DOCSLIB.ORG

Momaexh 0645 Masterchecklist CATALOGUE

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Momaexh 0645 Masterchecklist CATALOGUE MoMAExh_0645_MasterChecklist CATALOGUE The data contained in the biographical notes for each artist have been compiled from the most reliable source available and wherever possible have been checked with the artist himself. All one-man shows for each arti have been listed. The section Included in: lists major group exhibitions in the United States in which the an was represented by two or more works. Group exhibitions outside the United States: lists all such exhibitions which the artist was represented, even by a single work. Many of the biographies refer to the 'WPA Federal Art Project'. This was part of the Works Progress Administr: tion, a nation-wide programme established by the United States Government in 1935 to combat unemployment resulting from the Great Depression. Unframed dimensions given; height precedes width. The arrangement of the items is chronological. Parentheses indicate that dates are not shown on the work itself. *Works marked with a star are illustrated. WILLIAM BAZIOTES Biography: Born 19[2,Pittsburgh, Pennsylvania; grewup in *2 Primeval Landscape t953 Reading, Pennsylvania. To New York, 1933, studied at Oil on canvas 60X72 in. National Academy of Design, 1933-6. Worked on WPA Lent by the Philadelphia Museum of Art, Philadelphia Federal Art Project, New York, as teacher 1936-8, on easel (Samuel S. Fleisher Art Memorial) painting project 1938-41. In 1948,founder with Motherwell, *3 Pompeii 1956 Newman, and Rorhko, of school on East 8th Street, New Oil on canvas 60x 48 in. York, 'Subjects of the Artist', out of which grew 'The Club' Lent by The Museum of Modern Art, New York with weekly meetings of ooant-gor de artists. Taught at (Mrs Louise Smith Fund) Brooklyn Museum Art School, New York, 1949-52; New York University, 1949-52; People's Art Center of the 4 Red Landscape 1957 Museum of Modern Art, New York, 1950-2; Hunter Col- Oil on canvas 72t x 60;1'in. lege, New York, t952 to present. Lives in New York. Lent by The Minneapolis Institute of Arts, Minneapolis (Bigelow Fund) One-man shows: Art of This Century (Peggy Guggenheim), New York, 1944; Galerie Maeght, Paris, 1947; Kootz Gallery, New York, yearly 1946-8, 1950-4, 1956, 1958. Lnctnded ill: 15 Americans, The Museum of Modern Art, dAMES BROOKS New York, 1952; The Nezu Decade, Whitney Museum of MoMAExh_0645_MasterChecklist American Art, New York, shown thereafter in San Fran- Biography: Born [906, Sr Louis, Missouri; grew up in cisco, Los Angeles, Colorado Springs and St Louis, 1955-6. various parts of the West. In Dallas, Texas, 1916-26; attended Southern Methodist University, Dallas, 1923-5. Group Exhibitions outside the United Slates of America: To New York, 1926; studied at Art Students' League with Kootz Gallery Group, Galeric Maeght, Paris, 1947; Ameri- Kimon Nicolaides and Boardman Robinson, 1927-30. can Vanguard Art for Paris, Galerie de France, Paris, 1952 Worked on WPA Federal Art Project, New York, 1938-42, (shown at Sidney Janis Gallery, New York, 1951-2); U.S. painting murals at Queensborough Public Library, Wood- Representation, II Bienal, Sao Paulo, 1953; U.S. Represen- side Branch, 1938,and International Overseas Air Terminal, tation, Tenth Inter-American Conference, Caracas, 1954; La Guardia Airport, 1942. Served in U.S.Army, 1942-5, in Modern Art in the United States: Selections from the Col- Egypt and Middle East. Fifth prize, 1952Pittsburgh Inter- lections of the Museum of Modern Art, New York, Paris, national Exhibition of Painting, Carnegie Institute, Pitts- Zurich, Barcelona, Frankfurt, London, The Hague, Vienna, burgh, Pennsylvania. Taught at Columbia University, New and Belgrade, 1955-6. York, 1946-8; visiting critic of painting, Yale University, *1 Dwarf 1947 1955-6. Teacher, Pratt Institute, Brooklyn, 1948to present. Oil on canvas 42 x 36i in. Lives in New York and