The Roots of Abstraction WORKS from the PERMANENT COLLECTION
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Faith Ringgold the Studiowith and Quilts That Tell Stories ART HIST RY KIDS
Faith Ringgold The Studiowith and quilts that tell stories ART HIST RY KIDS THE GOLDEN AGE IN AFRICAN AMERICAN CULTURE Art is connected to everything... music, history, science, math, literature, and more! Let’s explore how this month‘s art relates to some of these subjects. What is the Harlem Renaissance? From the 1910’s - the 1930’s the northern Manhattan neighborhood of Harlem was booming with creativity. From fashion to food, music to dance, literature to art... amazing things were happening around every corner. This map illustrates the concentration of jazz clubs, restau- rants, and theaters in Harlem. As we spend this week connecting Faith Ringgold’s art to these other subjects, we’ll use her book, Harlem Renaissance Party, as our guide. Faith Ringgold’s book, Harlem Renaissance Party, takes us on a tour of the rich literary, culinary, musical, and theatrical scene in Harlem during the 1930’s. The following pages explore the Harlem Renaissance as Ringgold describes it in her book (and she should know, because she was actually there!) Click the image above to see a story time reading of the book! Illustration by Elmer Simms Campbell | Image credit: Beinecke Rare Book & Manuscript Library February 2019 | Week 3 1 Faith Ringgold The Studiowith and quilts that tell stories ART HIST RY KIDS CONNECTING THE DOTS Geography The United States of America Here are maps of The United States of America, New York state, and Harlem – a neighborhood in the Manhattan borough of New New York State York City. February 2019 | Week 3 2 Faith Ringgold The Studiowith and quilts that tell stories ART HIST RY KIDS CONNECTING THE DOTS Literature - Poetry + Folk Tales Langston Hughes Zora Neale Hurston 1936 photo by Carl Van Vechten Langston Hughes was one of the strongest Zora Neale Hurston wrote Mules and Men – literary voices during the Harlem Renaissance. -
Oral History Interview with Ann Wilson, 2009 April 19-2010 July 12
Oral history interview with Ann Wilson, 2009 April 19-2010 July 12 Funding for this interview was provided by the Terra Foundation for American Art. 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 recorded interview with Ann Wilson on 2009 April 19-2010 July 12. The interview took place at Wilson's home in Valatie, New York, and was conducted by Jonathan Katz for the Archives of American Art, Smithsonian Institution. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview ANN WILSON: [In progress] "—happened as if it didn't come out of himself and his fixation but merged. It came to itself and is for this moment without him or her, not brought about by him or her but is itself and in this sudden seeing of itself, we make the final choice. What if it has come to be without external to us and what we read it to be then and heighten it toward that reading? If we were to leave it alone at this point of itself, our eyes aging would no longer be able to see it. External and forget the internal ordering that brought it about and without the final decision of what that ordering was about and our emphasis of it, other eyes would miss the chosen point and feel the lack of emphasis. -
Barnett Newman's
Trinity University Digital Commons @ Trinity Art and Art History Faculty Research Art and Art History Department 2013 Barnett ewN man's “Sense of Space”: A Noncontextualist Account of Its Perception and Meaning Michael Schreyach Trinity University, [email protected] Follow this and additional works at: http://digitalcommons.trinity.edu/art_faculty Part of the History of Art, Architecture, and Archaeology Commons Repository Citation Schreyach, M. (2013). Barnett eN wman's “Sense of Space”: A Noncontextualist Account of Its Perception and Meaning. Common Knowledge, 19(2), 351-379. doi:10.1215/0961754X-2073367 This Article is brought to you for free and open access by the Art and Art History Department at Digital Commons @ Trinity. It has been accepted for inclusion in Art and Art History Faculty