DOCSLIB.ORG

Remembering Frank Fleming Medium // Summer // 2018

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Remembering Frank Fleming Medium // Summer // 2018 Medium The Magazine of the Birmingham Museum of Art Summer · 2018 Remembering Frank Fleming Medium // Summer // 2018 Contents Director’s Letter 4 Features Frank Fleming · The Poynor Collection 13 Exhibitions Dear Member, The Original Makers · Third Space · Waterline An Exploration of Line Summer is upon us and I want to remind you will explore the impact of industry—particularly damming for transformative effect on the Museum’s collection. Over the that the BMA is the perfect place to escape hydroelectric power and flood control—on indigenous cultures years, the Poynors have enhanced our holdings of American 19 Acquisitions the heat and humidity while exploring our and the land they inhabit, what Nicolson calls “the awkward modern art with important gifts of work by Gene Davis, Kenneth Standing Rock · Memories of the Coast of France world-class collections. There’s a lot to see! balancing act of industrial development and environmental Noland, Roy Lichtenstein, and Robert Mangold, among many We recently opened The Original Makers: stewardship.” others. A selection of works from their collection—including ex- 22 Programs + Events Folk Art from the Cargo Collection, featuring amples by Joan Mitchell and Louise Nevelson—is presently on Ongoing Programs · Art On The Rocks 160 vibrant and clever works by some of our At the beginning of August, we will install the final rotation in view in the Museum’s Styslinger Gallery of American Art. The Latinx Festival · Waterline Lecture · ICS Concert region’s best-known, self-taught artists. This the popular contemporary art exhibition Third Space. It’s hard current selection will be up until November, when a new selec- Dixie Art Colony · Maker Station · Art After 5 exhibition delights and inspires, conveying a to believe that this two-year endeavor is sense of pride for the rich artistic heritage of coming to an end, and if you haven’t yet Art enables us to find 26 News + Giving our state and region. experienced what New York Times art crit- NextGen 2018 · Volunteer Spotlight · Teen Night ic Holland Cotter named to “The Best Art ourselves and lose Meet the Director of Development · Museum Ball Speaking of originality, in March we lost a of 2017,” there’s still time; the exhibition ourselves at the same time. Support Group Travel · Visitors’ View true Alabama original, the beloved sculptor closes January 6, 2019. If you don’t be- Corporate Partners · Memorials + Honorariums Frank Fleming, whose “gentle fantasy world lieve me or Mr. Cotter, how about Kate V., Thomas Merton of creatures”—as it was described by the a visitor from Spokane, Washington, who (American, born France, 1915–1968), late Georgine Clarke—has captivated gen- wrote on TripAdvisor, “Third Space was Trappist monk, poet, social critic, erations. I am grateful to Director Emerita so good, we skipped all the typical art and spiritual writer The Birmingham Museum of Art publishes the membership Gail Andrews for sharing some thoughts museum with oil paintings from Europe magazine, Medium, quarterly. about this extraordinary artist in this issue and American [sic] and came back to of Medium. The Museum is proud to be the go through Third Space a second time. Especially after visiting tion from the Poynor collection will be hung. Collectors such The mission of the Birmingham Museum of Art is to spark owner and caretaker of Fleming’s most prom- the historical civil rights sites in Alabama, this exhibit was quite as Dr. and Mrs. Poynor are the cornerstone of this institution the creativity, imagination, and liveliness of Birmingham inent public work—The Storyteller—which was meaningful.” Please join the nearly 50,000 visitors who have and I am grateful to them for their unwavering connoisseur- by connecting all its citizens to the experience, meaning, acquired and installed in the heart of histor- experienced Third Space, but while you’re here check out the ship and willingness to share their collection with the people of and joy of art. ic Five Points South with broad community “typical art museum,” too! Many of the galleries change frequent- Birmingham. support. ly with new acquisitions and “rediscovered” works from our rich James Outland – Chairman of the Board collection. There’s always something new to see. Whether you find or lose yourself in our collection, I look for- Graham C. Boettcher – The R. Hugh Daniel Director An exhibition you won’t want to miss is ward to seeing you soon and often! Laura Monroe – Editor Waterline, opening on July 27. The exhibition I want to thank everyone who supported and attended the 2018 James Williams – Designer showcases a recent acquisition: a visually Museum Ball Outside the Lines, which was attended by more Warmly, Sean Pathasema – Photographer stunning illuminated