Rackstraw Downes
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Oral History Interview with Rackstraw Downes, 2016 April 10-11
Oral history interview with Rackstraw Downes, 2016 April 10-11 Funding for this interview was provided by the Lichtenberg Family Foundation. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a recorded interview with Rackstraw Downes on April 10 and 11, 2016. The interview took place at Downes' Studio in New York, NY, and was conducted by James McElhinney for the Archives of American Art, Smithsonian Institution. Rackstraw Downes and James McElhinney have reviewed the transcript. Their corrections and emendations appear below in brackets with initials. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview JAMES MCELHINNEY: Okay. This James McElhinney speaking with Rackstraw Downes at his home in New York on Sunday April 10, 2016. Good afternoon. RACKSTRAW DOWNES: Good afternoon to you. MR. MCELHINNEY: So you've just returned from Texas? MR. DOWNES: That is correct. MR. MCELHINNEY: How long have you been in Presidiooh ? MR. DOWNES: Well about 15 years I would say; 12 or 15 years I'm not quite certain. I could look it up and figure it out. MR. MCELHINNEY: Not just, but a while at this point. MR. DOWNES: A while, yes many winters; I go only in the winter for five months. MR. MCELHINNEY: That's a wonderful part of the country; I don't think many people go there; it's near Big Bend and— MR. -
Stereoscope and View Offer
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Screening Guides to the Sixth Season
art:21 screening guides to the sixth season © Art21 2012. All Rights Reserved. www.pbs.org/art21 | www.art21.org season six GETTING STARTED ABOUT THIS SCREENING GUIDE unique opportunity to experience first-hand the complex artistic process—from inception to finished This screening guide is designed to help you plan product—behind some of today’s most thought- an event using Season Six of Art in the Twenty-First provoking art. These artists represent the breadth Century. This guide includes an episode synopsis, of artistic practices across the country and the artist biographies, discussion questions, group world and reveal the depth of intergenerational activities, and links to additional resources online. and multicultural talent. Educators’ Guide The 32-page color manual ABOUT ART21 SCREENING EVENTS includes information on the ABOUT ART21, INC. artists, before-viewing and Public screenings of the Art in the Twenty-First after-viewing questions, and Century series illuminate the creative process of Art21 is a non-profit contemporary art organization curriculum connections. today’s visual artists by stimulating critical reflection serving students, teachers, and the general public. FREE | www.art21.org/teach as well as conversation in order to deepen Art21’s mission is to increase knowledge of contem- audience’s appreciation and understanding of porary art, ignite discussion, and empower viewers contemporary art and ideas. Organizations and to articulate their own ideas and interpretations individuals are welcome to host their own Art21 about contemporary art. Art21 seeks to achieve events year-round. Art21 invites museums, high this goal by using diverse media to present an schools, colleges, universities, community-based independent, behind-the scenes perspective on organizations, libraries, art spaces and individuals contemporary art and artists at work and in their to get involved and create unique screening own words. -
Mining Wars: Corporate Expansion and Labor Violence in the Western Desert, 1876-1920
