Herbert Matter Mercedes Matter Release Final

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Herbert Matter Mercedes Matter Release Final

NEWS RELEASE Exhibition: Herbert Matter – Mercedes 1940 Dates: October 24 – December 7, 2013 Opening: Thursday, October 24, 6 - 8pm Higher Pictures presents Mercedes 1940, by Herbert Matter. This is the first New York solo exhibition of Herbert Matter in over a decade. The exhibition consists of eleven vintage silver gelatin photographs of Mercedes Carles by Herbert Matter, made in the summer before they married. Matter’s intimate portraits of Mercedes are the visual results of a thrilling act by an artist and lover, a dance of seduction with the camera, Mercedes’ energy and allure. Introduced in 1938 by Fernand Léger, the pair became one of the most powerful and influential art world couples of the 20th century. Throughout their sixty-year marriage, their close friends and associates included Jackson Pollock, Franz Kline, Willem de Kooning, Fernand Léger, Alexander Calder, Alberto Giacometti, Charles and Ray Eames, Buckminster Fuller and fellow Swiss photographer Robert Frank. A pioneering figure in photography, Herbert Matter came to the United States in 1935. Matter was inspired by the Russian Constructivists and Man Ray. It is noted that his light drawings anticipated Abstract Expressionism and indeed may have influenced his friend Jackson Pollock. He employed all manner of darkroom techniques to create his photographs, including collage, montage, solarization, reverse printing, retouching, cropping, and re-photographing. Reticent but much respected, the Swiss-born New York photographer Herbert Matter (1907-1984) was the rare figure who bridged the commercial arts and fine arts. His wife, Mercedes Matter (1913–2001), the painter, muse and New York School maven was born into the art world. Her mother was Mercedes de Cordoba, who modeled for Edward Steichen and other members of the Photo-Secession; her father was the early American modernist painter Arthur B. Carles. For further information contact Kim Bourus at 212.249.6100. Upcoming Exhibition: Bruce Gilden .

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American Art & Pennsylvania Impressionists (1649) Lot 83
American Art & Pennsylvania Impressionists (1649) December 8, 2019 EDT Lot 83 Estimate: $50000 - $80000 (plus Buyer's Premium) Hans Hofmann (American/German, 1880-1966) Jeannette Carles (Mrs. Herbert Matter) Signed and dated 'hans hofmann/34' bottom center right; also inscribed with title and artist verso, oil on panel 54 1/2 x 40 1/2 in. (138.4 x 102.9cm) Provenance: Estate of Hans Hofmann (no. M-0160). André Emmerich Gallery, New York, New York. Acquired directly from the above in 1987. Collection of Mr. and Mrs. Jeffrey Glick, until 1995. André Emmerich Gallery, New York. Arij Gasiunasen Gallery, Palm Beach, Florida. Acquired directly from the above. Collection of Mr. Stephen E. Myers. Private Collection, New York, New York. EXHIBITED: "Hans Hofmann: Painter and Teacher," Addison Gallery of American Art, Andover, Massachusetts, January 2-February 22, 1948. "Hans Hofmann: The Pre-War Years in America," André Emmerich Gallery, New York, New York, January 9-February 7, 1987. "Hans Hofmann," Whitney Museum of American Art, New York, New York, June 20-September 16, 1990; and Center for the Fine Arts, Miami, Florida, November 23, 1990-January 20, 1991; and The Chrysler Museum, Norfolk, Virginia, February 17-April 14, 1991 (traveling exhibition, only shown in New York as Jeanette [sic] Carles (Mercedes Carles Matter)). LITERATURE: Hans Hofmann et al., Search for the Real, and Other Essays, Addison Gallery of American Art at Phillips Academy, Andover, Massachusetts, 1948, p. 82 (illustrated as installation view); and the M.I.T. Press for revised edition of March 15, 1967, p. 76 (also illustrated as installation view).