sculpture by Marianne than 450 people, breaking previous attendance and fundraising Nicolson (born 1969), an artist of Scottish records. I am particularly grateful to our dynamic co-chairs Tricia Membership inquiries to: [email protected] and Dzawada’enuxw First Nations descent. and Troy Wallwork and Sue and Nick Willis for their dedicated Editorial inquiries to: [email protected] The Dzwada’enuxw people comprise one leadership and tireless efforts to ensure the success of the ball. of the Kwakwaka’wakw Nations, who make their home along the coastal areas of north- Lastly, I’d like to take a moment to acknowledge the long- Graham C. Boettcher, Ph.D. eastern Vancouver Island and mainland standing and dedicated support of Dr. John and Nancy Poynor, The R. Hugh Daniel Director British Columbia, Canada. The exhibition collectors whose singular vision has had a profound and Cover: Frank Fleming, American, 1940–2018, Goat Man (detail), 1974, hand-built porcelain; Collection of the Art Fund, Inc. at the Birmingham Museum of Art; Gift of Ned and Robin Selfe, AFI.174.2015a-c Opposite page: Photo of Graham C. Boettcher by Beau Gustafson 2 Director’s Letter | 3 In Memoriam Frank Fleming I was more at ease with nature and animals than people, I lived within myself. I didn’t use words to describe the things I saw, and I’m sure because I didn’t use words, I tended to think in visual images. — Frank Fleming 4 Features | 5 By Director Emerita Gail Andrews “I was more at ease with nature and animals than people, I lived within myself. I didn’t use words to describe the things I saw, and I’m sure because I didn’t use words, I tended to think in visual images.” Frank Fleming described both himself and the sculpture he made with those words in 2014. However, it was a personal shorthand he frequently used to explain his speech impediment, resulting in eleven years of silence in elementary and high using a bird feather to impress exact detail on hundreds of tiny Art Museum, Nelson-Atkins Museum of Art, Kansas City, MFA school, and its influence on his witty, incisive, and finely-made pieces of clay, then overlapping them to create the winged sur- Houston, and Palm Springs Museum, to name but a few. He porcelain sculptures. face of a bird. Removing the glaze was a major breakthrough. received and completed numerous commissions for public art, The surface texture becomes more prominent, catching shad- was represented by galleries across the United States, and had On March 18, 2018, Frank passed away, and we lost a warm, ows to highlight detail and drawing the viewer in to look more over 40 solo exhibitions in his career. funny, generous, and extraordinarily talented human being. closely. The sculptures feel akin to marble, adding to the mythic qualities of the blended human and animal forms created by the Frank loved our city, and the people here who supported him as Fleming was born in Bear Creek, Alabama in 1940, growing artist. Goat Man, a recent gift to the Museum, illustrates these an artist. He gave back to all of us, and will be remembered as up on a cotton and corn farm in an isolated part of the state. qualities and is also a work which began to unlock the door for a great friend of our city and its nonprofit organizations. He was His speech impediment and academic ability opened the door Bronze gave him a greater financial stability, allowing him to greater recognition of Frank’s work, as it was selected for the passionate about the natural world, but perhaps equally pas- for him to attend Florence State College, now the University of create multiples as well as opening the door for additional pub- Biennial at the New Orleans Museum of Art in 1977, giving him sionate about Alabama football! Frank said he wanted us to see North Alabama, for speech therapy. He took an art course on a lic commissions with pieces that could be installed outside. exposure to a much wider audience. the honesty in his work, that it was very personal, and meant whim, discovered he had a talent for drawing, and became an many things, and there is not just one way to interpret it. Frank art major. He graduated hoping to teach, but positions in the His passion however was clay, specifically porcelain, which His expressions were unique, certainly influenced by Robert found himself in his art, and I think he is asking each of us to school system were few, and instead he worked for six years he was working in once again at the time of his death. After Arneson’s work and that of other artists working in clay in the take the time to look, to listen, and do the same. at Boeing and NASA as a draftsman, eventually returning to receiving his MFA, Frank established a studio in Birmingham 1960s and 1970s, but these were his own astute observations, school, receiving MA and MFA degrees from the University of in 1973 and began devoting himself to making small, fine- life experiences, and ability to point to life’s absurdities.
