Cinque Gallery Artists
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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. -
D. Wigmore Fine Art, Inc
OUR POSTWAR FOCUS: THE 1960 s-1970 s Richard Anuszkiewicz Frederick Hammersley Sam Gilliam The 22 works in this exhibition reflect the gallery’s focus on the artists of the 1960s-1970s who participated in the inter - national debate on the course of abstract painting after Abstract Expressionism. This debate was framed by two major exhibitions: Clement Greenberg’s 1964 exhibition Post-Painterly Abstraction at the Los Angeles County Museum of Art and William Seitz’s 1965 exhibition The Responsive Eye at the Museum of Modern Art. Post-Painterly Abstraction took from Abstract Expressionism its large format and added open compositions with expan - sive, flattened planes of color, or “color fields.” Clement Greenberg championed this style, favoring “staining” where artists use as little pigment as possible and let the unprepared canvas absorb the paint. Other artists within the Color Field style refused to sacrifice the even, smooth, and controlled surfaces achieved with prepared canvases. By preparing the ground of their paintings, these artists went against Greenberg’s theories. The two opposing approaches to Color Field painting are shown in our exhibition. Greenberg’s “staining” is represented by Sam Gilliam’s (b. 1933) Red Linger , 1972 and Paul Reed’s (b. 1919) 16I , 1963, while Paul Jenkins’ (1923-2012) Phenomena Maimonides Mantle , 1979 and Phenomena Sufi Procession , 1974 are examples of the free-flowing color achieved with primed canvases. In addition to Color Field painting, the 1960s saw groups of artists return to geometric compositions. In California one of these geometric groups was called the Abstract Classicists. They reacted against the emphasis Abstract Expressionism had placed on personal emotions. -
DETROIT FOCUS QUARTERLY Volume 2 Number 2 J U N E 1 9 8 3 a Visual Arts Publication
DETROIT FOCUS QUARTERLY Volume 2 Number 2 J u n e 1 9 8 3 A Visual Arts Publication A photograph Davidby Griffith from the Michigan Friends of Photography exhibition at Meadow Brook Gallery. See page 11. Judging the Jury System: jury system. Do you believe this is a valid way of selecting shows? P lag en s: An Interview with Peter Plagens I think a juried exhibition admits at the outset either that it is a by Dolores S. Slowinski regional show seeking judgment from a major urban art center or from a person from a major urban art center, or that it is something a little Peter Plagens is an artist and the author of The Sunshine Muse. He less professional, such as a juried show of student work. I don’t has written extensively for Art in America and Artforum and is Chair know of any serious, professional artist with any semblance of a man of the art department at the University of North Carolina at career in a major urban art center who submits to jurying, except in Chapel Hill. Mr. Plagens was interviewed on February 14, 1983, the most exceptional circumstances. Likewise, I don't submit to when he served as juror for the exhibition “ Peter Picks Paintings" at juries, but not as a matter of principle I submit to juries for such the Detroit Focus Gallery. The interview has been abridged. things as NEA artists fellowships, and I would submit to a jury if S lo w in s k i: there were a competition for a large work to go on a site I operate The Exhibition Committee wonders if there is any validity left to throughthe dealers, mainly three, one in New York, one in L A., and Continued next page Continued from cover Detroit Focus Quarterly Detroit Focus one in Chicago. -
Modernism 1 Modernism
Modernism 1 Modernism Modernism, in its broadest definition, is modern thought, character, or practice. More specifically, the term describes the modernist movement, its set of cultural tendencies and array of associated cultural movements, originally arising from wide-scale and far-reaching changes to Western society in the late 19th and early 20th centuries. Modernism was a revolt against the conservative values of realism.[2] [3] [4] Arguably the most paradigmatic motive of modernism is the rejection of tradition and its reprise, incorporation, rewriting, recapitulation, revision and parody in new forms.[5] [6] [7] Modernism rejected the lingering certainty of Enlightenment thinking and also rejected the existence of a compassionate, all-powerful Creator God.