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Aspects of Suburban Life- Main Street, 1937, Paul Cadmus, Loan, G360 Dunlap, Sept
Aspects of Suburban Life: Main Street, 1937, Paul Cadmus, Curtis Galleries Loan, G360 Questions Questions 1. What’s going on in this painting? ! 2. What could be some reasons for titling this “Suburban Life”? ! 3. What could be a reason for the expression on the face of the woman dressed in black? ! 4. In 1936 Cadmus was commissioned by TRAP (later WPA) to design 4 murals for the post office (or library) in affluent Port Washington (some considered the model for Fitzgerald’s town in The Great Gatsby). His paintings, however, were rejected as inappropriate. Considering the hardships and sacrifices of the Depression, why might this have been objectionable? ! Main Points 1. The 2 girls, along with their friend, dominate the canvas and the street scene. Two carry tennis racquets. The girl closest to us resists the pull of her dachshund on a long red leash. They draw the leers or stares of disapproval from many on the street except, perhaps, the policeman who seems to halt traffic just for them to cross. 2. Small town buildings such as the Woolworth’s, the drugstore, the one with a false-front, the theater, the church spire, all proclaim Main Street, USA. Cars, not streetcars, are the preferred means of transportation as small towns become commuter communities. 3. The tennis trio seems careless and self-satisfied; their goal is to enjoy the country club life in the depths of the Depression. The commuter community is displacing/shoving aside the town’s longstanding residents. 4. The lounging “local yokels” watching the passing scene, the auto repair in progress, the contrast between the idle, complacent nouveau riche and the rest of the town, the chaotic scene -- all cast a less than ideal view of the town. -
Painting Identity: the Disconnect Between Theories and Practices of Art by the LGBTQ Community
Painting Identity: The Disconnect Between Theories and Practices Of Art by the LGBTQ Community Meg Long Advisor: Sarah Willie-LeBreton May 7,2012 2 Table of Contents Acl(nowledgements ........................................................................... 3 1. Introduction .............................................................................. 4 2. Perspectives on Racial and Sexual Identity in Modem and Contemporary Art .......................................................................................... 10 3. Influence of Self Identity for Contemporary Artists .......................................... 33 4. Discourse Analysis: Art and Sexual Identity ......................................... 55 5. Conclusion .................................................................................76 Worl(s Cited .............................................................................. 84 Appendix A ............................................................................... 86 Appendix B ............................................................................... 87 3 Acknowledgements First and foremost, thank you to my father for his endless support throughout this process; as always in life, I would be lost without him. Likewise, thank you to my mother for her energy and encouragement. I also cannot be appreciative enough of my advisor, Professor Sarah Willie-LeBreton for helping me in more ways than I can enumerate, even when my process was dubious at best. Thank you to the participants who shared their stories -
Annual Report 2018–2019 Artmuseum.Princeton.Edu