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Irving Sandler
FROM THE ARCHIVES: HANS HOFMANN: THE PEDAGOGICAL MASTER By Irving Sandler May 30, 1973 Irving Sandler died on June 2, 2018 at the age of 92. A frequent contributor to A.i.A., Sandler was best known for chronicling the rise and the aftermath of Abstract Expressionism. One of his most significant articles for A.i.A., the impact of Hans Hofmann, who taught such artists as Helen Frankenthaler and Allan Kaprow, thereby influencing not only second- and third-generation Ab Ex painters but other developments in American art after 1945. Sandler highlights Hofmann’s interest in the deep traditions of European art, and his belief that the best abstract painting continues its manner of modeling the world. “It was in this cubic quality, this illusion of mass and space, that the man-centered humanist tradition—or what could be saved of it—was perpetuated,” Sandler wrote, summarizing a central tenet of Hofmann’s teachings. The full essay, from our May/June 1973 issue, is presented below. In June we re-published Sandler’s essay “The New Cool-Art,” on the rise of Minimalism. —Eds. As both a painter and a teacher Hans Hofmann played a germinal part in the development of advanced American art for more than thirty years. This article will deal only with his pedagogical role—a topic chosen with some trepidation, for to treat an artist as a teacher is often thought to demean his stature as an artist. The repute of Hofmann’s painting has suffered in the past because of this bias, but no longer, since he is now firmly and deservedly established as a pathfinding master of Abstract Expressionism.
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Alberto Giacometti, Herbert Matter, Matthew Monahan, Jonathan Silver
Alberto Giacometti, Herbert Matter, Matthew Monahan, Jonathan Silver Nicole Klagsbrun is pleased to present an exhibition featuring Alberto Giacometti (1901–66), Herbert Matter (1907–84), Jonathan Silver (1937–92), and Matthew Monahan (1972–), who together share a clear set of existential interests in the human figure, ambiguity, and visual play. On view are photographs from Matter’s early-1960s black-and-white series documenting Giacometti’s celebrated, exceedingly tall and thin statues. After 1945, Giacometti ceased producing small experimental figures and began to focus on over-lifesize works. The surfaces of these sculptures are fractured and rough, never smooth like a Rodin. By 1947, three main themes had emerged in Giacometti’s art: the walking man, the standing woman, and the bust or head—which are all present in these haunting images. Matter and Giacometti became fast friends after meeting in 1950, when Pierre Matisse commissioned Matter to document Giacometti’s work in exhibition at Matisse’s gallery in New York. In a letter to Matter from 1961, Giacometti wrote: I think about [the photographs] every day and now I am impatient to tell you how elated and happy I have been to see the whole series of marvelous photographs. I could not stop looking at them, picking them up one by one and starting all over again, remarking at the great joy they have given me. They are by far the most beautiful photographs that have been made of my things, and, most important, at the same time they have a reality in themselves; each one is a creation in itself, one more beautiful than the other.1 A designer and a photographer, Matter left his position at Knoll to concentrate on publishing a book of these photographs.
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Arthur B. Carles Papers
Arthur B. Carles papers MS.050 Finding Aid prepared by Hoang Tran The Pennsylvania Academy of the Fine Arts 118-128 North Broad Street Philadelphia, PA 19102 [email protected] 215-972-2066 Updated by Hoang Tran, January 2016 Arthur B. Carles papers (MS.050) Summary Information Repository The Pennsylvania Academy of the Fine Arts, Dorothy and Kenneth Woodcock Archives Creator Arthur B. Carles (1882-1952) Title Arthur B. Carles papers Date [bulk] Date [inclusive] 1900-1941 Extent 11 document boxes, 2 1/2 document boxes Location note Language Language of Materials note English Abstract Collection comprises of dated correspondence to and from Carles, miscellaneous correspondence, photographs, notes, and printed matter from his art career. Preferred Citation note [identification of item], Title of Collection, Collection ID#, The Pennsylvania Academy of the Fine Arts, Dorothy and Kenneth Woodcock Archives, Philadelphia, PA. Page 1 Arthur B. Carles papers (MS.050) Historical note Arthur B. Carles (1882-1952) was one of the leading exponents of modern painting to emerge from, and remain in, Philadelphia. In 1901, and from 1903-07, he studied at the Pennsylvania Academy. At the Academy, Carles won two Cresson Travel Scholarships that allowed him to travel to Europe in the summer of 1905, and again in June of 1906, when he commenced a three-year stay. The American painter Alfred Maurer introduced Carles to modern European art. It was also through Maurer that Carles met the collectors Gertrude and Leo Stein. While in Europe, Carles became close friends with the painter and photographer Edward Steichen. He was also profoundly influenced by the expressionist work of Henri Matisse.
