Cy Twombly Biography

Total Page:16

File Type:pdf, Size:1020Kb

Cy Twombly Biography G A G O S I A N Cy Twombly Biography Born in 1928, Lexington, VA. Died in 2011, Rome, Italy. Solo Exhibitions: 2019 Cy Twombly: Portraits. National Portrait Gallery, London, England. Cy Twombly: Sculpture. Gagosian, Grosvenor Hill, London, England. 2018 Cy Twombly: Photographs. Château La Coste, Le Puy-Sainte-Réparade, France. Cy Twombly: Photographs. Sursock Museum, Beirut, Lebanon. Coronation of Sesostris. Gagosian, Madison Avenue, New York, NY. In Beauty It Is Finished: Drawings 1951-2008. Gagosian, West 21st St., New York, NY. 2017 Cy Twombly. Thomas Ammann Fine Art, Zurich, Switzerland. Cy Twombly. Gagosian Gallery, Athens, Greece. Divine Dialogues: Cy Twombly and Greek Antiquity. The Museum of Cycladic Art, Athens, Greece. 2016 Cy Twombly: Orpheus. Gagosian, Paris, France. Cy Twombly. Centre Pompidou, Paris, France. Cy Twombly: In the Studio. Museum Brandhorst, Munich, Germany. Cy Twombly Photographs: Lyrical Variations. Kawamura Memorial DIC Museum of Art, Sakura, Japan. Cy Twombly: Selected Photographs 1944-2006. Museum Frieder Burda, Baden- Baden, Germany. Cy Twombly: Photographs. Galerie Bastian, Berlin, Germany. Cy Twombly: Malerei auf Papier. Galerie Karsten Greve, Cologne, Germany. Cy Twombly: Lux. Museu d’Art Contemporani d’Eivissa, Ibiza, Spain. 2015 Cy Twombly: Quattro Stagioni. De La Warr Pavilion, Bexhill-on-Sea, England. Cy Twombly. Gagosian Gallery, Grosvenor Hill, London, England. Cy Twombly: Photographs. Gagosian Gallery, Davies Street, London, England. Cy Twombly: Painting & Sculpture. Kunstmuseum Basel Museum für Gegenwartskunst, Basel, Switzerland. Cy Twombly: Photographer. American Academy in Rome, Rome, Italy. Cy Twombly: Fifty Years of Works on Paper. Hara Museum of Contemporary Art, Tokyo, Japan & Hara Museum ARC, Gunma-ken, Japan. Cy Twombly at Casa Malaparte. Casa Malaparte, Capri, Italy. Cy Twombly. Gagosian Gallery, 980 Madison Ave., New York, NY. 2014 Cy Twombly: Treatise on the Veil. The Morgan Library & Museum, New York, NY. Cy Twombly: Paradise. Museo Jumex, Mexico City, Mexico; traveled to Ca’Pesaro, Galleria Internazionale d’Arte Moderna, Venice, Italy. Cy Twombly: Fotografie di Gaeta. Diocesan Museum, Gaeta, Italy. 2013 Cy Twombly: Works on Paper. Galerie Karsten Greve, Paris, France. 2012 Cy Twombly: Sculptures. Philadelphia Museum of Art. Philadelphia, PA. Cy Twombly: The Last Paintings. Gagosian Gallery, Madison Avenue, New York, NY. Cy Twombly: The Last Paintings. Gagosian Gallery, Britannia Street, London, England. W W W . G A G O S I A N . C O M G A G O S I A N Cy Twombly: A Mediterranean World. Galerie Bastian, Berlin, Germany. Cy Twombly: A Survey of Photographs 1954–2011. Gagosian Gallery, Britannia Street, London, England. Cy Twombly: The Last Paintings. Gagosian Gallery, Hong Kong, China. Cy Twombly: The Last Paintings. Gagosian Gallery, Beverly Hills, CA. Cy Twombly: Photographs. Gagosian Gallery, Beverly Hills, CA. Cy Twombly: Works from the Sonnabend Collection. Eykyn Maclean, London, England; traveled to Eykyn Maclean, New York, NY. Cy Twombly: Draperies – Photographs. Schirmer Mosel Showroom, Munich, Germany. 2011 Cy Twombly: Prints. Craig F. Starr Gallery, New York, NY. Cy Twombly Photographs 1951-2010. Museum Brandhorst, Munich, Germany; Bayerische Staatsgemäldesammlungen, Munich, Germany; Museum für Gegenwartskunst Siegen, Siegen, Germany; BOZAR Centre for Fine Arts, Brussels, Belgium (through 2012). Cy Twombly: Sculpture. Museum of Modern Art, New York, NY. Cy Twombly Tribute: A Scattering of Blossoms & Other Things. Museum of Contemporary Art, Los Angeles, CA. Cy Twombly and Poussin: Arcadian Painters. Dulwich Picture Gallery, London, England. Cy Twombly: Le temps retrouvé. Collection Lambert, Avignon, France. Cy Twombly: Rooms and Roses. Photographs: Rome, Gaeta, Lexington. Schirmer/Mosel Showroom, Munich, Germany. Cy Twombly: A Private Collection : Works on Paper. Galerie Karsten Greve, St. Moritz, Switzerland. 