Image Credits Kristina Giasi 3, 13–15, 20, 23–26, 28, 31–38, 40, 45, 48–50, 77–81, 83–86, 88, 90–95, 97, 99 Emile Askey Cover, 1, 2, 5–8, 39, 41, 42, 44, 60, 62, 63, 65–67, 72 Lauren Larsen 11, 16, 22 Alan Huo 17 Ans Narwaz 18, 19, 89 Intersection 21 Greg Heins 29 Jeffrey Evans4, 10, 43, 47, 51 (detail), 53–57, 59, 61, 69, 73, 75 Ralph Koch 52 Christopher Gardner 58 James Prinz Photography 76 Cara Bramson 82, 87 Laura Pedrick 96, 98 Bruce M. White 74 Martin Senn 71 2 Keith Haring, American, 1958–1990. Dog, 1983. Enamel paint on incised wood. The Schorr Family Collection / © The Keith Haring Foundation 4 Frank Stella, American, born 1936. Had Gadya: Front Cover, 1984. Hand-coloring and hand-cut collage with lithograph, linocut, and screenprint. Collection of Preston H. Haskell, Class of 1960 / © 2017 Frank Stella / Artists Rights Society (ARS), New York 12 Paul Wyse, Canadian, born United States, born 1970, after a photograph by Timothy Greenfield-Sanders, American, born 1952. Toni Morrison (aka Chloe Anthony Wofford), 2017. Oil on canvas. Princeton University / © Paul Wyse 43 Sally Mann, American, born 1951. Under Blueberry Hill, 1991. Gelatin silver print. Museum purchase, Philip F. Maritz, Class of 1983, Photography Acquisitions Fund 2016-46 / © Sally Mann, Courtesy of Gagosian Gallery © Helen Frankenthaler Foundation 9, 46, 68, 70 © Taiye Idahor 47 © Titus Kaphar 58 © The Estate of Diane Arbus LLC 59 © Jeff Whetstone 61 © Vesna Pavlovic´ 62 © David Hockney 64 © The Henry Moore Foundation / Artists Rights Society (ARS), New York 65 © Mary Lee Bendolph / Artist Rights Society (ARS), New York 67 © Susan Point 69 © 1973 Charles White Archive 71 © Zilia Sánchez 73 The paper is Opus 100 lb. -
Press Release (PDF)
G A G O S I A N G A L L E R Y August 29, 2016 The critic and curator Philip Rawson, an eloquent guide to the means and methods of drawing over the ages, points out that until the Italian Quattrocento, no European sculptor was supposed to be able to draw. In the medieval period, only those sculptors who also worked in two dimensions drew habitually; any other sculptor who needed, say, to show a client a proposed design hired a draftsman to make one. And when sculptors began to make drawings (for their own use or to guide assistants), they tended to do so without thinking of the format of the paper as a frame to which the image should relate. Instead, the image was generally treated as an independent motif, composed of mutually related units and placed anywhere on the sheet. In this approach, the space of the paper outside the image was not incorporated into the design but functioned like the open, empty space around actual sculptures. ... In contrast, Rawson observes, painters' drawings have tended to treat the usually rectangular format of the paper as a frame to which the image content relates. —John Elderfield Gagosian Gallery is pleased to present “Plane.Site,” a cross-generational exhibition of modern and contemporary artists organized by Sam Orlofsky to inaugurate the San Francisco gallery. (Continue to page2) 6 5 7 H O W A R D S T R E E T S A N F R A N C I S C O C A 9 4 1 0 5 T . -
Copyright by Cary Cordova 2005
Copyright by Cary Cordova 2005 The Dissertation Committee for Cary Cordova Certifies that this is the approved version of the following dissertation: THE HEART OF THE MISSION: LATINO ART AND IDENTITY IN SAN FRANCISCO Committee: Steven D. Hoelscher, Co-Supervisor Shelley Fisher Fishkin, Co-Supervisor Janet Davis David Montejano Deborah Paredez Shirley Thompson THE HEART OF THE MISSION: LATINO ART AND IDENTITY IN SAN FRANCISCO by Cary Cordova, B.A., M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin December, 2005 Dedication To my parents, Jennifer Feeley and Solomon Cordova, and to our beloved San Francisco family of “beatnik” and “avant-garde” friends, Nancy Eichler, Ed and Anna Everett, Ellen Kernigan, and José Ramón Lerma. Acknowledgements For as long as I can remember, my most meaningful encounters with history emerged from first-hand accounts – autobiographies, diaries, articles, oral histories, scratchy recordings, and scraps of paper. This dissertation is a product of my encounters with many people, who made history a constant presence in my life. I am grateful to an expansive community of people who have assisted me with this project. This dissertation would not have been possible without the many people who sat down with me for countless hours to record their oral histories: Cesar Ascarrunz, Francisco Camplis, Luis Cervantes, Susan Cervantes, Maruja Cid, Carlos Cordova, Daniel del Solar, Martha Estrella, Juan Fuentes, Rupert Garcia, Yolanda Garfias Woo, Amelia “Mia” Galaviz de Gonzalez, Juan Gonzales, José Ramón Lerma, Andres Lopez, Yolanda Lopez, Carlos Loarca, Alejandro Murguía, Michael Nolan, Patricia Rodriguez, Peter Rodriguez, Nina Serrano, and René Yañez. -
