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Leaping Show Info
! ! ! ! ! ! ! ! ! ! ! WHAT IS THAT LEAPING IN YOUR CHEST? ! ____________________________________________________________________! ! ARTIST STATEMENTS! + BIOS ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! Collar Works Gallery | Troy, NY | www.collarworks.org Susan Anthony !Troy Project, 2013 - ongoing, Archival Digital Prints, $200 ea. Troy, New York was one of the most prosperous cities in the United States during the Industrial Revolution, because of its proximity to the Hudson River, the Mohawk River and the Erie Canal. Troy suffered greatly when industry moved West and the economy has never really recovered. There are signs of change because of the community's resilience, but it is a slow, uphill battle. The story of Troy is one of suffering and sadness, but it is also one of hope and growth. My photographs depict the juxtaposition of past and present, old and new, !decay and rebirth in this remarkable historical city. Susan never planned to do this project. She visited Troy with a friend one day and fell in love with the city. She continued photographing on the street every other week until she met a Rabbi who introduced her to a number of Troy’s residents. Susan began photographing as many people who were interested, and each photo !shoot led to another. She’s been photographing in Troy for almost five years. !______________________________________________________________________________ Susan Anthony was born in Brooklyn, NY. Susan received her Bachelor’s Degree at Cooper Union, her Master’s Degree in Fine Arts at Berkeley, and a Master’s in Teaching Fine Art and Art Therapy at NYU and The New School. Many of her photographs are done in upstate New York, where she has a home in Columbia County, and in downtown Manhattan, where she has lived and worked for many years. -
Joseph Hirsch Banquet 1945
Joseph Hirsch Banquet 1945 Joseph Hirsch (American, 1910–1981) Banquet, 1945 Lithograph on beige wove paper Image: 9 3/4 x 13 3/4 inches Sheet: 12 x 15 7/8 inches Gift of Christopher Russell 2015.21.1 American artist Joseph Hirsch (1910–1981) emerged at Hirsch’s print comments on the state of the workplace in Hirsch created this print through the process of lithography—a printing process based on the fact that grease and water the forefront of the Social Realist art movement during the 1940s. Following the start of World War II, there was a do not mix. Invented in the late eighteenth century, lithography is a technique which involves drawing on a flat surface, the twentieth century, taking inspiration for his work from high demand for workers in war-related industries. However, traditionally limestone, with a greasy substance such as a crayon or a liquid called tusche. Once the image is completed everyday events and ordinary people. Born and raised in African Americans were often denied better-paying jobs and ready to print, the artist applies a chemical mixture on the surface of the stone to secure the image in place. Water is Philadelphia, Hirsch left to pursue art in New York City in and were discouraged from joining the military. In 1941, then applied to the surface, adhering to the non-greasy areas of the plate and allowing the artist to roll ink only onto the the early 1930s. This period, following the end of World labor and civil rights leader A. Philip Randolph (1889— image. -
Helen Pashgianhelen Helen Pashgian L Acm a Delmonico • Prestel
HELEN HELEN PASHGIAN ELIEL HELEN PASHGIAN LACMA DELMONICO • PRESTEL HELEN CAROL S. ELIEL PASHGIAN 9 This exhibition was organized by the Published in conjunction with the exhibition Helen Pashgian: Light Invisible Los Angeles County Museum of Art. Funding at the Los Angeles County Museum of Art, Los Angeles, California is provided by the Director’s Circle, with additional support from Suzanne Deal Booth (March 30–June 29, 2014). and David G. Booth. EXHIBITION ITINERARY Published by the Los Angeles County All rights reserved. No part of this book may Museum of Art be reproduced or transmitted in any form Los Angeles County Museum of Art 5905 Wilshire Boulevard or by any means, electronic or mechanical, March 30–June 29, 2014 Los Angeles, California 90036 including photocopy, recording, or any other (323) 857-6000 information storage and retrieval system, Frist Center for the Visual Arts, Nashville www.lacma.org or otherwise without written permission from September 26, 2014–January 4, 2015 the publishers. Head of Publications: Lisa Gabrielle Mark Editor: Jennifer MacNair Stitt ISBN 978-3-7913-5385-2 Rights and Reproductions: Dawson Weber Creative Director: Lorraine Wild Designer: Xiaoqing Wang FRONT COVER, BACK COVER, Proofreader: Jane Hyun PAGES 3–6, 10, AND 11 Untitled, 2012–13, details and installation view Formed acrylic 1 Color Separator, Printer, and Binder: 12 parts, each approx. 96 17 ⁄2 20 inches PR1MARY COLOR In Helen Pashgian: Light Invisible, Los Angeles County Museum of Art, 2014 This book is typeset in Locator. PAGE 9 Helen Pashgian at work, Pasadena, 1970 Copyright ¦ 2014 Los Angeles County Museum of Art Printed and bound in Los Angeles, California Published in 2014 by the Los Angeles County Museum of Art In association with DelMonico Books • Prestel Prestel, a member of Verlagsgruppe Random House GmbH Prestel Verlag Neumarkter Strasse 28 81673 Munich Germany Tel.: +49 (0)89 41 36 0 Fax: +49 (0)89 41 36 23 35 Prestel Publishing Ltd. -