2010 Cy Twombly. Portland Art Museum, Portland, OR. Cy Twombly: Camino Real. Gagosian Gallery, Paris, France. Cy Twombly: Tulips. Fifteen Photographs. Schirmer/Mosel Showroom, Munich, Germany. Permanent Installation, Musee du Louvre, Salle des bronzes, Paris, France. 2009 Cy Twombly: Treatise on the Veil. Menil Collection, Houston, TX. Cy Twombly: Eight Sculptures. Gagosian Gallery, New York, NY. Cy Twombly: Leaving Paphos Ringed with Waves. Gagosian Gallery, Athens, Greece. Cy Twombly: The Rose. Gagosian Gallery, Britannia Street, London, England. Cy Twombly: Photographien, Druckgaphiken, Zeichnungen. Lindenau-Museum, Altenburg, Germany. Cy Twombly: The Natural World: Selected Works 2000-2007. Art Institute of Chicago. Chicago, IL. Cy Twombly: Photographs V. Schirmer/Mosel Showroom, Munich, Germany. Cy Twombly: Sensations of the Moment. Museum Moderner Kunst, Vienna, Austria. 2008 Cy Twombly: Cycles and Seasons. Tate Modern, London, England; traveled to Guggenheim Museum, Bilbao, Spain; Galleria Nazionale d’Arte Moderna e Contemporanea, Rome, Italy. Cy Twombly: Lepanto. Museo Nacional del Prado, Madrid, Spain. Cy Twombly: Photographs III. Schirmer/Mosel Showroom, Munich, Germany. 2007 Cy Twombly: Three Notes from Salalah. Gagosian Gallery, Rome, Italy. Cy Twombly: Blooming: A Scattering of Blossoms and Other Things. Gagosian Gallery, West 21st Street, New York, NY. Cy Twombly: Selected Works, Dominque Levy, New York, NY. W W W . G A G O S I A N . C O M G A G O S I A N Cy Twombly: Blooming: A Scattering of Blossoms and Other Things. Yvon Lambert Collection – Musée d’ Art Contemporain, Avignon, France. Cy Twombly: Photographs II. Schirmer/Mosel Showroom, Munich, Germany. Cy Twombly. Thomas Ammann Fine Art, Zurich, Switzerland. 2006 Cy Twombly: In Der Alten Pinakothek skulpturen. Kunstareal, Munich, Germany. 2005 Cy Twombly: Bacchus. Gagosian Gallery, New York, NY. Cy Twombly: Lepanto. The Museum of Fine Arts, Houston, TX. 2004 Cy Twombly. Thomas Ammann Fine Art, Zurich, Switzerland. Ten Paintings and a Sculpture. Gagosian Gallery, Britannia Street, London, England. Cy Twombly: Natural History Part II, Some Trees of Italy, 1975-1976. MUDAM – Musée d’Art Moderne Grand-Duc Jean, Luxembourg. 2003 Cy Twombly: Fifty Years of Works on Paper (curated by Julie Sylvester). The State Hermitage Museum, St. Petersburg, Russia; traveled to: The Pinakothek der Moderne, Munich, Germany; The Centre Pompidou, Paris, France; The Serpentine Gallery, London, England; The Whitney Museum of American Art, New York, NY; The Menil Collection, Houston, TX (through 2005). A Gathering of Time. Gagosian Gallery, New York, NY. 2002 Cy Twombly: Letter of Resignation. Zwirner & Wirth, New York, NY. Cy Twombly: Acht Graphikzyklen und vier Papierarbeiten aus der Sammlung Großhau. Museum Moderner Kunst – Stiftung Wörlen, Passau, Germany. Audible Silence: Cy Twombly. The Daros Collection, Zurich, Switzerland. Cy Twombly: Lepanto. ALte Pinakotehek, Munich, Germany. Cy Twombly: Photographs 2002. Schirmer/Mosel Showroom, Munich, Germany. Cy Twombly: Sculture. EXMÁ Centro d’Arte e Cultura, Calgiari, Italy. Cy Twombly. Inverleith House, Edinburgh, Scotland. Cy Twombly: Lepanto. Gagosian Gallery, Chelsea, New York, NY. 2001 Cy Twombly. Thomas Ammann Fine Art AG, Zurich, Switzerland. 