GEORGE MIYASAKI B. 1935 Kalopa, HI D. 2013 Berkeley, CA Education
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George Miyasaki Abstract Expressionist California: Paintings and Lithographs, 1955-61 May 16 – June 15, 2019
George Miyasaki Abstract Expressionist California: Paintings and Lithographs, 1955-61 May 16 – June 15, 2019 RYAN LEE is pleased to announce George Miyasaki (1935-2013), Abstract Expressionist California: Paintings and Lithographs, 1955-1961. This is YR AN LEE’s first presentation of Miyasaki’s work since announcing the representation of his estate last December. The exhibition will feature a selection of Miyasaki’s acclaimed early abstractions, many of which have never before been shown. Miyasaki was born in rural Hawaii to Japanese parents and grew up under martial law during World War II. In 1953 he moved to Oakland, California to study with Richard Diebenkorn and Nathan Oliveira at the California College of Arts & Crafts. Working in both painting and printmaking, Miyasaki cultivated a Bay Area-inflected brand of abstract expressionism. Drawing inspiration from nature, particularly the western landscape, paintings like Coastline (1960) use a pale palette of gray-blues, sea green, rose, and a few dabs of yellow to convey a foggy seascape with subdued hues that are tempered by its thickly painted surface. This balanced execution of harmony and dissonance is also characteristic of Terrain #2 (1958) and Horizon #2 (1959), both of which demonstrate Miyasaki’s gestural application of controlled color. The apex of the abstract expressionist movement in the United States during the immediate postwar years corresponded with a period of intense discrimination against Asian Americans, particularly those of Japanese descent. As a result, while the influence of Zen Buddhism and calligraphy were celebrated by many of the white male practitioners historically associated with the New York School, acknowledgement of these concepts’ Asian origins were routinely denied. -
Hir Eth a a I Su
THE TAMA. RIND PAPERS A Journal of the Fine Print Volume Thirteen 1990 HIR ETH A A I SU Articles & Reviews by CLINTON ADAMS JOANN MOSER GARO ANTREASIAN NATHAN OLIVEIRA MARK ATTWOOD ELLEN SRAGOW RIVA CASTLEMAN SILVIE TURNER VAN DEREN COKE LINDA TYLER RUTH E. FINE SHARYN UDALL PAT GILMOUR GUSTAVE VON GROSCHWITZ LANIER GRAHAM BARRY WALKER RICHARD HAMILTON JUNE WAYNE EUGENIA PARRY JANIS GABRIEL P. WEISBERG BILL LAGATTUTA RUTH WEISBERG SUSAN LAMBERT BARBARA A. WOLANIN THIRTEEN 1 9 9 0 THE TAMARIND PAPERS EDITOR: Clinton Adams CONTRIBUTING EDITORS: Pat Gilmour Gabriel P. Weisberg ASSISTANT EDITOR: Linda Tyler EDITORIAL BOARD: Philip Dennis Cate Van Deren Coke Richard Field Robert Gardner Jules Heller Sinclair H. Hitchings Eugenia Parry Janis Lynton R. Kistler Peter Morse Joann Moser Gustave von Groschwitz Barry Walker Gabriel P. Weisberg Theodore F. Wolff The Tamarind Papers, an annual journal of the fine print, is published by SINGLE COPY PRICE, United States and Tamarind Institute, 108 Cornell Avenue, S.E. , Albuquerque, New Mexico Canada: $12.00 U.S.; elsewhere $14.00. 87106. Telephone 505:277-3901. Tamarind Institute is a division of the Uni SuBSCRIPTIONS, United States and versity of New Mexico. Canada: Two issues, $20.00 U.S.; elsewhere, $25.00 (surface mail). The editor welcomes submission of historical, critical, or technical articles on topics related to the fine print. Historical and critical articles should be limited © Tamarind Institute, 1990 to nineteenth- and twentieth-century subjects; technical articles may deal All rights reserved. with any print medium. Manuscripts and photographs will be returned only Printed in the United States of if accompanied by a stamped, self-addressed envelope. -
Oral History Interview with Robert Alan Bechtle, 1978 September 13-1980 February 1
Oral history interview with Robert Alan Bechtle, 1978 September 13-1980 February 1 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Robert Bechtle on September 13 and December 28, 1978 and February 1, 1980. The interview was conducted at Robert Bechtle's home and studio in Berkeley, California by Paul Karlstrom for the Archives of American Art, Smithsonian Institution. Interview Contents Early life, family background. First visits to museums. Draws at young age, encouraged by family. Early ambition is to be an “old master painter.” Enjoys art books – first real introduction to art. Begins art school at California College of Arts and Crafts. Becomes interested in modern art. Takes art history survey with Hamilton Wolf. Discusses importance of art history for the art studio major. General attitude of students to discredit the study of art history. Bechtle’s attitude toward college – a period of perpetual change. Influence of Wolfgang Lederer, head of Design Department at Arts and Crafts, on Bechtle in terms of what the attitude of the artist should be. Artistic influences on Bechtle from other professors. Bechtle’s attitude toward Richard Diebenkorn when he taught at Arts and Crafts, and Diebenkorn’s influence on Bechtle. Appeal of Edward Hopper. Discusses Bechtle’s appreciation of art that is subtle, but allows the viewer to see his surroundings in a new way.