In Robert Rauschenberg's Blueprints
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Robert Rauschenberg: Among Friends Final Audioguide Script – May 8, 2017
The Museum of Modern Art Robert Rauschenberg: Among Friends Final Audioguide Script – May 8, 2017 Stop List 800. Introduction 801. Robert Rauschenberg and Susan Weil, Double Rauschenberg, c. 1950 802. Robert Rauschenberg, Untitled (Black Painting with Asheville Citizen), c. 1952 8021. Underneath Asheville Citizen 803. Robert Rauschenberg, White Painting, 1951, remade 1960s 804. Robert Rauschenberg, Untitled (Scatole personali) (Personal boxes), 1952-53 805. Robert Rauschenberg with John Cage, Automobile Tire Print, 1953 806. Robert Rauschenberg with Willem de Kooning and Jasper Johns, Erased de Kooning, 1953 807. Robert Rauschenberg, Bed, 1955 8071. Robert Rauschenberg’s Combines 808. Robert Rauschenberg, Minutiae, 1954 809. Robert Rauschenberg, Thirty-Four Illustrations for Dante's Inferno, 1958-60 810. Robert Rauschenberg, Canyon, 1959 811. Robert Rauschenberg, Monogram, 1955-59 812. Jean Tinguely, Homage to New York, 1960 813. Robert Rauschenberg, Trophy IV (for John Cage), 1961 814. Robert Rauschenberg, Homage to David Tudor (performance), 1961 815. Robert Rauschenberg, Pelican, (performance), 1963 USA20415F – MoMA – Robert Rauschenberg: Among Friends Final Script 1 816. Robert Rauschenberg, Retroactive I, 1965 817. Robert Rauschenberg, Oracle, 1962-65 818. Robert Rauschenberg with Carl Adams, George Carr, Lewis Ellmore, Frank LaHaye, and Jim Wilkinson, Mud Muse, 1968-71 819. John Chamberlain, Forrest Myers, David Novros, Claes Oldenburg, Robert Rauschenberg, and Andy Warhol with Fred Waldhauer, The Moon Museum, 1969 820. Robert Rauschenberg, 9 Evenings: Theatre and Engineering, 1966 (Poster, ephemera) 821. Robert Rauschenberg, Cardboards, 1971-1972 822. Robert Rauschenberg, Jammers (series), 1974-1976 823. Robert Rauschenberg, Glut (series), 1986-97 824. Robert Rauschenberg, Glacial Decoy (series of 620 slides and film), 1979 825. -
Leap Before You Look: Black Mountain
Reviews 1. Exhibition travelled to LEAP BEFORE YOU LOOK: BLACK MOUNTAIN COLLEGE 1933–1957, the Hammer Museum, Los Angeles, CA INSTITUTE OF CONTEMPORARY ART, BOSTON, 10 OCTOBER 2015– (21 February–15 May 24 JANUARY 20161 2016) and the Wexner Center for the Arts, Columbus, Ohio (17 Reviewed by Johanna Gosse, Columbia University September 2016– 1 January 2017). What is an exhibition? Is it a machine for generating experience? Or rather, is it a specific medium, equipped with its own inherent logic, or to borrow Clement Greenberg’s famous phrase, a ‘unique and proper area of compe- tence’? Leap Before You Look: Black Mountain College, 1933–1957, organized by the Institute of Contemporary Art (ICA) in Boston, offers an opportunity to reconsider what an exhibition is, and, more to the point, what it can be expected to do. Black Mountain College was a short-lived experiment in liberal arts educa- tion located near Asheville, North Carolina. Though the school shut down in 1957, it has since achieved mythical status as a home-grown American avant- garde utopia. During its near quarter-century of existence, the College was host to catalytic encounters between an international cast of artists, writers and thinkers, many of whom influenced or directly participated in what Allan Kaprow called ‘the alchemies of the 1960s’ (1958). As a result, the name ‘Black Mountain’ refers not so much to a specific time and place or cohesive style, but rather, to an illustrious list of faculty and alumni who collectively have exerted a disproportionate influence on post-war American art. Beyond its influential diaspora, the College’s broader legacy (and its persistent utopian myth) is rooted in the communal ethos and intersecting practices that char- acterized campus life: experiential learning, interdisciplinary collaboration, the work programme, direct democracy, and the opportunity to create art in relative freedom from market pressures. -
Black Mountain College As a Form of Life Lyubov Bugaeva