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Carmen Herrera Interviewed by Julia P
CSRC ORAL HISTORIES SERIES NO. 18, OCTOBER 2020 CARMEN HERRERA INTERVIEWED BY JULIA P. HERZBERG ON DECEMBER 15, 2005, AND JANUARY 10, 2006 Carmen Herrera is a Cuban American painter who lives and works in New York City. In 2017 her work was surveyed in Carmen Herrera: Lines of Sight at the Whitney Museum of American Art; the exhibition traveled to the Wexner Center for the Arts in Columbus, Ohio, and Kunstsammlung Nordrhein-Westfalen in Düsseldorf, Germany. A selection of recent paintings was shown at New York City’s Lisson Gallery in May 2016. Other solo exhibitions have been at Museum Pfalzgalerie Kaiserslautern, Kaiserslautern, Germany (2010); Ikon Gallery, Birmingham, UK (2009); and Museo del Barrio, New York City (1998). Her work has also been included in a number of group shows. Julia P. Herzberg is an art historian, independent curator, and writer. As a Fulbright scholar in 2007–11 and 2012–13, she taught at Pontifical Catholic University and Diego Portales University in Santiago, Chile, and curated the exhibition Kaarina Kaikkonen: Two Projects—Traces and Dialogues at the Museum of History and Human Rights and the National Museum of Fine Arts in Santiago. Her most recent publications are “Carlos Alfonzo: Transformative Work from Cuba to Miami and the U.S.,” in Carlos Alfonzo: Witnessing Perpetuity (2020) and “A Conversation with María Elena González: A Trajectory of Sound,” in María Elena González: Tree Talk (2019). This interview was conducted as part of the A Ver: Revisioning Art History project. Preferred citation: Carmen Herrera, interview with Julia P. Herzberg, December 15, 2005, and January 6, 2006, New York, New York.
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Not for the Uncommitted: the Alliance of Figurative Artists, 1969–1975 By
Not for the Uncommitted: The Alliance of Figurative Artists, 1969–1975 By Emily D. Markert Submitted in partial fulfillment of the requirements for the degree Master of Arts in Curatorial Practice California College of the Arts April 22, 2021 Not for the Uncommitted: The Alliance of Figurative Artists, 1969–1975 Emily Markert California College of the Arts 2021 From 1969 through the early 1980s, hundreds of working artists gathered on Manhattan’s Lower East Side every Friday at meetings of the Alliance of Figurative Artists. The art historical canon overlooks figurative art from this period by focusing on a linear progression of modernism towards medium specificity. However, figurative painters persisted on the periphery of the New York art world. The size and scope of the Alliance and the interests of the artists involved expose the popular narrative of these generative decades in American art history to be a partial one promulgated by a few powerful art critics and curators. This exploration of the early years of the Alliance is divided into three parts: examining the group’s structure and the varied yet cohesive interests of eleven key artists; situating the Alliance within the contemporary New York arts landscape; and highlighting the contributions women artists made to the Alliance. Keywords: Post-war American art, figurative painting, realism, artist-run galleries, exhibitions history, feminist art history, second-wave feminism Acknowledgments and Dedication I would foremost like to thank the members of my thesis committee for their support and guidance. I am grateful to Jez Flores-García, my thesis advisor, for encouraging rigorous and thoughtful research and for always making time to discuss my ideas and questions.