2000 Cy Twombly. Brazos Projects, Houston, TX. Coronation of Sesostris. Gagosian Gallery, New York, NY. Cy Twombly: Die Skulptur. Kunstmuseum Basel, Basel, Switzerland; traveled to the Menil Collection, Houston, TX; The National Gallery of Art, Washington, D.C. Cy Twombly: Idilli. Vier Graphikzyklen und eine Collage aus der Sammlung Reiner Speck, Köln. Schloß Gottorf / Stiftung Schleswig-Holsteinische Landesmuseen, Schleswig, Germany. 1999 Cy Twombly: Selected Prints and Drawings. Hirschl & Adler Modern, New York, NY. 1998 Cy Twombly: Eight drawings plus one large painting. Baldwin Gallery, Aspen, CO. Cy Twombly: Eight Sculptures. American Academy, Rome, Italy. 1997 Cy Twombly: Photographs. Galleria S.A.L.E.S., Rome, Italy. Cy Twombly. Galerie Karsten Greve, Cologne, Germany. Cy Twombly. Galerie Xavier Hufkens, Brussels, Belgium. Cy Twombly. Cheim & Read, New York, NY. Cy Twombly: Ten Sculptures. Gagosian Gallery, New York, NY. 1996 Cy Twombly. Kukje Gallery, Seoul, South Korea. Cy Twombly. Peder Bonnier Gallery, New York, NY. Cy Twombly: Photographs. Gagosian Gallery, Los Angeles, CA. Cy Twombly: Drawings and Lithos. Rupertinum, Salzburg, Austria. Cy Twombly: Lepanto. Whitney Museum of American Art, New York, NY. 1995 Cy Twombly: Untitled Painting, ‘Say Goodbye, Catullus to the Shores of Asia Minor.” The Museum of Fine Arts, Houston, TX. W W W . G A G O S I A N . C O M G A G O S I A N Cy Twombly: Photographs. Texas Gallery, Houston, TX. Cy Twombly: Works on Paper from Four Decades. Robert McClain & Co., Houston, TX. Cy Twombly: Prints. Mönchehaus Museum für Moderne Kunst, Goslar, Germany. Cy Twombly: Skulptur. Galerie Max Hetzler, Berlin, Germany. 1994 Cy Twombly. Galleria Karsten Greve, Milan, Italy. Cy Twombly. Thomas Ammann Fine Art AG, Zurich, Switzerland. Cy Twombly. A Retrospective. The Museum of Modern Art, New York, NY; traveled to the Menil Collection, Houston, TX; The Museum of Contemporary Art, Los Angeles, CA; (Cy Twombly. Retrospektive) Neue Nationalgalerie, Berlin, Germany. Cy Twombly: Untitled Painting. Gagosian Gallery, New York, NY. Cy Twombly. C & M Arts, New York, NY (in association with Galerie Karsten Greve, Cologne, Germany/Paris, France/Milan, Italy). 1993 Peintures, (Oeuvres sur papier et Sculpture). Galerie Karsten Greve, Paris, France. Cy Twombly. Pièce Unique, Paris, France. Cy Twombly:
Recommended publications
  • Fabienne Verdier Rhythms and Reflections
    FABIENNE VERDIER RHYTHMS AND REFLECTIONS A COMET Do all roads that lead to truth lie underground? Do all depths lie in darkness? dostoevsky And is the word Truth anything else but snow? One day, as I went round a gallery, luminous like an artist’s studio where work is left exposed to its own light, I happened on a painting by Fabienne Verdier. To me, her painted line seemed like the branch of a tree, broad as an artery, a tunnel in a badger’s sett, a cocoon in air, and at the same time like none of those things, but a thing of mystery whose exacting gaze takes your breath away! A reptile whose hiss lingers around the walls. Then it disappears, it loses itself elsewhere, leaving you with the feeling nonetheless that you were there the very moment its untamed presence so unexpectedly appeared. Of course, such an event never occurs twice. It was the painting that arrested the flight of this fugitive presence for an instant, like water holding on to air, yet expressing an instant of perception and the path taken to grasp it. As if, in fact, all the patience of the world had transformed into a lightning flash – the watchfulness of a lighthouse-keeper who knows to be neither fully awake nor asleep. Whenever solitude is put to the creative test, it becomes the key to a world. How to describe the solitude that is a crowd, unable to bloom into thousands of individuals. How to describe the crowd that blooms into a single world.
