Abstract: R.B. Kitaj was an influential and controversial American artist who lived in London for much of his life. He is the creator of many major works including; The Ohio Gang (1964), The Autumn of Central Paris (after Walter Benjamin) 1972-3; If Not, Not (1975-76) and Cecil Court, London W.C.2. (The Refugees) (1983-4). Throughout his artistic career, Kitaj drew inspiration from history, literature and his personal life. His circle of friends included philosophers, writers, poets, filmmakers, and other artists, many of whom he painted. Kitaj also received a number of honorary doctorates and awards including the Golden Lion for Painting at the XLVI Venice Biennale (1995). He was inducted into the American Academy of Arts and Letters (1982) and the Royal Academy of Arts (1985). -
Scott Burton
SCOTT BURTON COLLECTED WRITINGS ON ART & PERFORMANCE, 1965–1975 EDITED BY DAVID J. GETSY SOBERSCOVE PREss CHICAGO Soberscove Press 1055 N Wolcott, 2F Chicago, IL 60622 USA www.soberscovepress.com All rights reserved. No part of this publication may be reproduced in any form, except for the inclusion of brief quotations and images in review, without prior permission from the publisher or copyright holders. Introduction, transcriptions/annotations, and the selection of texts in Scott Burton: Collected Writings on Art and Performance, 1965–1975 © 2012 David J. Getsy. Library of Congress Control Number: 2012945896 Burton, Scott, 1939–1989 Scott Burton: collected writings on art and performance, 1965–1975 / edited by David J. Getsy. First Printing, 2012 Design by Rita Lascaro ISBN-13: 978-0-9824090-4-6 CONTENTS Introduction: The Primacy of Sensibility: Scott Burton writing on art and performance, 1965–1975 by David J. Getsy 1 I. Beyond Minimalism 33 Tony Smith: Old Master at the New Frontier (1966) 35 Tony Smith and Minimalist Sculpture (1967) 45 Ronald Bladen (1967) 69 When Attitudes Become Form: Notes on the New (1969) 71 Time on Their Hands (1969) 79 II. Abstraction and Allusion 87 David Weinrib: See-Through Sculpture (1967) 89 Ralph Humphrey: A Different Stripe (1968) 94 Al Held: Big H (1968) 103 Adja Yunkers: The Eye’s Edge (1968) 112 Doug Ohlson: In The Wind (1968) 115 Leon Berkowitz: Color It Berkowitz (1969) 121 Willem de Kooning’s Gotham News (1969) 125 Generation of Light, 1945–70 (1971) 128 Plates 141 III. Figurative and Realist Commitments 153 Anne Arnold’s Animals (1965) 155 John Button (1967) 162 Robert Beauchamp: Paint the Devil (1966) 171 American Realism: Letter to the Editors of Artforum (1967) 176 Herman Rose: Telling and Showing (1967) 178 George McNeil and the Figure (1967) 185 Alex Katz (1968) 189 Direct Representation: Five Younger Realists (1969) 195 The Realist Revival (1972) 200 IV. -
MFA-Thesis-BC-Catalog2020
BROOKLYN COLLEGE ADJUNCT STUDIO FACULTY Michelle J. Anderson, Arnold Brooks President, Brooklyn College, CUNY Anthony Discenza Dr. Maria Conelli, Stuart Elster Dean, School of Visual, Media & Performing Arts Tamar Ettun Kathleen Gilrain Karen Heagle Diana Horowitz FACULTY Tom McGrath Derrick Adams Steve Mumford Jennifer Ball Wilfredo Ortega Janet Carlile Peter Rostovsky Georgeen Comerford Michael Solo Patricia Cronin Mona Hadler, Chair Ronaldo Kiel ART DEPARTMENT STAFF Rachel Kousser Elena Shereshevskaya Jennifer McCoy, Graduate Deputy Eto Otitigbe Kathleen Smith, MFA Coordinator Archie Rand Elizabeth Vittorioso Christopher Richards Doug Schwab Malka Simon VISTING ART SERIES Katelyn Alain Eleanna Anagnos STUDIO TECHNICIANS Katherine Bradford Amy Cutler Edward Coppola, Photography Nicole Eisenman Stephen Keltner, Sculpture Catherine Haggarty David Lantow, Printmaking Nicole Laemmle Stephen Margolies, Art History Brigitte Mulholland Mitch Patrick, Digital Sarah Potter Troy Squire, Studio Tech Jack Robinson Harriet Salmon See you soon. This simple yet hopeful farewell is now fraught with anxiety and confusion. Because, in what seemed like a matter of femtoseconds[1], the immense but intimate COVID-19 pandemic shocked so many facets of our lives. What if we reimagined this parting phrase as a mantra for creative practice? An invocation to refocus ourselves and connect to others. A reminder that simple gestures can be powerful and disruptive, capable of inspiring permanent shifts in perspective. 2020 Vision is this digital catalog and the forthcoming exhibition of the MFA Program in Studio Art at Brooklyn College. Contributing artists hail from Atlanta, Bogota, Hartford, and New York City. Full disclosure: I have an affinity for these artists. They were among my first group of students when I began my full-time teaching position in the Art Department in 2018. -
Ralph Humphrey: Monochromes
