DOCSLIB.ORG

Exhibition Catalog

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Exhibition Catalog Libr.ary of Congress Cai~log Card Number 93.onn7 Office of f>ublications C 1993 Brandeis Univcrsiry 110081750 Cover: flonu1gr lo "11le1], 1960. oil on c:mv:as, 90 x 80 inches April 30-July 30. 1994 S.ltctcd Works on l'>per Pollock-Krasner House and Study Center E.st Hampcon, New York June 17-July 30, 1994 University Art Gallery ScJllcr Ccnccr fo r chc Arts Stocc University of New York 01 Sconybrook Contents 2 Prebce Carl Bdz 3 Acknowlcdgmenu Bonnie L. Grad 4 Robert Richenburg: Bonnie L. Grad AbStr2Ct Ei<prC$Sionist 32 Foor notes 34 Chronology 36 Sclecrcd Bibliography 40 Exhibition Checklist I was unaware of Abstract Expressionist Robcn Richenburg's work until it was brought to my attention by distinguished Ouk University an historian Bonnie Grad, who had herself discovered it only by chance in 1986. As she had been, I wa.s immediately impressed by the work's vision, scale and ambition, and I likewise shared her desire 10 bring Richcnburg' s ach~mcn1-widcly admowledg«I, Preface I would learn, ai the time tha1 ii was forged, ~ subsequcndy bypassed in bmorical accounu of the New York School-co a larger audience. Such is the purpose of thi& exhibition, which the Rose Art Museum is proud to sponsor. For the opponuniiy 10 do so, I am gra1cful to guest curator Bonnie Grad, withou1 wbooc selfless and dcdica1ed cffons the proj<ct could not have been rcaliud. Equally, I am grateful 10 die anist, for his inspiration and die visual rewards ofiu expression. Carl Belz Hcruy and Lois Foner Oireaor 2 This project would nor have happened Clark also deserves thanks for without the support of nuny individiWs accommodating my leave ofabsence to and institutions. However, it is the work work on ibis projccr at Brandeis. of Robert Richcnbwg rhar constirures the cxbibitiOn, so firs< honors mus< go 10 Some of the ideas in this exhibit I him. From rhe time of my firsr viewing was able to explore in a preliminary way of Bob Richcnburg's paintings in bis Easr in my "An Since 1945" classroom at fhmpron srudio and garage seven years Clark. My srudenrs' projccrs on "The Uses ago, borb he and bis wife, Margucr Kerr, of Black" in rhe art of this period have answered countless questions, uncovered some rdevant sources. One uncovered long-unseen paintings and student~ Lynne Moulton. went on to drawings, helped move unwieldy canvases become an invaluable research assisrant, out for viewing. uncarrbed 30-ycar- working borh in Bosron and in Easr old clippings, r=lled the circumstances Hampron on many aspccrs of this projccr. in which painrings were crcared or career Among other conrribucions, she was ~ions made, and, in general, have primarily responsible for the chronology patiently patticipared in a rcrrospective included with this caralog. Valuable review of75 years oflife. Thanks 10 them assisranoe was also provided by Rebecca both and, mOSt, ro Bob for having Clark and Beth Fritz. fuhioned works worthy ofsuch effort. Over the course ofrcscarcb a number of Having a brilliant corpus of paintings to other individiWs discussed Richcnburg's exhibit is one ming. bringing "unknown" an wich me or reviewed aspecu of works by an older artist to rhe public work of the period or the organization of eye is anorhcr. This exhibition would not the exhibition. Among these should have appeared wirhout the willingness be mentioned Ibram Lassaw, Pcrer Kahn, ofCarl Belz of rhe Rose An Museum to Bernice Stcinbaum, Professor Ellen look at unfuniliar paintings, and, then, to Landau ofCase Western Reserve (a former sponsor a show of rhem. Helen Harrison srudent of Richen burg's), Jeffrey Wechsler at the Pollock-Krasner House