Research by an authorized administrator of Digital Commons @ Trinity. For more information, please contact [email protected]. ARTICLES BARNETT NEWMAN’S “SENSE OF SPACE” A Noncontextualist Account of Its Perception and Meaning Michael Schreyach Dorothy Seckler: How would you define your sense of space? Barnett Newman: . Is space where the orifices are in the faces of people talking to each other, or is it not [also] between the glance of their eyes as they respond to each other? Anyone standing in front of my paint- ings must feel the vertical domelike vaults encompass him [in order] to awaken an awareness of his being alive in the sensation of complete space. This is the opposite of creating an environment. This is the only real sensation of space.1 Some of the titles that Barnett Newman gave to his paintings are deceptively sim- ple: Here and Now, Right Here, Not There — Here. -
Patel Spring 2017 GL ARH 4470 Syllabus
Do not copy without the express written consent of the instructor. Syllabus Spring 2017 ARH 4470/ARH 5482 Contemporary Art A Discipline-Specific Global Learning Course1 Tuesday and Thursday 2-3:15pm Green Library, Room 165 Instructor: Dr. Alpesh Kantilal Patel Assistant Professor, Contemporary Art and Theory Director, MFA in Visual Arts Affiliate Faculty, Center for Women’s and Gender Studies Affiliate Faculty, African and African diaspora Program Contact information for instructor: Department of Art + Art History MM Campus, VH 235 Preferred mode of contact: [email protected] Office hours: Thursday: 12:45-1:45pm Course description: This course examines major artists, artworks, and movements after World War II; as well as broader visual culture—everything from music videos and print advertisements to propaganda and photojournalism—especially as the difference between ‘art’ and non-art increasingly becomes blurred and the objectivity of aesthetics is called into question. Movements studied include Abstract Expressionism, Pop, and Minimalism in the 1950s and 1960s; Post-Minimalism/Process Art, and Land art in the late 1960s and 1970s; Pastiche/Appropriation and rise of interest in “identity” in the 1980s; and the emergence of Post-Identity, Relational Art, Internet/New Media art, and Post- Internet art in the 1990s/post-2000 period. This course will explore the expansion of the art world beyond “Euro- America.” In particular, we will consider the shift from an emphasis on the international to transnational. We will focus not only on artistic production in the US, but also that in Europe, South and East Asia, Africa, and the Middle East. -
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MoMA PRESENTS SCREENINGS OF VIDEO ART AND INTERVIEWS WITH WOMEN ARTISTS FROM THE ARCHIVE OF THE VIDEO DATA BANK Video Art Works by Laurie Anderson, Miranda July, and Yvonne Rainer and Interviews With Artists Such As Louise Bourgeois and Lee Krasner Are Presented FEEDBACK: THE VIDEO DATA BANK, VIDEO ART, AND ARTIST INTERVIEWS January 25–31, 2007 The Roy and Niuta Titus Theaters NEW YORK, January 9, 2007— The Museum of Modern Art presents Feedback: The Video Data Bank, Video Art, and Artist Interviews, an exhibition of video art and interviews with female visual and moving-image artists drawn from the Chicago-based Video Data Bank (VDB). The exhibition is presented January 25–31, 2007, in The Roy and Niuta Titus Theaters, on the occasion of the publication of Feedback, The Video Data Bank Catalog of Video Art and Artist Interviews and the presentation of MoMA’s The Feminist Future symposium (January 26 and 27, 2007). Eleven programs of short and longer-form works are included, including interviews with artists such as Lee Krasner and Louise Bourgeois, as well as with critics, academics, and other commentators. The exhibition is organized by Sally Berger, Assistant Curator, Department of Film, The Museum of Modern Art, with Blithe Riley, Editor and Project Coordinator, On Art and Artists collection, Video Data Bank. The Video Data Bank was established in 1976 at the School of the Art Institute of Chicago as a collection of student productions and interviews with visiting artists. During the same period in the mid-1970s, VDB codirectors Lyn Blumenthal and Kate Horsfield began conducting their own interviews with women artists who they felt were underrepresented critically in the art world. -