Contemporary American Painting and Sculpture
AT UR8ANA-GHAMPAIGN ARCHITECTURE The person charging this material is responsible for .ts return to the library from which it was withdrawn on or before the Latest Date stamped below '"" """"""'"9 "< "ooks are reason, ™racTo?,'l,°;'nary action and tor di,elpl(- may result in dismissal from To renew the ""'*'e™«y-University call Telephone Center, 333-8400 UNIVERSITY OF ILLINOIS LIBRARY AT URBANA-CHAMPAIGN I emp^rary American Painting and Sculpture University of Illinois Press, Urbana, 1959 Contemporary American Painting and Scuipttfre ^ University of Illinois, Urbana March 1, through April 5, 195 9 Galleries, Architecture Building College of Fine and Applied Arts (c) 1959 by the Board of Trustees of the University of Illinois Library of Congress Catalog Card No. A4 8-34 i 75?. A^'-^ PDCEIMtBieiiRr C_>o/"T ^ APCMi.'rri'Ht CONTEMPORARY AMERICAN PAINTING AND SCULPTURE DAVID D. HENRY President of the University ALLEN S. WELLER Dean, College of Fine and Applied Arts Chairman, Festival of Contemporary Arts N. Britsky E. C. Rae W. F. Doolittlc H. A. Schultz EXHIBITION COMMITTEE D. E. Frith J. R. Shipley \'. Donovan, Chairman J. D. Hogan C. E. H. Bctts M. B. Martin P. W. Bornarth N. McFarland G. R. Bradshaw D. C. Miller C. W. Briggs R. Perlman L. R. Chesney L. H. Price STAFF COMMITTEE MEMBERS E. F. DeSoto J. W. Raushenbergcr C. A. Dietemann D. C. Robertson G. \. Foster F. J. Roos C. R. Heldt C. W. Sanders R. Huggins M. A. Sprague R. E. Huh R. A. von Neumann B. M. Jarkson L. M. Woodroofe R. Youngman J. -
The Art Digest 1945-10-15: Vol 20 Iss 2
THE offs (=S5 am Sentimental Awarded Moment First Prize ’ by Philip Guston - of $1,000 at | " (Oil on Canvas, 1945 Carnegie : 1943) American Show i See Article on Page §& THE NEWS MAGAZINE OF ART eS ae ee WILDENSTEIN and co... MAU SEUM INC. | OF NON-OBJECTIVE PAINTING 24 EAST 54TH STREET NEW YORK CITY EXHIBITION OF CAMILLE PISSARRO HIS PLACE IN ART ror the Beet of MATTERN THE GODDARD NEIGHBORHOOD CENTER | Ky E AY SS 2 tf £ tt October 24 to November 24 19 East 64th Street, New York City Paris London | SOLOMON R. GUGGENHEIM FOUNDATION OPEN SUNDAYS 12-6 DAILY EXCEPT MONDAYS 10-6 WO ENTRANCE FEE DUVEEN BROTHERS, Inc. MASTERPIECES — OF PAINTING SCULPTURE PORCELAIN FURNITURE TAPESTRIES GOTHIC - RENAISSANCE EIGHTEENTH CENTURY New York - 720 Fifth Avenue the Salmagundi Club at which prizes are awarded those who PEYTON BOSWELL make the best record during American Art Week. I have attended several of these dinners, and have always come away Comments: with the feeling there should be prizes for everyone who has contributed time and thought to this worthy cause. This department expresses the personal opinion of Peyton Boswell, Jr., writing as an individual. Philadelphia’s Record Any reader is invited to take issue with what Oo" OF OUR MOST HUMAN TRAITS, perhaps sired of mental he says. Controversy revitalizes the spirit of art. laziness, is the tendency to judge groups by individuals. For example, because a certain museum finds it more con- Television in Color venient to dwell in the past, some of us fall into the habit i ans New York TiMEs on the morning of October 11 of using the words museum and mausoleum interchange- termed it a radio “miracle.” It did so advisedly, for the ably. -
Gallery, May 8, 2015.Qxp
THE GALLERY ț THE GALLERY ț THE GALLERY ț THE GALLERY ANTIQUES AND THE ARTS WEEKLY ț 5 CHURCH HILL RD ț BOX 5503 ț NEWTOWN, CONNECTICUT, 06470 ț SPRING 2015 2 - THE GALLERY May 8, 2015 — Antiques and The Arts Weekly THE GALLERY ț THE GALLERY ț THE GALLERY THE GALLERY R. Scudder Smith, Executive Publisher & Editor Carol Sims, Gallery Editor Pamela Ashbahian, Production Director Tel.203-426-8036 or 426-3141 or Fax. 203-426-1394 www.AntiquesandTheArts.com email - [email protected] THE GALLERY ț THE GALLERY ț THE GALLERY THE GALLERY Published by The Bee Publishing Company, Box 5503, Newtown Connecticut 06470 Historic WWI Illustrations At Schoonover Studios BY JOHN SCHOONOVER were selected for the American Expeditionary Force in years, American aviation quickly responded with the CURATOR, SCHOONOVER STUDIOS, LTD Europe: George Harding, Harry