and at the Zimmerli An Museum at Rutgers, Srudy Center and Rhonda Cooper ar rhe Tibor de Nagy and Andrew H. University An Gallery at the Srarc Argot, Assisrant Director of rhc Tibor de University of New York ar Srony Brook Nagy Gallery. were equally supportive in committing · their institutions to an exhibit Additionally, I thank the staffs ar of"new" work, and rbanks are also due the Bosron Public Library, the Archives to Nancy Jarzombek, formerly of of American An, the Robert Hurchins the Herbert F. Johnson Museum of An Goddard Library at Clark University at Cornell University. and the Rose An Museum and Goldfub Library at Brandeis University. I am Key encourag<:menr in the form of grarcful to the Whimcy Museum financial assistance came wirh a grant of American An, the Museum of Modern from the Richard A. Florsheim An Fund An, the Hirshhorn Museum of An and ofTampa, Florida Clark University the Cho/sler An Museum in Norfolk. awarded me a Faculty Development Virginia, for cheir help in providing access Grant as well, and a Mellon Grant from to Richenburg's works in their collections. Clark enabled me to take a class to East Harnpron in 1987 to visit galleries I also thank my father, Julius Grad, and and srudios, including Richenbwg's. my husband, Gary Wolf. B.G. 3 lrring Sandler wrote in Art lnt""4M1141 in 1961 that "Richenburg emerges as one of the lllOI( fon:cful pain ten on the New York An Scene."' In the Nnu Yori Pon, Sandler cledartd that his an was "indMdual, vital, and commanding."' The nat year, Emily Gcnauer rcponed in the Nnu Ym Htrtzli/ TribrtMthat Ricbenburg was a •powerfully individual abotnctionist. .. [wbo) shows srunningly forcieful symbolical paintinp. ., Major colleaors ofconternporuy an purchased Ricbcnburg's paintiJI&<. among them Walter Ouyslcr, Joseph Hitshhom, Patrick Lannan, James Michener, Alben and Murid Newman and Mr. and Mrs. Frederick Weisman. Chrysler and Michener, in particular, wttc avid followers of Richen burg, and in an essay in A.rt Voico in 1962, author Michener recounted how Ha.rvcy Amason and Irving Sandler had pointed him in Richcnburg's direction.' The Whitney. Museum of American An, the Museum of Modern An and the Philadelphia Museum of An, among others, added his work to their collections. In 1961, when Sandler published his words of praise, Richenburg was 44 and at the height of exhibit at his career. -·to• che New School for _. che Sable Gallety This success was not to last. In 1964. ocherYilual forunv for Richcnburg argued with the Pnn New Yock School.' and admini.stntion over academic freedom. F . W _,,, included in What might have been only a squabble became a showdown o""r his right to ·-MUINID of Modem ...._ R. Gugmheim teach as he saw fit, which meant, in this ..dic Wlai-r MllKWl'I of case, to encourage radical directions in his AK. He.-• ir"'d in ·New dassroom. Grace Glueck rcponed in Th< ... USA: 1960,. organized by Ntw Yori 7imtS the details of the P ' ,· .,ofAns. In 1959, controversy o""' the "well-known abstract ....ol che Tibor de c:xpressionin painter" and his teaching ! .....his dealer, and philooophy, coming to a head over the ---_,.mews by Dore work of his female student who created Ndlcld ........ Donald Judd IJ.-ICI C f ~ 111, among odica. ally 1960i, Ricbenbwg had • oo-nc!ing body of painrinp •• • t abnoa univcrral acdaim. 