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March 1978 CAA Newsletter
Volume 3, Number I March 1978 CAA awards 1978 annual meeting report Awards for excellence in art historical schol The high note and the low note of the 1978 arship and criticism and in the teaching of annual meeting were sounded back-to-back: studio arts and art history were presented at the high note on Friday evening, the Con the Convocation ceremonies of the 66th An vocation Address by Shennan E. Lee, a stun nual Meeting of the College Art Association, ning defense of the pursuit of excellence and held in the Grace Rainey Rogers Auditorium an attack upon anti-elitist demagoguery and of the Metropolitan Museum of Art on Friday the obliteration of the essential boundaries evening, January 27, 1978. between the realm of art and the realm of The Association's newest award (estab commerce by those with both the training and lished last year), for Distinguished Teaching the responsibility to know better. Too good to of Art History, was presented to Ellen John paraphrase, so we've culled some excerpts (see son, Professor Emeritus of Art and Honorary p. 3). Curator of Modem Art at Oberlin College. The low note was struck on Saturday morn For nearly forty years Professor Johnson's ing, on the Promenade of the New York courses in nineteenth- and twentieth-century Hilton Hotel (formerly the CAA Registration art have been one of the most popular offer Area). Unbeknownst to us, the space had ings at this prestigious undergraduate institu been contracted to the City-Wide Junior High tion. Her inspired teaching first opened the School Symphonic Orchestra, a group of eyes of numerous students, many of whom some eighty fledgling enthusiasts whose per went on to become leading historians, cura formance could be appreciated only by par tors, critics, and collectors of modern art.
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A Furniture Comedy for Hans Hofmann," an "Environment" by Allan
THE MUSEUM OF MODERN ART No. k8 11 WEST 53 STREET, NEW YORK 19, N. Y. F0R RELEASE: Thursday, April 18, I963 TILEPHONE: CIRCLE 5-8900 9 ' r ' W W NOTE: The special viewing of the exhibition Hans Hofmann and His Students including the "environment" described here will take place from k to 6 p.m., Wednesday, April 17, 19&3 at Santini's Warehouse, kkf West 1+9 Street. Mr. Hofmann, the other artists represented in the exhibition, and lenders have been invited. Members of the press and photographers are, of course, welcome to attend and participate. "Push and Pull - A Furniture Comedy for Hans Hofmann," an "environment" by Allan Kaprow, will be presented for an invited audience as part of a special one-day show ing of a new Museum of Modern Art circulating exhibition, Hans Hofmann and His Students, on Wednesday, April IT at Santini's Warehouse, khj West 1*9 Strset. The exhibition consists of six major paintings by the famous 83-year-old teacher and one work each by 50 well-known American artists who have been his students. The show will be shipped from the warehouse later this month to begin a year and one-half long tour of the United States* The great variety of media and styles in the exhibition is a testament to Hofmann1s ability to inspire individual creativity. According to William C, Seitz, Associate Curator of Painting and Sculpture Exhibitions who organized the show, "the Impact of Hofmann's teaching, especially on American art of the post-war period, has been invaluable.
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Alexey Brodovitch and His Influence
#, Philadelphia College ofArt expresses its gratitude to those foundations ivithout ivhose major, sponsoring grants this exhibition and catalogue could not have been achieved: The American Metal Climax Foundation; The Catherwood Foundation; The Samuel S. Fels Fund. In addition, generous supporting gifts from the following are gratefully acknou'ledged: Mr. and Mrs. George R. Bunker; The William Randolph Hearst Foundation; Mr. Morton Jenks; Saks Fifth Avenue. The exhibition and catalogue have been produced hv the Philadelphia College ofArt in collaboration with, the Smithsonian Inslilulion, Washington, D.C. April 7, 1972 Philadelphia. Pennsylvania ALEXEY BRODOVITCH ANDmS INFLIIENGE firing the winter of 1969 I had an opportunity to visit Alexey Brodovitch in le Thor, a small, quiet town in the south of France. I had gone there to tell him that the College had wanted to give him a degree and an exhibition, and that we hoped this still might be possible. That first meeting was strange and compelling. Outside that day, there was a clear winter light, and inside his back-lit room, all was shadowed and Brodovitch himself scarcely more than a silhouette, indistinct but also somehow very much a presence. Strained courte- sies in French and English began the visit, but soon gave way to another level of intensity, alwavs just below the surface of what we said. In that simple, lean room, this gaunt and ravaged man. ill and half-paralyzed, anguished by a recent and terrible accident to his son, was by turns gallant and passionate, courteous, friendly and desperately alone. It was impossible to remain aloof from him; he had a way of compelling involvement.