    [Show full text]
  • Tate Report 08-09
    Tate Report 08–09 Report Tate Tate Report 08–09 It is the Itexceptional is the exceptional generosity generosity and and If you wouldIf you like would to find like toout find more out about more about PublishedPublished 2009 by 2009 by vision ofvision individuals, of individuals, corporations, corporations, how youhow can youbecome can becomeinvolved involved and help and help order of orderthe Tate of the Trustees Tate Trustees by Tate by Tate numerousnumerous private foundationsprivate foundations support supportTate, please Tate, contact please contactus at: us at: Publishing,Publishing, a division a divisionof Tate Enterprisesof Tate Enterprises and public-sectorand public-sector bodies that bodies has that has Ltd, Millbank,Ltd, Millbank, London LondonSW1P 4RG SW1P 4RG helped Tatehelped to becomeTate to becomewhat it iswhat it is DevelopmentDevelopment Office Office www.tate.org.uk/publishingwww.tate.org.uk/publishing today andtoday enabled and enabled us to: us to: Tate Tate MillbankMillbank © Tate 2009© Tate 2009 Offer innovative,Offer innovative, landmark landmark exhibitions exhibitions London LondonSW1P 4RG SW1P 4RG ISBN 978ISBN 1 85437 978 1916 85437 0 916 0 and Collectionand Collection displays displays Tel 020 7887Tel 020 4900 7887 4900 A catalogue record for this book is Fax 020 Fax7887 020 8738 7887 8738 A catalogue record for this book is available from the British Library. DevelopDevelop imaginative imaginative education education and and available from the British Library. interpretationinterpretation programmes programmes AmericanAmerican Patrons Patronsof Tate of Tate Every effortEvery has effort been has made been to made locate to the locate the 520 West520 27 West Street 27 Unit Street 404 Unit 404 copyrightcopyright owners ownersof images of includedimages included in in StrengthenStrengthen and extend and theextend range the of range our of our New York,New NY York, 10001 NY 10001 this reportthis and report to meet and totheir meet requirements.
    [Show full text]
  • 0307 Reporter
    July/August 2003 The Newsletter of The Society Hill Civic Association SOCIETY HILL Reporter www.societyhillcivic.com Society Hill Towers Celebrates 40th Anniversary Architect Ioeh Ming Pei to be Honored the Year by the American Institute of Architects and went on to build such icons as the John F. ou can’t miss Society Hill Towers. As Kennedy Library in Boston, Massachusetts, the Ymuch a landmark on the Philadelphia National Center for Atmospheric Research in skyline as the statue of William Penn atop Boulder, Colorado, the East Wing of the Smithso- City Hall, these three graceful high rises were nian National Gallery in Washington, D.C. and among the projects cited when their architect, the Pyramide de Louvre in Paris. The 37 Phila- Chinese-born I. M. Pei, was named the 1983 delphia townhouses in the Society Hill complex Pritzker Architecture Prize Laureate, the earned Mr. Pei a 1964 design award from the profession’s highest accolade. U.S. Housing and Home Finance Agency. “Waffles?” “Uniquely On July 30, residents of the Towers and Society Hill Towers owes its origin to a few styled aluminum picture visionary Philadelphians, among them Edmund frames?” However they the 37 surrounding townhouses will celebrate were characterized by the 40th anniversary of the groundbreaking for Bacon, Charles Peterson, Joseph Clark and architectural critics in the Society Hill project with a small reception Richardson Dilworth, who in the 1940’s and the past, Society Hill for the 85-year-old Mr. Pei in two of the apart- 50’s vowed to stop the exodus of affluent city Towers and architect ments and at a poolside cocktail party.
