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The Social and Environmental Turn in Late 20Th Century Art
THE SOCIAL AND ENVIRONMENTAL TURN IN LATE 20TH CENTURY ART: A CASE STUDY OF HELEN AND NEWTON HARRISON AFTER MODERNISM A DISSERTATION SUBMITTED TO THE PROGRAM IN MODERN THOUGHT AND LITERATURE AND THE COMMITTEE ON GRADUATE STUDIES OF STANFORD UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY LAURA CASSIDY ROGERS JUNE 2017 © 2017 by Laura Cassidy Rogers. All Rights Reserved. Re-distributed by Stanford University under license with the author. This work is licensed under a Creative Commons Attribution- Noncommercial-Share Alike 3.0 United States License. http://creativecommons.org/licenses/by-nc-sa/3.0/us/ This dissertation is online at: http://purl.stanford.edu/gy939rt6115 Includes supplemental files: 1. (Rogers_Circular Dendrogram.pdf) 2. (Rogers_Table_1_Primary.pdf) 3. (Rogers_Table_2_Projects.pdf) 4. (Rogers_Table_3_Places.pdf) 5. (Rogers_Table_4_People.pdf) 6. (Rogers_Table_5_Institutions.pdf) 7. (Rogers_Table_6_Media.pdf) 8. (Rogers_Table_7_Topics.pdf) 9. (Rogers_Table_8_ExhibitionsPerformances.pdf) 10. (Rogers_Table_9_Acquisitions.pdf) ii I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Zephyr Frank, Primary Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Gail Wight I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Ursula Heise Approved for the Stanford University Committee on Graduate Studies. Patricia J. -
Alice Aycock: Sculpture and Projects
Alice Aycock: Sculpture and Projects. Cambridge and London: M.I.T. Press, 2005; pp. 1-8. Text © Robert Hobbs The Beginnings of a Complex The problem seems to be how to connect without connecting, how to group things together in such a way that the overall shape would resemble "the other shape, ifshape it might be called, that shape had none," referred to by Milton in Paradise Lost, how to group things haphazardly in much the way that competition among various interest groups produces a kind ofhaphazardness in the way the world looks and operates. The problem seems to be how to set up the conditions which would generate the beginnings ofa complex. Alice Aycock Project Entitled "The Beginnings ofa Complex . ." (1976-77): Notes, Drawings, Photographs, 1977 In Book 11 of Milton's Paradise Lost, Death assumes the guise of two wildly dissimilar figures near Hell's entrance, each with an extravagantly inconsistent appearance. The first, a trickster, appears as a fair woman from above the waist and a series of demons below, while the second-a "he;' according to Milton-is far more elusive. It assumes "the other shape" that Aycock refers to above. 1 When searching for a poetic image capable of communicating the world's elusiveness and indiscriminate randomness, Aycock remembered this description of Death's incommensurability, which she then incorporated into her artist's book Project Entitled "The Beginnings ofa Complex . ." (1976-77): Notes, Drawings, Photographs. Although viewing death in terms oflife is certainly not an innovation, as anyone familiar with Etruscan and Greco-Roman culture can testify, seeing life's complexity in terms of this shape-shifting allegorical figure signaling its end is a remarkable poetic enlists images from the past and from other inversion. -
Bulletin 2002 Art/Pages-Final
