Outgoing Loan Files, 1997-2002
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Readings for David Getsy Seminar: “Beyond Visibility: Transgender Methods, Queer Methods, and the Case of Abstraction in Art History"
Readings for David Getsy Seminar: “Beyond Visibility: Transgender Methods, Queer Methods, and the Case of Abstraction in Art History" Required Readings 1. EXCERPTS: Preface and “Introduction: „New‟ Genders and Sculpture in the 1960s,” in Abstract Bodies: Sixties Sculpture in the Expanded Field of Gender (Yale University Press, 2015). PAGES xi-xvii, 1-5, 26-41. 2. “Queer Relations,” ASAP/Journal 2.2 (May 2017): 254-57 3. “Refusing Ambiguity,” in Carlos Motta, John Arthur Peetz, and Carlos Maria Romero, eds., The SPIT! Manifesto Reader (London: Frieze Projects, 2017), 61-62. 4. “Seeing Commitments: Jonah Groeneboer‟s Ethics of Discernment,” Temporary Art Review (8 March 2016), n.p. 5. “A Sight to Withhold: David J. Getsy on Cassils,” Artforum (February 2018), 57-60 Further reference (not required): a. “Abstract Bodies and Otherwise: Amelia Jones and David Getsy on Gender and Sexuality in the Writing of Art History,” caa.reviews (posted 16 February 2018) b. “Appearing Differently: Abstraction‟s Transgender and Queer Capacities,” interview by W. Simmons, in C. Erharter, et al., Pink Labour on Golden Streets: Queer Art Practices (Berlin: Sternberg Press, 2015), 38-55. c. “Queer Formalisms: Jennifer Doyle and David Getsy in Conversation,” Art Journal 72.4 (Winter 2013): 58-71. d. “Conclusion: Abstraction and the Unforeclosed,” in Abstract Bodies: Sixties Sculpture in the Expanded Field of Gender (Yale University Press, 2015), 266-80. Scott Burton, The Last Tableau, 1989. Installed at the Whitney Museum of American Art, 1991. ABSTRACT BODIES SIXTIES SCULPTURE IN THE EXPANDED FIELD OF GENDER DAVID J . GETSY YALE UNIVERSITY PRESS NEW HAVEN AND LONDON CONTENTS Acknowledgments vii Preface v11 Copyright © 2015 by David Getsy. -
Archived News
Archived News 2004-2005 News articles from 2004-2005 Table of Contents Remembering the McCarthy Era 50 Years Later 3 Black History Month ........................................ 35 New High School Summer Writing and Dance Amasi Trio: News and Events at Sarah Lawrence Programs ............................................................. 4 College.............................................................. 36 Summer Workshops for Adults .......................... 5 Women's History Conference Explores Women's July is a Time for Writing................................... 7 Experience Through Their Stories.................... 37 New Appointments: Director of Diversity and Writing Program Featured in Poets & Writers. 38 Dean of Student Affairs ...................................... 8 James Bond-Themed SSSF Auction ................ 39 Chinese Dance Company of New York to Daniel Stein to Perform Timepiece .................. 40 Perform ............................................................. 10 Crises in Education........................................... 41 Writing Institute Participant Creates Award- Palestinian Human Rights Advocate To Speak 44 Winning Fiction ................................................ 11 Matilde Zimmerman's Book on Nicaraguan Writing Institute Launches New Season........... 12 Revolutionary Leader Receives Praise............. 45 Yonkers Scholars .............................................. 13 "Glass and Graphics" Exhibit........................... 46 Photo Exhibit Honors September 11................. 14 Jean -
Experiencing Louise Nevelson's <Italic>Moon Garden</Italic>
The Smithsonian Institution Experiencing Louise Nevelson's Moon Garden Author(s): Elyse Deeb Speaks Reviewed work(s): Source: American Art, Vol. 21, No. 2 (Summer 2007), pp. 96-108 Published by: The University of Chicago Press on behalf of the Smithsonian American Art Museum Stable URL: http://www.jstor.org/stable/10.1086/521891 . Accessed: 22/08/2012 12:25 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 University of Chicago Press, Smithsonian American Art Museum, The Smithsonian Institution are collaborating with JSTOR to digitize, preserve and extend access to American Art. http://www.jstor.org New Perspective Experiencing Louise Nevelson’s Moon Garden Elyse Deeb Speaks Th ough nearly forgotten today, Louise Nevelson’s exhibition Moon Garden Plus One won widespread critical acclaim when it opened in 1958 at the Grand Central Moderns Gallery in New York City. Th e show was composed of numerous large, abstract assemblages that together created a unifi ed space. Made mostly of found wooden scraps––banisters, beams, toilet seats, moldings and other architectural embellishments, milk crates, rolling pins, and various domestic wooden objects––the components were all painted a uniform black. -