    [Show full text]
  • (Exhibition Catalogue). Texts by Lucina Ward, James Lawrence and Anthony E Grudin
    SOL LEWITT SELECTED BIBLIOGRAPHY BOOKS AND EXHIBITION CATALOGUES 2018 American Masters 1940–1980 (exhibition catalogue). Texts by Lucina Ward, James Lawrence and Anthony E Grudin. Canberra: National Gallery of Australia, 2018: 186–187, illustrated. Cameron, Dan and Fatima Manalili. The Avant-Garde Collection. Newport Beach, California: Orange County Museum of Art, 2018: 57, illustrated. Destination Art: 500 Artworks Worth the Trip. New York: Phaidon, 2018: 294, 374, illustrated. LeWitt, Sol. “Sol LeWitt: A Primary Medium.” In Auping, Michael. 40 Years: Just Talking About Art. Fort Worth, Texas and Munich: Modern Art Museum of Fort Worth; DelMonico BooksꞏPrestel, 2018: 84–87, illustrated. Picasso – Gorky – Warhol: Sculptures and Works on Paper, Collection Hubert Looser (exhibition catalogue). Edited by Florian Steininger. Krems an der Donau, Austria and Zürich: Kunsthalle Krems; Fondation Hubert Looser, 2018: 104, illustrated. Sol LeWitt: Between the Lines (exhibition catalogue). Texts by Francesco Stocchi. Rem Koolhaas and Adachiara Zevi. Milan: Fondazione Carriero, 2018 Sol LeWitt: Wall Drawings. Edited by Lindsay Aveilhé. [New York]: Artifex Press, 2018. 2017 Sol LeWitt: Selected Bibliography—Books 2 The Art Museum. London: Phaidon, 2017: 387, illustrated. Booknesses: Artists’ Books from the Jack Ginsberg Collection (exhibition catalogue). Johannesburg, South Africa: University of Johannesburg Art Gallery, 2017: 129, 151, 221, illustrated. Delirious: Art at the Limits of Reason 1950–1980 (exhibition catalogue). Texts by Kelly Baum, Lucy Bradnock and Tina Rivers Ryan. New York: Met Breuer, 2017: pl.21, 22, 23, 24, illustrated. Doss, Erika. American Art of the 20th–21st Centuries. New York and Oxford: Oxford University Press, 2017: fig. 113, p.178, illustrated. Gross, Béatrice.
    [Show full text]
  • Bibliography
    BIbLIOGRAPHY 3er salón Swift de grabado. 1970. Exhibition catalogue, September 9–27. Buenos Aires: The Museum of Modern Art. Adorno, Theodor. 1975 [1967]. Culture industry reconsidered. New German Critique 6: 12–19. AdSII. 1972a. Arte e ideología en CAYC al aire libre. Exhibition brochure. Buenos Aires: Centro de Arte y Comunicación. International Center for the Arts of the Americas at the Museum of Fine Arts, Houston (ICAA) Documents no. 761671. AdSII. 1972b. Glusberg, Jorge. Arte e ideología en CAYC al aire libre. Exhibition brochure. Buenos Aires: Centro de Arte y Comunicación. International Center for the Arts of the Americas at the Museum of Fine Arts, Houston (ICAA) Documents no. 747360. AdSII. 1972c. Ficha de obra de los artistas de la exhibición arte de sistemas II del Centro de Arte y Comunicación (CAYC). Exhibition catalogue. Buenos Aires: CAyC, September. International Center for the Arts of the Americas at the Museum of Fine Arts, Houston (ICAA) Documents no. 761701. Althusser, Louis. 1971 [1970]. Ideology and ideological state apparatuses. In Lenin and philosophy and other essays, 121–176. Trans. Ben Brewster. London: NLB. Arnatt, Keith. 1989. “Keith Arnatt transport to another world”. Interview with Michael Craig-Smith. Creative Camera 6: 18–28. Arnatt, Keith. 1997. Interview with John Roberts. In The impossible document: Photography and conceptual art in Britain 1966–1976, ed. John Roberts, 47–53. London: Camerawork. Art & Language. 1991. Hostages XXV–LXXVI, exhibition catalogue, March 15– April 12. London: Lisson Gallery. © The Author(s) 2016 235 E. Kalyva, Image and Text in Conceptual Art, DOI 10.1007/978-3-319-45086-5 236 BibliOgraPhY Art & Language.
