DOCSLIB.ORG

Hassel Smith

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Hassel Smith HASSEL SMITH HASSEL SMITH PAINTINGS 1937–1997 Edited by Petra Giloy-Hirtz Paul J. Karlstrom, Susan Landauer (Co-authors) With contributions by Petra Giloy-Hirtz, Robert C. Morgan, Peter Selz, Allan Temko PRESTEL MUNICH – LONDON – NEW YORK Dedicated to the Family of Hassel Smith CONTENTS 6 FOREWORD 8 Paul J. Karlstrom AN ITINERANT LIFE IN MODERN ART 32 Susan Landauer HASSEL SMITH AND THE POLITICS OF STYLE 56 Peter Selz THE FIGURATIVE PAINTINGS OF HASSEL SMITH 62 Robert C. Morgan HASSEL SMITH AND THE STRUCTURE OF ABSTRACT PAINTING 68 Allan Temko HASSEL SMITH: PAINTINGS, 1954–1975 74 Petra Giloy-Hirtz “MORE AND MORE COSMIC FUNK” HASSEL SMITH’S LATE PAINTINGS 85 PLATES DOCUMENTATION 217 CHRONOLOGY 222 LIST OF WORKS 224 EXHIBITIONS 225 COLLECTIONS 226 BIBLIOGRAPHY 230 ACKNOWLEDGMENTS FOREWORD Hassel Smith (1915–2007) was an innovative and widely appreciated West Coast-based artist during the significant early phases in the development of Abstract Expressionism in the United States. Primarily a painter, he was also active in drawing, printmaking, sculpture, assemblage, collage, poetry, and wrote assorted critical texts from the late thirties to the end of 1997. Smith was a highly influential teacher; from the mid-forties to the early fifties he taught at the California School of Fine Arts (now the San Francisco Art Institute), then considered to be the “center of experimental abstraction,” together with, among others, Clyfford Still, Richard Diebenkorn, and summer visiting professors such as Mark Rothko and Ad Reinhardt. In 1966 Smith moved permanently with his family to England where he taught at the Royal West of England Academy of Art in Bristol. He returned to California on several occasions, exhibiting and teaching—at the campuses of the University of California at Berkeley, Davis, and Los Angeles, and at the San Francisco Art Institute. Smith’s most important solo exhibitions took place on the West Coast, but he is represented in prominent museum and private collections across the United States and Europe. Hassel Smith was known as a “West Coast underground legend,” “a leading free spirit of art,” “one of the most vigorous and imaginative Western pioneers of the modern movement in painting,” mentioned by art critics in the same breath as Arshile Gorky, Willem de Kooning, Franz Kline, and Robert Motherwell. Nevertheless his work has been overlooked in recent decades. Although essays and books devoted to broad surveys of the West Coast art scene after World War II agree that Hassel Smith’s work of the fifties and early sixties was important and influential, the artist’s career has not been represented by a compre- hensive monograph. While there were three retrospective exhibitions during Smith’s lifetime—at the San Francisco Museum of Art in 1975, the Oakland Museum of Art (Oakland Museum of California) in 1981, and the Sonoma County Museum in 2002—a major survey of his artistic output has yet to be mounted. Significantly, the complete arc of Smith’s achievements over a period of more than thirty years (1965 – 97) is hardly known. Despite the artist’s early success and the positive reception to his paintings in London in the early sixties, Smith never fit easily into England’s national scene and his work was often neglected. A limited response was provoked by periodic exhibitions in, chiefly, Northern California during the seventies, eighties, and nineties, but it is clear that he worked in increasing isolation from the time of his 1975 retrospective at the San Francisco Museum of Art (SFMOMA). The present monograph offers an overview of the entire lifework of the artist for the first time and compiles a selection of important pieces from all phases of his creative output. In their broad range, the varied texts by six writers, devoted to diverse aspects and periods of the artist’s work, offer a critical appraisal of Hassel Smith’s entire oeuvre, positioning the artist’s achievement within the history of American painting during the second half of the twentieth century. Paul J. Karlstrom, who established the West Coast Archives of American Art for the Smithsonian Insti- tution (from 1973), is a prominent art critic and oral art historian. Susan Landauer, a writer and curator specializing in West Coast American art, has contributed importantly to the reassessment of artistic innovation on the West Coast after World War II. Peter Selz was chief curator at the Museum of Mod- ern Art in New York (MoMA) from the late fifties to the mid-sixties, where he pioneered a legendary series of retrospective exhibitions. He is Professor Emeritus in the History of Art (UCB) and was the first director of the Berkeley Art Museum. Robert C. Morgan is a renowned critic, writer, and professor of art history based in New York City whose publications have focused on contemporary art in North America, Asia, Latin America, and the Middle East. 6 .