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Conference Program
I WEDNESDAY PM 2:OO-5:OO Art Libraries Versailles Terrace Chairman: Elizabeth R. Usher / Metropolitan Museum of Art Bibliographical Reports: ART bibliographies / Roger Bilboul 1European Bibliographical Center Planning for the Center for Advanced Studies in the Visual Arts I.I. M. Edelstein 1 National Gallery of Art Centro di Documentation / Alessandra Marchi / Centro di Documentation, Florence RiLA / Michael Rinehart / Sterling and Francine Clark Art Institute / Judy Ann Goldman and AntoinettePeterson Panel Discussion: The Art Library-Today and in the Future Moderator: Gerd Muehsarn / Queens College Panel: The Viewpoint of the Professor / Scholar User / Hanna Deinhard / Queens College The Viewpoint of the University Art Librarian / Jean L. Finch 1 Stanford University Libraries The Viewpoint of the Small Art Museum Librarian / Barbara Lipton I The Viewpoint of the Artist/Scholar User / Alvin Smith / Queens College The Viewpoint of the Large Art Museum Librarian 1 Frank Sommer I Winterthur Museum The Viewpoint of the Curator/Specialist/Scholar User I Louise A. Svendsen / Guggenheim Museum The Viewooint of the Curator/Scholar User / Georoe Szabo /The Lehman Open house at studios and galleries Information available at Social Events Desk 3:OO-6:00 Reception The Century Association Limited to300 persons 1 Invitations available at Social Events Desk 7 West 43rd Street An opportunity to view the Century Club's collection of New York, New York 19th century American painting WEDNESDAY PM 6:OO-9:OO Convocation The Metropolitan Grace Rainev, Rooers-
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Painterly Representation in New York: 1945-1975
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7.10 Nov 2019 Grand Palais
PRESS KIT COURTESY OF THE ARTIST, YANCEY RICHARDSON, NEW YORK, AND STEVENSON CAPE TOWN/JOHANNESBURG CAPE AND STEVENSON NEW YORK, RICHARDSON, YANCEY OF THE ARTIST, COURTESY © ZANELE MUHOLI. © ZANELE 7.10 NOV 2019 GRAND PALAIS Official Partners With the patronage of the Ministry of Culture Under the High Patronage of Mr Emmanuel MACRON President of the French Republic [email protected] - London: Katie Campbell +44 (0) 7392 871272 - Paris: Pierre-Édouard MOUTIN +33 (0)6 26 25 51 57 Marina DAVID +33 (0)6 86 72 24 21 Andréa AZÉMA +33 (0)7 76 80 75 03 Reed Expositions France 52-54 quai de Dion-Bouton 92806 Puteaux cedex [email protected] / www.parisphoto.com - Tel. +33 (0)1 47 56 64 69 www.parisphoto.com Press information of images available to the press are regularly updated at press.parisphoto.com Press kit – Paris Photo 2019 – 31.10.2019 INTRODUCTION - FAIR DIRECTORS FLORENCE BOURGEOIS, DIRECTOR CHRISTOPH WIESNER, ARTISTIC DIRECTOR - OFFICIAL FAIR IMAGE EXHIBITORS - GALERIES (SECTORS PRINCIPAL/PRISMES/CURIOSA/FILM) - PUBLISHERS/ART BOOK DEALERS (BOOK SECTOR) - KEY FIGURES EXHIBITOR PROJECTS - PRINCIPAL SECTOR - SOLO & DUO SHOWS - GROUP SHOWS - PRISMES SECTOR - CURIOSA SECTOR - FILM SECTEUR - BOOK SECTOR : BOOK SIGNING PROGRAM PUBLIC PROGRAMMING – EXHIBITIONS / AWARDS FONDATION A STICHTING – BRUSSELS – PRIVATE COLLECTION EXHIBITION PARIS PHOTO – APERTURE FOUNDATION PHOTOBOOKS AWARDS CARTE BLANCHE STUDENTS 2019 – A PLATFORM FOR EMERGING PHOTOGRAPHY IN EUROPE ROBERT FRANK TRIBUTE JPMORGAN CHASE ART COLLECTION - COLLECTIVE IDENTITY
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