UNLV Theses, Dissertations, Professional Papers, and Capstones 2009 Mining wars: Corporate expansion and labor violence in the Western desert, 1876-1920 Kenneth Dale Underwood University of Nevada Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/thesesdissertations Part of the Latin American History Commons, Social History Commons, and the United States History Commons Repository Citation Underwood, Kenneth Dale, "Mining wars: Corporate expansion and labor violence in the Western desert, 1876-1920" (2009). UNLV Theses, Dissertations, Professional Papers, and Capstones. 106. http://dx.doi.org/10.34917/1377091 This Dissertation is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Dissertation has been accepted for inclusion in UNLV Theses, Dissertations, Professional Papers, and Capstones by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. MINING WARS: CORPORATE EXPANSION AND LABOR VIOLENCE IN THE WESTERN DESERT, 1876-1920 by Kenneth Dale Underwood Bachelor of Arts University of Southern California 1992 Master -
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. -
Esperanza Cortes Exhibition Guide
CANTAR DE CIEGOS / SONG OF THE BLIND E S P E R A N Z A C O R T É S S E P T E M B E R 4 , 2 0 2 0 - F E B R U A R Y 6 , 2 0 2 1 M A Y E R G A L L E R Y T C V A . O R G CONTENT 1 CONTENT 2 - 5 ABOUT THE ARTIST 6 ARTIST STATEMENT 7 EXHIBITION STATEMENT 8 - 15 WORKS IN EXHIBIT 16 BEHIND THE SCENES 17 PROMPTS AND ACTIVITIES 18 THANK YOU PAGE 1 about the artist Cortés is a recipient of awards including: The John Simon Guggenheim Memorial Fellowship; BRIC Media Arts Fellowship; Lower Manhattan Cultural Council Creative Engagement Grant; Joan Mitchell Foundation Painters & Sculptors Grant; U.S. DEPARTMENT OF STATE: Art in Embassies Program; Puffin Foundation Project Grant; Bronx Museum of the Art, AIM Program; New York State Biennial; Robert Esperanza Cortés is a Colombian born Rauchenberg Foundation, Change contemporary multidisciplinary artist Grant; New York Foundation for the based in New York City. Cortés has Arts and Sustained Achievement in exhibited in the United States in solo the Visual Arts Award. and group exhibitions in venues including Smack Mellon Gallery, Cortés’s is a recipient of residencies Neuberger Museum of Art, Bronx including: McColl Center for Arts + Museum of Art, Queens Museum, El Innovation: Museum of Arts and Museo Del Barrio, MoMA PS1, Socrates Design Artist Studio Residency; BRIC Sculpture Park and White-box Gallery Workspace Program; The Caldera in New York City. -
Collection 1880S–1940S, Floor 5 Checklist
The Museum of Modern Art Fifth Floor, 1880s-1940s 5th Fl: 500, Constantin Brancusi Constantin Brâncuși Bird in Space 1928 Bronze 54 x 8 1/2 x 6 1/2" (137.2 x 21.6 x 16.5 cm) Given anonymously 153.1934 Fall 19 - No restriction Constantin Brâncuși Fish Paris 1930 Blue-gray marble 21 x 71 x 5 1/2" (53.3 x 180.3 x 14 cm), on three-part pedestal of one marble 5 1/8" (13 cm) high, and two limestone cylinders 13" (33 cm) high and 11" (27.9 cm) high x 32 1/8" (81.5 cm) diameter at widest point Acquired through the Lillie P. Bliss Bequest (by exchange) 695.1949.a-d Fall 19 - No restriction Constantin Brâncuși Mlle Pogany version I, 1913 (after a marble of 1912) Bronze with black patina 17 1/4 x 8 1/2 x 12 1/2" (43.8 x 21.5 x 31.7 cm), on limestone base 5 3/4 x 6 1/8 x 7 3/8" (14.6 x 15.6 x 18.7 cm) 17 1/4 × 8 1/2 × 12 1/2" (43.8 × 21.6 × 31.8 cm) Other (bronze): 17 1/4 × 8 1/2 × 12 1/2" (43.8 × 21.6 × 31.8 cm) 5 3/4 × 6 1/8 × 7 3/8" (14.6 × 15.6 × 18.7 cm) Other (approx. weight): 40 lb. (18.1 kg) Acquired through the Lillie P. Bliss Bequest (by exchange) 2.1953 Fall 19 - No restriction Constantin Brâncuși Maiastra 1910-12 White marble 22" (55.9 cm) high, on three-part limestone pedestal 70" (177.8 cm) high, of which the middle section is Double Caryatid, c. -
GUGGENHEIM FOUNDATION and ITS GLOBAL NETWORK a Thesis