Art, Fine Art & Art Instruction
DOVER PUBLICATIONS ART, FINE ART & ART INSTRUCTION BACKLIST CATALOG 2015-16 To Order Contact Your Local Dover Rep or Tel 800-223-3130 Fax 516-742-5049 www.doverdirect.com DOVER PUBLICATIONS 100 Calligraphic 100 Drawings The 100 Greatest Alphabets Advertisements 1852 Gustav Klimt 1958: Who Wrote Them Dan X. Solo 9780486224466 and What They Did 9780486297989 Julian Watkins 9780486205403 Pub Date: 6/1/72 Pub Date: 7/10/97 $14.95 $12.95 99 pages 112 pages Trade Paperback Pub Date: 2/15/12 Trade Paperback 9.4 in W | 12.3 in H | 0.7 lb $19.95 8.4 in W | 11 in H | 0.7 lb Wt 256 pages Wt Trade Paperback 7.9 in W | 10.8 in H | 1.4 lb Wt 100 Ornamental 101 Great Samurai 150 Masterpieces of Alphabets Prints Drawing Dan X. Solo Utagawa Kuniyoshi, John Anthony Toney Grafton 9780486286969 9780486210322 9780486465234 Pub Date: 11/17/11 Pub Date: 6/1/63 $19.95 Pub Date: 9/19/08 $22.95 108 pages $14.95 150 pages Trade Paperback 112 pages Trade Paperback 8.4 in W | 11 in H | 0.7 lb Trade Paperback 8.4 in W | 11.3 in H | 1.1 lb Wt 8.4 in W | 11 in H | 1 lb Wt Wt 2,100 Victorian 50 Secrets of Magic 500 Years of Monograms Craftsmanship Illustration: From Albrecht Dürer to Karl Klimsch Salvador Dali Rockwell Kent 9780486283012 9780486271323 Howard Simon 9780486484655 Pub Date: 12/1/94 Pub Date: 6/4/92 $10.95 $16.95 80 pages 192 pages Pub Date: 12/14/11 Trade Paperback Trade Paperback $34.95 9 in W | 12 in H | 0.4 lb Wt 9.3 in W | 12.1 in H | 1.2 lb 512 pages Wt Trade Paperback 8.4 in W | 11 in H | 3.4 lb Wt Abstract Design and The Adventures of Albinus on -
National Gallery of Art
National Gallery of Art FOR IMMEDIATE RELEASE Deborah Ziska, Information Officer March 19, 1999 PRESS CONTACT: Patricia O'Connell, Publicist (202) 842-6353 NATIONAL GALLERY OF ART SCULPTURE GARDEN TO OPEN MAY 23 New Acquisitions in Dynamic Space Will Offer Year-Round Enjoyment on the National Mall Washington, D.C. -- On May 23, the National Gallery of Art will open a dynamic outdoor sculpture garden designed to offer year-round enjoyment to the public in one of the preeminent locations on the National Mall. The National Gallery of Art Sculpture Garden is given to the nation by The Morris and Gwendolyn Cafritz Foundation. The landscaping of the 6.1-acre space provides a distinctive setting for nearly twenty major works, including important new acquisitions of post-World War II sculpture by such internationally renowned artists as Louise Bourgeois, Mark di Suvero, Roy Lichtenstein, Claes Oldenburg and Coosje van Bruggen, and Tony Smith. The Sculpture Garden is located at Seventh Street and Constitution Avenue, N.W., in the block adjacent to the West Building. "We are proud to bring to the nation these significant works of sculpture in one of the few outdoor settings of this magnitude in the country," said Earl A. Powell III, director, National Gallery of Art. "The opening of the Sculpture Garden brings to fruition part of a master plan to revitalize the National Mall that has been in development for more than thirty years. The National Gallery is extremely grateful to the Cafritz Foundation for making this historic event possible." - more - Fourth Street at Constitution Avenue. -
A Daumier of the Rotogravure