Townsend, William formation of the American Expeditionary Force ( AEF As we enter the centennial years of World War I, we Aylward and Harvey Dunn. Of these, Dunn produced ). Although urgent plans called for manufacture of are reminded that many of the pictorial narratives of some of the most compelling illustrations as an imme- several thousand planes, bureaucratic delays hampered the events in Europe, 1914 to 1919, including war- diate observer of combat in the trenches. Ironically, production, forcing many AEF pilots to fly British and fare, appeared in various publications as illustrations. many of his paintings didn’t even reach the War French planes in the face of well-trained and dogged Notable among these illustrators were six students of Department until after the Armistice and initially were German pilots (The Bosche). -
A Finding Aid to the Abraham Rattner and Esther Gentle Papers, 1891-1986, in the Archives of American Art
A Finding Aid to the Abraham Rattner and Esther Gentle Papers, 1891-1986, in the Archives of American Art Wendy B. Bruton 1999 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Biographical Note............................................................................................................. 2 Scope and Content Note................................................................................................. 5 Arrangement..................................................................................................................... 7 Index: List of Major Correspondents in Various Series................................................... 7 Names and Subjects ...................................................................................................... 9 Container Listing ........................................................................................................... 11 Series 1: Biographical Files, 1893-1978, undated................................................. 11 Series 2: Interviews with Abraham Rattner, 1957-1975, undated.......................... 13 Series 3: Correspondence Files, 1933-1978, undated.......................................... -
A Finding Aid to the Rico Lebrun Papers, 1935-1975, in the Archives of American Art
A Finding Aid to the Rico Lebrun Papers, 1935-1975, in the Archives of American Art Judy Ng Funding for the processing of this collection was provided by the Terra Foundation for American Art. 2015 June 10 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 2 Arrangement..................................................................................................................... 2 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Biographical Materials, 1948-1962........................................................... 4 Series 2: Correspondence, 1935-1973.................................................................... 5 Series 3: Writings, 1938-1964................................................................................. -
Cows in Pasture
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS American Paintings, 1900–1945 Yasuo Kuniyoshi American, born Japan, 1889 - 1953 Cows in Pasture 1923 oil on canvas overall: 51.12 × 76.52 cm (20 1/8 × 30 1/8 in.) framed: 24 × 33.94 × 2.19 cm (9 7/16 × 13 3/8 × 7/8 in.) Inscription: lower center right: Y.Kuniyoshi 23 Corcoran Collection (Gift of George Biddle) 2014.136.94 ENTRY Yasuo Kuniyoshi’s early paintings, prints, and drawings feature odd, humorous, and even disconcerting subjects: frightened-looking babies with animals and anthropomorphic vegetation, for example.[1] When he tackled more conventional motifs, such as still lifes, landscapes, or nudes, he depicted them in a quasi- surrealistic style, from dizzying perspectives, or in odd arrangements with curious props. Cows in Pasture, ostensibly a straightforward view of a coastal New England dairy farm, is a prime example of Kuniyoshi’s subtle “strangeness,” as a critic characterized the artist’s early work.[2] Kuniyoshi’s favorite early subject was the cow; the artist estimated he painted some 60 cow pictures during the mid-1920s.[3] His preoccupation with the animal and the gravity with which he treated it earned him the label of satirist, a charge he would later counter: I wasn’t trying to be funny but everyone thought I was. I was painting cows and cows at that time because somehow I felt very Cows in Pasture 1 © National Gallery of Art, Washington National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS American Paintings, 1900–1945 near to the cow. -
Faces of the League Portraits from the Permanent Collection
