Nancy Graves
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Mapping Robert Storr
Mapping Robert Storr Author Storr, Robert Date 1994 Publisher The Museum of Modern Art: Distributed by H.N. Abrams ISBN 0870701215, 0810961407 Exhibition URL www.moma.org/calendar/exhibitions/436 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art bk 99 £ 05?'^ £ t***>rij tuin .' tTTTTl.l-H7—1 gm*: \KN^ ( Ciji rsjn rr &n^ u *Trr» 4 ^ 4 figS w A £ MoMA Mapping Robert Storr THE MUSEUM OF MODERN ART, NEW YORK DISTRIBUTED BY HARRY N. ABRAMS, INC., NEW YORK (4 refuse Published in conjunction with the exhibition Mappingat The Museum of Modern Art, New York, October 6— tfoti h December 20, 1994, organized by Robert Storr, Curator, Department of Painting and Sculpture The exhibition is supported by AT&TNEW ART/NEW VISIONS. Additional funding is provided by the Contemporary Exhibition Fund of The Museum of Modern Art, established with gifts from Lily Auchincloss, Agnes Gund and Daniel Shapiro, and Mr. and Mrs. Ronald S. Lauder. This publication is supported in part by a grant from The Junior Associates of The Museum of Modern Art. Produced by the Department of Publications The Museum of Modern Art, New York Osa Brown, Director of Publications Edited by Alexandra Bonfante-Warren Designed by Jean Garrett Production by Marc Sapir Printed by Hull Printing Bound by Mueller Trade Bindery Copyright © 1994 by The Museum of Modern Art, New York Certain illustrations are covered by claims to copyright cited in the Photograph Credits. -
De Sole V. Knoedler Gallery - a Field of Red Flags
LONDON| NEW YORK | SAN FRANCISCO| WASHINGTON De Sole v. Knoedler Gallery - A Field of Red Flags Last month, collectors Domenico and Eleanore De Sole settled their claims against the now defunct Knoedler Gallery and its former president and director, Ann Freedman. The settlement, though hardly surprising, left many questions unanswered and raised other interesting ones. Unfortunately, we will never know whether, in the eyes of a jury, the De Soles’ reliance on the representations made by Knoedler and Freedman was reasonably justified, and whether Knoedler and Freedman intended to defraud. The Knoedler Gallery, founded in 1846 and considered a New York institution, was one of the most venerable art galleries in the United States. It survived three wars and several recessions. Knoedler abruptly closed its doors in 2011, succumbing to a series of lawsuits. The demise of Knoedler arguably began in or around 1994, when an obscure Long Island art dealer, Glafira Rosales, met with Freedman, Knoedler’s sole manager and director at the time. Rosales told Freedman that she had a Mexican client who wanted to sell a collection of Abstract Expressionist artworks, but wanted to do so anonymously. Over the next fifteen years, Rosales provided Knoedler with dozens of previously unknown alleged “masterworks” by well-known Abstract Expressionist artists, and Knoedler sold these paintings to its customers. The paintings turned out to be forgeries. In September 2013, Rosales pled guilty to conspiracy to sell the fake artworks, money laundering, and several tax crimes related to the fake art scheme in a criminal action brought against her. In fact, the Rosales paintings were created by a Chinese painter residing in Queens, New York, who received a nominal sum for his creations. -
The Museum of Modern Art
The Museum of Modern Art For Immediate Release May 1995 ARTIST'S CHOICE: ELIZABETH MURRAY June 20 - August 22, 1995 An exhibition conceived and installed by American artist Elizabeth Murray is the fifth in The Museum of Modern Art's series of ARTIST'S CHOICE exhibitions. On view from June 20 to August 22, 1995, ARTIST'S CHOICE: ELIZABETH MURRAY presents more than 100 drawings, paintings, prints, and sculptures by approximately seventy women artists. The exhibition involves works created between 1914 and 1973, including those ranging from early modernists Frida Kahlo and Liubov Popova to contemporary artists Nancy Graves and Dorothea Rockburne. Murray focuses particular attention on artists who made their reputations during the 1950s and 1960s, such as Lee Bontecou, Agnes Martin, Joan Mitchell, when Murray herself was studying and forming her style. This exhibition and the accompanying video and panel discussion are made possible by a generous grant from The Charles A. Dana Foundation. Organized in collaboration with Kirk Varnedoe, Chief Curator, Department of Painting and Sculpture, the ARTIST'S CHOICE series invites artists to create an exhibition from the Museum's collection according to a personally chosen theme or principle. "I wanted, for myself, to explore what being a woman in the art world has meant," Murray writes in the exhibition brochure. "I wanted to weave together a sense of the genuine and profound contribution women's work has made to the art of our time." - more - 11 West 53 Street, New York, N.Y. 10019-5498 Tel: 212-708-9400 Fax: 212-708-9889 2 Installed in the Museum's third-floor contemporary painting and sculpture galleries, the exhibition is arranged in thematic groupings. -
