Fall 2017 Director’S Letter
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Summer 2019 Director’S Letter
Summer 2019 Director’s Letter Dear Members, Summer in the Northwest is a glorious time of year. It is also notoriously busy. If you are like most people, you are eager fill your weekends with fun and adventure. Whether you are re-visiting some of your favorite places or discovering new ones, I hope Maryhill is on your summer short list. We certainly have plenty to tempt you. On July 13 we open the special exhibition West Coast Woodcut: Contemporary Relief Prints by Regional Artists, which showcases some of the best printmakers of the region. The 60 prints on view feature masterfully rendered landscapes, flora and fauna of the West coast, along with explorations of social and environmental issues. Plein air artists will be back in action this summer when the 2019 Pacific Northwest Plein Air in the Columbia River Gorge kicks off in late July; throughout August we will exhibit their paintings in the museum’s M.J. Murdock Charitable Trust Education Center. The show is always a delight and I look forward to seeing the Gorge through the eyes of these talented artists. Speaking of the Gorge — we are in the thick of it with the Exquisite Gorge Project, a collaborative printmaking effort that has brought together 11 artists to create large-scale woodblock prints reflective of a 220-mile stretch of the Columbia River. On August 24 we invite you to participate in the culmination of the project as the print blocks are inked, laid end-to-end and printed using a steamroller on the grounds at Maryhill. -
Winter 2011–2012 Dear Members & Friends
Winter 2011–2012 Dear Members & Friends, It’s trulY NOT AN UNDERSTATEMENT to say that Maryhill Museum of Art has had a monumental year. Last fall we received a generous challenge grant from the M.J. Murdock Charitable Trust and in February held a groundbreaking for the first expansion in the museum’s history. On hand for the occasion were numerous members, donors and museum supporters who have worked hard to make the expansion project – many years in the making – a reality. Capital Campaign co-chair Laura Cheney, whose mother, Mary Hoyt Stevenson, provided the $2.6 million lead gift that made this new wing possible, was there to hoist a golden shovel and spoke eloquently about her mother’s dream for Maryhill. Top and bottom right: The Mary and Bruce Stevenson Wing Mary Stevenson became involved at Maryhill first as a volunteer expansion. Drawings by Craig Holmes. and later as a financial supporter of the museum. She served on the museum’s Board of Trustees for nearly 10 years and supported Maryhill Hits Halfway Mark Maryhill through gifts to exhibits, programs, the endowment to Meet M.J. Murdock and Fund for the Future, which she began in 1993 with a gift of Charitable Trust Challenge $1 million. Other gifts followed, many through the Mary Hoyt In January 2011, Maryhill Museum Stevenson Foundation. Mary’s love of art extended beyond of Art’s capital campaign received Maryhill. She served two terms on the Washington State Arts a substantial boost in the form of Commission and on the board of Portland’s Contemporary a 2:1 matching grant from the M.J. -
Fall 201720172017
2017 2017 2017 2017 Fall Fall Fall Fall This content downloaded from 024.136.113.202 on December 13, 2017 10:53:41 AM All use subject to University of Chicago Press Terms and Conditions (http://www.journals.uchicago.edu/t-and-c). American Art SummerFall 2017 2017 • 31/3 • 31/2 University of Chicago Press $20 $20 $20 $20 USA USA USA USA 1073-9300(201723)31:3;1-T 1073-9300(201723)31:3;1-T 1073-9300(201723)31:3;1-T 1073-9300(201723)31:3;1-T reform reform reform reform cameras cameras cameras cameras “prints” “prints” “prints” “prints” and and and and memory memory memory memory playground playground playground playground of of of Kent’s of Kent’s Kent’s Kent’s guns, guns, guns, guns, abolitionism abolitionism abolitionism abolitionism art art art art and and and and the the the the Rockwell literary Rockwell Rockwell literary literary Rockwell issue literary issue issue issue Group, and Group, and Group, and Group, and in in in in this this this this Homer—dogs, Homer—dogs, Homer—dogs, Place Homer—dogs, Place Place Place In In In In nostalgia Park nostalgia nostalgia Park Park nostalgia Park Duncanson’s Duncanson’s Duncanson’s Duncanson’s Christenberry the Christenberry S. Christenberry the S. the S. Christenberry the S. Winslow Winslow Winslow Winslow with with with with Robert Robert Robert Robert Suvero, Suvero, Suvero, Suvero, William William William William di di di Technological di Technological Technological Technological Hunting Hunting Hunting Hunting Mark Mark Mark Mark Kinetics of Liberation in Mark di Suvero’s Play Sculpture Melissa Ragain Let’s begin with a typical comparison of a wood construction by Mark di Suvero with one of Tony Smith’s solitary cubes (fgs. -