[8] [9] In general, the term modernism encompasses the activities and output of those who felt the "traditional" forms of art, architecture, literature, religious faith, social organization and daily life were becoming outdated in the new economic, social, and political conditions of an Hans Hofmann, "The Gate", 1959–1960, emerging fully industrialized world. The poet Ezra Pound's 1934 collection: Solomon R. Guggenheim Museum. injunction to "Make it new!" was paradigmatic of the movement's Hofmann was renowned not only as an artist but approach towards the obsolete. Another paradigmatic exhortation was also as a teacher of art, and a modernist theorist articulated by philosopher and composer Theodor Adorno, who, in the both in his native Germany and later in the U.S. During the 1930s in New York and California he 1940s, challenged conventional surface coherence and appearance of introduced modernism and modernist theories to [10] harmony typical of the rationality of Enlightenment thinking. -
Washington University Record, July 2, 1987
Washington University School of Medicine Digital Commons@Becker Washington University Record Washington University Publications 7-2-1987 Washington University Record, July 2, 1987 Follow this and additional works at: http://digitalcommons.wustl.edu/record Recommended Citation "Washington University Record, July 2, 1987" (1987). Washington University Record. Book 414. http://digitalcommons.wustl.edu/record/414 This Article is brought to you for free and open access by the Washington University Publications at Digital Commons@Becker. It has been accepted for inclusion in Washington University Record by an authorized administrator of Digital Commons@Becker. For more information, please contact [email protected]. I '/^OH/MGr / O/N/ /V//i/5/7V ,~*:-- § Washington WASHINGTON ■ UNIVERSITY- IN • ST- LOUIS ARCHIVES u*«ry JUL i '87 RECORD Vol. 11 No. 36/July 2, 1987 Science academy's medical institute elects two faculty Two faculty members at the School of Medicine have been elected mem- bers of the prestigious Institute of Medicine of the National Academy of Sciences. New members of the institute are Michel M. Ter-Pogossian, Ph.D., and Samuel A. Wells Jr., M.D. Ter- Pogossian is professor of radiology at the School of Medicine and director of radiation sciences for Mallinckrodt Institute of Radiology. Wells is Bixby Professor and chairman of the De- partment of Surgery at the medical school. He is also chief of surgery at Barnes and Children's Hospitals in the Washington University Medical Center. The two are among 40 new members elected to the institute in recognition of their contributions to health and medicine or related fields. As members of the institute, which was established in 1970, Wells and Ter-Pogossian will help examine health policy issues and advise the federal government. -
A Finding Aid to the Sam Gilliam Papers, 1957-1989, in the Archives of American Art
A Finding Aid to the Sam Gilliam Papers, 1957-1989, in the Archives of American Art Ashley Boykins Funding for the processing of this collection was provided by the Henry Luce Foundation. 2018/06/29 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 Arrangement..................................................................................................................... 3 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 2 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 5 Series 1: Biographical Material, 1958-1988............................................................. 5 Series 2: Correspondence, 1965-1989.................................................................... 7 Series 3: Writings, 1962-1988............................................................................... -
Benny Andrews Papers Renowned Master Visual Artist, Educator, Lecturer Activist and Arts Advocate 2016
Benny Andrews Papers Renowned Master Visual Artist, Educator, Lecturer Activist and Arts Advocate 2016 MS-ARL104 Blair-Caldwell African American Research Library Denver Public Library Benny Andrews Papers PROVENANCE: The items in the collection were donated by Mr. Benny Andrews. ACCESS: The collection is open for research. OWNERSHIP: Literary rights and copyrights have been assigned to the Denver Public Library. PUBLICATION RIGHTS: All requests for permission to publish, reproduce, or quote from materials in the collection should be discussed with the appropriate librarian or archivist. Permission for publication may be given on behalf of the Denver Public Library as the owner of the physical item. It is not intended to include or imply permission of the copyright holder, which also must be obtained by the customer. The Library does not assume any responsibility for infringement of copyright or publication rights of the manuscript held by the