|. 7 The text by Allan Temko (1924–2006, awarded the Pulitzer Prize for Criticism in 1990) has been included as a contemporary voice of the seventies and was first published in the exhibition catalogue for Smith’s retrospective at the San Francisco Museum of Art in 1975. This monograph has benefited from the dedication and deep engagement of the Estate of Hassel Smith, represented by the artist’s wife Donna Smith and Mark Harrington, his stepson. In their desire to encourage appreciation and understanding of the life work of Hassel Smith, they could have little idea of the challenges that would confront them as they developed plans for a serious publication. Paintings from the latter stages of the artist’s productivity were stored in England and Northern California, but where were the paintings and related works from the earlier years to be found? Several years of archival research and organization lay ahead. The financial and managerial contribution of Dr. Joachim and Dagmar Kaske, representatives of the Christoph and Stephan Kaske Foundation and prominent collectors of the later works of Hassel Smith in Germany, has been essential to the art-historical research, the writing of the essays in this volume, and the creation of a Hassel Smith database. Thanks to a curatorial grant from the Getty Foundation in 2008, the artist’s irreplaceable trove of writings, correspondence, catalogues, articles, rare photo- graphs, and reproductions of works, housed at the Archives of American Art, Smithsonian Institution, have been made available for the historical record. Private collectors and museums across the United States have kindly collaborated. The research assistance and expertise of Larissa Spicker have been crucial to the formation of the Hassel Smith database, as well as to the gathering of images reproduced in this book. Hassel Smith’s paintings are assembled here for the first time as a coherent oeuvre. The monograph has evolved as a beautiful and scholarly book with fine reproductions that allow the reader a sense of intimate access to the artist’s work. This accomplishment is thanks to the engage- ment of Prestel Publishing, especially to the enthusiasm and competence of editor in chief Katharina Haderer, editor Anja Paquin, and the production team in Munich. Christian Schmid has created the appealing graphic design of the book. Hassel Smith explored varied and contrasting possibilities in painting. We hope that this publication will invite its readers to discover or to explore afresh the work of this important artist with the advantage of new insight. Hassel Smith’s painting is an art of movement full of extraordinary energy, a painting of exuberant color, masterful brushwork, explosive and vital—evoking the dynamics of rhythm, music, contemplation, and dance. As the critic Roberta Smith wrote in 2002, Hassel Smith’s painting is “contemporary,” fresh, and surprising. It is hoped that this book may serve as inspiration for further research into Smith’s achievement and ultimately a comprehensive retrospective. Petra Giloy-Hirtz Munich, Spring 2012 AN ITINERANT LIFE IN MODERN ART Paul J. Karlstrom Hassel Smith described himself in a 1978 interview as an itinerant: “I have done a lot of traveling back and forth across the United States by every known conveyance except horse.... I think it is a significant … pattern of my life that I have constantly moved, from one place to another. It’s a curious fact that the twelve years my wife and I and our family have spent in Bristol represent the longest period of time that any of us have ever lived in one place. So that gives you an idea of how itinerant we have been.”1 Hassel could not have known it at the time, but his itinerancy was to cease in England—in Bristol and nearby environs. In 1966 Hassel Smith and his second wife, Donna, made the decision to move from Southern California to Bristol to accept a teaching position at the Royal West of England College of Art. The move turned out to be permanent, which to outside observers seemed to represent a conscious career gamble. Smith had an established reputation in the San Francisco Bay Area and Los Angeles; in both cities his work had gallery representation and many admirers. 1 // Hassel Smith, Denver, 1920 His earlier work included the most beautiful and pictorially coherent Abstract Expressionist painting being done anywhere. Despite fairly frequent trips to the Bay Area to visit friends and colleagues, and guest teaching at the University of California at Berkeley and at Davis, and at the San Francisco Art Institute, Smith never returned to the West Coast art world that had formed his ideas and nurtured him professionally. Many believe that his career was all but sacrificed, a harsh judgment but one that seems borne out by the almost visible fading of his former prominence on the Cali- fornia scene.