GUGGENHEIM FOUNDATION AND ITS GLOBAL NETWORK A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Masters of Arts Xingyu Hai December, 2012 GUGGENHEIM FOUNDATION AND ITS GLOBAL NETWORK Xingyu Hai Thesis Approved: Accepted: _________________________________ _________________________________ Advisor School Director Mr. Durand Pope Dr. Ann Usher _________________________________ _________________________________ Committee Member Dean of the College Mr. Rod Bengston Dr. Chand Midha _________________________________ _________________________________ Committee Member Dean of the Graduate School Mr. Neil Sapienza Dr. George R. Newkome _________________________________ Date ii ABSTRACT This work deals with the Guggenheim Foundation’s “Global Museum Network” and its international collaborations with a variety of partners. It also includes a look at the global business management model that has been developed by the Guggenheim Foundation administrators. The main purpose of this work is to examine the “branding system” which was created and utilized by the Guggenheim Foundation and to analyze the system’s advantages and disadvantages within their global operation. The Guggenheim brand system depends on the multination art policies, the development of foreign funding sources, and dealing with international partners and sponsors. iii TABLE OF CONTENTS Page CHAPTER I. INTRODUCTION……………………………………………….…....1 II. CULTURE LEGACY OF AMERICAN PHILATHOPIST…………..3 III. BRAND, BRANDING -
In Celebration of the Rizzoli Monograph Paul Resika: Eight
FOR IMMEDIATE RELEASE Paul Resika: Eight Decades of Painting In Celebration of the Rizzoli Monograph September 24 – October 24, 2020 Bookstein Projects is pleased to announce an exhibition of paintings by Paul Resika. This is the artist’s eleventh show with Bookstein Projects. This past May, Rizzoli Electa published an expansive tome on the career of Paul Resika entitled, Paul Resika: Eight Decades of Painting. Edited by Blair Resika, the lavishly illustrated monograph includes over 220 color reproductions of paintings from the 1940s to the present. It also includes four scholarly essays by Avis Berman, Jennifer Samet, Karen Wilkin and John Yau. In celebration of this spectacular new monograph, the gallery is delighted to mount an exhibition by the same name. The show will include an example from each decade of the artist’s oeuvre with the earliest painting, Studio (Stars and Easel), dated 1947. The most recent painting, Self-Portrait in the Manner of Tintoretto was painted in 2018 and is hung next to another striking self-portrait of the artist painted some sixty years prior when the artist was only thirty. Taken as a whole, this exhibition provides a rare opportunity to see the breadth of the artist’s entire career, which is expanded upon in detail in his new monograph. Discounted copies of Paul Resika: Eight Decades of Painting will be available for purchase at the gallery. Bookstein Projects is also pleased to announce that the Center for Figurative Painting will mount an exhibition of Paul Resika’s latest body of work this spring. The series, entitled Allegory (San Nicola di Bari), derives from an obscure engraving made of a panel from an altarpiece predella (ca. -
Stanford University, News and Publication Service, Audiovisual Recordings Creator: Stanford University
http://oac.cdlib.org/findaid/ark:/13030/c8dn43sv Online items available Guide to the Stanford News Service Audiovisual Recordings SC1125 Daniel Hartwig & Jenny Johnson Department of Special Collections and University Archives October 2012 Green Library 557 Escondido Mall Stanford 94305-6064 [email protected] URL: http://library.stanford.edu/spc Guide to the Stanford News SC1125 1 Service Audiovisual Recordings SC1125 Language of Material: English Contributing Institution: Department of Special Collections and University Archives Title: Stanford University, News and Publication Service, audiovisual recordings creator: Stanford University. News and Publications Service Identifier/Call Number: SC1125 Physical Description: 63 Linear Feetand 17.4 gigabytes Date (inclusive): 1936-2011 Information about Access The materials are open for research use. Audio-visual materials are not available in original format, and must be reformatted to a digital use copy. Ownership & Copyright All requests to reproduce, publish, quote from, or otherwise use collection materials must be submitted in writing to the Head of Special Collections and University Archives, Stanford University Libraries, Stanford, California 94305-6064. Consent is