Load more

Recommended publications
  • Art in America the EPIC BANAL
    Art in America THE EPIC BANAL BY: Amy Sherald, Tyler Mitchell May 7, 2021 10:08am Tyler Mitchell: Untitled (Blue Laundry Line), 2019. Amy Sherald (https://www.artnews.com/t/amy-sherald/): A Midsummer Afternoon Dream, 2020, oil on canvas, 106 by 101 inches. Tyler Mitchell and Amy Sherald—two Atlanta-born, New York–based artists—both capture everyday joy in their images of Black Americans. Recurring motifs in Mitchell’s photographs, installations, and videos include outdoor space and fashionable friends. Sherald, a painter, shares similar motifs: her colorful paintings with pastel palettes show Black people enjoying American moments, their skin painted in grayscale, the backgrounds and outfits flat. Both are best known for high-profile portrait commissions: in 2018 Mitchell became the first Black photographer to have a work grace the cover of Vogue. That shot of Beyoncé was followed, more recently, by a portrait of Kamala Harris for the same publication. Michelle Obama commissioned Amy Sherald to paint her portrait, and last year Vanity Fair asked Sherald to paint Breonna Taylor for a cover too. Below, the artists discuss the influence of the South on their work, and how they navigate art versus commercial projects. —Eds. Amy Sherald: Precious jewels by the sea, 2019, oil on canvas, 120 by 108 inches. TYLER MITCHELL: Amy, we spoke before about finding freedom and making your own moments of joy. I think of Precious jewels by the sea [2019]—your painting of two couples at the beach, showing the men standing with the women on their shoulders—as a moment that you constructed.
    [Show full text]
  • March 1St-18Th, 2012
    www.oeta.tv KETA-TV 13 Oklahoma City KOED-TV 11 Tulsa KOET-TV 3 Eufaula KWET-TV 12 Cheyenne Volume 42 Number 9 A Publication of the Oklahoma Educational Television Authority Foundation, Inc. March 1ST-18 TH, 2012 MARCH 2012 THIS MONTH page page page page 2 4 5 6 Phantom of the Opera 60s Pop, Rock & Soul Dr. Wayne Dyer: Wishes Fulfilled Live from the Artists Den: Adele at Royal Albert Hall f March 6 & 14 @ 7 p.m. f March 5 @ 7 p.m. f March 30 @ 9w p.m. f March 7 @ 7 p.m. 2page FESTIVAL “The Phantom of the Opera” at the Royal Albert Hall f Wednesday March 7 at 7 p.m. Don’t miss a fully-staged, lavish 25th anniversary mounting of Andrew Lloyd Webber’s long-running Broadway and West End extravaganza. To mark the musical’s Silver Anniversary, Andrew Lloyd Webber and Cam- eron Mackintosh presented “The Phantom of the Opera” in the sumptuous Victorian splendor of London’s Royal Albert Hall. This dazzling restaging of the original production recreates the jaw-dropping scenery and breath- Under the Streetlamp taking special effects of the original, set to Lloyd Webber’s haunting score. f Tuesday March 13 at 7 p.m. The production stars Ramin Karimloo as The Phantom and Sierra Boggess Under the Streetlamp, America’s hottest new vocal group, as Christine, together with a cast and orchestra of more than 200, including performs an electrifying evening of classic hits from the special guest appearances by the original Phantom and Christine, Michael American radio songbook in this special recorded at the Crawford and Sarah Brightman.