5 • asscmblaga or tinfoil, rag> and oiher Cttating DOW on a mon: pet>0oal scale, objects bo1111d together in plastic."' The out of the public eye, Richenburg administration told Richenburg to rein purposefully pur>ued ideas from his in his students. He refused. In die end, he painting. which in turn generated resigned.' new ideai, as did his new materials and techniques. Thus, the adversity that Just as he had opcricnced as a student sundaed his career also launched him at Holinann'$, Ricbenbwg encouraged an into a rich, vinually unknown period of open, cxpcrimcnral environment in the creativity. He created an exceptional, dusroom, despite die f.ict that his own divcr>e series of works on paper. These an was rooted in die New York School. n:vcal his engagement widi endless In oontraSt to many suddenly "old guard" experimemation and "play" wiih all sons anists who W<Ore shocked by new ideas, of techniques, inoorporacing oolhge, he acknowledged die new approaches to com paper, dec:aloomani>, printing. an dw bis srudents '""'° exploring. applying paint wiih a roUer and painting among diem direaions that c:lullenged on paper. Often exploring <hemes abstna aprcaioniam, as pop, inhcn:m in his paintings of die pttvious assemblage, oonceprual. mininul, decade, these works on paper att at times environmental an and happenings all brilliant exercises that extend and enrich would. Many of the radical ideas <hat die dittetions orab.tract expttSSionism. RicheDburg nurtured would show up While Richenburg went on to pu..ue SOOD in New York galleries. and a number such cxpcrimcncicion with other maccriab of bis students went on to emblish and in other media, these 1960s' paper themselves in die an world.' works $Wld as an oeuvn: closely ttlated to his earlier moDumenal oils. Together Richenburg's inviolable integrity came at with ihese paintings, <hey represent an a high price. The loss of liis teaching unknown excur>ion in die an ofdie New position or 13 years meant finding new York School that deserves recognition." employment clscwhere. He left New York City with his wife and son, forfeiting die It was during a serendipitous visit to bis momentum he had establ.ished over ihese and bis second wife's recently oom.pleted years. and soon l"ound his ties wiih die East Hampton studio in 1986 that an world ruptured, h.is sponsorship by the I first saw Rohen Richenburg's an, just Tibor de Nagy Galleiy terminated. He unpacked from over tw0 decades slumber.
Load more

Recommended publications
  • The Artist and the American Land
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sheldon Museum of Art Catalogues and Publications Sheldon Museum of Art 1975 A Sense of Place: The Artist and the American Land Norman A. Geske Director at Sheldon Memorial Art Gallery, University of Nebraska- Lincoln Follow this and additional works at: https://digitalcommons.unl.edu/sheldonpubs Geske, Norman A., "A Sense of Place: The Artist and the American Land" (1975). Sheldon Museum of Art Catalogues and Publications. 112. https://digitalcommons.unl.edu/sheldonpubs/112 This Article is brought to you for free and open access by the Sheldon Museum of Art at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Sheldon Museum of Art Catalogues and Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. VOLUME I is the book on which this exhibition is based: A Sense at Place The Artist and The American Land By Alan Gussow Library of Congress Catalog Card Number 79-154250 COVER: GUSSOW (DETAIL) "LOOSESTRIFE AND WINEBERRIES", 1965 Courtesy Washburn Galleries, Inc. New York a s~ns~ 0 ac~ THE ARTIST AND THE AMERICAN LAND VOLUME II [1 Lenders - Joslyn Art Museum ALLEN MEMORIAL ART MUSEUM, OBERLIN COLLEGE, Oberlin, Ohio MUNSON-WILLIAMS-PROCTOR INSTITUTE, Utica, New York AMERICAN REPUBLIC INSURANCE COMPANY, Des Moines, Iowa MUSEUM OF ART, THE PENNSYLVANIA STATE UNIVERSITY, University Park AMON CARTER MUSEUM, Fort Worth MUSEUM OF FINE ARTS, BOSTON MR. TOM BARTEK, Omaha NATIONAL GALLERY OF ART, Washington, D.C. MR. THOMAS HART BENTON, Kansas City, Missouri NEBRASKA ART ASSOCIATION, Lincoln MR. AND MRS. EDMUND c.