THE ART STUDENTS LEAGUE PRESENTS Faces of the League Portraits from the Permanent Collection Peggy Bacon Laurent Charcoal on paper, 16 ¾” x 13 ¾” Margaret Frances "Peggy" Bacon (b. 1895-d. 1987), an American artist specializing in illustration, painting, and writing. Born in Ridgefield, Connecticut, she began drawing as a toddler (around eighteen months), and by the age of 10 she was writing and illustrating her own books. Bacon studied at the Art Students League from 1915-1920, where her artistic talents truly blossomed under the tutelage of her teacher John Sloan. Artists Reginald Marsh and Alexander Brook (whom she would go on to marry) were part of her artistic circle during her time at the League. Bacon was famous for her humorous caricatures and ironic etchings and drawings of celebrities of the 1920s and 1930s. She both wrote and illustrated many books, and provided artworks for many other people’s publications, in addition to regularly exhibiting her drawings, paintings, prints, and pastels. In addition to her work as a graphic designer, Bacon was a highly accomplished teacher for over thirty years. Her works appeared in numerous magazine publications including Vanity Fair, Mademoiselle, Harper’s Bazaar, Vogue, Dial, the Yale Review, and the New Yorker. Her vast output of work included etchings, lithographs, and her favorite printmaking technique, drypoint. Bacon’s illustrations have been included in more than 64 children books, including The Lionhearted Kitten. Bacon’s prints are in the collections of the Whitney Museum of American Art, the Brooklyn Museum, and the Museum of Modern Art, all in New York. -
Syracuse University Art Galleries RIC 0 LEBRUN TRANSFORMATIONS/TRANSFIGURATION "
Syracuse University Art Galleries RIC 0 LEBRUN TRANSFORMATIONS/TRANSFIGURATION " ... changing what is disfigured into what is transfigured." Syracuse University Art Galleries Ellen C. Oppler 13 November 1983-18 January 1984 Joe and Emily Lowe Art Gallery, Syracuse University School of Art, College of Visual and Performing Arts c o N T E N T s Acknowledgements _____________________ Joseph A. Scala 4 Rico Lebrun The Paintings and Drawings: His Life ______________ Ellen C. Oppler 5 The Sculpture ________________________ Erin M. Stimmell 16 Exhibition Catalogue Syracuse UniversityWith Art Statements byGalleries Lebrun and Others 19 Chronology 40 Bibliography 43 Lebrun at work, 1950; William Reagh, photographer. For Constance, and the Memory of Rico, Charlotte and Alfred ACKNOWLEDGEMENTS RIC 0 LEBRUN The Paintings and Drawings: His Life Ellen C. Oppler The Joe and Emily Lowe Art Gallery is proud to pre exhibition a reality. We are also indebted to Dr. Born 1900 in Naples, Italy, Rico Lebrun recalled his writers-and the young Rico considered becoming a sent the exhibition and catalogue entitled: Rico Lebrun: Alfred T. Collette, director of the Syracuse Universi native place as a Iitown of dream and delight and journalist, for his gift with words was as evident as Transformations/Transfiguration, and it is pleased to ty Art Collections, and to Domenic Iacono, curator also of sordid life. A town of abysmal darks and his talents with pencil and brush. acknowledge the outstanding curatorial success of its of the University Art Collections, for their expertise dazzling lights ... "1 He recalled especially vividly the But he was prepared to earn his living as a com guest curator, Dr. -
Metropolitan Useum Of
THE ETROPOLITAN N EWS pM Saturday, March 10, 1951 FOR AM Sunday, March 11, 1951 M USEUM OF ART RELEASE FIFTH AYE.at 82 STREET • NEW YORK PRESS VIEW: Friday, Mar. £, 1951 - 2 to 4:30 PM ART STUDENTS LEAGUE 75TH ANNIVERSARY EXHIBITION OPENS MARCH 16 AT METROPOLITAN MUSEUM Constituting "an extraordinary record of achievement by an extraordinary school," an exhibition of paintings, drawings and sculpture by seventy-five artists asso ciated with the Art Students League of New York from its early days to the present opens this Friday (March 16) at The Metropolitan Museum of Art. The exhibition Is presented by the Art Students League through the courtesy of the Trustees of The Metropolitan Museum of Art. The pictures were selected and hung by a Committee of the League. Leading museums throughout the country have lent works to the League for this Diamond Jubilee exhibition. Included will be The Concert S,inger by Thomas Eakins from the Philadelphia Museum of Art; The_ Young Woman in White by Rbbert Henri from the National Gallery of Art, Washington, DkC»} Emma and her Children by George Bellows from the Boston Museum of Fine Arts; Hogs Killing a Rattlesnake by John Steuart Curry from the Art Institute of Chicago; Otis Skinner by George Luks from the Phillips Gallery, Washington, D.C.; and Trio by Walt Kuhn from the Colorado Springs Fine Arts Center. Other museums, organizations, galleries and private collectors have lent work by George Inness, Augustus Saint-Gaudens, John Sloan, Jacob Epstein, Yasuo Kuniyoshi, Reginald Marsh, Georgia O'Keeffe, Alexander Calder and many other.