    [Show full text]
  • A Tribute to Betty Price Thank You, Betty
    IMPROVING LIVES THROUGH THE ARTSNEWSLETTER OF THE OKLAHOMA ARTS COUNCIL FALL 2007 Thank You, Betty or 33 years, Betty Price has been the voice of the Oklahoma Arts Council. Recently retired Fas Executive Director, Price has been at the helm of this state agency for most of its existence. We couldn’t think of anyone more eloquent than her good friend, Judge Robert Henry to celebrate Betty and her passionate commitment to Oklahoma and to the arts. We join Judge Henry and countless friends in wishing Betty a long, happy and productive retirement. A Tribute to Betty Price From Judge Robert Henry ur great President John Fitzgerald Kennedy once noted: “To further the appreciation of Oculture among all the people, to increase respect for the creative individual, to widen participation by all the processes and fulfillments of art -- this is one of the fascinating challenges of these days.” Betty Price took that challenge more seriously than any other Oklahoman. And, it is almost impossible to imagine what Oklahoma’s cultural landscape would look like without her gentle, dignified, and incredibly Betty in front of the We Belong to the Land mural by Jeff Dodd. persistent vision. Photo by Keith Rinerson forMattison Avenue Publishing Interim Director. Finally, she was selected by the Council to serve as its Executive Director. Betty, it seems, has survived more Oklahoma governors than any institution except our capitol; she has done it with unparalleled integrity and artistic accomplishment. Betty and Judge Robert Henry during the dedication of the Ada Lois Sipuel Fisher portrait by Mitsuno Reedy.
    [Show full text]
  • 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.
    [Show full text]
  • Fun Facts Outline-Renoirdanceatbougival
    Dance at Bougival By Pierre-Auguste Renoir Print Facts • Medium: Oil on canvas • Date: 1883 • Size: 71 5/8” x 38 5/8” • Location: Museum of Fine Arts, Boston • Period: Rejection of Impressionism • Style: Impressionism • Genre: Genre Painting • Renoir used models to pose for this painting. The woman is Suzanne Veladon, a fellow painter and friend, and the man is his brother. • The original of this painting is almost life-sized (71 5/8 x 38 5/8 in). • Bougival is a city outside of Paris and this scene is an open-air café that was a popular recreation spot for city dwellers, including Renoir himself. • Prounounced (BOO-zshe-vahl) • Go to http://www.mfa.org/collections/object/32592 to listen to a fun audio about the painting. Artist Facts • Pronounced (rehn-WAR) • Born February 25, 1841 in Limoges, France • Died December 3, 1919, France (age 78) • Renoir grew up in Paris, France. • Renoir began studying art in Paris, France. • Grew up in a working class family and as a boy worked in a porcelain factory where his drawing talents led him to paint designs on fine china. • He married Aline Victorine Charigot, who modeled in his painting Luncheon of the Boating Party. • Renoir painted approximately 6,000 paintings and painted for nearly 60 years of his life. • Renoir continued painting late in his life even though he had severe athritis and had to have an assistant place a paintbrush in his hand. • Two of Renoir’s paintings have sold for more than 70 million dollars each! • One of Renoir’s sons was an actor and another was a filmmaker.