BLACK MOUNTAIN COLLEGE AS A FORM OF LIFE Education as Experience Lyubov Bugaeva Saint-Petersburg State University [email protected] Pragmatist ideas that were shaped and employed in unique practices of teaching and organizing students’ life ABSTRACT: The paper focuses on a unique experiment in in Black Mountain College came from several sources – education that was realized in Black Mountain College (North Carolina) in 1933–1957 and seeks to find answers directly from John Dewey’s writings, and indirectly chan- to a number of questions. What connects the notions of neled through John Andrew Rice and Josef Albers. In the democracy, education, and the arts? To what extent is Dewey’s version of pragmatism, known as instrumental- 1930s John Dewey visited the College on several occa- ism, applicable to education in the arts? And finally, what sions. In 1936 he was elected a member of the Advisory makes Black Mountain College a revolutionary experiment in education, the importance and memory of which con- Council of Black Mountain College and served for three siderably outlasts its less than a quarter of a century exist- years, and in 1939 was re-elected for the next term. The ence? library comprised many of Dewey’s writings donated by Keywords: Black Mountain College, John Andrew Rice, the author during his visits. Dewey attended classes, Joseph Albers, John Dewey, progressive education, art, advised on the curriculum, and enjoyed formal and democracy, democratic man informal communication with students and faculty, who had meals and extracurricular activities together. In a “The democratic man, we said, must be an artist” letter to Myrtle B. -
Josef Albers: Josef Albers: to Open Eyes Para Abrir Ojos
BRENDA DANILOWITZ BRENDA DANILOWITZ Josef Albers: Josef Albers: To Open Eyes Para abrir ojos To coincide with an exhibition of Josef Albers’s Para corresponder con la apertura de una exhibi- paintings opening at the Chinati Foundation ción de pinturas de Josef Albers en la Fundación in October 2006, the following pages feature Chinati este octubre, incluimos a continuación un an excerpt from Brenda Danilowitz’s essay in extracto del libro Josef Albers: To Open Eyes por Josef Albers: To Open Eyes, a study of Albers Brenda Danilowitz, un estudio de Albers como as teacher, and essays on the artist written by maestro, y ensayos sobre el artista escritos por Donald Judd over a 30-year period. Donald Judd a lo largo de treinta años. At the very moment Josef and Anni En el preciso momento cuando Josef y Albers found themselves unable to Anni Albers ya no podían imaginar su imagine their future in Germany, the futuro en Alemania, llegó la oferta de offer of a teaching position at Black una cátedra en la Universidad Black Mountain College arrived. This sur- Mountain. Esta sorprendente invitación, prising invitation, which came in the en forma de un telegrama mandado form of a telegram from Philip John- por Philip Johnson, director del nuevo son, then head of the fledgling de- Departamento de Arquitectura y Diseño partment of architecture and design del Museo de Arte Moderno de Nueva at New York’s Museum of Modern York, fue una consecuencia fortuita de Art, was an unintended consequence tres acontecimientos: la dimisión de of three events: John Andrew Rice’s John Andrew Rice de Rolins College en resignation from Rollins College in Winter Park, Florida, los concomitantes Winter Park, Florida; the attendant despidos y dimisiones solidarias de un dismissals and sympathetic resigna- grupo de colegas de Rice, y el estable- the curriculum] was natural to me. -
An Oral Interpretation Script Illustrating the Influence
379 AN ORAL INTERPRETATION SCRIPT ILLUSTRATING THE INFLUENCE ON CONTEMPORARY AMERICAN POETRY OF THE THREE BLACK MOUNTAIN POETS: CHARLES OLSON, ROBERT CREELEY, ROBERT DUNCAN THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF SCIENCE By H. Vance James, B.A. Denton, Texas August, 1981 J r James, H. Vance, An Oral Interpretation Script Illustrating the Influence on Contemporary American Poetry of the Three Black Mountain Poets: Charles Olson, Robert Creeley, Robert Duncan. Master of Science (Speech Communication and Drama), August, 1981, 87 pp., bibliography, 23 titles. This oral interpretation thesis analyzes the impact that three poets from Black Mountain College had on contemporary American poetry. The study concentrates on the lives, works, poetic theories of Charles Olson, Robert Creeley, and Robert Duncan and culminates in a lecture recital compiled from historical data relating to Black Mountain College and to the three prominent poets. @ 1981 HAREL VANCE JAMES All Rights Reserved TABLE OF CONTENTS Page LIST OF ILLUSTRATIONS . iv Chapter I. INTRODUCTION . 