Springs, Long Island, New York. Lent by The Museum of Modern Art, New York One-mall shows: Peridot Gallery, New York, yearly 1950-3; (A. Conger Goodyear Fund) Miller-Pollard Gallery, Seattle, 1952; Area Arts, San 88 Svrccc se, NY. Stooklon, Co!jf. Rome, 1954, 1955; Tendonces Actuelles, Kunsthalle, Berne, Francisco, 1953; Grace Borgenichr Gallery, New York, 1954; 1955; Gallery Samlarcn, Stockholm, 1955; U.S. Represen- Stable Gallery, New York, 1957· tation, qrh International Art Exhibition, Japan, nine cities [nclnde d ill: The New Decade, Whimey Museum of Ameri- 1957 (receiving onc of five prizes awarded non-Japanese can Art, New York, shown thereafter in San Francisco, Los artists); Exploratioll of Pai ni, Arthur Tooth and Sons Ltd, Angeles, Colorado Springs and St Louis, 1955-6j 12 London, 1957; New Trends in Painting, Arts Council Americans, The Museum of Modern Art, New York, 1956. Gallery, London, 1957· Group Exhibitions outside the Uniced States oi America: *10 Big Red (1953) 551: Americall Vanguard Art for Paris, Gnlcrie de France, Paris, Oil on canvas 119 X76 in. 1952 (shown at Sidney Janis Gallery, New York, 1951-2); Lent by The Museum of Modern Art, New York Recent American 1\7mercolors, five cities in France, J956-7; (Gift of Mr and Mrs David Rockefeller) U.S. Representation, lV Bienal, Sao Paulo, 1957· * 11 Black in Red (1953) 5 Il 1953 Oil on canvas 77 x 5It in. Oil on canvas 82~ x 88 in. Lent by The Museum of Modern Art, New York Lent by Stable Gallery, New York (Blanchettc Rockefeller Fund) *6 Quallll 1954 *12 Blue and Black (1954) Oil on canvas 61 x 57 ~in. Oiloncanvas 77X511in. Lent by The Museum of Modern Art, New York Lent by E. J. power, L~ndon (Gift of Mrs Bliss Parkinson) 13 Arcueil 1956 Oil on canvas 82 x 76~ in. *7 '[aclssan (1956) og-, ;i.X Oil on canvas 66.i X69.i in. Lent by Martha Jackson Gallery, New York Lent by Nelson A. Rockefeller, New York -a Kavrig 1956 ARSHILE GORKY Oil on canvas 79kX73~in. Lent by Stable Gallery, New York Biography: Born 1905, Hayorz Dzore, Turkish Armenia. During World War I, emigrated to Russian Transcaucasia. 9 Bixby 1958 Oil on canvas 51 x 66 in. Studied at Polytechnic Institute, Tiflis, 1916-18. To U.S.A. Lent by Stable Gallery, New York 1920; lived first in Watertown, lv\assachuscns, then Provi- dence; attended night classes at Rhode Island School of Design. To Boston, 1923j attended New School of Design, 1923, and instructed in life class, 1924- To New York, 1925, SAM FRANCIS brief attendance at National Academy of Design. Taught at New York School of Design, then Grand Central School of Biography: Born 1923, San Mateo, California. University of Art, 1926-31. \'~;rorkcdon WPA Federal Art Project, New California, Berkeley, 1941~3; B.A. 1949, M.A. 1950. Served York, 1936~8, painting murals for Newark Airport, New in U.S. Army Air Force, 1943-5. Began painting in San Jersey (no longer in existence). Mural for Aviation Building, Francisco, [945. To Paris, J950. Painted murals for Kunst- New York \\Torld's Fair, 1939. Organized class in camou- halle, Basic, 1956-8. To japan, J957; painted mural for flage at Grand Central School of Art, New York, 1942. Sofu School of Flower Arrangements, Tokyo. Lives in From 1943 spent part of each year in Virginia and Connec- Paris. ticut until death by suicide, 1948. One-lIIall shows: GalerieMoMAExh_0645_MasterChecklist Nina Daussct, Paris, 1952; Galerie One-lila II shows: Guild Art Gallery, New York, 1932, 1935 Rive Droite, Paris, 1955, 1956; Martha Jackson Gallery, (drawings only), 1936; Mellon Galleries, Philadelphia, 1934; New York, 1956, 1957; Gimpel Fils, London, 1957; Korn- Boyer Art Galleries, Philadelphia, 1935 (drawings only), feld and Klipstein, Berne, 1957; Toyoko Department Store Boyer Gallery, New York, 1938; San Francisco Museum of Gallery, Tokyo, 1957; Kinretsu Department Store Gallery, Art, 1941j Julien Levy Gallery, New York, 1945, 1946, 1947 Osaka, 1957· (drawings only), 1948; Kcotz Gallery, New York, 