writer, heirs, donors, or executors. Reproduction restrictions are decided on a case-by-case basis. PREFERRED CITATION: Benny Andrews Papers, MS-ARL104, Blair-Caldwell African American Research Library Collection, The Denver Public Library SIZE: 1 box (.25 linear feet) Location: AARL MS-ARL104; Rg6A; Sec5; Sf2, 1 Box PROCESSED by: Deborah Parsons, Volunteer Archivist PROJECT MANAGER: Charleszie Terr Nelson BIOGRAPHICAL NOTE: Benny Andrew was an internationally renowned master visual artist, educator and lecturer. The Benny Andrews Estate archives are housed at Eor Uiersits Rose Lirar. Additioal arhial materials are housed with the Andrews-Humphrey Family Foundation which oversees the estate. The Michael Rosenfeld Galler i Ne York eae the estates artisti represetatie i 2008. -
Romare Bearden
Let’s Create A Collage An abstract mixed-media project inspired by the work of Romare Bearden What is COLLAGE and DÉCHIRAGE? Collage is a technique where a piece of art is created by assemblying different images and shapes and adding them in layers to a piece of paper, canvas, or object. A collage might include images or headlines from a magazine or news- paper, photos, color papers, fabric, items found in nature, and/or other objects. Déchirage, which means “to tear” in French, is an artistic style that distresses paper to create a 3D patchwork. Déchirage is a form of décollage (which is the opposite of collage) because the art is created by cutting, tearing away, or otherwise removing pieces of the original image. Romare Bearden, Melon Season, 1967 HOW TO REMEMBER THE DIFFERENCE Mixed media on canvas, 56 1/2 x 44 1/2 in (143.5 x 113 cm) Collage = Adds image layers to create art Signed upper right: Romare Bearden Décollage and Déchirage = Takes away pieces of the image Collection: Neuberger Museum of Art, Purchase College, SUNY Gift of Roy R. Neuberger. 1976.26.45 WHAT DO YOU SEE? In the Melon Season collage shown above, can you spot an example of déchirage where artist Romare Bearden tore or peeled edges of paper away from the artwork? This project was created by the Neuberger Museum of Art Education team. [email protected] Let’s Create A Collage Activity Materials Students will create a collage using magazines, • Cardboard, heavy card stock paper, or a newspapers, and art supplies found around the Canvas Board house. -
The Kreeger Museum 20Th Anniversary Exhibition
K@20 THE KREEGER MUSEUM 20TH ANNIVERSARY EXHIBITION KENDALL BUSTER WILLIAM CHRISTENBERRY GENE DAVIS SAM GILLIAM TOM GREEN LEDELLE MOE MICHAEL B. PLATT JANN ROSEN-QUERALT JOHN RUPPERT JIM SANBORN JEFF SPAULDING DAN STEINHILBER RENÉE STOUT YURIKO YAMAGUCHI FEBRUARY 20 – JULY 31, 2014 THE KREEGER MUSEUM 2401 FOXHALL ROAD, NW WASHINGTON, DC 20007 www.kreegermuseum.org K@20 THE KREEGER MUSEUM 20TH ANNIVERSARY EXHIBITION FOREWORD From the inception of The Kreeger Museum exhibition program in 1998, it has been my philosophy to present exhibitions that relate to the Museum. Past exhibitions ranged from one-man shows that included Philip Johnson, Tom Wesselmann, William Kentridge, Oleg Kudryashov and Washington artists Sam Gilliam, William Christenberry, Kendall Buster, Dan Steinhilber, and Gene Davis, to group shows with selections from the di Rosa Preserve collection of California Bay Area artists and the New York artist collective, Tim Rollins + K.O.S. Each of these exhibitions focused on a particular aspect of the Museum’s permanent collection, architecture or mission. Over the last twenty years, Washington artists have played a prominent role in the Museum’s histor y— in exhibitions, public programs, educational initiatives and outreach activities. In honor of The Kreeger Museum 20th Anniversary and to acknowledge my respect for the DC art community, I asked Sarah Tanguy to curate an exhibition of Washington area artists, each of whom has exhibited at the Museum, either in a group or one-person show. These fourteen artists represent the outstanding talent and commitment prevalent in the nation’s capital. This exhibition was made possible by the generosity of the following sponsors: Aon Huntington Block Insurance; Giselle and Ben Huberman; Frederick P. -
Hir Eth a a I Su