Media Release
Media Release Sept. 28, 2015 Media only: Kelly Carnes 202.633.2825: [email protected] Media website: http://www.hirshhorn.si.edu/press/ Hirshhorn Presents “Marvelous Objects: Surrealist Sculpture from Paris to New York” Oct. 29–Feb. 15, 2016 Major Exhibition Is First To Examine Transatlantic Link Between US and Europe; Includes Rare Works by Dalí, Giacometti and Calder “Marvelous Objects: Surrealist Sculpture from Paris to New York,” the first major museum exhibition devoted to a comprehensive view of the movement’s three-dimensional works, opens Oct. 29 at the Smithsonian’s Hirshhorn Museum and Sculpture Garden. The exhibition brings together more than 120 works created by more than 20 artists from France, Spain, Belgium, Switzerland, Germany, Great Britain and the United States from the 1920s to the 1950s. Works include sculptures, photographs, drawings and paintings. “Surrealism has long been seen as a movement in painting, drawing and film,” said Melissa Chiu, director of the Hirshhorn. “This exhibition reveals the great breadth and depth of the sculptural work, a vital part of surrealism that continues to be relevant to today’s artists.” Smithsonian Institution Hirshhorn Museum and Sculpture Garden MRC 350 PO Box 37012 Washington DC 20013-7012 Telephone 202.633.1618 Fax 202.633.8796 “This exhibition surveys the totality of surrealist sculpture by highlighting two main approaches,” said Valerie Fletcher, senior curator and the project’s organizer. “Organic abstraction originated in the whimsical reliefs of Jean Arp and inspired many artists, including Henry Moore in Britain, Joan Miró in Spain and Isamu Noguchi in the United States. Found-object assemblages, which originated in Marcel Duchamp’s Assisted Readymades, became a surrealist passion. -
Conservation of Outdoor Painted Sculpture at the Hirshhorn: Taking Lessons from the Preservation of Variable Media Art
PROCEEDINGS Proceedings from the interim meeting of the Modern Materials and Contemporary Art Working Conserving Outdoor Group of ICOM-CC Painted Sculpture Kröller-Müller Museum, Otterlo, The Netherlands, June 4–5, 2013 The Getty Conservation Institute Conserving Outdoor Painted Sculpture Proceedings from the interim meeting of the Modern Materials and Contemporary Art Working Group of ICOM-CC Kröller-Müller Museum, Otterlo, The Netherlands, June 4–5, 2013 Edited by Lydia Beerkens and Tom Learner The Getty Conservation Institute Los Angeles Proceedings from the interim meeting of the Modern Materials and Contemporary Art Working Group of ICOM-CC Kröller-Müller Museum, Otterlo, The Netherlands, June 4–5, 2013 The Getty Conservation Institute works internationally to The International Council of Museums (ICOM), created in 1946, is the world advance conservation practice in the visual arts, broadly organization representing museums and museum professionals, committed interpreted to include objects, collections, architecture, to the promotion and protection of natural and cultural heritage, present and and sites. It serves the conservation community through future, tangible and intangible. With approximately 30,000 members in 137 scientific research, education and training, model field countries, ICOM is a unique network of museum professionals acting in a projects, and the broad dissemination of the results wide range of museum-and heritage-related disciplines. of both its own work and the work of others in the field. In all its endeavors, it focuses on the creation and The Committee for Conservation of ICOM (ICOM-CC) aims to promote the dissemination of knowledge that will benefit professionals conservation of culturally and historically significant works and to further the and organizations responsible for the conservation of the goals of the conservation profession. -
Media Release