1947, [ncluded. ill: Americalls, 12 The Museum of Modern Art, 1950, 1951 (drawings only). Memorial exhibition, Whitney New York, 1956. Museum of American Art, New York, shown thereafter in Group Exhibitiolls outside the United States of America: Minneapolis and San Francisco, J95 r, Art Iv\useul11,Prince- Salon de Mai, Paris, 1950; Galerie Nina Dausset, Paris, ton University, 1952j Paul Kantor Gallery, Los Angeles, [95 ; Signifialll de I' l njonnat, Studio Paul Pacchetti, Paris 1952; Sidney Janis Gallery, New York, 1953, 1955 (draw- 1 S (presented by Michel Tapic), 1952j VII Art Aline, Studio ings only), 1957· Paul Facchctti, Paris (presented by Michel Tapie), 1953; Included £11: All Exhibition of War/.; by 46 Painters and Opposillg Forces, Institute of Contemporary Arts, London, Swlprors under 35 Years of Age, The Museum of Modern 1953; Galerie Rive Droite, Paris, 1954; Gallcria Spazio, Art, New York, 1930; Abstract Painting ill America, U.S. Treasury Department, Section of Fine Arts, for Post Whitney Museum of American Art, New York, 1935; Office, Yerington, Nevada, 1939. To New York, 1939· I4 Americans, The Museum of Modern Art, New York, Designed ark curtains for synagogue of Congregation B'nar Israel, Millburn, New Jersey, 1951, and for Temple Bel 1946. EI, Springfield, Massachusetts, 1953; stained-glass facade Group Exhibitions outside the United Scates of America: and mural for Park Avenue Synagogue Community Center, La Pintura Contemporanea Norieomericana, New York, New York, [955. Teacher, Pratt Institute, Brooklyn, [955 Havana, Mexico City, Caracas, Bogota, Quito, Lima, to present. Lives in New York. Santiago, Rio de Janeiro, Montevideo, Buenos Aires, 1941; Le Surreatisme en 1947, Exposition Lnterruuionale du Sur- One-man shows: Dudensing Gallery, New York, Il) reatisme preselltee par Andre Breton et Marcel Duchamp, Uptown Gallery, New York, 1934; Theodore A. Kc Galerie Maeght, Paris, 1947; U.S. Representation, XXIV Gallery, New York, [934; Artists' Gallery. New York, 19.;J Biennale, Venice, 1948; U.S.
Load more

Recommended publications
  • FOR IMMEDIATE RELEASE: 13 American Artists: a Celebration Of
    FOR IMMEDIATE RELEASE: 13 American Artists: A Celebration of Historic Work April 29 - June 26, 2021 Eric Firestone Gallery 40 Great Jones Street |New York, NY Featuring work by: Elaine Lustig Cohen |Charles DuBack | Martha Edelheit | Shirley Gorelick Mimi Gross | Howard Kanovitz | Jay Milder | Daphne Mumford | Joe Overstreet | Pat Passlof | Reuben Kadish | Miriam Schapiro | Thomas Sills Charles Duback | Adam and Eve, 1970 |acrylic, wood and felt on canvas | 96h x 120w in In honor of our first season in a new ground floor space at 40 Great Jones Street, Eric Firestone Gallery presents 13 American Artists, an exhibition showcasing artists from the gallery’s unique, wide-ranging historical program. The gallery has made central a mission to explore the ever-expanding canon of Post-World War II American art. Over the last several years, the gallery has presented major retrospectives to champion artists whose stories needed to be re-told. Their significant contributions to art history have been further reinforced by recent institutional acquisitions and exhibitions. 13 American Artists celebrates this ongoing endeavor, and the new gallery, presenting several artists and estates for the first time in our New York City location. EAST HAMPTON NYC 4 NEWTOWN LANE 40 GREAT JONES STREET EAST HAMPTON, NY 11937 NEW YORK, NY10012 631.604.2386 646.998.3727 Shirley Gorelick (1924-2000) is known for her humanist paintings of subjects who have traditionally not been heroized in large-scale portraiture. Gorelick, like most artists in this exhibition, forged her career outside of the mainstream art world. She was a founding member of Central Hall Artists Gallery, an all-women artist-run gallery in Port Washington, New York, and between 1975 and 1986, had six solo exhibitions at the New York City feminist cooperative SOHO20.