    [Show full text]
  • The Obama Portraits, in Art History and Beyond Richard J
    © Copyright, Princeton University Press. No part of this book may be distributed, posted, or reproduced in any form by digital or mechanical means without prior written permission of the publisher. contents Foreword Kim Sajet vi Unveiling the Unconventional: Kehinde Wiley’s Portrait of Barack Obama Taína Caragol 1 “Radical Empathy”: Amy Sherald’s Portrait of Michelle Obama Dorothy Moss 25 The Obama Portraits, in Art History and Beyond Richard J. Powell 51 The Obama Portraits and the National Portrait Gallery as a Site of Secular Pilgrimage Kim Sajet 83 The Presentation of the Obama Portraits: A Transcript of the Unveiling Ceremony 98 Notes 129 Selected Bibliography 137 Credits 139 For general queries, contact [email protected] © Copyright, Princeton University Press. No part of this book may be distributed, posted, or reproduced in any form by digital or mechanical means without prior written permission of the publisher. Taína Caragol Unveiling the Unconventional Kehinde Wiley’s Portrait of Barack Obama On February 12, 2018, the Smithsonian’s National Portrait Gallery unveiled the portraits of President Barack Obama and First Lady Michelle Obama. The White House and the museum had worked together to commission the paintings, and, in many ways, the lead- up to the ceremony had followed tradition. But this time something was different. The atmosphere was infused with the coolness of the there- present Obamas, and the event, which was made memorable with speeches from the sitters, the artists, and Smithsonian officials, erupted with applause at the first glimpse of these two highly unconventional portraits. Kehinde Wiley’s portrait of the president portrays a man of extraordinary presence, sitting on an ornate chair in the midst of a lush botanical setting (p.
    [Show full text]
  • Renoir, Impressionism, and Full-Length Painting
    FIRST COMPREHENSIVE STUDY OF RENOIR’S FULL-LENGTH CANVASES BRINGS TOGETHER ICONIC WORKS FROM EUROPE AND THE U.S. FOR AN EXCLUSIVE NEW YORK CITY EXHIBITION RENOIR, IMPRESSIONISM, AND FULL-LENGTH PAINTING February 7 through May 13, 2012 This winter and spring The Frick Collection presents an exhibition of nine iconic Impressionist paintings by Pierre-Auguste Renoir, offering the first comprehensive study of the artist’s engagement with the full-length format. Its use was associated with the official Paris Salon from the mid-1870s to mid- 1880s, the decade that saw the emergence of a fully fledged Impressionist aesthetic. The project was inspired by Renoir’s La Promenade of 1875–76, the most significant Impressionist work in the Frick’s permanent collection. Intended for public display, the vertical grand-scale canvases in the exhibition are among the artist’s most daring and ambitious presentations of contemporary subjects and are today considered masterpieces of Impressionism. The show and accompanying catalogue draw on contemporary criticism, literature, and archival documents to explore the motivation behind Renoir’s full-length figure paintings as well as their reception by critics, peers, and the public. Recently-undertaken technical studies of the canvases will also shed new light on the artist’s working methods. Works on loan from international institutions are La Parisienne from Pierre-Auguste Renoir (1841–1919), Dance at Bougival, 1883, oil on canvas, 71 5/8 x 38 5/8 inches, Museum of Fine Arts, Boston, Picture Fund; photo: © 2012 Museum the National Museum Wales, Cardiff; The Umbrellas (Les Parapluies) from The of Fine Arts, Boston National Gallery, London (first time since 1886 on view in the United States); and Dance in the City and Dance in the Country from the Musée d’Orsay, Paris.
    [Show full text]
  • Press Release (Pdf)
    S TEPHEN H ALLER G ALLERY NEXUS July 1– August 7, 2010 Stephen Haller Gallery is pleased to announce the opening of a new exhibition: NEXUS a gathering together of key works by gallery artists and a forecast of the upcoming season. This group exhibition reveals the connections, the shared sensibility of the gallery’s core group of international artists. LINDA STOJAK’S paintings may be thought of as “psychological self-portraits.” Her iconography is the human body. Her work emerges out of a great tradition of painting and yet stands as uniquely her own. Linda Stojak’s paintings are an exploration of the very essence of what it is to be human. Her work is a highly charged yet subtle exploration of the personal, characterized by immediacy and a palpable painterly quality, and marked by a disquieting beauty. Exciting new photographer KATE O'DONOVAN COOK’S The Waldorf Series explores issues of gender and the ambiguity of relationships. O'Donovan Cook plays with the idealization of a romantic relationship, subverting it by portraying both characters: she is the male and the female engaged in this ambiguous scenario. Her work is characterized by explorations of identity through role playing in ways both theatrical and fantastical. The Waldorf Series is in the permanent collection of the Herbert F Johnson Museum at Cornell. American painter RON EHRLICH is known for achieving rich surfaces and subtleties of tone. Ehrlich melds the textures rooted in Japanese ceramics with the spontaneity and vitality of action painting. Years spent in Japan studying the art of ceramics at a monastery profoundly influenced Ehrlich’s approach to painting.