given on behalf of Special Collections as the owner of the physical items and is not intended to include or imply permission from the copyright owner. Such permission must be obtained from the copyright owner, heir(s) or assigns. See: http://library.stanford.edu/depts/spc/pubserv/permissions.html. Restrictions also apply to digital representations of the original materials. Use of digital files is restricted to research and educational purposes. Cite As [identification of item], Stanford University, News and Publication Service, Audiovisual Recordings (SC1125). Dept. of Special Collections and University Archives, Stanford University Libraries, Stanford, Calif. -
Painterly Representation in New York: 1945-1975
PAINTERLY REPRESENTATION IN NEW YORK, 1945-1975 by JENNIFER SACHS SAMET A dissertation submitted to the Graduate Faculty in Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2010 © 2010 JENNIFER SACHS SAMET All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Art History in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Date Dr. Patricia Mainardi Chair of the Examining Committee Date Dr. Patricia Mainardi Acting Executive Officer Dr. Katherine Manthorne Dr. Rose-Carol Washton Long Ms. Martica Sawin Supervision Committee THE CITY UNIVERSITY OF NEW YORK iii Abstract PAINTERLY REPRESENTATION IN NEW YORK, 1945-1975 by JENNIFER SACHS SAMET Advisor: Professor Patricia Mainardi Although the myth persists that figurative painting in New York did not exist after the age of Abstract Expressionism, many artists in fact worked with a painterly, representational vocabulary during this period and throughout the 1960s and 1970s. This dissertation is the first survey of a group of painters working in this mode, all born around the 1920s and living in New York. Several, though not all, were students of Hans Hofmann; most knew one another; some were close friends or colleagues as art teachers. I highlight nine artists: Rosemarie Beck (1923-2003), Leland Bell (1922-1991), Nell Blaine (1922-1996), Robert De Niro (1922-1993), Paul Georges (1923-2002), Albert Kresch (b. 1922), Mercedes Matter (1913-2001), Louisa Matthiasdottir (1917-2000), and Paul Resika (b. 1928). This group of artists has been marginalized in standard art historical surveys and accounts of the period. -
American Art Today: Contemporary Landscape the Art Museum at Florida International University Frost Art Museum the Patricia and Phillip Frost Art Museum
Florida International University FIU Digital Commons Frost Art Museum Catalogs Frost Art Museum 2-18-1989 American Art Today: Contemporary Landscape The Art Museum at Florida International University Frost Art Museum The Patricia and Phillip Frost Art Museum Follow this and additional works at: https://digitalcommons.fiu.edu/frostcatalogs Recommended Citation Frost Art Museum, The Art Museum at Florida International University, "American Art Today: Contemporary Landscape" (1989). Frost Art Museum Catalogs. 11. https://digitalcommons.fiu.edu/frostcatalogs/11 This work is brought to you for free and open access by the Frost Art Museum at FIU Digital Commons. It has been accepted for inclusion in Frost Art Museum Catalogs by an authorized administrator of FIU Digital Commons. For more information, please contact [email protected]. RIGHT: COVER: Howard Kanovitz Louisa Matthiasdottir Full Moon Doors, 1984 Sheep with Landscape, 1986 Acrylic on canvas/wood construction Oil on canvas 47 x 60" 108 x ;4 x 15" Courtesy of Robert Schoelkopf Gallery, NY Courtesy of Marlborough Gallery, NY American Art Today: Contemporary Landscape January 13 - February 18, 1989 Essay by Jed Perl Organized by Dahlia Morgan for The Art Museum at Florida International University University Park, Miami, Florida 33199 (305) 554-2890 Exhibiting Artists Carol Anthony Howard Kanovitz Robert Berlind Leonard Koscianski John Bowman Louisa Matthiasdottir Roger Brown Charles Moser Gretna Campbell Grover Mouton James Cook Archie Rand James M. Couper Paul Resika Richard Crozier Susan Shatter