Teaching Strategies: How to Explain the History and Themes of Abstract Expressionism to High School Students Using the Integrative Model
Andrews University Digital Commons @ Andrews University Honors Theses Undergraduate Research 2014 Teaching Strategies: How to Explain the History and Themes of Abstract Expressionism to High School Students Using the Integrative Model Kirk Maynard Follow this and additional works at: https://digitalcommons.andrews.edu/honors Part of the Art and Design Commons Recommended Citation Maynard, Kirk, "Teaching Strategies: How to Explain the History and Themes of Abstract Expressionism to High School Students Using the Integrative Model" (2014). Honors Theses. 92. https://digitalcommons.andrews.edu/honors/92 This Honors Thesis is brought to you for free and open access by the Undergraduate Research at Digital Commons @ Andrews University. It has been accepted for inclusion in Honors Theses by an authorized administrator of Digital Commons @ Andrews University. For more information, please contact [email protected]. Thank you for your interest in the Andrews University Digital Library of Dissertations and Theses. Please honor the copyright of this document by not duplicating or distributing additional copies in any form without the author’s express written permission. Thanks for your cooperation. 2014 Kirk Maynard HONS 497 [TEACHING STRATEGIES: HOW TO EXPLAIN THE HISTORY AND THEMES OF ABSTRACT EXPRESSIONISM TO HIGH SCHOOL STUDENTS USING THE INTEGRATIVE MODEL] Abstract: The purpose of my thesis is to create a guideline for teachers to explain art history to students in an efficient way without many blueprints and precedence to guide them. I have chosen to focus my topic on Abstract Expressionism and the model that I will be using to present the concept of Abstract Expressionism will be the integrated model instructional strategy. -
Mapplethorpe: Assault with a Deadly Camera
How To Quote This Material ©Jack Fritscher www.JackFritscher.com Mapplethorpe: Assault with a Deadly Camera — Take 2: Pentimento for Robert Mapplethorpe Manuscript TAKE 2 © JackFritscher.com PENTIMENTO FOR ROBERT MAPPLETHORPE FETISHES, FACES, AND FLOWERS Of EVIL1 “He wanted to see the devil in us all... The man who liberated S&M Leather into international glamor... The man Jesse Helms hates... The man whose epic movie-biography only Ken Russell could re-create...” Photographer Mapplethorpe: The Whitney, the NEA and censorship, Schwarzenegger, Richard Gere, Susan Sarandon, Paloma Picasso, Hockney, Warhol, Patti Smith, Scavullo, sex, drugs, rock ’n’ roll, S&M, flowers, black leather, fists, Allen Ginsberg, and, once-upon-a-time, me... The pre-AIDS past of the 1970s has become a strange country. We lived life differently a dozen years ago. The High Time was in full upswing. Liberation was in the air, and so were we, performing nightly our high-wire sex acts in a circus without nets. If we fell, we fell with splendor in the grass. That carnival, ended now, has no more memory than the remembrance we give it, and we give remembrance here. In 1977, Robert Mapplethorpe arrived unexpectedly in my life. I was editor of the San Francisco—based international leather magazine, Drummer, and Robert was a New York shock-and-fetish photographer on the way up. Drummer wanted good photos. Robert, already infamous for his leather S&M portraits, always seeking new models with outrageous trips, wanted more specific exposure within the leather community. Our mutual, professional want ignited almost instantly into mutual, personal passion. -
C100 Trip to Houston