Load more

Recommended publications
  • Copyright by Cary Cordova 2005
    Copyright by Cary Cordova 2005 The Dissertation Committee for Cary Cordova Certifies that this is the approved version of the following dissertation: THE HEART OF THE MISSION: LATINO ART AND IDENTITY IN SAN FRANCISCO Committee: Steven D. Hoelscher, Co-Supervisor Shelley Fisher Fishkin, Co-Supervisor Janet Davis David Montejano Deborah Paredez Shirley Thompson THE HEART OF THE MISSION: LATINO ART AND IDENTITY IN SAN FRANCISCO by Cary Cordova, B.A., M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin December, 2005 Dedication To my parents, Jennifer Feeley and Solomon Cordova, and to our beloved San Francisco family of “beatnik” and “avant-garde” friends, Nancy Eichler, Ed and Anna Everett, Ellen Kernigan, and José Ramón Lerma. Acknowledgements For as long as I can remember, my most meaningful encounters with history emerged from first-hand accounts – autobiographies, diaries, articles, oral histories, scratchy recordings, and scraps of paper. This dissertation is a product of my encounters with many people, who made history a constant presence in my life. I am grateful to an expansive community of people who have assisted me with this project. This dissertation would not have been possible without the many people who sat down with me for countless hours to record their oral histories: Cesar Ascarrunz, Francisco Camplis, Luis Cervantes, Susan Cervantes, Maruja Cid, Carlos Cordova, Daniel del Solar, Martha Estrella, Juan Fuentes, Rupert Garcia, Yolanda Garfias Woo, Amelia “Mia” Galaviz de Gonzalez, Juan Gonzales, José Ramón Lerma, Andres Lopez, Yolanda Lopez, Carlos Loarca, Alejandro Murguía, Michael Nolan, Patricia Rodriguez, Peter Rodriguez, Nina Serrano, and René Yañez.
    [Show full text]
  • Christine Giles Bill Bob and Bill.Pdf
    William Allan, Robert Hudson and William T. Wiley A Window on History, by George. 1993 pastel, Conte crayon, charcoal, graphite and acrylic on canvas 1 61 /2 x 87 '12 inches Courtesy of John Berggruen Gallery, San Francisco, California Photograph by Cesar Rubio / r.- .. 12 -.'. Christine Giles and Hatherine Plake Hough ccentricity, individualism and nonconformity have been central to San Fran­ cisco Bay Area and Northern California's spirit since the Gold Rush era. Town Enames like Rough and Ready, Whiskey Flats and "Pair of Dice" (later changed to Paradise) testify to the raw humor and outsider self-image rooted in Northern California culture. This exhibition focuses on three artists' exploration of a different western frontier-that of individual creativity and collaboration. It brings together paintings, sculptures, assemblages and works on paper created individually and collabora­ tively by three close friends: William Allan, Robert Hudson and William T. Wiley. ·n, Bob and Bill William Allan, the eldest, was born in Everett, Washington, in 1936, followed by Wiley, born in Bedford, Indiana, in 1937 and Hudson, born in Salt Lake City, Utah, in 1938. Their families eventually settled in Richland, in southeast Washington, where the three met and began a life-long social and professional relationship. Richland was the site of one of the nation's first plutonium production plants-Hanford Atomic Works. 1 Hudson remembers Richland as a plutonium boom town: the city's population seemed to swell overnight from a few thousand to over 30,000. Most of the transient population lived in fourteen square blocks filled with trailer courts.