Media Release May 20, 2015 Media only: Glenn Dixon 202.633.2807: [email protected] Kelly Carnes 202.633.2825: [email protected] Media website: http://www.hirshhorn.si.edu/press/ Hirshhorn Presents “Marvelous Objects: Surrealist Sculpture from Paris to New York” Oct. 29–Feb. 15, 2016 Major Exhibition Is First To Examine Transatlantic Link Between US and Europe “Marvelous Objects: Surrealist Sculpture from Paris to New York,” the first major museum exhibition devoted to a comprehensive view of the movement’s three-dimensional works, opens Oct. 29 at the Smithsonian’s Hirshhorn Museum and Sculpture Garden. The show brings together more than 100 works created by more than 20 artists from France, Spain, Belgium, Switzerland, Germany, Great Britain and the United States from the 1920s to the 1950s. “Surrealism has long been seen as a movement in painting, drawing and film,” said Melissa Chiu, director of the Hirshhorn. “This exhibition reveals the great breadth and depth of the sculptural work, a vital part of surrealism that continues to be relevant to today’s artists.” “This exhibition reveals the totality of surrealist sculpture by highlighting two main approaches,” said Valerie Fletcher, senior curator and the project’s organizer. “Organic abstraction originated in the whimsical reliefs of Jean Arp and inspired many artists, including Henry Moore in Britain, Joan Miró in Spain and Isamu Noguchi in the United States. Found-object assemblages, which originated in Marcel Duchamp’s Assisted Readymades, became a surrealist passion. ‘Marvelous Objects’ also unifies into a single narrative the international development of surrealism in Europe and the United States.” Among the 85 sculptures in the exhibition are Arp’s “Shirt Front and Fork” (1922), Duchamp’s “Why Not Sneeze, Rose Sélavy?” (1921), Alberto Giacometti’s “Woman with Her Throat Cut” (1932) and “The Invisible Object (Hands Holding the Void)” (1935), Man Ray’s “Object to be Destroyed” (1933), Salvador Dalí’s “Venus de Milo with Drawers” (1936), Moore’s “Stringed Figure No. -
Loan Records, 1974-1999
Loan Records, 1974-1999 Finding aid prepared by Smithsonian Institution Archives Smithsonian Institution Archives Washington, D.C. Contact us at [email protected] Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Descriptive Entry.............................................................................................................. 1 Names and Subjects ...................................................................................................... 1 Container Listing ............................................................................................................. 2 Loan Records https://siarchives.si.edu/collections/siris_arc_246921 Collection Overview Repository: Smithsonian Institution Archives, Washington, D.C., [email protected] Title: Loan Records Identifier: Accession 03-145 Date: 1974-1999 Extent: 2 cu. ft. (2 record storage boxes) Creator:: Hirshhorn Museum and Sculpture Garden. Office of the Registrar Language: Language of Materials: English Administrative Information Prefered Citation Smithsonian Institution Archives, Accession 03-145, Hirshhorn Museum and Sculpture Garden. Office of the Registrar, Loan Records Descriptive Entry This accession consists of records documenting outgoing loan requests denied or withdrawn. Materials include correspondence, loan request forms, and black and white photographs. -
Abstract Bodies
ABSTRACT BODIES SIXTIES SCULPTURE IN THE EXPANDED FIELD OF GENDER DAVID J . GETSY YALE UNIVERSITY PRESS NEW HAVEN AND LONDON CONTENTS Acknowledgments vii Preface v11 Copyright © 2015 by David Getsy. All rights reserved. Introduction: 1 “New” Genders and Sculpture This book may not be reproduced, in whole or in part, in any form (beyond that copying permitted in the 1960s by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publishers. 1 On Not Making Boys: 43 David Smith, Frank O’Hara, and Gender Designed by Charlotte Grievson. Assignment Printed in China. 2 Immoderate Couplings: 97 Transformations and Genders in John Library of Congress Cataloging-in-Publication Data Chamberlain’s Work Getsy, David. 3 Second Skins: 147 Abstract bodies : sixties sculpture in the expanded field of gender/David J. Getsy. The Unbound Genders of Nancy Grossman’s pages cm Includes bibliographical references and index. Sculpture ISBN 978-0-300-19675-7 (hardback) 4 Dan Flavin’s Dedications 209 1. Sculpture, Abstract--United States--Themes, motives. 2. Sex role in art. 3. Flavin, Dan, 1933-1996-- Criticism and interpretation. 4. Grossman, Nancy--Criticism and interpretation. 5. Chamberlain, John, 1927-2011--Criticism and interpretation. 6. Smith, David, 1906-1965--Criticism and interpretation. I. Title. Conclusion: 267 NB212.5.A2G48 2015 Abstraction and the Unforeclosed 730.973--dc23 2015019376 Notes 281 Bibliography 329 Frontispiece: Dan Flavin, red out of a corner (to Annina), 1963/70 (detail of fig. 116). Index 356 Page vi: Detail of Nancy Grossman, For David Smith, 1965 (fig.