Presented in partnership with: Trip Participants Doris and Alan Burgess Tad Freese and Brook Hartzell Bruce and Cheryl Kiddoo Wanda Kownacki Ann Marie Mix Evelyn Neely Yvonne and Mike Nevens Alyce and Mike Parsons Your Hosts San Jose Museum of Art: S. Sayre Batton, deputy director for curatorial affairs Susan Krane, Oshman Executive Director Kristin Bertrand, major gifts officer Art Horizons International: Leo Costello, art historian Lisa Hahn, president Hotel St. Regis Houston Hotel 1919 Briar Oaks Lane Houston, Texas, 77027 Phone: 713.840.7600 Houston Weather Forecast (as of 10.31.16) Wednesday, 11/2 Isolated Thunderstorms 85˚ high/72˚ low, 30% chance of rain, 71% humidity Thursday, 11/3 Partly Cloudy 86˚ high/69˚ low, 20% chance of rain, 70% humidity Friday, 11/4 Mostly Sunny 84˚ high/63 ˚ low, 10% chance of rain, 60% humidity Saturday, 11/5 Mostly Sunny 81˚ high/61˚ low, 0% chance of rain, 42% humidity Sunday, 11/6 Partly Cloudy 80˚ high/65˚ low, 10% chance of rain, 52% humidity Day One: Wednesday, November 2, 2016 Dress: Casual Independent arrival into George Bush Intercontinental/Houston Airport. Here in “Bayou City,” as the city is known, Houstonians take their art very seriously. The city boasts a large and exciting collection of public art that includes works by Alexander Calder, Jean Dubuffet, Michael Heizer, Joan Miró, Henry Moore, Louise Nevelson, Barnett Newman, Claes Oldenburg, Albert Paley, and Tony Rosenthal. Airport to hotel transportation: The St. Regis Houston Hotel offers a contracted town car service for airport pickup for $120 that would be billed directly to your hotel room. -
LEE KRASNER Public Information (Selected Chronology)
The Museum of Modern Art 79 LEE KRASNER Public Information (Selected Chronology) 1908 Born October 27, Lenore Krassner in Brooklyn, New York. 1926-29 Studies at Women's Art School of Cooper Union, New York City. 1928 Attends Art Students League. 1929-32 Attends National Academy of Design. 1934-35 Works as an artist on Public Works of Art Project and for the Temporary Emergency Relief Administration. Joins the WPA Federal Art Project as an assistant in the Mural Division. 1937-40 Studies with the artist Hans Hofmann. 1940 Exhibits with American Abstract Artists at the American Fine Arts Galleries, New York. 1942 Participates in "American and French Paintings," curated by John Graham at the McMillen Gallery, New York. As a result of the show, begins acquaintance with Jackson Pollock. 1945 Marries Jackson Pollock on October 25 at Marble Collegiate Church, New York. Exhibits in "Challenge to the Critic" with Pollock, Gorky, Gottlieb, Hofmann, Pousette-Dart, and Rothko, at Gallery 67, New York. 1946-49 Creates "Little Image" all-over paintings at Springs, Easthampton. 1951 First solo exhibition, "Paintings 1951, Lee Krasner," at Betty Parsons Gallery, New York. 1953 Begins collage works. 1955 Solo exhibition of collages at Stable Gallery, New York. 1956 Travels to Europe for the first time. Jackson Pollock dies on August 11. 1959 Completes two mosaic murals for Uris Brothers at 2 Broadway, New York. Begins Umber and Off-White series of paintings. 1965 A retrospective, "Lee Krasner, Paintings, Drawings, and Col lages," is presented at Whitechapel Art Gallery in London (circulated the following year to museums in York, Hull, Nottingham, Newcastle, Manchester, and Cardiff). -
Max Ernst Was a German-Born Surrealist Who Helped Shape the Emergence of Abstract Expressionism in America Post-World War II
QUICK VIEW: Synopsis Max Ernst was a German-born Surrealist who helped shape the emergence of Abstract Expressionism in America post-World War II. Armed with an academic understanding of Freud, Ernst often turned to his work-whether sculpture, painting, or collage-as a means of processing his experience in World War I and unpacking his feelings of dispossession in its wake. Key Ideas / Information • Ernst's work relied on spontaneity (juxtapositions of materials and imagery) and subjectivity (inspired by his personal experiences), two creative ideals that came to define Abstract Expressionism. • Although Ernst's works are predominantly figurative, his unique artistic techniques inject a measure of abstractness into the texture of his work. • The work of Max Ernst was very important in the nascent Abstract Expressionist movement in New York, particularly for Jackson Pollock. DETAILED VIEW: Childhood © The Art Story Foundation – All rights Reserved For more movements, artists and ideas