Post-War & Contemporary
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Finding Artwork
Splash Page THE PLASTICIENS AND BEYOND MONTREAL 1955 - 1970 Varley Art Gallery of Markham CONTACT INFO Varley Art Gallery 216 Main St Unionville, ON L3R 2H1 905-477-9511 ext. 3263 http://www.visitthevarley.com/ ABOUT THE GALLERY The Varley Story The Group of Seven The Group of Seven is famously known to have established a distinct aesthetic to the Canadian landscape, its members are historically recognized for the impact they have made on the Canadian art movement. Frederick Varley, Tom Thomson, J.E.H MacDonald, Arthur Lismer, Frank Johnston, and Franklin Carmichael would first meet as employees at the design firm Grip Ltd in Toronto. These six men would come together during and after work discussing bold new directions for Canadian Art, they were joined by A.Y Jackson and Lawren Harris in 1913. With the support of Dr. James MacCallum, an artist and university professor, the group raised money to build the Studio Building for Canadian Art in Toronto. It was there that they would create masterpieces as they discovered the distinct light of the Canadian atmosphere and capture it in bold new ways. The production the group was interrupted as they suffered tragedy when Tom Thomson, one of the founding members died in mysterious circumstances; shortly after, some of the members left to serve in the First World War. It was not until 1920 that the Group of Seven officially formed with their first exhibition in Toronto. Once their popularity grew, the artists began to travel Canada capturing what inspired them. The group shared a like vision concerning art in Canada. -
Canada's Second World War Official Art Program
“Doing justice to history”: Canada’s Second World War official art program The Canadian War Records (CWR), Canada’s Second World War art program, produced two kinds of art: field sketches and finished paintings. What is the relative value of each as an historical record? Is the truthfully observed detail of the battlefield in the form of a sketch as valuable a document as an oil on canvas that has eschewed extraneous detail, added missing information from other sources, and been compositionally focused on a significant historical event as a result of a creative process? The War Artists’ Committee (WAC), which ran the CWR from Ottawa and devised the official instructions issued to all the war artists in 1943, believed it knew the answer. When the WAC recommended in its instructions that the artists share in the experience of “active operations” in order to “know and understand the action, the circumstances, the environment, and the participants”, it viewed this only as an information gathering and research stage. This stage, as the instructions note, existed solely to meet the committee’s ultimate goal: “productions” that were “worthy of Canada’s highest cultural traditions, doing justice to History, and as works of art, worthy of exhibition anywhere at any time”. The instructions charged the artists with portraying “significant events, scenes, phases and episodes in the experience of the Canadian Armed Forces”, and required each of the 32 artists hired to produce two 40 x 49 inch canvases, two 24 x 30 inch canvases, and ten 22 x 30 inch watercolours. The instructions make it clear that the WAC highly valued these finished paintings. -
The Newark Museum of Art Presents Major Retrospective of American Abstract Painter Norman Bluhm
FOR IMMEDIATE RELEASE Contact: Tamisha Hallman, Winning Strategies Public Relations Phone: 973-799-0200, e-mail: [email protected] The Newark Museum of Art Presents Major Retrospective of American Abstract Painter Norman Bluhm Partnership with the artist’s estate to organize Norman Bluhm: Metamorphosis February 13 - May 3, 2020 NEWARK, NJ – In February 2020 The Newark Museum of Art opens Norman Bluhm: Metamorphosis, an exhibition showcasing five decades of the artist’s abstract paintings. One of the most forceful American painters of the post-war period, Bluhm, who was born in Chicago in 1920, was a central figure in both the Parisian and New York art worlds. He is revered for his grand-scaled canvases in which he combines vigorous and expressive brushwork with a lavish sense of color and formal experimentation. The first museum exhibition to explore the full range of his prolific career, Norman Bluhm: Metamorphosis is an unprecedented, overdue reconsideration of his artistic production, with works dating from 1947 to 1998. With many examples from the artist’s estate, along with loans from public and private collections, the exhibition features 46 paintings and works on paper, including a number of rarely seen late works. Epically scaled, these multi-panel paintings from the 1990s will occupy two floors of the museum. “We are thrilled to present the provocative Norman Bluhm: Metamorphosis as the first major exhibit to debut under our institution’s new branding,” said Linda C. Harrison, CEO and Director of The Newark Museum of Art. “Visitors will be awestruck by the scale of this showcase and inspired by the vibrancy of Bluhm’s work.” A transnational artist with global interests, Bluhm’s creative output reflects his multidisciplinary interests in mythology, poetry, and world history. -