THE TAMA. RIND PAPERS A Journal of the Fine Print Volume Thirteen 1990 HIR ETH A A I SU Articles & Reviews by CLINTON ADAMS JOANN MOSER GARO ANTREASIAN NATHAN OLIVEIRA MARK ATTWOOD ELLEN SRAGOW RIVA CASTLEMAN SILVIE TURNER VAN DEREN COKE LINDA TYLER RUTH E. FINE SHARYN UDALL PAT GILMOUR GUSTAVE VON GROSCHWITZ LANIER GRAHAM BARRY WALKER RICHARD HAMILTON JUNE WAYNE EUGENIA PARRY JANIS GABRIEL P. WEISBERG BILL LAGATTUTA RUTH WEISBERG SUSAN LAMBERT BARBARA A. WOLANIN THIRTEEN 1 9 9 0 THE TAMARIND PAPERS EDITOR: Clinton Adams CONTRIBUTING EDITORS: Pat Gilmour Gabriel P. Weisberg ASSISTANT EDITOR: Linda Tyler EDITORIAL BOARD: Philip Dennis Cate Van Deren Coke Richard Field Robert Gardner Jules Heller Sinclair H. Hitchings Eugenia Parry Janis Lynton R. Kistler Peter Morse Joann Moser Gustave von Groschwitz Barry Walker Gabriel P. Weisberg Theodore F. Wolff The Tamarind Papers, an annual journal of the fine print, is published by SINGLE COPY PRICE, United States and Tamarind Institute, 108 Cornell Avenue, S.E. , Albuquerque, New Mexico Canada: $12.00 U.S.; elsewhere $14.00. 87106. Telephone 505:277-3901. Tamarind Institute is a division of the Uni SuBSCRIPTIONS, United States and versity of New Mexico. Canada: Two issues, $20.00 U.S.; elsewhere, $25.00 (surface mail). The editor welcomes submission of historical, critical, or technical articles on topics related to the fine print. Historical and critical articles should be limited © Tamarind Institute, 1990 to nineteenth- and twentieth-century subjects; technical articles may deal All rights reserved. with any print medium. Manuscripts and photographs will be returned only Printed in the United States of if accompanied by a stamped, self-addressed envelope. -
Summer Fridays: Exploring the Work of Richard Mayhew
Summer Fridays: Exploring the Work of Richard Mayhew Inspiration: Richard Mayhew (American, b. 1924). Friday, 1982. Oil on canvas. Gift of Dr. Thomas A. Mathews, 1987 (87.16.1). Ages: 5+ (through adult) Duration: Open-ended Materials: Paper and pencil (or artistic medium of your choice). Introduction: The basic definition of “landscape art” is “the depiction of natural scenery.” As a major genre in artistic traditions across the world, landscape art has evolved over time from what can be considered an “objective” rendering to often a more “subjective” one. Artists like Richard Mayhew have experimented with and infused individualistic identity into the genre in unique ways, expanding the definition of landscape art in general. hrm.org/museum-from-home 1 Look Take a close look at Friday. • What’s going on in this work? • What do you see that makes you say that? • What more can you find? Think • Is the landscape Mayhew depicts in Friday familiar or unfamiliar to you? Why or why not? • What part of the composition is your eye drawn to first? • How does the artist’s choice of color affect your emotions and mood when viewing this work? • How does the artist’s use of the artistic elements of form and value in the work influence your reaction to it? • If you could only use verbs/action words to describe the painting, what words would you choose? Why? Connect Richard Mayhew (b. 1924) grew up in Amityville, New York, and now resides in California. He is of African American and Native American descent. His mother was African American and Cherokee, and his father was African American and Shinnecock. -
Introduction to Romare Bearden #1 “Jamming at the Savoy” by Bearden
Copyright, 1994, Art Outreach, an extension of the Education Department and School of Art, Springfield Art Association of Edwards Place, an Illinois non-profit corporation. #53 ROMARE BEARDEN AND WILLIAM H. JOHNSON Images Artists #1 “Jamming At the Savoy” Bearden #2 “The Return of Maudelle Sleet” Bearden #3 “Return of the Prodigal Son” Bearden #4 “The Lamp” Bearden #5 “Out Chorus” Bearden #6 “Man in a Vest” Johnson #7 “Going to Church” Johnson #8 “Mom and Dad” Johnson Introduction to Romare Bearden “He struck me as taller somehow and even more substantial than his 5”11”, 210 pound frame would warrant, smiling with a gaze in his hazel green eyes that was at the same time congenial, approachable, yet detached and distant--and there was a decidedly special aura about him. Although Bearden was a remarkably fair-skinned black American, he was also what Albert Murray had called an Omni-American--part frontiersman, part Cherokee, part Southerner, part urbane Harlemite, and part blues-idiom hero. He was a man whose presence charged a room with intelligence, not that he ever put on any airs: he had no need to.” Quote by Myron Schwartzman, author. Right now, it is almost impossible to go into a bookstore and not come across a book with Romare Bearden’s art on its cover. We make two assumptions when encountering this phenomenon: that the contents of the book have something to do with the “black experience”: and that the publisher wants to be absolutely sure we know this. These assumptions expose an underlying problem in the literature on Bearden: the common reduction of his work to just a record of the black experience.