School of Art 2002–2003 bulletin of yale university Series 98 Number 1May 10, 2002 Bulletin of Yale University Postmaster: Send address changes to Bulletin of Yale University, PO Box 208227, New Haven ct 06520-8227 PO Box 208230, New Haven ct 06520-8230 Periodicals postage paid at New Haven, Connecticut Issued sixteen times a year: one time a year in May, October, and November; two times a year in June and September; three times a year in July; six times a year in August Managing Editor: Linda Koch Lorimer Editor: David J. Baker Editorial and Publishing Office: 175 Whitney Avenue, New Haven, Connecticut Publication number (usps 078-500) Printed in Canada The closing date for material in this bulletin was April 2, 2002. The University reserves the right to withdraw or modify the courses of instruction or to change the instructors at any time. ©2002 by Yale University. All rights reserved. The material in this bulletin may not be reproduced, in whole or in part, in any form, whether in print or electronic media, without written permission from Yale University. Content Questions regarding the editorial content of this publication may be referred to Patricia Ann DeChiara, Director of Academic Affairs, Yale School of Art. Inquiries All inquiries regarding admission to graduate programs in art and requests for application forms should be addressed to the Office of Academic Affairs, Yale School of Art, 1156 Chapel Street, PO Box 208339, New Haven ct 06520-8339, or telephone 203.432.2600. (School of Art bulletins are mailed through periodicals postage and usually take at least three weeks to reach their destinations. -
Recorded Jazz in the 20Th Century
Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana -
Interview Transcript
STORM KING ART CENTER ORAL HISTORY PROGRAM DAVID COLLENS January 23, 2018 July 18, 2018 July 31, 2018 August 13, 2018 August 22, 2018 Interviewed by Sarah Dziedzic Storm King Oral History 007 © 2018 Storm King Art Center Use of Oral Histories in the Storm King Art Center Archives The Storm King Art Center Archives welcomes non-commercial use of the Oral History Program Special Collection in accordance with the Storm King Archives Use and Reproduction Policy [provide link.] The following transcript is the result of a recorded oral history interview. The recording is transcribed, lightly edited for continuity and clarity, and reviewed by the person interviewed and the interviewer. The reader is asked to bear in mind that this is a transcript of the spoken word, rather than written prose. The Archives requires that researchers give proper credit when citing oral histories, including Oral history interview with ___________ (date of interview), pages _____, Oral History Program, Storm King Art Center Archives. Only the transcript may be used for citations. The recordings associated with this interview may be made available upon request. Timestamps corresponding with original audio files are included in the transcript at one-minute intervals. For commercial use of any sort, including reproduction, quotation, publication, and broadcast in any medium, distribution, derivative works, public performance, and public display, prior written permission must be obtained from the Storm King Art Center Archives. Permission will comply with any agreements made with the person interviewed and the interviewer and may be withheld in Storm King’s sole determination. Please contact the Storm King Art Center Archives with any questions or requests at [email protected] Thank you! Support for Storm King Art Center’s Oral History Program and Archival Program is made possible by generous lead support from the Henry Luce Foundation. -
Alain Kirili with Robert C
Alain Kirili with Robert C. Morgan On the occasion of the current exhibit Te Drawing Show: Lines in Charcoal, Ink, Watercolor, Galvanized Iron and Black Rubber (January 3 – June 30, 2012), the sculptor Alain Kirili and Contributing Editor Robert Morgan paid a visit to the Rail’s headquarters to talk about his life and work. Robert C. Morgan (Rail): What was your motivation in coming to New York City in the ’60s? Alain Kirili: I was born in 1946, so I belong to the frst generation of artists afer the Second World War. In fact, when I reached the age of about 18 or 20 years, I felt that the major artists in France were writers and philosophers. Te