A Finding Aid to the Lucy R. Lippard Papers, 1930S-2007, Bulk 1960-1990
A Finding Aid to the Lucy R. Lippard Papers, 1930s-2007, bulk 1960s-1990, in the Archives of American Art Stephanie L. Ashley and Catherine S. Gaines Funding for the processing of this collection was provided by the Terra Foundation for American Art 2014 May 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........................................................................................................ 3 Arrangement..................................................................................................................... 4 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 6 Series 1: Biographical Material, circa 1960s-circa 1980s........................................ 6 Series 2: Correspondence, 1950s-2006.................................................................. 7 Series 3: Writings, 1930s-1990s........................................................................... -
Download Artist's CV
I N M A N G A L L E R Y Michael Jones McKean b. 1976, Truk Island, Micronesia Lives and works in New York City, NY and Richmond, VA Education 2002 MFA, Alfred University, Alfred, New York 2000 BFA, Marywood University, Scranton, Pennsylvania Solo Exhibitions 2018-29 (in progress) Twelve Earths, 12 global sites, w/ Fathomers, Los Angeles, CA 2019 The Commune, SuPerDutchess, New York, New York The Raw Morphology, A + B Gallery, Brescia, Italy 2018 UNTMLY MLDS, Art Brussels, Discovery Section, 2017 The Ground, The ContemPorary, Baltimore, MD Proxima Centauri b. Gleise 667 Cc. Kepler-442b. Wolf 1061c. Kepler-1229b. Kapteyn b. Kepler-186f. GJ 273b. TRAPPIST-1e., Galerie Escougnou-Cetraro, Paris, France 2016 Rivers, Carnegie Mellon University, Pittsburgh, PA Michael Jones McKean: The Ground, The ContemPorary Museum, Baltimore, MD The Drift, Pittsburgh, PA 2015 a hundred twenty six billion acres, Inman Gallery, Houston, TX three carbon tons, (two-person w/ Jered Sprecher) Zeitgeist Gallery, Nashville, TN 2014 we float above to spit and sing, Emerson Dorsch, Miami, FL Michael Jones McKean and Gilad Efrat, Inman Gallery, at UNTITLED, Miami, FL 2013 The Religion, The Fosdick-Nelson Gallery, Alfred University, Alfred, NY Seven Sculptures, (two person show with Jackie Gendel), Horton Gallery, New York, NY Love and Resources (two person show with Timur Si-Qin), Favorite Goods, Los Angeles, CA 2012 circles become spheres, Gentili APri, Berlin, Germany Certain Principles of Light and Shapes Between Forms, Bernis Center for ContemPorary Art, Omaha, NE -
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. -
Cartographic Perspectives Information Society 1
Number 53, Winterjournal 2006 of the Northcartographic American Cartographic perspectives Information Society 1 cartographic perspectives Number 53, Winter 2006 in this issue Letter from the Editor INTRODUCTION Art and Mapping: An Introduction 4 Denis Cosgrove Dear Members of NACIS, FEATURED ARTICLES Welcome to CP53, the first issue of Map Art 5 Cartographic Perspectives in 2006. I Denis Wood plan to be brief with my column as there is plenty to read on the fol- Interpreting Map Art with a Perspective Learned from 15 lowing pages. This is an important J.M. Blaut issue on Art and Cartography that Dalia Varanka was spearheaded about a year ago by Denis Wood and John Krygier. Art-Machines, Body-Ovens and Map-Recipes: Entries for a 24 It’s importance lies in the fact that Psychogeographic Dictionary nothing like this has ever been kanarinka published in an academic journal. Ever. To punctuate it’s importance, Jake Barton’s Performance Maps: An Essay 41 let me share a view of one of the John Krygier reviewers of this volume: CARTOGRAPHIC TECHNIQUES …publish these articles. Nothing Cartographic Design on Maine’s Appalachian Trail 51 more, nothing less. Publish them. Michael Hermann and Eugene Carpentier III They are exciting. They are interest- ing: they stimulate thought! …They CARTOGRAPHIC COLLECTIONS are the first essays I’ve read (other Illinois Historical Aerial Photography Digital Archive Keeps 56 than exhibition catalogs) that actu- Growing ally try — and succeed — to come to Arlyn Booth and Tom Huber terms with the intersections of maps and art, that replace the old formula REVIEWS of maps in/as art, art in/as maps by Historical Atlas of Central America 58 Reviewed by Mary L. -