    [Show full text]
  • Frank Lobdell : Beyond Words Exclusively Representing the Estate of Frank Lobdell (1921 - 2013) Frank Lobdell
    FINDLAY GALLERIES Frank Lobdell : Beyond Words Exclusively Representing the Estate of Frank Lobdell (1921 - 2013) Frank Lobdell “I am delighted that Frank’s work is represented by Findlay Galleries. It is my hope that a new generation will come to appreciate his transcendent art. I observed Frank work for many years and I always felt a deep respect for his love of painting, drawing, printmaking, and at last the bronze sculptures. “Art is built on art,” he would say. He respected and learned from many artists, just as younger artists learned from him. Frank had a rare capacity to be moved by the paintings he loved and by painting itself. He painted with curiosity and with empathy for the world and for human experience. Frank had a deep sense of purpose. He was patient and intensely dedicated to exploring his personal vocabulary of line, color, movement, scale, symbols and motif. He felt he found his true voice in his later work after decades of experimentation and invention. His late paintings are bold, confident, intricate, and somehow peaceful. They reward the viewer’s deep attention. Frank’s work enlarges our ideas about the world and about beauty. They teach us to see.” JINX LOBDELL 2 Beyond Words Born on August 23, 1921 in Kansas City, Missouri and Like many artists whose working lives have been similarly raised in Minnesota, Frank Lobdell attended the St. Paul long and productive, Lobdell’s can be arranged into a School of Fine Arts in Saint Paul Minnesota from 1939 – discernible sequence of stages, even if they do not always 1940.
    [Show full text]
  • Ernest Briggs' Three Decades of Abstract Expressionist Painting
    Ernest Briggs' Three Decades its help in allowing artists of the period to go to school. They were set of Abstract Expressionist Painting free economically, and were allowed to live comfortably with tuition and supplies paid for. The Fine Arts School would last about 3 years Ernest Briggs, a second generation Abstract Expressionist painter under McAgy. The program took off due to the presence of Clyfford known for his strong, lyrical, expressive brushstrokes, use of color and Still, Ad Reinhardt, along with David Park, Richard Diebenkorn, Elmer sometimes geometric composition, first came to New York in late 1953. Bischoff and others. Most of the students at the school, about 40-50 He had been a student of Clyfford Still at the California School of Fine taking painting, such luminaries as Dugmore, Hultberg, Schueler and Arts. Frank O’Hara first experienced the mystery in the way Ernest Crehan, had had some exposure to art through university or art school. Briggs’ splendid paintings transform, and the inability to see the shape But there had been no exposure to what was going on in New York or in as a shape apart from interpretation. Early in 1954, viewing Briggs’ first Europe in the art world, and Briggs and the others were little prepared one man show at the Stable Gallery in New York, O’Hara said in Art for the onslaught that was to come. in America “From the contrast between the surface bravura and the half-seen abstract shapes, a surprising intimacy arises which is like The California Years seeing a public statue, thinking itself unobserved, move.” With the entry of Still, the art program would “blow apart”.
    [Show full text]
  • Helen Pashgianhelen Helen Pashgian L Acm a Delmonico • Prestel
    HELEN HELEN PASHGIAN ELIEL HELEN PASHGIAN LACMA DELMONICO • PRESTEL HELEN CAROL S. ELIEL PASHGIAN 9 This exhibition was organized by the Published in conjunction with the exhibition Helen Pashgian: Light Invisible Los Angeles County Museum of Art. Funding at the Los Angeles County Museum of Art, Los Angeles, California is provided by the Director’s Circle, with additional support from Suzanne Deal Booth (March 30–June 29, 2014). and David G. Booth. EXHIBITION ITINERARY Published by the Los Angeles County All rights reserved. No part of this book may Museum of Art be reproduced or transmitted in any form Los Angeles County Museum of Art 5905 Wilshire Boulevard or by any means, electronic or mechanical, March 30–June 29, 2014 Los Angeles, California 90036 including photocopy, recording, or any other (323) 857-6000 information storage and retrieval system, Frist Center for the Visual Arts, Nashville www.lacma.org or otherwise without written permission from September 26, 2014–January 4, 2015 the publishers. Head of Publications: Lisa Gabrielle Mark Editor: Jennifer MacNair Stitt ISBN 978-3-7913-5385-2 Rights and Reproductions: Dawson Weber Creative Director: Lorraine Wild Designer: Xiaoqing Wang FRONT COVER, BACK COVER, Proofreader: Jane Hyun PAGES 3–6, 10, AND 11 Untitled, 2012–13, details and installation view Formed acrylic 1 Color Separator, Printer, and Binder: 12 parts, each approx. 96 17 ⁄2 20 inches PR1MARY COLOR In Helen Pashgian: Light Invisible, Los Angeles County Museum of Art, 2014 This book is typeset in Locator. PAGE 9 Helen Pashgian at work, Pasadena, 1970 Copyright ¦ 2014 Los Angeles County Museum of Art Printed and bound in Los Angeles, California Published in 2014 by the Los Angeles County Museum of Art In association with DelMonico Books • Prestel Prestel, a member of Verlagsgruppe Random House GmbH Prestel Verlag Neumarkter Strasse 28 81673 Munich Germany Tel.: +49 (0)89 41 36 0 Fax: +49 (0)89 41 36 23 35 Prestel Publishing Ltd.