milieu that stimulated me the most was really Tel Quel and Roland Barthes, Philippe Sollers, and Julia Kristeva, all of whom became my very close friends. I collaborated with them on many projects, so Paris gave me the best exposure to literature and philosophy. Slowly I became familiar with the American art; I mostly heard about Jackson Pollock. Portrait of the artist. Pencil on paper by Phong Bui. Rail: I know that David Smith was a major infuence on you. Did you ever meet him? Kirili: No, but in 1965 I saw my frst David Smith sculpture at the Musée Rail: And what impressed you the most during those travels? Rodin in Paris. In fact, it was that series of sculptures, Cubi, that made Kirili: Tat it was impossible, at least I felt, to be a French artist if you had me decide to go to the United States. -
Monographie Books by Alain Kirili Website Alain Kirili
ALAIN KIRILI - COMPLETE BIBLIOGRAPHY Monographie Morgan Robert C., Alain Kirili, Paris, éditions Flammarion, 2002. Dubbeld Sabrina Kirili à Grenoble, Paris, éditions Ereme, 2012 Books by Alain Kirili 1982 Yoni-Lingam, Munich, Schellman & Kluser. 1984 Alberto Giacometti, Plâtres peints, Paris, éditions Maeght. 1986 Kirili, Alain, Statuaire, Paris, éditions Denoël. 1987 Rodin, Dessins érotiques, avec Philippe Sollers Paris, Gallimard. 1996 Sculpture and Jazz, Paris, éditions Stock. 1997 Célébrations, Paris, éditions Christian Bourgois. 2003 Dessins de David Smith: Un choix de Alain Kirili, Paris, éditions ENSBA. 2007 Mémoires de sculpteur, collection “écrits d’artistes”, Paris éditions ENSBA. 2012 Alain Kirili, Art Absolument, Numéro Spécial, Paris Octobre 2012. Website Alain Kirili http://www.kirili.com/ Bibliographie AK_Version a jour decembre 2013 1 Exhibitions Catalogues 1974 Pleynet Marcelin, Alain Kirili: peintures, dessins, sculptures, gravures, Paris, Galerie Sonnabend. 1976 Rooms, New York, Institute of Art and Urban Ressources, P.S.1. Soho-Downtown Manhattan, Berlin, Akademie der Kunst. 1977 Documenta 6 Cassel, Verlag und Gesamtherstellung, Paul Dierichs KG & Co. 1978 Kirili Alain, Storck Gerhard, Alain Kirili geschmiedete Eisenskulpturen, Krefeld, Kaiser Wilhelm Museum der Stadt Krefeld. Welermair Peter, Kirili, Innsbruck, Taxispalais Museum. 1980 Franz Erich, Zeitenossisches Plastik, Bielefeld, Kulturhistoriche Museum. Kirili Alain, “Vive New York, Bye-Bye puritan Landscape, für Thomas Hess”, Zeitenossisches Plastik, Bielefeld, Kulturhistoriche Museum. 1981 Mc Clintic Miranda, Directions, Washington D.C., USA Hirshhorn Museum and Sculpture Garden, Smthsonian Institution. Nash Steven, A.Kirili: Recent Sculpture, Dallas, Museum of Art, USA. 1982 Rosenblum Robert, « Essay » Von Wiese Stephen, Weiermair Peter, Alain Kirili, Frankfurt, Germany, Frankfurter Kunstverein. 1984 Kuspit Donald, Sollers Philippe, Alain Kirili, Paris, galerie Adrien Maeght. -
News Release
NEWS RELEASE FOURTH STREET AT CONSTITUTION AVENUE NW WASHINGTON DC 20565 . 737-4215/842-6353 CONTACT: Dena Crosson Ellen Stanley (202) 842-6353 FOR IMMEDIATE RELEASE ** PRESS PREVIEW: Tues., June 23, 11:00 a.m - 2:00 p.m. MODERN SCULPTURE FROM THE NASHER COLLECTION TO OPEN AT NATIONAL GALLERY Title: A Century of Modern Sculpture: The Patsy and Raymond Nasher Collection WASHINGTON - A major exhibition of modern European and American sculpture, selected from the collection of Patsy and Raymond Nasher, opens at the National Gallery of Art on Sunday, June 28 and continues through January 3, 1988. The exhibition consists of more than 68 works by 36 artists, ranging in date from Auguste Rodin's Eve (1881) to Jonathan Borofsky's Hammering Man (1984-85). The sculpture is installed in front of the East Building and in the public areas of the mezzanine, main floor, and concourse, as well as on the north sculpture terrace, which will be open to the public for