Property of the Estate of Betty Goodwin
PrOPerty Of The estate Of Betty goodwin BeTTY GOODWIN (1923 – 2008) mentor Joseph Beuys, who often wore vests. In her own words, “With the Vest series, I made a very explosive and meaningful Born in Montreal in 1923, Betty Goodwin was the only child connection.” 2 of Romanian and Jewish immigrants, Clare Edith and Abraham In 1995, Goodwin’s work was included in the exhibition Roodish. Spanning nearly 50 years, her oeuvre is monumen- Identity and Alterity: Figures of the Body, 1895 / 1995, at the Venice tal, sentient and authentic, and thanks to her strong sense of Biennale, and in 1996, the National Gallery of Canada held a humanism, it expresses the fragility and complexity of the human major solo show entitled Betty Goodwin: Signs of Life. She was experience. Goodwin has worked in a variety of media—painting, the recipient of many awards and recognitions throughout her drawing, collage, printmaking and sculpture—and often in series, exceptional career, including the Victor Martyn Lynch-Staunton such as Swimmers, Tarpaulin and La mémoire du corps (Memory Award of the Canada Council for the Arts in 1983, the Banff Cen- of the Body). Often associated with expressing themes of loss, tre National Award for Visual Arts in 1984, the Prix Paul-Émile absence and memory, her poignant works deal sensitively with Borduas in 1986, a Guggenheim Foundation Fellowship in 1988, challenging subjects. Art historian Matthew Teitelbaum wrote the Gershon Iskowitz Prize in 1995, the Harold Town Prize that “her work is a process made clear; expressing feeling is a way in 1998, and the Governor General’s Award and the Order of of preserving and healing the self.” 1 Canada in 2003. -
Frank O'hara As a Visual Artist Daniella M
Student Publications Student Scholarship Spring 2018 Fusing Both Arts to an Inseparable Unity: Frank O'Hara as a Visual Artist Daniella M. Snyder Gettysburg College Follow this and additional works at: https://cupola.gettysburg.edu/student_scholarship Part of the American Art and Architecture Commons, Art and Design Commons, and the Theory and Criticism Commons Share feedback about the accessibility of this item. Snyder, Daniella M., "Fusing Both Arts to an Inseparable Unity: Frank O'Hara as a Visual Artist" (2018). Student Publications. 615. https://cupola.gettysburg.edu/student_scholarship/615 This open access student research paper is brought to you by The uC pola: Scholarship at Gettysburg College. It has been accepted for inclusion by an authorized administrator of The uC pola. For more information, please contact [email protected]. Fusing Both Arts to an Inseparable Unity: Frank O'Hara as a Visual Artist Abstract Frank O’Hara, a curator at the Museum of Modern Art in New York and a published poet in the 1950s and 60s, was an exemplary yet enigmatic figure in both the literary and art worlds. While he published poetry, wrote art criticism, and curated exhibitions—on Franz Kline, Robert Motherwell, and Jackson Pollock—he also collaborated on numerous projects with visual artists, including Larry Rivers, Michael Goldberg, Grace Hartigan, Joe Brainard, Jane Freilicher, and Norman Bluhm. Scholars who study O’Hara fail to recognize his work with the aforementioned visual artists, only considering him a “Painterly Poet” or a “Poet Among Painters,” but never a poet and a visual artist. Through W.J.T. Mitchell’s “imagetext” model, I apply a hybridized literary and visual analysis to understand O’Hara’s artistic work in a new way. -
26727 Consignor Auction Catalogue Template
Auction of Important Canadian & International Art September 24, 2020 AUCTION OF IMPORTANT CANADIAN & INTERNATIONAL ART LIVE AUCTION THURSDAY, SEPTEMBER 24TH AT 7:00 PM ROYAL ONTARIO MUSEUM 100 Queen’s Park (Queen’s Park at Bloor Street) Toronto, Ontario ON VIEW Please note: Viewings will be by appointment. Please contact our team or visit our website to arrange a viewing. COWLEY ABBOTT GALLERY 326 Dundas Street West, Toronto, Ontario JULY 8TH - SEPTEMBER 4TH Monday to Friday: 9:00 am to 5:00 pm SEPTEMBER 8TH - 24TH Monday to Friday: 9:00 am to 5:00 pm Saturdays: 11:00 am to 5:00 pm Sunday, September 20th: 11:00 am to 5:00 pm 326 Dundas Street West (across the street from the Art Gallery of Ontario) Toronto, Ontario M5T 1G5 416-479-9703 | 1-866-931-8415 (toll free) | [email protected] 2 COWLEY ABBOTT | September Auction 2020 Cowley Abbott Fine Art was founded as Consignor Canadian Fine Art in August 2013 as an innovative partnership within the Canadian Art industry between Rob Cowley, Lydia Abbott and Ryan Mayberry. In response to the changing landscape of the Canadian art market and art collecting practices, the frm acts to bridge the services of a retail gallery and auction business, specializing in consultation, valuation and professional presentation of Canadian art. Cowley Abbott has rapidly grown to be a leader in today’s competitive Canadian auction industry, holding semi-annual live auctions, as well as monthly online Canadian and International art auctions. Our frm also ofers services for private sales, charity auctions and formal appraisal services, including insurance, probate and donation. -