    [Show full text]
  • California Modernism After World War Ii
    1 CALIFORNIA MODERNISM AFTER WORLD WAR II So in America when the sun goes down and I sit on the old broken-down river pier watching the long, long skies over New Jersey and sense all that raw land that rolls in one unbelievable huge bulge over to the West Coast, and all that road going, and all the people dreaming in the immensity of it, and in Iowa I know by now the children must be crying in the land where they let the children cry, and tonight the stars’ll be out, and don’t you know that God is Pooh Bear? The evening star must be drooping and shedding her sparkler dims on the prairie, which is just before the coming of complete night that blesses the earth, darkens all the rivers, cups the peaks and folds the final shore in, and nobody, nobody knows what’s going to happen to anybody besides the forlorn rags of growing old, I think of Dean Moriarty, I even think of Old Dean Moriarty the father we never found, I think of Dean Moriarty. JACK KEROUAC, ON THE ROAD POSTWAR EXCHANGES Most historical accounts of cultural and artistic developments in the United States after World War II have offered little information about trends affecting artists across the country. In the rush to figure out who did what first and to locate it geographically—usu - ally in New York— the historians have ignored the fluid interchanges between the two coasts, and cultural opportunities offered on either of them in these postwar years.
    [Show full text]
  • 'David Park: a Retrospective' Review: Subtle Humanism in Thick Paint
    ART REVIEW ‘David Park: A Retrospective’ Review: Subtle Humanism in Thick Paint The underrated Bay Area School artist—who, early on, turned from abstract painting to thoroughly modern figuration—receives his first major museum exhibition in over three decades. David Park’s ‘Rowboat’ (1958) PHOTO: © ESTATE OF DAVID PARKMODERN ART MUSEUM OF FORT WORTH By Peter Plagens July 15, 2019 429 pm ET Fort Worth, Texas David Park (1911-1960) is one of the artists who made San Francisco almost as famous for a figurative style of painting (the “Bay Area School”) as New York is for Abstract Expressionism. Park was a stupefyingly adroit applier of paint to canvas whose generous but subtle humanism makes him one of the most art-historically underrated artists of the mid-20th century. There’s a good chance, however, that “David Park: A Retrospective,” now at the Modern Art Museum of Fort Worth, will help rectify that. (After this venue, it will travel to the Kalamazoo Institute of Arts, and then back to the San Francisco Museum of Modern Art, which originated the show.) With over 120 works, including more than 70 oil paintings, it’s the first Park exhibition in a major museum in over three decades. A Bostonian who was diagnosed in childhood as being David Park: A Retrospective more than halfway blind, Park stopped wearing glasses in 1926 and never put them on again. Two years later he Modern Art Museum of Fort Worth moved to Los Angeles, where he attended the Otis Art Through Sept. 22 Institute—for less than a year, his only formal art education.
    [Show full text]
  • Centenary of American Artist Jon Schueler (1916-1992) Celebrated Throughout 2016
    FOR IMMEDIATE RELEASE April 25, 2016 CENTENARY OF AMERICAN ARTIST JON SCHUELER (1916-1992) CELEBRATED THROUGHOUT 2016 Solo and group exhibitions, both in the US and in the UK, will mark the centennial of Jon Schueler’s birth. A Jon Schueler symposium, The Sound of Sleat: Echoes, Reflections, and Transfigurations, moderated by Lindsay Blair, will take place at Sabhal Mòr Ostaig, the University of the Highlands and Islands, Isle of Skye, Scotland, May 27-29. Two shows at the beginning of April set off events in Scotland: at the University of Stirling and at the Heritage Centre in Mallaig, where Schueler had a studio from 1970 to 1992. In May, we move north to Ullapool for openings at An Talla Solais and at Rhue Art. On the Isle of Skye, Sabhal Mòr Ostaig --along with hosting the 2-day Schueler symposium--will show a selection of the artist's oils and works on paper. The college, like the fishing village of Mallaig, witnesses the The Search: Red and Grey, II, 1981, dramatic and mysterious weather patterns sweeping over the Sound of Sleat, the 48 x 40” (o/c 1173). University of Stirling Exhibition body of water that so often served as the source of Schueler's imagery and fantasies. For other exhibitions opening later in the year, see accompanying list. The stunning Schueler exhibition, Jon Schueler: Mapping Memory, at the Anderson Gallery, State University of Bridgewater, MA marked the opening of the 2016 celebrations in the United States. The Weisman Art Museum, Minneapolis, MN is currently featuring its collection of Schueler's paintings "as center pieces surrounded by forerunners and successors" in its exhibition, Clouds, Temporarily Seen.