    [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]
  • The New American Painting, As Shown in Eight European Countries, 1958
    The new American painting, as shown in eight European countries, 1958-1959 Organized by the International Program of the Museum of Modern Art, New York, under the auspicies of the International Council at the Museum of Modern Art Author Museum of Modern Art (New York, N.Y.). International Program Date 1959 Publisher The Museum of Modern Art: Distributed by Doubleday, Garden City, N.Y. Exhibition URL www.moma.org/calendar/exhibitions/1990 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art THE NEW AMERICAN PAINTING As shown in eight European countries 19581959 The Museum of Modern Art >New York MoMA 645 c.2 LIBRARY .fi '^Museumof ModernArt ARCHIVE VWffEt-EP. THE NEW AMERICAN PAINTING As Shown in Eight European Countries 1958-1:959 Organized by the International Program of The Museum of Modern Art , New York under the auspices of the International Council at The Museum of Modern Art , New York THE MUSEUM OF MODERN ART, NEW YORK Distributed by Doubleday & Company Inc., Garden City, New York TRUSTEES OF THE MUSEUM OF MODERN ART Henry Allen Moe, ist Vice-Chairman; William A. M. Burden, President; Mrs David M. Levy, ist Vice-President; Alfred H. Barr, Jr, Mrs Robert Woods Bliss, Stephen C. Clark*, Ralph F. Colin, Mrs W. Murray Crane*, Rene d'Harnoncourt, Mrs C. Douglas Dillon, Mrs Edsel B. Ford, A. Conger Goodyear, Mrs Simon Guggenheim*, Wallace K.
    [Show full text]
  • A Turning Point in American Negro Art?
    THE BLACK REVOLUTION: A TURNING POINT IN AMERICAN NEGRO ART? APPROVED: Major Professor ^ Minor Professor Chairmainn O-f the Department of Ai Dean o THE BLACK REVOLUTION: A TURNING POINT IN AMERICAN NEGRO ART? THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OP' ARTS By Patricia J„ Silvey, B.A. Denton, Texas August, 1971 TABLE OF CONTENTS Page LIST OF TABLES iv LIST OF FIGURES V Chapter I. INTRODUCTION 1 II. THE IMAGE OF THE NEGRO 7 Introduction The Negro in Africa West Africa Interior Africa African Philosophy Negro Image in America Under Slavory Phantom of Slavery Negro Image After Emancipation Until 1960 Negroes in the North and in the South Barriers of Race III. THE IMAGE OF TI1L NEGRO IN ART ......... 38 Introduction Transition History IV. THE IMAGE OF THE NEGRO IN THE BLACK REVOLUTION ................. 72 The Events Leading to Black Revolution Civil Rights Movement Black Power and the Black Revolution • V. CONCLUSIONS . 96 APPENDICES . ' 101 ,LT.*11OI^i .»J.x « . ** •* * . « » . « . m „ , m ^ M ,^20 1X1 LIST OF TABLES Table Page I. Classification of Artists Exhibiting in A f r o - Aiuq r i c a n Artists: New York and Boston by Hilton Kramer 88 II. Artists Associated Directly with the Black Revolution 92 LIST OF FIGURES Figure Page 1 • Benj am in. Franklin Yoe and Son Joshua Johnston Museum of Early Southern Decorative Arts, Winston-Salem, N. C 46 2• Romantic Landscape Robert Duncanson Henry M. Fuller Collection, New York . 48 3• Approaching Storm Edward M.