Robert Morris, Minimalism, and the 1960S
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 1988 The Politics of Experience: Robert Morris, Minimalism, and the 1960s Maurice Berger Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1646 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] INFORMATION TO USERS The most advanced technology has been used to photograph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. -
Early 20Th Century Continued
Early 20th Century- Chapter 21 Artist: Henri Matisse Title: The Joy of Life Movement: Fauvism Period: Early 20th Century Description: Fauvism (les fauves=wild beasts)- pure hues, lines freed from descriptive roles, and simplified shapes all together create a lively rhythm in the composition Artist: Matisse Title: Harmony in Red (The Red Room) Movement: Fauvism Period: Early 20th Century Artist: André Derain Title: London Bridge Movement: Fauvism Period: Early 20th Century Artist: Ernst Ludwig Kirchner Title: Street, Berlin Movement: German Expressionism- The Bridge group Period: Early 20th Century Artist: Kandinsky Title: Blue Mountain Movement: German Expressionism- The Blue Rider group Period: Early 20th Century Artist: Kandinsky Title: Composition IV Movement: German Expressionism Period: Early 20th Century Description- his painting evolved toward a an absence of representational subject matter in order to concentrate on the expressive potential of pure form comparable to the free language of music Artist: Picasso Title: Les Demoiselles D’Avignon Movement: Early Cubism Period: Early 20th Century Description: Cubism’s influences- African masks and African reliquary figures Kota Reliquary figure, Africa Picasso, Les Demoiselles D’Avignon, 1907, oil on canvas, beginning of Dan mask, Cubism; Picasso is interested only in the forms of African art, not the Africa meanings of uses of African art Artist: Braque Title: Houses at L’Estaque Movement: Early Cubism Period: Early 20th Century Description: Cubism’s influences- the Post-Modernist painter -
2014 Annual Report
2014 ANNUAL REPORT Maryhill Museum of Art and the Mary and Bruce Stevenson Wing. Photograph by Steve Grafe, Curator of Art 1 | Page Overview of Accomplishments in 2014 In 2014 the Maryhill Museum of Art welcomed nearly 40,000 people through its doors. Visitors enjoyed brilliant exhibitions, partook of dozens of learning opportunities and enjoyed the gardens and grounds, Loïe’s: The Museum Café, the Museum Store and sites on the ranch such as Stonehenge Memorial or the historic Maryhill Loops Road. While Maryhill enjoyed its second season in the Mary Mission and Bruce Stevenson Wing, the museum continued to address plans to round out the new wing. These included From the unique Columbia River Gorge, continued improvement of the museum’s collection Maryhill Museum of Art collects, presents storage system in the Brim Family Research Center, and preserves art and historical and natural progress made on the west side landscaping plan, and resources to enrich and educate residents improvements in the M.J. Murdock Charitable Trust and visitors of the Pacific Northwest. Education Center. With the support of Weinstein Vision Associates, and technology consultant, Kent Heighton, Maryhill Museum of Art is foremost an the museum was able to install museum-wide Wi-Fi. educational institution delivering quality This was immediately used by visitors, volunteers, exhibits and educational programming trustees, committee members, friends and staff. related to its collections and its history. In The museum met a water challenge in 2014 by studying doing so, it provides opportunities for the museum’s main water system to better serve the people of all ages and backgrounds to needs of the museum building and gardens. -
Towline #66 Spring/Summer2019