    [Show full text]
  • The Economist Print Edition
    The Pop master's highs and lows Nov 26th 2009 From The Economist print edition Andy Warhol is the bellwether The Andy Warhol Foundation $100m-worth of Elvises “EIGHT ELVISES” is a 12-foot painting that has all the virtues of a great Andy Warhol: fame, repetition and the threat of death. The canvas is also awash with the artist’s favourite colour, silver, and dates from a vintage Warhol year, 1963. It did not leave the home of Annibale Berlingieri, a Roman collector, for 40 years, but in autumn 2008 it sold for over $100m in a deal brokered by Philippe Ségalot, the French art consultant. That sale was a world record for Warhol and a benchmark that only four other artists—Pablo Picasso, Jackson Pollock, Willem De Kooning and Gustav Klimt— have ever achieved. Warhol’s oeuvre is huge. It consists of about 10,000 artworks made between 1961, when the artist gave up graphic design, and 1987, when he died suddenly at the age of 58. Most of these are silk-screen paintings portraying anything from Campbell’s soup cans to Jackie Kennedy and Mao Zedong, drag queens and commissioning collectors. Warhol also created “disaster paintings” from newspaper clippings, as well as abstract works such as shadows and oxidations. The paintings come in series of various sizes. There are only 20 “Most Wanted Men” canvases, for example, but about 650 “Flower” paintings. Warhol also made sculpture and many experimental films, which contribute greatly to his legacy as an innovator. The Warhol market is considered the bellwether of post-war and contemporary art for many reasons, including its size and range, its emblematic transactions and the artist’s reputation as a trendsetter.
    [Show full text]
  • The Ronald S. Lauder Collection Selections from the 3Rd Century Bc to the 20Th Century Germany, Austria, and France
    000-000-NGRLC-JACKET_EINZEL 01.09.11 10:20 Seite 1 THE RONALD S. LAUDER COLLECTION SELECTIONS FROM THE 3RD CENTURY BC TO THE 20TH CENTURY GERMANY, AUSTRIA, AND FRANCE PRESTEL 001-023-NGRLC-FRONTMATTER 01.09.11 08:52 Seite 1 THE RONALD S. LAUDER COLLECTION 001-023-NGRLC-FRONTMATTER 01.09.11 08:52 Seite 2 001-023-NGRLC-FRONTMATTER 01.09.11 08:52 Seite 3 THE RONALD S. LAUDER COLLECTION SELECTIONS FROM THE 3RD CENTURY BC TO THE 20TH CENTURY GERMANY, AUSTRIA, AND FRANCE With preface by Ronald S. Lauder, foreword by Renée Price, and contributions by Alessandra Comini, Stuart Pyhrr, Elizabeth Szancer Kujawski, Ann Temkin, Eugene Thaw, Christian Witt-Dörring, and William D. Wixom PRESTEL MUNICH • LONDON • NEW YORK 001-023-NGRLC-FRONTMATTER 01.09.11 08:52 Seite 4 This catalogue has been published in conjunction with the exhibition The Ronald S. Lauder Collection: Selections from the 3rd Century BC to the 20th Century. Germany, Austria, and France Neue Galerie New York, October 27, 2011 – April 2, 2012 Director of publications: Scott Gutterman Managing editor: Janis Staggs Editorial assistance: Liesbet van Leemput Curator, Ronald S . Lauder Collection: Elizabeth Szancer K ujawski Exhibition designer: Peter de Kimpe Installation: Tom Zoufaly Book design: Richard Pandiscio, William Loccisano / Pandiscio Co. Translation: Steven Lindberg Project coordination: Anja Besserer Production: Andrea Cobré Origination: royalmedia, Munich Printing and Binding: APPL aprinta, W emding for the text © Neue Galerie, New Y ork, 2011 © Prestel Verlag, Munich · London · New Y ork 2011 Prestel, a member of V erlagsgruppe Random House GmbH Prestel Verlag Neumarkter Strasse 28 81673 Munich +49 (0)89 4136-0 Tel.