    [Show full text]
  • FCA 1963 Exhibition Checklist
    Foundation for Contemporary Performance Arts 1963 Benefit Exhibition Checklist “Exhibition and Sale of Works Donated by Artists to the Foundation for Contemporary Performance Arts” February 25–March 2, 1963 Allan Stone Gallery Peter Agostini The Wave, 1963 Plaster, gauze, and wire 74” x 37” x 30” $3,500 Unsold Returned at request of the artist Norman Bluhm Jug End, 1961 Oil on canvas 48” x 60” $1,400 Unsold Sold in 2007 to a private collector through James Graham and Sons, New York Ilya Bolotowsky White Vertical, 1960 Oil on canvas 96” x 41 1/16” $3,200 Unsold Sold in 1987 to Mr. and Mrs. James DeWoody, New York Lee Bontecou Untitled, 1963 Graphite and black pigment on muslin 36 1/8” x 36 1/4” $950 Sold at 1963 Benefit to Adelaide de Menil, New York; currently collection of the Menil Collection, Houston Paul Brach Omen #3, 1961 Oil on canvas 20” x 24” $400 Unsold Returned at request of the artist George Brecht No Smoking, 1962 Assemblage with enamel, metal, and wood 7 1/4” x 10 3/4” “Price unspecified for philosophical reasons” Unsold No record of later sale Foundation for Contemporary Performance Arts 1963 Benefit Exhibition Checklist Page 2 of 11 George Brecht Coat Rack, 1962 Assemblage with wood, metal, and fabric 49” x 51” “Price unspecified for philosophical reasons” Unsold No record of later sale Chryssa Unmailed Letter, 1950 Plaster relief mounted in box frame 24 1/2” x 27 1/2” x 5” $1,500 Unsold Foundation for Contemporary Arts, New York Nassos Daphnis S-PX-5-62, 1962 Plexiglass object 32” x 9”x 2” $750 Unsold No record of later sale Elaine de Kooning Portrait of Merce, 1963 Oil on canvas 96” x 48” $4,500 Unsold Donated in 1996 to the National Portrait Gallery, Washington, DC Willem de Kooning Blue + White, c.
    [Show full text]
  • American Paintings from the Sheldon Memorial Art Gallery an Institutional History in Pictures
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sheldon Museum of Art Catalogues and Publications Sheldon Museum of Art 2001 American Paintings from the Sheldon Memorial Art Gallery An Institutional History in Pictures Daniel A. Siedell Curator at Sheldon Memorial Art Gallery Follow this and additional works at: https://digitalcommons.unl.edu/sheldonpubs Part of the Art and Design Commons Siedell, Daniel A., "American Paintings from the Sheldon Memorial Art Gallery An Institutional History in Pictures" (2001). Sheldon Museum of Art Catalogues and Publications. 8. https://digitalcommons.unl.edu/sheldonpubs/8 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. American Paintings from the Sheldon Memorial Art Gallery An Institutional History in Pictures Introduction The Sheldon Memorial Art Gallery and Sculpture Garden at the University of Nebraska-Lincoln is pleased to present American Paintings from the Sheldon Memorial Art Gallery: An Institutional History in Pictures, an exhibition of more than forty-nine paintings that celebrates an important part of the Gallery's considerable permanent collection, which, for over one-hundred years, has come to define its identity and mission as an art museum. Boasting a permanent collection of nearly 13 ,000 objects , the Sheldon Art Gallery has sought to present the historical development and aesthetic diversity of 19th and 20th-century American art in various media. But the Sheldon's permanent collection does not only document the history of American art, it reveals the history of the Sheldon Art Gallery as a collecting institution.