    [Show full text]
  • Critic's Guide: New York | Frieze
    Advertisement Critics’ Guides / Critic’s Guide: New York BY J O S E P H I N E G R A F 7 N O V 2 0 1 7 From re-examined positions, to explorations of gender and energy: a roundup of the best shows across the city Lewis Stein, Untitled c.1972/2017, installation view, ‘Works from 1968-1979’, ESSEX STREET, New York. Courtesy: ESSEX STREET, New York; photograph: Jason Mandella Lewis Stein, ‘Works from 1968–1979’ ESSEX STREET <https://frieze.com/event/lewis-stein> 29 October – 22 December 2017 Having found success as a painter in the 1960s, New York-based artist Lewis Stein went on to reconsider the readymade by cooly transplanting overlooked urban objects – a street lamp, stanchions, a wooden billy club – into the gallery. This show gathers key works from 1968 to 1979 and makes a compelling argument for revisiting Stein’s oeuvre. Stein separates the readymade from its Duchampian irony, revealing instead how everyday objects can guide visibility and delimit movement in a subtle and concise form of policing. The exhibition’s force resides less in the objects themselves than in their effect on the body of the viewer that must negotiate them, for example skirting a barrier (Untitled, c.1972) or squinting against a blinding street light (Untitled, c.1979–80). There’s a productive relationship to younger artists on the gallery’s roster, too, such as Park McArthur and Cameron Rowland, each of whom mine histories of control held within the seemingly benign. Barbara Hammer, Bowsprit, Hornby Island, British Columbia, 1972, 2017, silver gelatin print, 39 x 58 cm.
    [Show full text]
  • 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.
    [Show full text]
  • A Stellar Century of Cultivating Culture
    COVERFEATURE THE PAAMPROVINCETOWN ART ASSOCIATION AND MUSEUM 2014 A Stellar Century of Cultivating Culture By Christopher Busa Certainly it is impossible to capture in a few pages a century of creative activity, with all the long hours in the studio, caught between doubt and decision, that hundreds of artists of the area have devoted to making art, but we can isolate some crucial directions, key figures, and salient issues that motivate artists to make art. We can also show why Provincetown has been sought out by so many of the nation’s notable artists, performers, and writers as a gathering place for creative activity. At the center of this activity, the Provincetown Art Associ- ation, before it became an accredited museum, orga- nized the solitary efforts of artists in their studios to share their work with an appreciative pub- lic, offering the dynamic back-and-forth that pushes achievement into social validation. Without this audience, artists suffer from lack of recognition. Perhaps personal stories are the best way to describe PAAM’s immense contribution, since people have always been the true life source of this iconic institution. 40 PROVINCETOWNARTS 2014 ABOVE: (LEFT) PAAM IN 2014 PHOTO BY JAMES ZIMMERMAN, (righT) PAA IN 1950 PHOTO BY GEORGE YATER OPPOSITE PAGE: (LEFT) LUCY L’ENGLE (1889–1978) AND AGNES WEINRICH (1873–1946), 1933 MODERN EXHIBITION CATALOGUE COVER (PAA), 8.5 BY 5.5 INCHES PAAM ARCHIVES (righT) CHARLES W. HAwtHORNE (1872–1930), THE ARTIST’S PALEttE GIFT OF ANTOINETTE SCUDDER The Armory Show, introducing Modernism to America, ignited an angry dialogue between conservatives and Modernists.
    [Show full text]
  • Angela Perko & WJ Mccloskey
    10/8/2018 THE BLUE LANTERN: Wrapped Lemons: Angela Perko & W.J. McCloskey More Create Blog Sign In THE BLUE LANTERN Arts Journalism For The Love Of It 08 November 2015 Total Pageviews Wrapped Lemons: Angela Perko & W.J. McCloskey 2,133,734 Why The Blue Lantern ? A blue-shaded lamp served as the starboard light for writer Sidonie-Gabrielle Colette's imaginary journeys after she became too frail to leave her bedroom at the Palais Royale. Her invitation, extended to all, was "Regarde!" Look, see, wonder. "I think of myself as being in a line of work that goes back about twenty­five thousand years. My job has been finding the cave and holding the torch. Somebody has to be around to hold the flaming branch, and make sure there are enough pigments." ­ Calvin Tompkins I had never heard of Angela Perko until recently when I saw Wrapped Lemons apres W.J. McCloskey (above); I had heard of William McCloskey, but couldn't remember how although I did remember why. The elusive artist painted strangely captivating wrapped fruits, a genre he may well have invented. The artist Angela Perko, also turns out to admire the Canadian artists known collectively as the Group of Seven, artists I've mentioned recently. Perko cites the group, especially its lone female member Emily Carr, as influencing her use of color. She arranges colors fearlessly, as comfortable with dissonance as she is with delicacy. Like the Seven, Perko explored painting through landscape; like McCloskey she was born elsewhere but eventually moved to California. I think Perko's Wrapped Lemons refers to McCloskey's Florida Lemons (below).