    [Show full text]
  • To Address Bar Membership Posthumously
    ® September 2001 The Monthly Newspaper of the Philadelphia Bar Association Vol. 30, No. 9 October Quarterly Meeting O’Connor Award Former ABA President Barnett to Be Presented to Address Bar Membership Posthumously Martha W. Barnett, immedi- ate-past president of the to Judge Jamison American Bar Association, will be the keynote speaker at the by Daniel A. Cirucci Association’s Quarterly Meeting and Luncheon on Wednesday, Former Philadelphia Oct. 24 at noon at the Park Common Pleas Court Hyatt Philadelphia at the Judge Judith J. Jamison Bellevue. will be awarded the Barnett, a partner in the Philadelphia Bar global law firm of Holland & Association’s 2001 Sandra Knight LLP in Tallahassee, Fla., Day O’Connor Award was the second female president posthumously at the of the American Bar Association. Association’s October She began her one-year term at Quarterly Meeting and the close of the association’s Luncheon on Wednesday, Judge Judith J. Jamison 2000 Annual Meeting in Oct. 24. London. Barnett is immediate- “We will always be inspired by the memory of past chair of the Public Law Judge Jamison’s consummate professionalism, her Department at Holland & trailblazing journey as a woman lawyer, her attentive- Knight and is a member of its ness to everyone whom she encountered along the Directors Committee. way, and the help she gave to so many others. This During her tenure as ABA award stands as a shining reminder of her contribu- president, Barnett brought tions to all of us,” said Association Chancellor Carl S. Primavera. attention to issues ranging from Martha W.
    [Show full text]
  • Brice Marden Bibliography
    G A G O S I A N Brice Marden Bibliography Selected Monographs and Solo Exhibition Catalogues: 2019 Brice Marden: Workbook. New York: Gagosian. 2018 Rales, Emily Wei, Ali Nemerov, and Suzanne Hudson. Brice Marden. Potomac and New York: Glenstone Museum and D.A.P. 2017 Hills, Paul, Noah Dillon, Gary Hume, Tim Marlow and Brice Marden. Brice Marden. London: Gagosian. 2016 Connors, Matt and Brice Marden. Brice Marden. New York: Matthew Marks Gallery. 2015 Brice Marden: Notebook Sept. 1964–Sept.1967. New York: Karma. Brice Marden: Notebook Feb. 1968–. New York: Karma. 2013 Brice Marden: Book of Images, 1970. New York: Karma. Costello, Eileen. Brice Marden. New York: Phaidon. Galvez, Paul. Brice Marden: Graphite Drawings. New York: Matthew Marks Gallery. Weiss, Jeffrey, et al. Brice Marden: Red Yellow Blue. New York: Gagosian Gallery. 2012 Anfam, David. Brice Marden: Ru Ware, Marbles, Polke. New York: Matthew Marks Gallery. Brown, Robert. Brice Marden. Zürich: Thomas Ammann Fine Art. 2010 Weiss, Jeffrey. Brice Marden: Letters. New York: Matthew Marks Gallery. 2008 Dannenberger, Hanne and Jörg Daur. Brice Marden – Jawlensky-Preisträger: Retrospektive der Druckgraphik. Wiesbaden: Museum Wiesbaden. Ehrenworth, Andrew, and Sonalea Shukri. Brice Marden: Prints. New York: Susan Sheehan Gallery. 2007 Müller, Christian. Brice Marden: Werke auf Papier. Basel: Kunstmuseum Basel. 2006 Garrels, Gary, Brenda Richardson, and Richard Shiff. Plane Image: A Brice Marden Retrospective. New York: Museum of Modern Art. Liebmann, Lisa. Brice Marden: Paintings on Marble. New York: Matthew Marks Gallery. 2003 Keller, Eva, and Regula Malin. Brice Marden. Zürich : Daros Services AG and Scalo. 2002 Duncan, Michael. Brice Marden at Gemini.
    [Show full text]
  • Bleckner Biography
    ROSS BLECKNER BIOGRAPHY Born in New York City, New York, 1949. Education: New York University, NYC, B.A., 1971. California Institute of the Arts, Valencia, California, M.F.A., 1973. Lives in New York City. Selected Solo Shows: 1983 Mary Boone Gallery, NYC, NY. 1986 Mario Diacono Gallery, Boston, Massachusetts. Mary Boone Gallery, NYC, NY. 1987 Mary Boone Gallery, NYC, NY. 1988 San Francisco Museum of Modern Art, San Francisco, California. Mary Boone Gallery, NYC, NY. 1989 Milwaukee Art Museum, Milwaukee, Wisconsin. Contemporary Arts Museum, Houston, Texas. Carnegie Museum of Art, Pittsburgh, Pennsylvania. 1990 Art Gallery of Ontario, Toronto, Canada. Kunsthalle Zurich, Zurich, Switzerland. 1991 Kolnischer Kunstverein, Koln, Germany. Moderna Museet, Stockholm, Sweden. Mary Boone Gallery, NYC, NY. 1993 Galerie Max Hetzler, Koln, Germany. 1994 Mary Boone Gallery, NYC, NY. 1995 Solomon R. Guggenheim Museum, NYC, NY. Astrup Fearnley Museet for Moderne Kunst, Oslo, Norway. I.V.A.M., Centre Julio Gonzalez, Valencia, Spain. 1996 Mary Boone Gallery, NYC, NY. 1997 Galerie Daniel Templon, Paris, France. Bawag Foundation, Vienna, Austria. 1999 Mary Boone Gallery, NYC, NY. 2000 Mario Diacono Gallery, Boston, Massachusetts. Galerie Ernst Beyeler, Basel, Switzerland. Maureen Paley/Interim Art, London, England. ROSS BLECKNER BIOGRAPHY (continued) : Selected Solo Shows: 2001 Mary Boone Gallery, NYC, NY. 2003 Lehmann Maupin Gallery, NYC, NY. Mary Boone Gallery, NYC, NY. 2004 “Dialogue with Space”, Esbjerg Art Museum, Esbjerg, Denmark. 2005 Ruzicska Gallery, Salzburg, Austria. 2007 Thomas Ammann Fine Art, Zurich, Switzerland. Cais Gallery, Seoul, South Korea. Mary Boone Gallery, NYC, NY. 2008 “New Paintings”, Imago Galleries, Palm Desert, California. 2010 Mary Boone Gallery, NYC, NY.