Summaries of the Articles
Document généré le 25 sept. 2021 09:53 Vie des arts Summaries of the Articles Numéro 44, automne 1966 URI : https://id.erudit.org/iderudit/58373ac Aller au sommaire du numéro Éditeur(s) La Société La Vie des Arts ISSN 0042-5435 (imprimé) 1923-3183 (numérique) Découvrir la revue Citer cet article (1966). Summaries of the Articles. Vie des arts, (44), 97–103. Tous droits réservés © La Société La Vie des Arts, 1966 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ SUMMARIES OF THE ARTICLES Translation by BILL TRENT tbe Canadian carrefour BY GILLES HÉNAULT Apart from artist-architect collaboration, it is of interest that once In the world of art, Canada is a carrefour, a sort of meeting place a building is completed, the owners automatically search out the of the great aesthetic currents of Europe and America, a part of the art vendors. An interesting example is the C.I.L. collection. But Paris-New York-San Francisco axis. Long the disciples of a pictur company officials also call on the artists when it comes time to esque provincialism, Canadian painters have for the past 20 years decorate their offices. -
Frank O'hara's Oranges : Poetry, Painters and Painting
University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 8-2001 Frank O'Hara's oranges : poetry, painters and painting. Karen Ware 1973- University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Recommended Citation Ware, Karen 1973-, "Frank O'Hara's oranges : poetry, painters and painting." (2001). Electronic Theses and Dissertations. Paper 1531. https://doi.org/10.18297/etd/1531 This Master's Thesis is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. FRANK O'HARA'S ORANGES: Poetry, Painters and Painting By Karen Ware B.A., Spalding University, 1994 A Thesis Submitted to the Faculty of the Graduate School of the University of Louisville In Partial Fulfillment of the Requirements For the Degree of Master of Arts Department of English University of Louisville Louisville, Kentucky August 2001 FRANK O'HARA'S ORANGES: Poetry, Painters and Painting By Karen Ware B.A., Spalding University, 1994 A Thesis Approved on by the following Reading Committee: Thesis MrectO'r 11 DEDICATION This thesis is dedicated to Clare Pearce, because I promised, and to Kyle, through all things. III ACKNOWLEDGMENTS Many amazing individuals have taken a seat in the roller coaster construction of this long-awaited project. -
Property of the Estate of Blema and H. Arnold Steinberg
ProPerty of the estAte of BlemA And h. Arnold steinBerg member of the board of governors of McGill University, and later as governor emeritus, and founding chairman of the board of the McGill University Health Centre, among other titles. All of this led to one of the most gratifying roles of his extraordinary life, when in 2009 he was appointed chancellor of McGill University. Upon his passing, Heather Munroe-Blum, vice-chancellor of McGill, reflected: “Arnold was a prince of a man. He shaped McGill, Montreal and Canada in deeply progressive and posi- tive ways—uniquely, indelibly. He influenced everyone he met through his gracious warmth, joyous optimism and incisive intelligence.” Blema Steinberg wore many hats and was exceptionally accomplished. She too was known for her remarkable dedication to McGill University and her continuous philanthropic efforts. She was a double graduate of McGill, where she completed her BA and PhD, and a graduate of Cornell University, where she completed her MA. She became a professor in 1961 and was appointed to McGill’s Department of Political Science, where she taught for more than 40 years, before being honoured with the title of professor emerita following her retirement in 2001. During her tenure, she focused her research efforts on the psy- chological factors of decision-making and character studies of leaders in politics. Blema authored many academic publications and, most notably, two books—Women in Power: The Personalities Blema and H. Arnold Steinberg and Leadership Styles of Indira Gandhi, Golda Meir and Margaret Photo: Owen Egan Thatcher and Shame and Humiliation: Presidential Decision-Making Courtesy of McGill University on Vietnam. -
1976-77-Annual-Report.Pdf