FINE FEBRUARY/MARCH 2011 www.galleryandstudiomagazine.com VOL. 13 NO. 3 New York ARTS GALLERY STUDIO Announces the release of Robert Cenedella’s serigraph & “HEINZ 57” 35”x24” , 2011 A DAUMIER OF THE ROTOGRAVURE Hand screened on acid-free stock, signed and numbered by the artist Denys Wortman at the Museum of the City of New York (Certificate of authenticity is available upon request) STUDIO 57 currently represents: Calder Picasso Dali Cenedella Miro Hirschfeld Levine Grosz Gropper Cadmus Benton Pissaro Bellows Renoir Duchamp Landeck Agam Chagal Sloan Wa rh o l “HEINZ 57” by Robert Cenedella 35”x24” TO COME DOWN ON YOUR PRICES. TO COME DOWN BUY THEM, YOU’LL HAVE IF I HAVE August 30, 1948 Grease pencil, graphite and ink Courtesy of The Center For Cartoon VIII Studies and Denys Wortman plus Sleeping with my Uncle: Coming of Age on the Lower East Side in the '50s Studio 57 Fine Arts Custom Framing 211 West 57th Street New York, NY 10013 212–956–9395 from Ed McCormack’s memoir in progress HOODLUM HEART page 8 Beverly A. Smith Tip Toe Marsh - oil on canvas 24"wide X 36" high Toe Tip March 1st – 19th, 2011 Reception: Friday, March 5th 3-6 PM © Susannah Virginia Griffin - The Warrior 48” x 36” New Century Artist Gallery 530 West 25th, New York Hours: Tues - Sat 10 AM - 6 PM www.beverlyasmith.com Artist seeks gallery representation – [email protected] Wally Gilbert “Geometric Series: SINGULAR SENSATIONS Squares, Triangles, and Lines” Masoud Abedi Jorge Berlato Susannah Virginia Griffin Jenny Medved MORPHING INTO MILIEU Francisco Chediak René Foster Maria José Royuela Maricela Sanchez March 1 - March 22, 2011 Reception: Thursday, March 3, 2011 6-8 pm "Triangles # 2-10," image is 38" x 40" on 44" 36" luster paper. -
George Tooker David Zwirner
David Zwirner New York London Hong Kong George Tooker Artist Biography George Tooker (1920–2011) is best known for his use of the traditional, painstaking medium of egg tempera in compositions reflecting urban life in American postwar society. Born in Brooklyn, he received a degree in English from Harvard University before he began his studies at the Art Students League in 1943, where he worked under the regionalist painter Reginald Marsh. In 1944, Tooker met the artist Paul Cadmus, and they soon became lovers. Cadmus, sixteen years his senior, introduced Tooker to the artist Jared French, with whom he was romantically involved, and French’s wife, Margaret Hoening French, and the four of them traveled extensively throughout Europe and vacationed regularly together. Tooker appears in a number of the photographs taken by PaJaMa, the photographic collective formed by Cadmus and the Frenches, and he served as a model for Cadmus’s painting Inventor (1946). Cadmus and French introduced Tooker to the time-intensive medium of egg tempera, which would become his principal medium. Tooker’s career found early success, due in part to his friend Lincoln Kirstein, the co-founder of the New York City Ballet, encouraging the inclusion of his work in the Fourteen Americans (1946) and Realists and Magic-Realists (1950) exhibitions at the Museum of Modern Art. In 1950, Subway (1950) entered the Whitney Museum of American Art’s collection—the artist’s first museum acquisition—and the following year he received his first solo exhibition at the Edwin Hewitt Gallery. Near the end of the 1940s, Tooker parted ways with Cadmus because of the latter’s ongoing relationship with the Frenches. -
National Endowment for the Arts Annual Report 1982
Nat]onal Endowment for the Arts National Endowment for the Arts Washington, D.C. Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts and the National Council on the Arts for the Fiscal Year ended September 30, 1982. Respectfully, F. S. M. Hodsoll Chairman The President The White House Washington, D.C. March 1983 Contents Chairman’s Statement 3 The Agency and Its Functions 6 The National Council on the Arts 7 Programs 8 Dance 10 Design Arts 30 Expansion Arts 46 Folk Arts 70 Inter-Arts 82 International 96 Literature 98 Media Arts: Film/Radio/Television 114 Museum 132 Music 160 Opera-Musical Theater 200 Theater 210 Visual Arts 230 Policy, Planning and Research 252 Challenge Grants 254 Endowment Fellows 259 Research 261 Special Constituencies 262 Office for Partnership 264 Artists in Education 266 State Programs 272 Financial Summary 277 History of Authorizations and Appropriations 278 The descriptions of the 5,090 grants listed in this matching grants, advocacy, and information. In 1982 Annual Report represent a rich variety of terms of public funding, we are complemented at artistic creativity taking place throughout the the state and local levels by state and local arts country. These grants testify to the central impor agencies. tance of the arts in American life and to the TheEndowment’s1982budgetwas$143million. fundamental fact that the arts ate alive and, in State appropriations from 50 states and six special many cases, flourishing, jurisdictions aggregated $120 million--an 8.9 per The diversity of artistic activity in America is cent gain over state appropriations for FY 81. -