Garth Greenan Gallery 545 West 20th Street New York New York 10011 212 929 1351 www.garthgreenan.com FOR IMMEDIATE RELEASE Contact: Garth Greenan (212) 929-1351 [email protected] www.garthgreenan.com Ralph Humphrey: Monochromes Garth Greenan Gallery is pleased to announce Ralph Humphrey: Monochromes, an exhibition of paintings at 545 West 20th Street. Opening on September 6, 2018, Monochromes is Ralph Humphrey’s third exhibition with the gallery. Featuring seven of the artist’s lush abstract paintings from the late 1950s, this presentation of early works is the first of its kind in nearly three decades. The exhibition focuses on the Monochrome paintings, a singularly important, emotionally fraught body of work, created between 1957 and 1960. A single hue dominates the surface of each canvas and is subtly modulated throughout. The allover quality of such paintings as E.M. #1 (1959) is powerfully affecting, both visually and psychologically. Viewers are compelled to ponder their existence when confronted with the quiet vibration of the paintings’ surface. West End, 1959 Interviewed in Arts Magazine in 1975, Humphrey explained to Priscilla Colt, “The core of my work is contemplative. The object becomes a meditation on time, space, and light.” In all their variety, these monochromes emit a restless energy, drawing spectators closer and closer. In 1960, Donald Judd reviewed Humphrey’s first exhibition of this body of work at Tibor de Nagy Gallery, noting the following: “This is Purism of a sort, in which generality does not contain variables -
IMA 10 106-108 Sperber.Indd
106 David Sperber Notes on an Exhibition: ‘New York/New Work: Contemporary Jewish Art from NYC’ at the Jerusalem Biennale for Contemporary Jewish Art, 2015. Curators: Dvora Liss and David Sperber. The Jerusalem Biennale for Contemporary Jewish Art to the Biennale, and it goes without saying that the provides a platform for artists who examine aspects Israeli art world ignored it completely. Jewish art is of Judaism and the Jewish world through their work. an established discipline in academia outside of Israel, Ram Ozeri, the Biennale’s founder, described it as “an and yet Israeli academia views the field with suspicion. opportunity for the world of Jewish content and the In 2015, the Department of Jewish Art at Bar-Ilan world of contemporary art to meet. [. .] The term ‘con- University held a conference entitled “Constructing temporary Jewish art’ challenges the Israeli art world and Deconstructing Jewish Art.” Organized to examine and offers an alternative to the prevailing definitions of what exactly constitutes Jewish art, the conference was belonging.” The second Jerusalem Biennale was held in held following an assessment of the department by 2015, for six weeks, beginning on September 24. Atypi- the Council for Higher Education, which questioned cally for Biennale exhibitions, most of the participating whether the university was justified in maintaining a artists were women. Held in seven locations around separate department for Jewish art at all. Jerusalem, nearly 150 Israeli and international artists Biennale exhibitions of contemporary -
Vanessa Garcia [email protected] [email protected] Vanessagarcia.Org Thekrane.Com Cell: 305-450-9931
CV * Vanessa Garcia [email protected] [email protected] vanessagarcia.org thekrane.com cell: 305-450-9931 Education University of California, Irvine PhD, English (focus Creative Nonfiction). August, 2015. Dissertation Committee: Barry Siegel, Amy Wilentz, and Erika Hayasaki (references available upon request). University of California, Irvine MA, English, 2011 Studied Under: Barry Siegel, Rodrigo Lazo, Michael Szalay, and others (references available upon request). Golden Key Honor Society University of Miami, Fl. MFA Creative Writing, Fiction, 2009 Studied Under: A. Manette Ansay, Edwidge Danticat, and Jane Alison (references available upon request). Barnard College, Columbia University, New York, NY Bachelor of Arts, 2001 Graduated Summa Cum Laude and Phi Beta Kappa Double Major: English (concentration in Writing) and Art History (concentration in Visual Arts) Studied Under: Mary Gordon, Caryl Phillips, Peter Carey, Elizabeth Peyton, Archie Rand and others (references available upon request). Published Fiction, Non-Fiction & Other Lit Journal Publication - White Light, a novel. 2015. Shade Mountain Press. ISBN: 9780991355549 - Skin, short story. Forthcoming in Southern Humanities Review, 2016. - Patty & Lorrie, short story. i think it’s in my head (exhibition catalog), 2014. Published by Girls’ Club Art Collection, designed by Augusto Mendoza. - Roadtrip and Key West, two poems. Through a Distant Lens: An Anthology Washington: Write Wing Publishing, 2014. ISBN: 9781495933424 - Four Legged Flamingos, short story. Intro to catalog for photography show for Francie Bishop Good: Not On Allen Street @ Art and Culture Center of Hollywood, 2013. Printed by creativecreative.com - Sticks & Stones, poem. Shady Side Review, 1st issue [The Whirligig Installment], Fall 2009. www.shadysidereview.com - Canopies, poetry. Damselfly Press, Fifth Issue, Oct. -
The Jewish Federation of San Antonio Will “Gift” $1000 to First Time Jewish Overnight Campers Through One Happy Camper Grants