    [Show full text]
  • Valeska Soares B
    National Museum of Women in the Arts Selections from the Collection Large-Print Object Labels As of 8/11/2020 1 Table of Contents Instructions…………………………………………………..3 Rotunda……………………………………………………….4 Long Gallery………………………………………………….5 Great Hall………………….……………………………..….18 Mezzanine and Kasser Board Room…………………...21 Third Floor…………………………………………………..38 2 National Museum of Women in the Arts Selections from the Collection Large-Print Object Labels The large-print guide is ordered presuming you enter the third floor from the passenger elevators and move clockwise around each gallery, unless otherwise noted. 3 Rotunda Loryn Brazier b. 1941 Portrait of Wilhelmina Cole Holladay, 2006 Oil on canvas Gift of the artist 4 Long Gallery Return to Nature Judith Vejvoda b. 1952, Boston; d. 2015, Dixon, New Mexico Garnish Island, Ireland, 2000 Toned silver print National Museum of Women in the Arts, Gift of Susan Fisher Sterling Top: Ruth Bernhard b. 1905, Berlin; d. 2006, San Francisco Apple Tree, 1973 Gelatin silver print National Museum of Women in the Arts, Gift from the Trustees of the Corcoran Gallery of Art (Gift of Sharon Keim) 5 Bottom: Ruth Orkin b. 1921, Boston; d. 1985, New York City Untitled, ca. 1950 Gelatin silver print National Museum of Women in the Arts, Gift of Joel Meyerowitz Mwangi Hutter Ingrid Mwangi, b. 1975, Nairobi; Robert Hutter, b. 1964, Ludwigshafen am Rhein, Germany For the Last Tree, 2012 Chromogenic print National Museum of Women in the Arts, Gift of Tony Podesta Collection Ecological concerns are a frequent theme in the work of artist duo Mwangi Hutter. Having merged names to identify as a single artist, the duo often explores unification 6 of contrasts in their work.
    [Show full text]
  • 2021 -2022 Catalog
    (203) 332-5000 900 Lafayette Boulevard Bridgeport, CT 06604 WWW.HOUSATONIC.EDU 2021-2022 COLLEGE CATALOG Becoming CONNECTICUT STATE COMMUNITY COLLEGE A merger of Connecticut's 12 community colleges is underway. Connecticut State Community College (CT State), a statewide college comprised of all Connecticut's current community college locations, plans to open its doors in the Fall 2023. Here are some important facts students need to know: • the final commencement ceremony for Housatonic Community College is scheduled for May 2023. Ceremonies will continue to be held at each location as campuses of CT State. • as a part of the planned merger, students continuing their studies beyond summer term 2023 will be matched with the CT State program that most closely aligns with their Spring 2023 major and is offered at the Housatonic location, • students beginning Associate degree programs in Fall 2021 should plan with their advisor/program coordinator to attend full-time if they wish to graduate prior to the planned merger, • students who begin an Associate degree program in January 2022 would be anticipated to complete their degree at the merged college, Connecticut State Community College, • in all cases, the College is committed to students completing their education with a minimum of disruption and staying in touch with your advisor/program coordinator is essential, • further details can be found and will be updated on the Frequently Asked Questions page: http://www.ct.edu/ctstate/academics. Published August 9, 2021 All information in this catalog can be viewed online at Housatonic Community College 2021-2022 Catalog Housatonic Community College 2021-2022 Catalog 1 2 Housatonic Community College 2021-2022 Catalog Table of Contents The College reserves the right to change course offerings or to modify or change information and regulations published in this catalog.