“Print by Print: Series from Dürer to Lichtenstein” Exhibition at the Baltimore Museum of Art
A behind the scenes look: the making of the “Print by Print: Series from Dürer to Lichtenstein” exhibition at The Baltimore Museum of Art One of our recent projects was to make frames for The Baltimore Museum of Art’s “Print by Print: Series from Dürer to Lichtenstein” exhibition. In doing research on the exhibition I noticed the funding came because of the collaboration the museum did with the students from The Johns Hopkins University (JHU) and the Maryland Institute College of Art (MICA). Since funding has become much more of an issue in these days of reduced budgets, this caught my attention and I wanted to find out more about the collaboration. I was also interested in sharing with our readers a behind the scenes view of the making of an exhibition. On Friday November 18, 2011 I met with Rena Hoisington, BMA Curator & Department Head of the Department of Prints, Drawings, & Photographs, Alexandra Good, an art history major at JHU, and Micah Cash, BMA Conservation Technician for Paper. Karen Desnick, Metropolitan Picture Framing I was especially intrigued about the funding of this exhibition and the collaborative aspects with the students of The Johns Hopkins University and the Maryland Institute College of Art. Can you elaborate on the funding source and how the collaboration worked? Rena Hoisington, BMA I submitted a proposal for organizing an exhibition of prints in series a couple of years ago. Dr. Elizabeth Rodini, Senior Lecturer in the History of Art Department at The Johns Hopkins University and the Associate Director of the interdisciplinary, undergraduate Program for Museums in Society, then approached the Museum about working on a collaborative project that would result in an exhibition. -
Project Windows 2018 John Singer Sargent and Chicago's Gilded
February 14, 2018 Project Windows 2018 John Singer Sargent and Chicago’s Gilded Age The Art Institute of Chicago “Art is not what you see, but what you make others see.” Edgar Degas Magritte transformed Marc Jacobs ART INSTITUTE OF CHICAGO AWARD, 2014 Magritte, The Human Condition Lichtenstein reimagined Roy Lichtenstein, Brushstroke with Spatter Macy’s BEST OVER-ALL DESIGN 2015 Vincent brought to life Vincent van Gogh, Self-Portrait AT&T PEOPLE’S CHOICE AWARDS, 2016 2017 Gauguin: Artist as Alchemist Neiman Marcus Paul Gauguin, Mahana no atua (Day of the God), 1894 ART INSTITUTE OF CHICAGO AWARD, 2017 Sargent Inspiration - Experiential Sargent Inspiration - Visual Sargent Inspiration - Tactile Benefits Part of a citywide cultural Public Voting Drives traffic and builds celebration awareness Judges Showcase your designers Awards Celebration talent Resources michiganavemag.com/Project-Windows Images + developed merchandise PR + Social Media Advertising Annelise K. Madsen, Ph.D. Gilda and Henry Buchbinder Assistant Curator of American Art John Singer Sargent (American, 1856–1925) John Singer Sargent and Chicago’s Gilded Age The Fountain, Villa Torlonia, Frascati, Italy (detail), 1907 Oil on canvas 71.4 x 56.5 cm (28 1/8 x 22 1/4 in.) July 1–September 30, 2018 | Regenstein Hall East Friends of American Art Collection, 1914.57 The Art Institute of Chicago Gilded Age Painter of International Renown John Singer Sargent (1856–1925) The Art Institute of Chicago Inspiration Sargent’s art is both old and new, traditional and avant-garde.6 John Singer