    [Show full text]
  • A Publisher and an Antique Dealer for Most of His Life, Streeter Blair (1888–1966) Began Painting at the Age of 61 in 1949
    1960 Paintings by Streeter Blair (January 12–February 7) A publisher and an antique dealer for most of his life, Streeter Blair (1888–1966) began painting at the age of 61 in 1949. Blair became quite successful in a short amount of time with numerous exhibitions across the United States and Europe, including several one-man shows as early as 1951. He sought to recapture “those social and business customs which ended when motor cars became common in 1912, changing the life of America’s activities” in his artwork. He believed future generations should have a chance to visually examine a period in the United States before drastic technological change. This exhibition displayed twenty-one of his paintings and was well received by the public. Three of his paintings, the Eisenhower Farm loaned by Mr. & Mrs. George Walker, Bread Basket loaned by Mr. Peter Walker, and Highland Farm loaned by Miss Helen Moore, were sold during the exhibition. [Newsletter, memo, various letters] The Private World of Pablo Picasso (January 15–February 7) A notable exhibition of paintings, drawings, and graphics by Pablo Picasso (1881–1973), accompanied by photographs of Picasso by Life photographer, David Douglas Duncan (1916– 2018). Over thirty pieces were exhibited dating from 1900 to 1956 representing Picasso’s Lautrec, Cubist, Classic, and Guernica periods. These pieces supplemented the 181 Duncan photographs, shown through the arrangement of the American Federation of Art. The selected photographs were from the book of the same title by Duncan and were the first ever taken of Picasso in his home and studio.
    [Show full text]
  • Marcia Marcus (B
    Marcia Marcus (b. 1928, New York, NY) made figurative paintings, which were revolutionary in both style and subject matter. She studied at the Cooper Union and the Art Students League in the 1950s. At the Art Students League, she studied with Edwin Dickinson, a teacher she adored, and whose influence can be felt in the refinement of Marcus’s figures, her draughtsmanship, and her tonal subtlety. At Cooper Union, she was a contemporary of Alex Katz and Lois Dodd, with whom her work shares other aesthetic qualities – namely, the flattening of forms and painterly shorthand to articulate figures and patterns, a bravura compositional organization, and an attention to fashion. Marcus was a central figure in the avant-garde art world of downtown New York. By 1954, she was a friend and collaborator of Allan Kaprow. The younger artist Red Grooms invited her to be part of the artist cooperative, the Delancey Street Museum, along with founding members Jay Milder and Bob Thompson. There, she performed a “Happening” and showed her painting in the late 1950s. In addition to her intimate involvement with this venue, Marcus showed her work throughout the 1950s and 60s at other now fabled galleries such as the Stable Gallery and March Gallery. Through the 1960s and 70s she had solo exhibitions at Graham Gallery, ACA, Zabriskie, and Terry Dintenfass Gallery. For over 25 years, from 1952-78, Marcus spent summers living and working in one of the legendary Provincetown dune shacks. She enjoyed the relative isolation and time this granted her to further develop her work, but also thrived on the lively social and intellectual interchange with artists there.