History of Encaustic
THE HISTORY OF ENCAUSTIC Wax is an excellent preservative of materials. The Greeks applied coatings of wax and pitch to weatherproof their ships. Pigmenting the wax gave rise to the decorating of warships and merchant ships. The use of a rudimentary encaustic was an established practice in the Classical Period (500-323 BC). It is possible that at about that time the crude paint applied with tar brushes to the ships was refined for the art of painting on panels. ENCAUSTIC AND TEMPERA Encaustic on panels rivaled that of tempera in what are the earliest known portable easel paintings. Tempera was a faster, cheaper process. Encaustic was a slow involved technique, but the paint could be built up in relief, and the wax gave a rich optical effect to the pigment. These characteristics made the finished work startlingly lifelike. Moreover, encaustic had far greater durability than tempera, which was vulnerable to moisture. Pliny refers to encaustic paintings several hundred years old in the possession of Roman aristocrats of his own time. ENCAUSTIC IN SCULPTURE We know that the white marble we see today in the monuments of Greek antiquity was once colored, either boldly or delicately and that wax was used to both preserve and enhance that marble (see "Polychromy in Greek Sculpture" below). The literary evidence of how this was done is scant. The figures on the Alexander Sarcophagus in the archeological Museum of Istanbul are an example of such coloration, although it is not clear how intense the original color was. The methods used to color the marble probably varied. -
The Making of David Mccosh Early Paintings, Drawings, and Prints
The Making of DaviD Mccosh early Paintings, Drawings, and Prints Policeman, n.d. Charcoal and graphite on paper, 11 x 8 ½ inches David John McCosh Memorial Collection The Prodigal Son, 1927 Oil on canvas, 36 1/2 x 40 3/4 inches Cedar Rapids Museum of Art, Museum purchase. 28.1 8 The makIng of davId mcCosh danielle m. knapp In 1977, David and Anne McCosh participated in an oral history interview conducted by family friend Phil Gilmore.1 During the course of the interview the couple reminisced about the earliest years of their careers and the circumstances that had brought them to Eugene, Oregon, in 1934. As the three discussed the challenges of assessing one’s own oeuvre, Anne emphatically declared that “a real retrospective will show the first things you ever exhibited.” In David’s case, these “first things” were oil paintings, watercolors, and lithographs created during his student years at the School of the Art Institute of Chicago (AIC) and as a young struggling artist in the Midwest and New York and at several artist colonies and residencies. This exhibition, The Making of David McCosh: Early Paintings, Drawings, and Prints, highlights those years of his life with dual purpose: to thoughtfully examine his body of work from the 1920s and early ’30s and to provide those familiar with his celebrated later work a more complete understanding of the entire arc of this extraordinary artist’s career. McCosh’s output has always defied traditional categorization within art historical styles. During his life he found strict allegiance to stylistic perimeters to be, at best, distracting and, at worse, repressive, though his own work certainly reflected elements of the artistic communities through which he moved. -
AN EXAMINATION of ART FORGERY and the LEGAL TOOLS PROTECTING ART COLLECTORS Leila A