1 History of Black Mountain College Purpose of the Study Procedure II. BIOGRAPHICAL INFORMATION . 12 Introduction Charles Olson Robert Creeley Robert Duncan III. ANALYSIS . 31 IV. LECTURE RECITAL . 45 The Black Mountain Poets: Charles Olson, Robert Creeley, Robert Duncan "These Days" (Olson) "The Conspiracy" (Creeley) "Come, Let Me Free Myself" (Duncan) "Thank You For Love" (Creeley) "The Door" (Creeley) "Letter 22" (Olson) "The Dance" (Duncan) "The Awakening" (Creeley) "Maximus, To Himself" (Olson) "Words" (Creeley) "Oh No" (Creeley) "The Kingfishers" (Olson) "These Days" (Olson) APPENDIX . -
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Studi di estetica, anno XLVII, IV serie, 3/2019 ISSN 0585-4733, ISSN digitale 1825-8646, DOI 10.7413/18258646102 David A. Granger1 The legacy of John Dewey’s Art as experience: from Black Mountain College to “happenings” Abstract This is a companion piece to an article in a previous issue of the journal that offered an overview of the contrasts between John Dewey’s naturalistic aes- thetics, primarily as presented in his classic work Art as experience, and the more formalist aesthetics of art collector, philanthropist and educator Albert Barnes. This contrast was then used to explore and explain their disparate compatibilities and relationships with the pioneering work of the iconic 20th century American artists Thomas Hart Benton and Jackson Pollock. The cur- rent article does the same with respect to the avant-garde art and artistic legacy of the members of the creative community who lived and worked at Black Mountain College in North Carolina. As with the previous article, this examination ultimately underscores both the genuine catholicity of Dewey’s aesthetics and its deep roots in the endless meaning-making possibilities of everyday experience. The article then concludes with a brief discussion of the educational implications of these findings for our thinking about Dewey in the context of art and aesthetic education. Keywords Dewey, Aesthetics, Art education Dedicated to my mother, Julia Merriwether Arnold 1. Introduction There is perhaps no more intriguing aspect of John Dewey’s personal and professional life than his over thirty-year friendship with the in- imitable art collector, philanthropist and educator Albert Barnes. -
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DOCUMENT RESUME ED 356 702 HE 026 357 AUTHOR Townsend, Barbara K.; And Others TITLE Creating Distinctiveness: Lessons from Uncommon Colleges and Universities. ASHE-ERIC Higher Education Report No. 6, 1992. INSTITUTION Association for the Study of Higher Education.; ERIC Clearinghouse on Higher Education, Washington, D.C.; George Washington Univ., Washington, DC. School of Education and Human Development. SPONS AGENCY Office of Educational Research and Improvement (ED), Washington, DC. REPORT NO ISBN-1-878380-19-2; ISSN-0884-0040 PUB DATE 92 CONTRACT RI88062014 NOTE 110p. AVAILABLE FROMPublications Department, ASHE-ERIC Higher Education Reports, The George Washington University, One Dupont Circle, N.W., Suite 630, Washington, DC 20036-1186 (Single copy prices, including 4th class postage and handling, are $17 regular and $12.75 for members of AERA, AAHE, AIR, and ASHE). PUB TYPE Information Analyses ERIC Clearinghouse Products (071) EDRS PRICE MF01/PC05 Plus Postage. DESCRIPTORS *Colleges; Differences; *Educational Innovation; Governance; Higher Education; *Institutional Mission; Institutional Survival; Models; Organizational Change; *School Based Management; School Policy; *Specialization; Undergraduate Study; *Universities; Values ABSTRACT Distinctive colleges and universities, as opposed to the great majority which fit into a more or less standardized mold, possess a unifying theme or vision which is expressed in all their activities. They often respond to newly emerging societal or community needs unmet by existing colleges and universities; they challenge conventional ideas about higher education and inspire greater engagement by students and faculty in undergraduate education. However, distinctiveness can also limit the institution to a very small market niche as well as sometimes making it more difficult for it to adapt to the changes necessary for survival. -