the first time. The exhibition is supported by Northern Telecom. (more) nasher collection ... page 2 "The Nashers' is one of the finest private collections of modern sculpture in the world in terms both of the quality of the objects and the comprehensiveness of its sweep," said J. Carter Brown, director of the National Gallery. "We expect this exhibition to be a particularly exciting way for the public to view the masters of the figurative and constructivist traditions and some of the most interesting recent sculpture." The exhibition encompasses almost every major area of 20th-century sculpture, including important works by Rodin, Rosso, Picasso, Matisse, Brancusi, Duchamp-Villon, Gabo, Giacometti, Arp, Ernst, Calder, Moore, Dubuffet, David Smith, Caro, Oldenburg, Segal, Judd and Serra. -
ALICE AYCOCK Biography
ALICE AYCOCK Biography Alice Aycock has lived in New York City since 1968. She received a B.A. from Douglass College and an M.A. from Hunter College. She was represented by the John Weber Gallery in New York City from 1976 through 2001 and has exhibited in major museums and galleries nationally as well as in Europe and Japan. Currently she is represented by Marlborough Gallery, New York and Galerie Thomas Schulte, Berlin. She had her first solo exhibition of new sculptures with Marlborough in the fall of 2017. Her works can be found in numerous collections including the Museum of Modern Art, the Whitney Museum, the Brooklyn Museum, the LA County Museum, the National Gallery of Art, the Sheldon, Storm King Art Center, the Louis Vuitton Foundation, and the Sprengel Museum in Hannover, Germany. She exhibited at the Venice Biennale, Documenta VI and VIII and the Whitney Biennial. She has had three major retrospectives. The first was organized by the Wurttembergischer Kunstverein in Stuttgart in 1983 and traveled to Kolnischer Kunstverein Koln; Sculpturenmuseum Glaskasten, Marl; Haags Gemeentemuseum, Den Haag; Kunstmuseum Luzern. In 1990, the second retrospective entitled “Complex Visions” was organized by the Storm King Art Center in Mountainville, NY. In 2013, a retrospective of her drawings and small sculptures was exhibited at the Parrish Art Museum in Water Mill, New York coinciding with the Grey Art Gallery in New York City. The retrospective traveled to the Art, Design & Architecture Museum at the University of California, Santa Barbara and the Santa Barbara Museum of Art in 2014. A fully illustrated catalogue, Some Stories are Worth Repeating, with an essay by Jonathan Fineberg accompanied the retrospective. -
Alice Aycock: Swing Over, 2004 Jean Shin: Dress Code, 2008
Alice Aycock: Swing Over, 2004 Jean Shin: Dress Code, 2008 GEORGE H. FALLON FEDERAL BUILDING, BALTIMORE, MARYLAND Alice Aycock: Swing Over, 2004 ESSAY BY ELEANOR HEARTNEY Traditionally , sculpture is composed of fixed, solid materials that are rooted to the ground. But Alice Aycock designed Swing Over , an undulating addition to the George F. Fallon Federal Building, “to deny gravity and escape the earth.” Composed of two triangulated trusses and two curved forms, it loops across the façade, weaving in, out, and around the pre-existing openings in the overhang of the building’s portico, culminating in a group of crossed , horn-like shapes at the composition’s center. Swing Over incorporates such source materials as an aerial diagram of the flight patterns of hummingbirds and the phenomenon known as the wormhole, which is a conceptual mapping of spacetime. The former can be seen in the way the forms sweep up and then seem to come to a pause before sliding down again, just as hummingbirds, alone of all birds, are able to pause in midair before continuing their progress. The wormholes, meanwhile, are suggested by the central configuration consisting of double horns, each with a mouth at either end. According to theoretical physics, a wormhole offers a shortcut through spacetime, Swing Over, 2004. Aluminum, 40 ft x 400 linear ft x 30 ft. Installed above much like a real worm that burrows through an apple rather entrance portico. George H. Fallon Federal Building, Baltimore, MD. then inching along its exterior. Swing Over escapes the constraints of time in another way as well. -