    [Show full text]
  • Letterhead New
    View of “Jeanne Reynal,” 2021. Photo: Jenny Gorman. Jeanne Reynal ERIC FIRESTONE GALLERY | NEW YORK In 1958, Clement Greenberg penned a short essay that posited aesthetic parallels between Byzantine art and modernism. Despite their differences, he said, these movements were united by an emphatic pictorialism, their transcendent qualities tied up with a shared repudiation of illusionism. In this text, the critic cited the work of certain painters, such as Barnett Newman, Jackson Pollock, and Mark Rothko, as examples. “This new kind of modernist picture,” Greenberg wrote, “like the Byzantine gold and glass mosaic, comes forward to fill the space between itself and the spectator with its radiance.” Mention of Jeanne Reynal (1903–1983), a first-generation New York School artist who created modernist mosaic works using Byzantine techniques, might have fortified Greenberg’s essay, supplying structural links in addition to aesthetic ones. Reynal’s consummately luminous, endlessly innovative objects—from wall- mounted panels with sprays of semiprecious stones to totems wrapped in tesserae (the square tiles that typically comprise mosaics)—were on view at Eric Firestone Gallery in “Mosaic Is Light: Work by Jeanne Reynal, 1940–1970.” Though the artist exhibited with the Betty Parsons Gallery and had three solo shows at the San Francisco Museum of Modern Art in her lifetime, this survey, spread across two floors, was the first substantial presentation of her art in five decades. The exhibition featured only four of Reynal’s works from the 1940s, one of which was a squat table that the artist made in collaboration with sculptor Isamu Noguchi. She had spent the bulk of the preceding decade as an apprentice to Russian mosaicist Boris Anrep in Paris, then in 1940 moved to California, where she began to experiment independently.
    [Show full text]
  • Fall 2017 Quick Guides
    Fall 2017 Quick Guides The Exhibition Quick Guides provide Sheldon Education Team general information about the current Vivian Lin exhibitions (descriptions, checklists with Assistant Curator of Education images) as well as highlight key themes and [email protected] | 402-472-2092 (office) offer discussion prompts. Carrie Morgan Much of the summarizing text is drawn from Curator of Academic Programs the label copy that you will encounter in the [email protected] | 402-472-3541 (office) galleries. Abby Groth These guides were prepared by the Assistant Curator of Public Programs Education Team and Interns to support both [email protected] | 402-472-7858 (office) educators and the volunteers and staff who engage public audiences. Hope Anderson Summer 2017 Education Intern Questions? Suggestions? Please contact Vivian. Sheldon Museum of Art General contact information http://sheldonartmuseum.org 402-472-2461 Search the collection online http://sheldonartmuseum.org/collection Fall 2017 Quick Guides Now’s the Time Miles Davis bends the notes. He doesn’t play them, he bends them. I bend the paint. - Willem de Kooning This exhibition presents works by artists affiliated with the New York School—an interdisciplinary movement of painters, sculptors, poets, writers, composers, musicians, dancers, and others in creative fields who gathered in Lower Manhattan from the 1940s through the 1960s. Some of the movement’s adherents, known as “abstract expressionists,” were committed to creating visual art that was abstract, highly expressive, relevant to the changing world, and authentically American. They, along with the critics and patrons who supported them, helped shift the art world’s focus from Europe to New York City.
    [Show full text]
  • Mosaic Is Light: Work by Jeanne Reynal, 1940 - 1970 January 28Th - April 10Th, 2021 Opening | January 28Th, 10Am -8Pm 40 Great Jones St | New York, NY 10012
    Mosaic is Light: Work by Jeanne Reynal, 1940 - 1970 January 28th - April 10th, 2021 Opening | January 28th, 10am -8pm 40 Great Jones St | New York, NY 10012 For Immediate Release: Jeanne Reynal in her Sierra Nevada studio, 1943 ERIC FIRESTONE GALLERY, New York, NY announces the representation of the estate of JEANNE REYNAL and a survey exhibition, Mosaic is Light: Work by Jeanne Reynal, 1940 - 1970 at 40 Great Jones Street, NYC. JANUARY 28 - APRIL 10, 2021 This major retrospective is the first opportunity to fully examine Reynal’s significant contribution to post-World War II American art. On view will be work from the early 1940s through the 1970s, including works on loan from the Whitney Museum of American Art and the Isamu Noguchi Foundation and Sculpture Garden. Jeanne Reynal (1903 – 1983) was a mosaicist, and a first-generation New York School artist. She challenged expectations of the medium by creating, as she described, “a new art of mosaic, a contemporary and fresh look for this ancient medium.” Her work was largely abstract, and she was dedicated to the ways in which hand-cut stones and glass tiles, set on a bias, could reflect and create light across a surface. She applied tesserae (the tiles, stone, and shells she used to construct her mosaics) in loose formations, to a ground of pigmented cement. Her work was often subtle and painterly. Reynal would begin directly, without preparatory designs, and elaborately re-work her surfaces by removing tesserae and re-applying thin layers of cement. As Dore Ashton wrote of her work, “These surfaces, so appealing to the tactile sense, carried the eye on a fantastic journey through planetary landscapes punctuated by crusty routes of closely- grouped obsidian, and soft, misty hills of pulverized mineral matter.