    [Show full text]
  • The Jamison Galleries Collection
    THE JAMISON GALLERIES COLLECTION BETTY W. AND ZEB B. CONLEY PAPERS New Mexico Museum of Art Library and Archives Dates: 1950 - 1995 Extent: 7.33 linear feet Contents Part One. Materials on Artists and Sculptors Part Two. Photographs of Works Part Three. Additional Material Revised 01/11/2018 Preliminary Comments The Jamison Galleries [hereafter referred to simply as “the Gallery”] were located on East Palace Avenue, Santa Fe, from August 1964 until January 1993, at which time it was moved to Montezuma Street. There it remained until December 1997, when it closed its doors forever. Originally owned by Margaret Jamison, it was sold by her in 1974 to Betty W. and Zeb B. Conley. The Library of the Museum of Fine Arts is indebted to the couple for the donation of this Collection. A similar collection was acquired earlier by the Library of the records of the Contemporaries Gallery. Some of the artists who exhibited their works at this Gallery also showed at The Contemporaries Gallery. Included in the works described in this collection are those of several artists whose main material is indexed in their own Collections. This collection deals with the works of a vast array of talented artists and sculptors; and together with The Contemporaries Gallery Collection, they comprise a definitive representation of southwestern art of the late 20th Century. Part One contains 207 numbered Folders. Because the contents of some are too voluminous to be limited to one folder, they have been split into lettered sub-Folders [viz. Folder 79-A, 79-B, etc.]. Each numbered Folder contains material relating to a single artist or sculptor, all arranged — and numbered — alphabetically.
    [Show full text]
  • July 10-16, 2015 202 E
    CALENDAR LISTING GUIDELINES •Tolist an eventinPasa Week,sendanemail or press release to [email protected] or [email protected]. •Send material no less than twoweeks prior to the desired publication date. •For each event, provide the following information: time,day,date, venue, venueaddress, ticket prices,web address,phone number,brief description of event(15 to 20 words). •All submissions arewelcome.However,eventsare included in Pasa Week as spaceallows. Thereisnocharge forlistings. •Return of photos and other materials cannotbeguaranteed. • Pasatiempo reservesthe righttopublish received information and photographs on The New Mexican website. •Toadd your eventtoThe New Mexican onlinecalendar,visit santafenewmexican.com and ARTS AND ENTERTAINMENT CALENDAR click on the Calendar tab. •For further information contactPamela Beach, [email protected], July 10-16, 2015 202 E. MarcySt., Santa Fe,NM87501, phone: 505-986-3019, fax: 505-820-0803. •Topurchase alisting in The New Mexican CommunityCalendar,contactClaudia Freeman, [email protected], 505-995-3841 CALENDAR COMPILED BY PAMELA BEACH FRIDAY 7/10 TGIF piano recital First Presbyterian Church of SantaFe, 208 GrantAve. Galleryand Museum Openings Pianist CharlotteRowe, music of Liszt, Brahms, Center for ContemporaryArts and Debussy, 5:30 p.m., donations accepted, 1050 Old PecosTrail,505-982-1338 505-982-8544, Ext. 16. The Implication of Form,architectural photographs In Concert by Hayley Rheagan, reception 5-7 p.m., through Oct. 4. Music at the Museum New MexicoMuseum of Art, 107W.PalaceAve., Counter CultureCafé 505-476-5072 930 Baca St., 505-995-1105 James Hornand KittyJoCreek,5:30-7:30 p.m. Group showofworks by members of Santa Fe on the patio,nocharge. Women in Photography, reception 5:30-7:30 p.m., through July 30.
    [Show full text]