Spring/Summer 2019 TOWLine #66 In this Issue Teardrop Trip Free Camping Find us on Facebook A New kind of Rally In Memorandum Facebook Page Game Recipe Gadget(s) Order Name Badges Sign up for the TOWLine 2019 Event calendar 2019 Event details Click Here to Sign Up Want to see pictures? From the Editor Click Here for Gallery If anyone is interested in helping curate pictures and content on the teardroptrailers.org website, please let me know. I have been managing the Looking for a teardrop? site for years and could use some help, as well as new ideas. TOW uses a Be sure to look at our drag and drop website editor, so it is very easy to manage, and I will teach advertising pages and you how if you need help. Please drop me a line at classified. [email protected]. Click Here for Also, we make a little money to manage the site and other overhead (there Advertising isn’t a lot) by selling full page ads to builders, I could use some help finding new advertisers. At $100 a year, it is a good buy. Again, you can contact me Selling a teardrop? One at the above address. free pic and contact info, or a full ad with up to ten Next TOW event pictures until it sells for $20.00 click here Once again it is time for the T.O.W. annual campout at ANTIQUE POWERLAND in Brooks, Oregon where we will be camping in Chandler Field Please contribute your behind the Northwest Car and Motorcycle Museum Building. -
Mission: from the Unique Columbia River Gorge, Maryhill Museum of Art Collects, Presents and Preserves Art and Historical and Na
Mission: From the unique Columbia River Gorge, Maryhill Museum of Art collects, presents and preserves art and historical and natural resources to enrich and educate residents and visitors of the Pacific Northwest. Values: Accountability · Diversity · Enjoyment · Innovation · Integrity · Welcoming · Quality · Stewardship · Sustainability The Year 2011 at Maryhill Museum of Art ANNUAL REPORT Maryhill Museum of Art, located in Goldendale, Washington is a thriving organization serving Columbia River Gorge residents as well as visitors from Washington, Oregon, and beyond. The museum offers an appealing mix of temporary exhibits, often featuring Northwest artists and contemporary work, with priceless works of American, European, and Native American art from its permanent collection. It provides a diverse range of educational programs directed at thousands of students, families, young adults, and adult learners. It is financially healthy with diversified revenue sources, a growing endowment, and an engaged staff and board. In 2011 it welcomed over 36,000 guests through its doors. It presented several seasonal exhibits and its permanent exhibits featuring the museum’s collections. The museum offered dozens of programs throughout the year. The year was momentous in that construction on the Mary and Bruce Stevenson Wing began. This $10 million dollar addition brings an additional 25,000 square feet to the museum. Key features include a dedicated art education center for a wide range of public programming; a centralized collections suite to house the museum’s world-class collections; an outdoor plaza where visitors can better enjoy Maryhill’s extraordinary setting and outdoor sculpture; and a new café with terrace seating and stunning views of the Columbia River Gorge. -
UNSEEN WORKS of the EUROPEAN AVANT-GARDE An
Press Release July 2020 Mitzi Mina | [email protected] | Melica Khansari | [email protected] | Matthew Floris | [email protected] | +44 (0) 207 293 6000 UNSEEN WORKS OF THE EUROPEAN AVANT-GARDE An Outstanding Family Collection Assembled with Dedication Over Four Decades To Be Offered at Sotheby’s London this July Over 40 Paintings, Sculpture & Works on Paper Led by a Rare Cubist Work by Léger & an Intimate Picasso Portrait of his Secret Lover Marie-Thérèse Pablo Picasso | Fernand Léger | Alberto Giacometti | Wassily Kandinsky | Lyonel Feininger | August Macke | Alexej von Jawlensky | Jacques Lipchitz | Marc Chagall | Henry Moore | Henri Laurens | Jean Arp | Albert Gleizes Helena Newman, Worldwide Head of Sotheby’s Impressionist & Modern Art Department, said: “Put together with passion and enjoyed over many years, this private collection encapsulates exactly what collectors long for – quality and rarity in works that can be, and have been, lived with and loved. Unified by the breadth and depth of art from across Europe, it offers seldom seen works from the pinnacle of the Avant-Garde, from the figurative to the abstract. At its core is an exceptionally beautiful 1931 portrait of Picasso’s lover, Marie-Thérèse, an intimate glimpse into their early days together when the love between the artist and his most important muse was still a secret from the world.” The first decades of the twentieth century would change the course of art history for ever. This treasure-trove from a private collection – little known and rarely seen – spans the remarkable period, telling its story through the leading protagonists, from Fernand Léger, Pablo Picasso and Alberto Giacometti to Wassily Kandinsky, Lyonel Feininger and Alexej von Jawlensky. -
Modern Art Collection