on Modern Art visit www.TheArtStory.org Max Ernst was born into a middle-class family of nine children on April 2, 1891 in Brühl, Germany, near Cologne. Ernst first learned painting from his father, a teacher with an avid interest in academic painting. Other than this introduction to amateur painting at home, Ernst never received any formal training in the arts and forged his own artistic techniques in a self-taught manner instead. After completing his studies in philosophy and psychology at the University of Bonn in 1914, Ernst spent four years in the German army, serving on both the Western and Eastern fronts. Early Training The horrors of World War I had a profound and lasting impact on both the subject matter and visual texture of the burgeoning artist, who mined his personal experiences to depict absurd and apocalyptic scenes. -
American Art & Pennsylvania Impressionists (1649) Lot 83
American Art & Pennsylvania Impressionists (1649) December 8, 2019 EDT Lot 83 Estimate: $50000 - $80000 (plus Buyer's Premium) Hans Hofmann (American/German, 1880-1966) Jeannette Carles (Mrs. Herbert Matter) Signed and dated 'hans hofmann/34' bottom center right; also inscribed with title and artist verso, oil on panel 54 1/2 x 40 1/2 in. (138.4 x 102.9cm) Provenance: Estate of Hans Hofmann (no. M-0160). André Emmerich Gallery, New York, New York. Acquired directly from the above in 1987. Collection of Mr. and Mrs. Jeffrey Glick, until 1995. André Emmerich Gallery, New York. Arij Gasiunasen Gallery, Palm Beach, Florida. Acquired directly from the above. Collection of Mr. Stephen E. Myers. Private Collection, New York, New York. EXHIBITED: "Hans Hofmann: Painter and Teacher," Addison Gallery of American Art, Andover, Massachusetts, January 2-February 22, 1948. "Hans Hofmann: The Pre-War Years in America," André Emmerich Gallery, New York, New York, January 9-February 7, 1987. "Hans Hofmann," Whitney Museum of American Art, New York, New York, June 20-September 16, 1990; and Center for the Fine Arts, Miami, Florida, November 23, 1990-January 20, 1991; and The Chrysler Museum, Norfolk, Virginia, February 17-April 14, 1991 (traveling exhibition, only shown in New York as Jeanette [sic] Carles (Mercedes Carles Matter)). LITERATURE: Hans Hofmann et al., Search for the Real, and Other Essays, Addison Gallery of American Art at Phillips Academy, Andover, Massachusetts, 1948, p. 82 (illustrated as installation view); and the M.I.T. Press for revised edition of March 15, 1967, p. 76 (also illustrated as installation view). -
Hale Aspacio Woodruff 1900–1980)
Hale Aspacio Woodruff 1900–1980) Biography Hale Woodruff was a black artist who sought to express his heritage in his abstract painting. Of his artwork he said: "I think abstraction is just another kind of reality. And although you may see a realistic subject like a glass or a table or a chair, you have to transpose or transform that into a picture, and my whole feeling is that to get the spectator involved it has to extend that vision" . ." (Herskovic 358) Born in Cairo, Illinois, Woodruff grew up in Nashville, Tennessee. In the early 1920s, he studied at the John Herron Art Institute in Indianapolis, where he lived for a number of years. He later studied at Harvard University, the School of The Art Institute of Chicago, and the Académie Moderne and Académie Scandinave in Paris. He spent the summer of 1938 studying mural painting with Diego Rivera in Mexico, an experience that greatly affected Woodruff's evolving style until the early 1940s. Woodruff's earliest public recognition occurred in 1923 when one of his paintings was accepted in the annual Indiana artists' exhibition. In 1928 he entered a painting in the Harmon Foundation show and won an award of one hundred dollars. He bought a one-way ticket to Paris with the prize money, and managed to eke out four years of study with an additional donation from a patron. In 1931, Woodruff returned to the United States and began teaching art at Atlanta University. It was Woodruff who was responsible for that department's frequent designation as the École des Beaux Arts" of the black South in later years.