INSIDE: What’s been happening in your community? PAGE 20 The Jewish Journalof san antonio TISHREI - CHESHVAN, 5777 Published by The Jewish Federation of San Antonio NOVEMBER 2016 More than $194,000 raised in a single day Making an Impact MORE PHOTOS! and Changing Lives See photos of volunteers who TODA RABA! Thank helped make an impact at you to the more than 100 Super Sunday! PAGE 22-23 community volunteers who collectively raised a record the community came breaking $194,229 at Super together to reach out to their Sunday, on September 25, at fellow community members The Campus, representing – to Make an Impact and a 23% increase over last Change Lives. year’s achievement. Super Super Sunday co-chairs, PARTNERSHIP CORNER Sunday was truly a day Greg Davis & Liz Rockstroh San Antonio and Israeli of “Community”, where children build new volunteers from all parts of See SUPER SUNDAY, page 22 friendships and understanding. PAGE 11 CELEBRATE HMMSA teams with educators Jewish community to gather SHABBAT GRANTS and AT&T to promote to commemorate Kristallnacht Host a Shabbat get Learn together compliments and Remember and other The San Antonio to more than thousands of of PJ Library. Holocaust Memorial Jewish businesses, hundreds Museum, in partnership PAGE 7 of synagogues and schools, education programs with Congregation Agudus and murdered dozens of The Holocaust Memorial Museum of Achim and Temple Beth- Jews. San Antonio (HMMSA) has received El, will host a Kristallnacht Approximately a $15,000 grant from AT&T which Commemoration program 30,000 Jewish men were will ensure area teachers continue to for the entire community at rounded up and sent to have access to an innovative Learn and 5:30 p.m. -
American Art Today: Contemporary Landscape the Art Museum at Florida International University Frost Art Museum the Patricia and Phillip Frost Art Museum
Florida International University FIU Digital Commons Frost Art Museum Catalogs Frost Art Museum 2-18-1989 American Art Today: Contemporary Landscape The Art Museum at Florida International University Frost Art Museum The Patricia and Phillip Frost Art Museum Follow this and additional works at: https://digitalcommons.fiu.edu/frostcatalogs Recommended Citation Frost Art Museum, The Art Museum at Florida International University, "American Art Today: Contemporary Landscape" (1989). Frost Art Museum Catalogs. 11. https://digitalcommons.fiu.edu/frostcatalogs/11 This work is brought to you for free and open access by the Frost Art Museum at FIU Digital Commons. It has been accepted for inclusion in Frost Art Museum Catalogs by an authorized administrator of FIU Digital Commons. For more information, please contact [email protected]. RIGHT: COVER: Howard Kanovitz Louisa Matthiasdottir Full Moon Doors, 1984 Sheep with Landscape, 1986 Acrylic on canvas/wood construction Oil on canvas 47 x 60" 108 x ;4 x 15" Courtesy of Robert Schoelkopf Gallery, NY Courtesy of Marlborough Gallery, NY American Art Today: Contemporary Landscape January 13 - February 18, 1989 Essay by Jed Perl Organized by Dahlia Morgan for The Art Museum at Florida International University University Park, Miami, Florida 33199 (305) 554-2890 Exhibiting Artists Carol Anthony Howard Kanovitz Robert Berlind Leonard Koscianski John Bowman Louisa Matthiasdottir Roger Brown Charles Moser Gretna Campbell Grover Mouton James Cook Archie Rand James M. Couper Paul Resika Richard Crozier Susan Shatter -
A Jewish Art
SUSAN NASHMAN FRAIMAN A Jewish Art It was like coming to the end of the world with no more continents to discover. One must now begin to make habitable the only continents that there are. One must learn to live within the limits of the world. As I see it, this means returning art to the serving of largely human ends. —Arthur C. Danto, in The State of the Art (1987) IN THE BEGINNING , was there Jewish art? 1 The debate about the existence of Jewish art is an old one, starting in the nineteenth century, with the devel - opment of the study of art history, which started almost concurrently with the development of nationalist movements in Europe. Questions of whether each nation has a distinctive style were raised by art historians, and answered in the affirmative. Art historians, however, denied Jews the existence of an art form. Jews, they claimed, were constitutionally unable to produce art—the second commandment was too ingrained in Jewish consciousness. 2 This atti - tude even spilled over to the possibility of creation in other arts—the most notable proponent of this was Wagner, who claimed in “ Das Judenthum in der Musik ” (1850) that the Jews were not only incapable of producing real music, they were incapable of producing real art of any kind. 3 This article will focus on some of artistic activity in the land of Israel, including the founding of Bezalel, offer some examples of artists in Israel working in the “Jewish vein” today, and conclude with a summary of a recent Biennale held in Jerusalem and the new and exciting directions artistic expression by self-defined observant Jews is taking.