    [Show full text]
  • La Mamelle and the Pic
    1 Give Them the Picture: An Anthology 2 Give Them The PicTure An Anthology of La Mamelle and ART COM, 1975–1984 Liz Glass, Susannah Magers & Julian Myers, eds. Dedicated to Steven Leiber for instilling in us a passion for the archive. Contents 8 Give Them the Picture: 78 The Avant-Garde and the Open Work Images An Introduction of Art: Traditionalism and Performance Mark Levy 139 From the Pages of 11 The Mediated Performance La Mamelle and ART COM Susannah Magers 82 IMPROVIDEO: Interactive Broadcast Conceived as the New Direction of Subscription Television Interviews Anthology: 1975–1984 Gregory McKenna 188 From the White Space to the Airwaves: 17 La Mamelle: From the Pages: 87 Performing Post-Performancist An Interview with Nancy Frank Lifting Some Words: Some History Performance Part I Michele Fiedler David Highsmith Carl Loeffler 192 Organizational Memory: An Interview 19 Video Art and the Ultimate Cliché 92 Performing Post-Performancist with Darlene Tong Darryl Sapien Performance Part II The Curatorial Practice Class Carl Loeffler 21 Eleanor Antin: An interview by mail Mary Stofflet 96 Performing Post-Performancist 196 Contributor Biographies Performance Part III 25 Tom Marioni, Director of the Carl Loeffler 199 Index of Images Museum of Conceptual Art (MOCA), San Francisco, in Conversation 100 Performing Post-Performancist Carl Loeffler Performance or The Televisionist Performing Televisionism 33 Chronology Carl Loeffler Linda Montano 104 Talking Back to Television 35 An Identity Transfer with Joseph Beuys Anne Milne Clive Robertson
    [Show full text]
  • Laura Mulvey and Peter Wollen
    Laura Mulvey and Peter Wollen: Theory and Practice, Aesthetics and Politics, 1963-1983 Nicolas Helm-Grovas Royal Holloway, University of London PhD, Media Arts 1 Declaration of Authorship I, Nicolas Helm-Grovas, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. 15 January, 2018 2 Abstract This PhD is a genealogy and critical examination of the writings and films of Laura Mulvey and Peter Wollen, spanning the period from the early 1960s to 1980s. Despite the prominence of their texts, there has not been a book-length study of either body of writing, nor an overview of their overlap and mutual influence, in what was their most productive period. Nor has there been an extended account of the important connection between their theory and their practice as filmmakers. My thesis undertakes these tasks. I interpret and challenge existing scholarship, while simultaneously examining in detail for the first time lesser-known works, drawing on archives and interviews. Through close readings I elucidate Mulvey’s interrogation of the patriarchal fantasies structuring cinematic and artistic forms and her feminist appropriation of classical Hollywood melodrama; I map the related issues Wollen’s texts activate, of cinematic signification and materialism, the buried potentialities of the historical avant-gardes, and their connection to the avant-garde film contemporaneous with his writings. Their moving image works, I demonstrate through detailed analyses, bring these ideas into dialogue and work them through in a more open, exploratory vein. I trace key notions like ‘counter cinema’ across films and writings by both authors.
    [Show full text]