City College of New York Architecture Library Alice Aycock
City College of New York Architecture Library Alice Aycock: Selected Bibliography “Alice Aycock: Selected Works” Spitzer School of Architecture Lecture – November 1, 2012 About: Sculptor Alice Aycock earned her MA from Hunter College. Her work is in the permanent collections of major museums including MoMA, The Whitney, the Brooklyn Museum, and the National Gallery. Existing outdoor works of public art include a sculptural roof installation―the East River Roundabout, for The East River Park Pavilion at 60th St. in NYC; The Solar Wind, in Salem, VA; The House Of Stoics, in Lake Biwa, Japan; the Tower Of Babel, in Buhsnami Sculpture Garden near Houston, Texas; and The Island of the Moons and Suns, Robert Orton's sculpture garden in La Jolla, CA. She received the Americans for the Arts Public Art Award in 2008 for Ghost Ballet for the East Bank Machineworks in Nashville. The artist has taught at Yale and other colleges and currently teaches at NYC’s School of Visual Arts. In 2013 there will be a retrospective of her drawings at the new Parrish Art Museum in Southampton, NY and at the Grey Art Gallery in NYC. In spring ` 2014 a series of her sculptures will be installed on the Park Avenue Malls in the city, entitled Park Avenue Paper Chase. Books: “ Indelible marker, palimpsest, thin air / Alice Aycock – Landscape.” in Spatial recall : memory in architecture and landscape. New York ; London : Routledge, 2009. NA2765 .S62 2009. Fox, Howard N.: Metaphor : new projects by contemporary sculptors : Vito Acconci, Siah Armajani, Alice Aycock, Lauren Ewing, Robert Morris, Dennis Oppenheim. -
Michael Rees 318 77Th Street #1, North Bergen, New Jersey, 07047 Tel 6462719898 [email protected]
michael rees 318 77th street #1, north bergen, new jersey, 07047 tel 6462719898 [email protected] Curriculum Vitae Solo Exhibitions 2018 Pneumatopia, curated by Dan Cameron as part of Open Spaces Kansas City, at the Nerman Museum of Contemporary Art, August 2, 2018-October 21, 2018. Brochure Michael Rees: Synthetic Cells: Site and Para(Site), curated by Tom Moran, Grounds For Sculpture. June 1, 2018 through July 1, 2019. Catalogue. 2017 Trans(forma), a collaborative exhibition with Helena Lukasova atGASK – the Gallery of the Central Bohemian Region. Catalogue. June 27, 2017 to October 1, 2017. Catalogue 2016 Clown Town, Bravin Lee Gallery, New York, NY October 21 – November 23. 2014 Installation of Converge Ghraib Bag at Grounds For Sculpture Hamilton, NJ. 2013 Interactions and Paradoxical Structures: Robert Gero and Michael Rees. collaborative Sculpture and Media. Trois Gallery, Savannah College of Art and Design, Atlanta, Georgia. June6-September 6 2012 Tactical Play Exchange, A collaborative sculpture exhibition with Robert Gero and Michael Rees, Pablo’s Birthday, New York. April 6-May5. Tactical Play Exchange part 2, A collaborative sculpture exhibition with Robert Gero and Michael Rees,Pablo’s Birthday, New York. May 12-June 2. 2010 Michael Rees, Social Object curated by Koan Jeff Baysa and Nina Colosi, Chelsea Art Museum, December 17 - January 23, 2010. 2009 Michael Rees: Model Behavior, Deborah Colton Gallery, Houston, Texas. September 18 November 14, 2009. Putto 4 over 4, Zentrum fur Medien Kunst, (ZKM), Karlsruhe, Germany, curated by Peter Weibel. July 1, 2009 ongoing. 2008 Converge: Ghraib Bag, at Art Omi, Ghent, New York. 2005 Putto 2x2x4 Sculpture and Animation.