Download Issue 43
Issue 43 / 2019 Notes on Curating www.oncurating.org Revisiting Black Mountain Cross-Disciplinary Experiments and Their Potential for Democratization Contributions by Caroline Adler, Sascia Bailer, Lucy Bayley, Paolo Bianchi, Johanna Bruckner, Annemarie Bucher, Boris Buden, Brandon Farnsworth, Simon Fleury, Jeanne van Heeswijk, Martin Jaeggi, Andres Janser, Gilly Karjevsky, Susanne Kennedy, Ronald Kolb, Ronny Koren, Jochen Kiefer, Steven Henry Madoff, Mieke (Annemarie) Matzke, Daniel Späti, Raqs Media Collective, Dorothee Richter, Olga von Schubert, Bitten Stetter, Cornelia Sollfrank, Asli Uludag Contents Revisiting Black Mountain 2 64 Editorial Ambiguous Dramaturgies Dorothee Richter, Ronald Kolb and Crude Curation Jochen Kiefer 8 An E-mail Conversation on the Background of 67 the Revisiting Black Mountain Project at ZHdK Utopian Form of Communication with Bitten Stetter, Brandon Farnsworth, An Interview with Dorothee Richter, Jochen Kiefer, Martin Jaeggi, Mieke (Annemarie) Matzke, She She Pop Paolo Bianchi asked by Ronald Kolb 73 17 The Infinite Game of Becoming Revisiting Black Mountain × Museum Susanne Kennedy für Gestaltung Zürich Andres Janser 80 “We have created a parody of these 20 austere rituals which didn’t exist Shared Campus in the past”: Revisiting Music Education Daniel Späti Brandon Farnsworth 23 86 Black Mountain: Terra Vague: Pedagogy of the Hinge Against the Ghosts of Land Steven Henry Madoff Johanna Bruckner 35 93 Revisiting Black Mountain College. New Alphabet School Teaching to Transgress (Haus der Kulturen der Welt: -
SUSAN WEIL Born 1930, New York, NY Académie Julian, Paris, France
SUSAN WEIL Born 1930, New York, NY Académie Julian, Paris, France Académie de la Grande Chaumière, Paris, France Black Mountain College, Asheville, North Carolina Art Students League of New York SELECTED SOLO EXHIBITIONS 2021 Now, Then and Always, Sundaram Tagore Gallery, New York, NY (forthcoming) JDJ | The Ice House, Garrison, NY 2020 Art Hysteri of Susan Weil: 70 Years of Innovation and Wit, Sundaram Tagore Gallery, New York, NY [online exhibition] 2019 Once In A Blue Moon, Galerie Rüdiger Schöttle, Munich, Germany 2017 Susan Weil: Now and Then, Sundaram Tagore Gallery, New York, NY 2016 Susan Weil’s James Joyce: Shut Your Eyes and See, University at Buffalo, The Poetry Collection of the University Libraries, Buffalo, NY 2015 Poemumbles: 30 Years of Susan Weil’s Poem | Images, Black Mountain College Museum + Arts Center, Asheville, NC 2013 Time’s Pace: Recent Works by Susan Weil, Sundaram Tagore Gallery, New York, NY 2011 Reflections, Sundaram Tagore Gallery, New York, NY 2008-2009 Motion Pictures, Sundaram Tagore Gallery, Beverly Hills, CA (2008); Sundaram Tagore Gallery, Hong Kong (2009) Trees, Sundaram Tagore Gallery, New York, NY 2006 Now & Then: A Retrospective of Susan Weil, Sundaram Tagore Gallery, New York, NY 2003 Ear’s Eye for James Joyce, Sundaram Tagore Gallery, New York, NY 2001 Moving Pictures, Sundaram Tagore Gallery, New York, NY Galerie Aronowitsch, Stockholm, Sweden 2000 Wanås, Knislinge, Sweden 1998 North Dakota Museum of Art, Grand Forks, ND Susan Weil: Full Circle, Black Mountain Museum + Arts Center, Asheville, -
Rendering Rhythm and Motion in the Art Of