    [Show full text]
  • Lyrical Abstraction
    Lyrical Abstraction Findlay Galleries presents the group exhibition, Lyrical Abstraction, showcasing works by Mary Abbott, Norman Bluhm, James Brooks, John Ferren, Gordon Onslow Ford, Paul Jenkins, Ronnie Landfield, Frank Lobdell, Emily Mason, Irene Rice Pereira, Robert Richenburg, and Vivian Springford. The Lyrical Abstraction movement emerged in America during the 1960s and 1970s in response to the growth of Minimalism and Conceptual art. Larry Aldrich, founder of the Aldrich Museum, first coined the term Lyrical Abstraction and staged its first exhibition in 1971 at The Whitney Museum of American Art. The exhibition featured works by artists such as Dan Christensen, Ronnie Landfield, and William Pettet. David Shirey, a New York Times critic who reviewed the exhibition, said, “[Lyrical Abstraction] is not interested in fundamentals and forces. It takes them as a means to an end. That end is beauty...” Jackson Pollock’s drip paintings and Mark Rothko’s stained color forms provided important precedence for the movement in which artists adopted a more painterly approach with rich colors and fluid composition. Ronnie Landfield, an artist at the forefront of Lyrical Abstraction calls it “a new sensibility,” stating: ...[Lyrical Abstraction] was painterly, additive, combined different styles, was spiritual, and expressed deep human values. Artists in their studios knew that reduction was no longer necessary for advanced art and that style did not necessarily determine quality or meaning. Lyrical Abstraction was painterly, loose, expressive, ambiguous, landscape-oriented, and generally everything that Minimal Art and Greenbergian Formalism of the mid-sixties were not. Building on Aldrich’s concept of Lyrical Abstractions, Findlay Galleries’ exhibition expands the definition to include artists such as John Ferren, Robert Richenburg and Frank Lobdell.
    [Show full text]
  • PAVIA, PHILIP, 1915-2005. Philip Pavia and Natalie Edgar Archive of Abstract Expressionist Art, 1913-2005
    PAVIA, PHILIP, 1915-2005. Philip Pavia and Natalie Edgar archive of abstract expressionist art, 1913-2005 Emory University Stuart A. Rose Manuscript, Archives, and Rare Book Library Atlanta, GA 30322 404-727-6887 [email protected] Descriptive Summary Creator: Pavia, Philip, 1915-2005. Title: Philip Pavia and Natalie Edgar archive of abstract expressionist art, 1913-2005 Call Number: Manuscript Collection No. 981 Extent: 38 linear feet (68 boxes), 5 oversized papers boxes and 5 oversized papers folders (OP), 1 extra oversized papers folder (XOP) and AV Masters: 1 linear foot (1 box) Abstract: Philip Pavia and Natalie Edgar archive of abstract expressionist art including writings, photographs, legal records, correspondence, and records of It Is, the 8th Street Club, and the 23rd Street Workshop Club. Language: Materials entirely in English. Administrative Information Restrictions on Access Unrestricted access. Terms Governing Use and Reproduction All requests subject to limitations noted in departmental policies on reproduction. Source Purchase, 2004. Additions purchased from Natalie Edgar, 2018. Citation [after identification of item(s)], Philip Pavia and Natalie Edgar archive of abstract expressionist art, Stuart A. Rose Manuscript, Archives, and Rare Book Library, Emory University. Processing Processed by Elizabeth Russey and Elizabeth Stice, October 2009. Additions added to the collection in 2018 retain the original order in which they were received. Emory Libraries provides copies of its finding aids for use only in research and private study. Copies supplied may not be copied for others or otherwise distributed without prior consent of the holding repository. Philip Pavia and Natalie Edgar archive of abstract expressionist art, Manuscript Collection No.
    [Show full text]
  • Report of the President, Bowdoin College 1972-1973
    Bowdoin College Bowdoin Digital Commons Annual Report of the President Special Collections and Archives 1-1-1973 Report of the President, Bowdoin College 1972-1973 Bowdoin College Follow this and additional works at: https://digitalcommons.bowdoin.edu/presidents-reports Recommended Citation Bowdoin College, "Report of the President, Bowdoin College 1972-1973" (1973). Annual Report of the President. 82. https://digitalcommons.bowdoin.edu/presidents-reports/82 This Book is brought to you for free and open access by the Special Collections and Archives at Bowdoin Digital Commons. It has been accepted for inclusion in Annual Report of the President by an authorized administrator of Bowdoin Digital Commons. For more information, please contact [email protected]. Report of the President 1972-1973 BOWDOIN COLLEGE BRUNSWICK, MAINE Report of the President To the Trustees and Overseers of Bowdoin College: I have the honor to submit the following report for the academic year 1972-1973. The Financial Situation IT seems almost inevitable that presidential reports begin with a discussion of the financial situation of the College. It is there- fore a happy circumstance which enables me to say that the Col- lege is stronger today in a financial sense than it has been for many years. The fact that the College experienced operating deficits for a decade was a cause of great concern to all members of the college community, and this circumstance, coupled with the widely cir- culated and gloomy financial projections of the Carnegie Com- mission and the Association of American Colleges, has tended in recent years to cast a sense of foreboding over the financial sections of this report.