MODERN ART COLLECTION Alexander Archipenko Reclining 1922 Bronze 17½ × 11 × 11¼ in. (44.5 × 27.9 × 28.6 cm) Bequest of Ruth P. Phillips 2005.23.5 Widely acknowledged as the first cubist sculptor, Alexander Archipenko held a lifelong fascination with the human figure in the round. Archipenko began studies at the School of Art in Kiev in 1902 but was forced to leave in 1905 after criticizing the academicism of his instructors. He lived briefly in Moscow before settling in 1909 in Paris, where he enrolled at the École des Beaux- Arts. Yet he left after just two weeks of formal studies, believing that he could teach himself through the direct study of sculpture in the Musée du Louvre. The decade following Archipenko’s arrival in Paris proved to be his most inventive. By 1910 Archipenko began exhibiting with the cubists at the Salon des Indépendants and the Salon d’Automne, earning international renown for his nearly abstract sculptures. He was represented in many international cubist exhibitions and also exhibited in the landmark Armory Show of 1913 in New York. Following his marriage in 1921 to Angelica Schmitz, a German sculptor, Archipenko moved to Berlin, where he opened an art school. They left Berlin for New York in 1923, and Archipenko became a United States citizen in 1929. As a young artist in Paris, Archipenko began to adapt cubist techniques to sculpture. Influenced by the cubist notion of integrating the figure with surrounding space, Archipenko interchanged solids and voids so that protruding elements seemed to recede and internal features to advance. -
Théodore Rivière: Sculpture
Théodore Rivière: Sculpture Théodore Rivière: Sculpture Théodore Louis Auguste Rivière (French, 1857‒1912) was born in Toulouse and received his art education there at the School of Fine Arts. He then attended the National School of Fine Arts of Paris. As a young man, Rivière studied under François Jouffroy (French, 1806‒1882), Antonin Mercié (French, 1845‒1916), and Alexandre Falguière (French, 1851‒1900)—who had been a student of both Jouffroy and Albert-Ernest Carrier-Belleuse (French, 1824‒1887). Carrier- Belleuse is known to Maryhill Museum of Art patrons through his Diana, Goddess of the Hunt (1886), which stands opposite the museum’s public entrance. Rivière is remembered for his bronze sculptures, but he also worked in other mediums. His creations are generally associated with the Art Nouveau style and he was a leading French sculptor of Oriental subjects. Rivière drew inspiration from Greek and Roman mythology, biblical narratives, literary texts, and his travels in North Africa, the Far East, and elsewhere. He lived for a while in Carthage (Tunisia), and there completed two Orientalist groups based on Gustave Flaubert’s 1862 novel about Salammbô. These were exhibited to acclaim at the 1894 and 1895 Paris Salons. Maryhill Museum of Art’s Théodore Rivière collection has an interesting—even unusual—history. In 1949, Alma de Bretteville Spreckels wrote to the museum’s director and reported that she had acquired the sculptures in 1915, through Loïe Fuller. Chicago businessman and philanthropist Julius Rosenwald (1862–1932), who was an owner and executive of Sears, Roebuck and Company, was also interested in them, but Alma “begged” Loïe to let her have the works. -
January 2002 CAA News
s CUNY's Graduate Center. From 1969 to gela's Last Paintings (Oxford University CONFERENCE 1971, he was a CAA Board member, and Press, 1975); Borromini's Sari Carlo aIle was appo:inted Benjamin Frankl~ Quattro Fontane: A Study in Multiple Form SESSION Professor of the History of Art at the and Architectural Symbolism (Garland, University of Pennsylvania in Philadel 1977); The Sexuality of Christ in Renais HONORS phia in 1975. He retired in 1991, after sance Art and in Modern Oblivion (Univer teaching a semester as the Meyer sity of Chicago Press, 1983; the second Schapiro Chair at Columbia University :in edition:in 1996 was revised and doubled LEO New York. :in size by a "Retrospect" that responds to Steinberg has published and lectured critics); Ei1counters with Rauschenberg STEINBERG widely on Renaissance, Baroque, and (University of Chicago Press, 1999); and, most recently, Leonardo's Incessant Last he CAA Distinguished Scholar's Supper (Zone, 2001). Other writings Session was inaugurated in 2001 include studies of Filippo Lippi, T to engage senior scholars in the Mantegna, Michelangelo, Pontormo, Annual Conference and celebrate their Guercino, Rembrandt, Steen, VeHtzquez, contributions to art history. But its aim is and Picasso. Nonprofit Organization greater: At a time of great methodologi In addition to a prolific writing u.s. Postage cal shifts in the field, this session will career, Steinberg'S academic life has also foster dialogue within and among the been a full one. In 1982, he delivered the Paid different generations of art historians. s A. W. Mellon Lectures in the Fine Arts at NewYork,N.Y.