A Lasting Imprint Rendering Rhythm and Motion in the Art of Black Mountain College Movement and music—both time-based activities—can be difficult to express in static media such as painting, drawing, and photography, yet many visual artists feel called to explore them. Some are driven to devise new techniques or new combinations of media in order to capture or suggest movement. Similarly, some visual artists utilize elements found in music—rhythms, patterns, repetitions, and variations—to endow their compositions with new expressive potency. In few places did movement, music, visual arts, and myriad other disciplines intermingle with such profound effect as they did at Black Mountain College (BMC), an experiment in higher education in the mountains of Western North Carolina that existed from 1933 to 1957. For many artists, their introduction to interdisciplinarity at the college resulted in a continued curiosity around those ideas throughout their careers. The works in the exhibition, selected from the Asheville Art Museum’s Black Mountain College Collection, highlight approaches to rendering a lasting imprint of the ephemeral. Artists such as Barbara Morgan and Clemens Kalischer seek to capture the motion of the human form, evoking a sense of elongated or contracted muscles, or of limbs moving through space. Others, like Lorna Blaine Halper or Sewell Sillman, approach the challenge through abstraction, foregoing representation yet communicating an atmosphere of dynamic change. Marianne Preger-Simon’s drawings of her fellow dancers at BMC from summer 1953 are not only portraits but also a dance of pencil on paper, created in the spirit of BMC professor Josef Albers’s line studies as she simultaneously worked with choreographer Merce Cunningham. -
Looking for Love: Identifying Robert Rauschenberg's Collage Elements in a Lost, Early Work
ISSN: 2471-6839 Cite this article: Greg Allen, “Looking for Love: Identifying Robert Rauschenberg’s Collage Elements in a Lost, Early Work,” Panorama: Journal of the Association of Historians of American Art 4, no. 2 (Fall 2018), https://doi.org/10.24926/24716839.1663. Looking for Love: Identifying Robert Rauschenberg’s Collage Elements in a Lost, Early Work Greg Allen, artist In 2012, while considering questions of loss, the archive, and the digitization of everything, I decided to conduct an experiment by remaking paintings that had been destroyed and were otherwise known only from old photographs. What is the experience of seeing this object IRL, I wondered, instead of as a photograph, a negative, or a JPEG? The impetus for this project was a cache of photographs of paintings Gerhard Richter destroyed in the 1960s. I soon turned to a destroyed painting I have thought about and wanted to see for a long time: one of the earliest known works by Robert Rauschenberg (1925–2008), Should Love Come First? (c. 1951; fig. 1).1 Like Rauschenberg’s later Combines, Should Love Come First? was a composition of paint and collage on canvas. Remaking it meant identifying the collage elements from the lone photograph of the work; so far it has taken five years. Fig. 1. Robert Rauschenberg, Should Love Come First? 1951. Oil, printed paper, and graphite on canvas, 24 1/4 x 30 in., original state photographed by Aaron Siskind for the Betty Parsons Gallery. No longer extant. Repainted by the artist in 1953; now k nown as Untitled (Small Black Painting), (1953; Kunstmuseum Basel), image courtesy Robert Rauschenberg Foundation, New York journalpanorama.org • [email protected] • ahaaonline.org Allen, “Looking for Love” Page 2 This endeavor was predicted and mocked by eminent scholars in equal parts. -
Perpetual Inventory Author(S): Rosalind Krauss Source: October, Vol
Perpetual Inventory Author(s): Rosalind Krauss Source: October, Vol. 88 (Spring, 1999), pp. 86-116 Published by: The MIT Press Stable URL: http://www.jstor.org/stable/779226 . Accessed: 01/05/2013 15:51 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The MIT Press is collaborating with JSTOR to digitize, preserve and extend access to October. http://www.jstor.org This content downloaded from 128.114.163.7 on Wed, 1 May 2013 15:51:29 PM All use subject to JSTOR Terms and Conditions PerpetualInventory* ROSALINDKRAUSS I wentin for myinterview for thisfantastic job. ... Thejob had a greatname-I might use itfor a painting-"PerpetualInventory." -Rauschenberg to Barbara Rose 1. Here are threedisconcerting remarks and one document: The firstsettles out from a discussion of the various strategies Robert Rauschenbergfound to defamiliarizeperception, so that, in Brian O'Doherty's terms,"the citydweller's rapid scan" would now displace old habits of seeing and "the art audience's stare" would yield to "the vernacularglance."I With its vora- ciousness,its lack of discrimination,its wanderingattention,