    [Show full text]
  • To Read Brooke Cameron's Biography
    BROOKE BULOVSKY CAMERON EDUCATION 1966 M.A., University of Iowa, Printmaking Thesis Title: "Sharaku and the Mica Ground Print." Requested by the Smithsonian Institution for inclusion in their library. 1964 University of Wisconsin - Madison, Summer School. Printmaking with Kaiko Moti, Paris. Brigit Skiold, Slade School, London. 1963 University of Minnesota, Summer Graduate Program in Art History conducted in Europe by Dr. Lorenz Eitner. B.S., University of Wisconsin, Art Education. Honors ADVANCED STUDY 1984 Kean College, NJ, Art of China, Professor Vito Giacalone. Followed by visit to Japan. 1982 Pratt Manhattan Graphic Center Photo Methods for Printmakers conducted by Ryo Watanabe. Bob Blackburn's Printmakers Workshop Advanced Viscosity Printing conducted by Jessie Riley. 1981 New York University Viscosity Workshop (Graduate) conducted by Krishna Reddy. University of Missouri-Columbia Photo-Intaglio Workshop conducted by Professor Ken Kerslake, University of Florida. Pratt Manhattan Graphic Center Lithography conducted by James Martin. 1980 University of Notre Dame Printmaking Workshop Professor Robert Nelson, Lithography and Professor David Driesbach, Intaglio. 1979 Summer Session II - Lithographic Workshop University of New Mexico, Albuquerque, NM Conducted by Professor Paul Stewart, University of Michigan. Also visited the Tamarind Institute and the Tamarind Collection at the University of New Mexico. 1978 Kent State University Center for Study of Socialist Education Educator's Tour of Russia Conducted by Professor Gerald Reed, Director.
    [Show full text]
  • Marcia Marcus by Eric Sutphin January 1, 2018
    Marcia Marcus by Eric Sutphin January 1, 2018 New York artist Marcia Marcus (b. 1928) emerged mid-century as a promising painter of portraits and figurative tableaux, depicting herself, friends, and acquaintances in scenes that often have a mythological or theatrical feel. In the early 1950s, she studied painting at Cooper Union, where her peers includ- ed Alex Katz and Lois Dodd, and shortly thereafter attended the Art Students League, where she absorbed the lessons of Edwin Dickinson. She collaborated on Happenings with Allan Kaprow and, in 1960, showed a series of self-portraits at the Delancey Street Museum, an alternative space run by Red Grooms. Despite an impressive exhibition record and a peer group of downtown luminaries, Marcus eventually fell into ob- scurity. The recent show at Eric Firestone included twenty-four paintings she made between 1958 and 1973, amounting to Marcia Marcus: Frieze: The Porch, 1965, oil and collage on canvas, 7 a small-scale retrospective for this audacious and fascinating by 11 feet; at Eric Firestone. artist. The first painting one encountered was Medusa, a self-portrait from 1958 in which Marcus portrays herself in a form loosely resembling that of the Greek monster. Rendered against a thinly painted crimson background, and wearing an olive-green tunic and a belt embellished with bits of gold leaf, she stares out from the picture, her face framed by thick tendrils of hair. The following year, Marcus painted Self-Portrait with Tights, in which she appears as a harlequin or acrobat, posing in mustard-colored tights with her arm outstretched, the floor below her a collage of multicolored marbled endpapers.
    [Show full text]