    [Show full text]
  • James E. B. Breslin Research Archive on Mark Rothko, 1900-1994 (Bulk 1940-1990)
    http://oac.cdlib.org/findaid/ark:/13030/kt1t1nd961 Online items available Finding aid for the James E. B. Breslin research archive on Mark Rothko, 1900-1994 (bulk 1940-1990) Laurel McPhee and Andra Darlington. Finding aid for the James E. B. 2003.M.23 1 Breslin research archive on Mark Rothko, 1900-1994 (bulk 1... Descriptive Summary Title: James E. B. Breslin research archive on Mark Rothko Date (inclusive): 1900-1994 (bulk 1940-1990) Number: 2003.M.23 Creator/Collector: Breslin, James E. B., 1935- Physical Description: 18.7 Linear Feet(32 boxes, 1 flat file folder) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles 90049-1688 [email protected] URL: http://hdl.handle.net/10020/askref (310) 440-7390 Abstract: Archive assembled by James Breslin, professor at the University of California, Berkeley, as he researched and wrote Mark Rothko: a biography. The Russian-born American painter's life and work are the central subjects of the collection, situated in broad historical and artistic contexts with particular emphasis on Abstract Expressionism and the New York art world from the 1920s through the 1960s. Materials include interview recordings and transcripts, correspondence, financial and legal documents, photographs, clippings, assorted printed materials, and extensive notes. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in English Biographical/Historical Note James E. B. Breslin was born December 12, 1935, in Brooklyn, New York. He received a B.A.
    [Show full text]
  • A Finding Aid to the Thomas Hess Papers, 1939-1978, in the Archives of American Art
    A Finding Aid to the Thomas Hess Papers, 1939-1978, in the Archives of American Art Sarah Mundy Funding for the processing of this collection was provided by the Smithsonian Institution Collections Care and Preservation Fund. 2017 October 6 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........................................................................................................ 3 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 5 Series 1: Biographical Materials, 1945-1977........................................................... 5 Series 2: Correspondence, circa 1945-1978............................................................ 6 Series 3: Writings and Notes, circa 1940-1978.....................................................
    [Show full text]
  • Betty Parsons Invisible Presence Betty Parsons: Invisible Presence May 25–July 14, 2017
    Invisible Presence Invisible Betty Parsons Betty Parsons: Invisible Presence Alexander Gray Associates Betty Parsons: Invisible Presence May 25–July 14, 2017 Alexander Gray Associates Parsing Parsons: In Search of the Invisible Presence By Abigail Winograd In February of 1972, Betty Parsons went to Africa. An inveterate traveler, Parsons often recorded brief snippets of her journey as well as sketches and watercolors in notebooks she carried with her (fig. 1). On this occasion, her pocket diary includes brief mentions of lunch by a river in sight of twenty-two bathing hippopotami, lions making a kill, and an early morning breakfast in camp before leaving for Paris.1 One might imagine that it is the view from her tent that Parsons recorded on canvas in the painting African Dawn (1972; see page 45), a reminiscence in which fluid brushstrokes, sinuous lines, and bold patches of pink, blue, orange, and gold float on a field of chartreuse. The painting is typical of Parsons’ particular brand of abstraction, never hard-edged, not exactly gestural or biomorphic, but always colorful; playful; bold; and expressive. Fig 1 Betty Parsons’ personal diaries from 1950 and 1957 A thirteen-year-old Parsons decided on a career as an artist after visiting the legendary Armory Show of 1913 (fig. 2). As it was unbefitting a woman of her stature to attend college, a young Betty (née Betty Bierne Pierson), scion of an old New York family, studied sculpture and took classes at the Parsons School of Design. She obtained her formal artistic training in Paris, studying with Ossip Zadkine and Antoine Bourdelle alongside Alberto Giacometti during the 1920s (see page 57), a city to which she had come to obtain a quiet and hasty divorce, bringing an end to her brief and unhappy marriage to Schuyler Livingston Parsons.
    [Show full text]