TheCanada Council Members Michelle Tisseyre Elizabeth Yeigh Gertrude Laing John James MacDonaId Audrey Thomas Mavor Moore (Chairman) (resigned March 21, (until September 1976) (Member of the Michel Bélanger 1977) Gilles Tremblay Council) (Vice-Chairman) Eric McLean Anna Wyman Robert Rivard Nini Baird Mavor Moore (until September 1976) (Member of the David Owen Carrigan Roland Parenteau Rudy Wiebe Council) (from May 26,1977) Paul B. Park John Wood Dorothy Corrigan John C. Parkin Advisory Academic Pane1 Guita Falardeau Christopher Pratt Milan V. Dimic Claude Lévesque John W. Grace Robert Rivard (Chairman) Robert Law McDougall Marjorie Johnston Thomas Symons Richard Salisbury Romain Paquette Douglas T. Kenny Norman Ward (Vice-Chairman) James Russell Eva Kushner Ronald J. Burke Laurent Santerre Investment Committee Jean Burnet Edward F. Sheffield Frank E. Case Allan Hockin William H. R. Charles Mary J. Wright (Chairman) Gertrude Laing J. C. Courtney Douglas T. Kenny Michel Bélanger Raymond Primeau Louise Dechêne (Member of the Gérard Dion Council) Advisory Arts Pane1 Harry C. Eastman Eva Kushner Robert Creech John Hirsch John E. Flint (Member of the (Chairman) (until September 1976) Jack Graham Council) Albert Millaire Gary Karr Renée Legris (Vice-Chairman) Jean-Pierre Lefebvre Executive Committee for the Bruno Bobak Jacqueline Lemieux- Canadian Commission for Unesco (until September 1976) Lope2 John Boyle Phyllis Mailing L. H. Cragg Napoléon LeBlanc Jacques Brault Ray Michal (Chairman) Paul B. Park Roch Carrier John Neville Vianney Décarie Lucien Perras Joe Fafard Michael Ondaatje (Vice-Chairman) John Roberts Bruce Ferguson P. K. Page Jacques Asselin Céline Saint-Pierre Suzanne Garceau Richard Rutherford Paul Bélanger Charles Lussier (until August 1976) Michael Snow Bert E. -
Abstract Addictions
VALLARINO FINE ART 222 EAST 49TH STREET NEW YORK, NY 10017 FINE ART VALLARINO VALLARINOFINEART.COM ABSTRACT ADDICTIONS: .. .WHAT’S NEXT ....WHO KNOWS?.... .WHAT’S MODERN/POST-WAR ABSTRACT ADDICTIONS: 2020 WHAT’S NEXT.... WHO KNOWS?.... 2020 MODERN/POST-WAR 222 EAST 49TH STREET, NEW YORK, NY 10017 212.628.0722 66 ROUTE 343, MILLBROOK, NEW YORK 12545 [email protected] VALLARINOFINEART.COM ABSTRACT ADDICTIONS: WHAT’S NEXT....WHO KNOWS?.... What’s Next…..Who Knows?? Is a very fitting subtitle for our annual catalogue. What has happened in the past four-five months seems unimaginable, then again, it could be a blessing in disguise, a kind of wake-up call for all of us. Our global treatment of humanity, our planet’s environment, economic collapse, civil rights and politics have caused a boiling point in our society and then add the Covid-19 Pandemic to top things off and there you have “What’s Next…..Who Knows? One thing I know is art and the art market has literally been around forever and has weathered centuries of wars, economic crashes and many other global disasters and will continue to prevail perhaps in new ways to which it will need to reinvent itself. I believe a correction is taking place as has happened in every market throughout history when strained by historic events. The brick & mortar gallery model is becoming a thing of the past and the existence of art fairs in the near future is questionable regarding the current health situations for the dealers and the collectors who attend. I believe that a large group of galleries are going to close as their business models aren’t strong enough to survive these extreme times. -
1 the Medium and the Methodology: What the Drawing of Guido Molinari
The Medium and the Methodology: What the Drawing of Guido Molinari and Yves Gaucher Reveals. By Jessica Veevers Two Quebec hard-edge painters of iconic proportions, Guido Molinari and Yves Gaucher betray their convictions and contradictions most tellingly through their drawing. These two painters, who are both associated with the post-plasticien movement, could not be more different. A cursory experience of their paintings could erringly lead one to assume that they came from a “school” that wants to communicate the formal and structural properties of colour and colour alone. Simplistically, this is true on some fronts. Close analysis of their paintings will likely cause doubt, but it is their drawing that most evidently discloses their differences. If we look at Molinari’s early drawing with pen or pencil there is a frenetic creation and following of line – a filling of space wherein a searching is manually evident. This larger-than-life man was from a young age trying to break away from the Automatiste legacy and find the aesthetic relations of space to plane on his own terms. For Gaucher, it was a different process. He came to monochrome painting through printmaking. Undeniably their foundational and educational beginnings influenced their art making but their personalities equally drove their relationship with their materials and their methodology. Molinari’s drawing reveals his instinctual nature, whereas Gaucher’s drawing reveals his methodical nature. Moreover, their relationship with their respective mediums and materials define both who they are and what their painting became. What is similar about both of these artists is that they utilize mediums on paper to research their expression.