ARE YOU FAUX REAL? AN EXAMINATION OF ART FORGERY AND THE LEGAL TOOLS PROTECTING ART COLLECTORS Leila A. Amineddoleh | Cardozo Arts and Entertainment Law Journal Document Details All Citations: 34 Cardozo Arts & Ent. L.J. 59 Search Details Jurisdiction: National Delivery Details Date: July 19, 2016 at 9:02 PM Delivered By: kiip kiip Client ID: KIIPLIB02 Status Icons: © 2016 Thomson Reuters. No claim to original U.S. Government Works. ARE YOU FAUX REAL? AN EXAMINATION OF ART..., 34 Cardozo Arts &... 34 Cardozo Arts & Ent. L.J. 59 Cardozo Arts and Entertainment Law Journal 2016 Article ARE YOU FAUX REAL? AN EXAMINATION OF ART FORGERY AND THE LEGAL TOOLS PROTECTING ART COLLECTORS r1 Leila A. Amineddoleh a1 Copyright (c) 2016 Yeshiva University; Leila A. Amineddoleh INTRODUCTION 61 I. BACKGROUND 62 A. Rise in Authorship 62 B. The Existence of Forgeries 64 C. A Robust Art Market Leads to Increasing Prices and the Prevalence of Forgeries 66 1. The Current Market is Full of Forgeries 66 2. There is a Circular Relationship: The Art Market Thrives, Prices Increase, and 69 Connoisseurship Gains Greater Importance II. HOW THE LAW GRAPPLES WITH AUTHENTICITY 70 A. The First High Profile Authentication Battle in US Courts: Hahn v. Duveen 70 III. WHAT DOES IT MEAN TO BE “AUTHENTIC”? 72 A. Authenticity as a Three-Legged Stool 72 B. The Vulnerability of Modern Masters Leads to the Shuttering of One of the Most 74 Prestigious American Galleries C. Sometimes There is No Definitive Answer Regarding Authorship 79 D. Authenticity Disputes Have Altered the Landscape for Art Experts 80 E. -
Deterring Art Fraud
UCLA UCLA Entertainment Law Review Title Let Them Authenticate: Deterring Art Fraud Permalink https://escholarship.org/uc/item/41d817dg Journal UCLA Entertainment Law Review, 24(1) ISSN 1073-2896 Author Bonner, Justine Mitsuko Publication Date 2017 DOI 10.5070/LR8241035524 Peer reviewed eScholarship.org Powered by the California Digital Library University of California LET THEM AUTHENTICATE: DETERRING ART FRAUD Justine Mitsuko Bonner* Abstract Forged art is corrupting the art market, a market that has grown more brazenly dishonest as the value of artwork has skyrocketed. Fake art not only harms the financial interests of investors, but it also damages the integrity of the art market, ultimately undermining the historical-cultural record. Yet art fraud is flourishing because art experts are increasingly unwilling to express authentication opinions due to the specter of expensive litigation. This paper examines the historical background of art fraud and the legal protection need- ed for art experts if rampant art fraud is to be deterred. Table of Contents Introduction .........................................................................................................20 I. Background: Art Forgery and Fake Art................................................22 A. Art Forgery Defined...............................................................................22 B. Types of Art Forgery and Fraud ...........................................................23 C. A Brief Chronology ...............................................................................23 -
Exploring the Knoedler Gallery's Premium Picture Market, 1872-1934
University of Kentucky UKnowledge Art & Visual Studies Presentations Art & Visual Studies 1-18-2018 Exploring the Knoedler Gallery's Premium Picture Market, 1872-1934 Robert Jensen University of Kentucky, [email protected] Follow this and additional works at: https://uknowledge.uky.edu/art_present Part of the American Art and Architecture Commons, Art and Design Commons, Digital Humanities Commons, Fine Arts Commons, and the Modern Art and Architecture Commons Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Repository Citation Jensen, Robert, "Exploring the Knoedler Gallery's Premium Picture Market, 1872-1934" (2018). Art & Visual Studies Presentations. 7. https://uknowledge.uky.edu/art_present/7 This Presentation is brought to you for free and open access by the Art & Visual Studies at UKnowledge. It has been accepted for inclusion in Art & Visual Studies Presentations by an authorized administrator of UKnowledge. For more information, please contact [email protected]. Exploring the Knoedler Gallery’s Premium Picture Market, 1872-1934 Robert Jensen, University of Kentucky Abstract This paper was first delivered at the conference Art Dealers, America and the International Art Market, 1880-1930 sponsored by the Getty Research Institute, The Getty, Los Angeles, CA, January 2018. The essay is based on research conducted at the GRI Special Collections’s archival holdings of materials belonging to the New York art gallery M. Knoedler & Co. The paper outlines a quantitative methodology for approaching the Getty’s data set, which was created through the transcription of Knoedler’s 11 painting stock books covering the gallery’s operations from 1872 to its closing in 1970.