    [Show full text]
  • Lobdell Resume 2013
    Frank Lobdell b. Kansas City, MO 1921 EDUCATION 1950–51 Académie de la Grande Chaumière, Paris, France 1947–50 California School of Fine Arts, San Francisco, CA (now the San Francisco Art Institute) 1939 St. Paul School of Fine Arts, St. Paul, MN SELECTED SOLO EXHIBITIONS 2009 Frank Lobdell: Figurative Drawings, Cantor Arts Center, Stanford University, Palo Alto, CA (will travel to Iowa State University, Ames, IA; Portland Art Museum, OR; Fresno Art Museum, CA) 2008 The Dance Series, 1969-72, Hackett-Freedman Gallery, San Francisco, CA Frank Lobdell Retrospective, Marin Museum of Contemporary Art, Novato, CA 2004 Frank Lobdell: Recent Work 1990–2004, Hackett-Freedman Gallery, San Francisco, CA 2003 Frank Lobdell: Figure Drawings, Hackett-Freedman Gallery, San Francisco, CA The Art of Making and Meaning, California Palace of the Legion of Honor, Fine Arts Museums of San Francisco, CA (traveled to Portland Art Museum, OR, and Fresno Art Museum, CA) Frank Lobdell: Etchings & Aquatints, B. Sakata Garo Gallery, Sacramento, CA 2002 Frank Lobdell: Early Works, Charles Cowles Gallery, New York, NY Three Phases, 1947–2001, Hackett-Freedman Gallery, San Francisco, CA 2000 Frank Lobdell: Recent Paintings and Drawings, Campbell-Thiebaud Gallery, San Francisco, CA Frank Lobdell: A Decade of Etchings, The Art Exchange, San Francisco, CA 1998 Etchings by Frank Lobdell, Western Michigan University, Kalamazoo, MI Master Artist V, Hearst Art Gallery, St. Mary's College of California, Moraga, CA Campbell-Thiebaud Gallery, San Francisco, CA (also ‘95,’92,’91,’90, ‘88) Shorenstein Building, 425 Market Street, San Francisco, CA 1997 Emmie Smock Gallery, San Francisco, CA 1995 Frank Lobdell, Aquatint Etchings, Printworks, Chicago, IL 1993 Works, 1947–1992, Stanford University Museum of Art, Palo Alto, CA Frank Lobdell: Recent Paintings and Monotypes, Oscarsson-Hood, New York, NY 1992 IPA Gallery, Boston, MA Viewpoints XVIII: Frank Lobdell, M.
    [Show full text]
  • Venus Over Manhattan Is Pleased to Present an Exhibition of Work by Roy De Forest, Organized in Collaboration with the Roy De Forest Estate
    Venus Over Manhattan is pleased to present an exhibition of work by Roy De Forest, organized in collaboration with the Roy De Forest Estate. Following the recent retrospective of his work, Of Dogs and Other People: The Art of Roy De Forest, organized by Susan Landauer at the Oakland Museum of California, the exhibition marks the largest presentation of De Forest’s work in New York since 1975, when the Whitney Museum of American Art staged a retrospective dedicated to his work. Comprising a large group of paintings, constructions, and works on paper—some of which have never before been exhibited—as well as a set of key loans from the Jan Shrem and Maria Manetti Shrem Museum of Art, University of California, Davis, and the di Rosa Center for Contemporary Art, Napa, the presentation surveys the breadth of De Forest’s production. In conjunction with the presentation, the gallery will publish a major catalogue featuring a new text on the artist by Dan Nadel, along with archival materials from the Roy De Forest papers, housed at the Archives of American Art. The exhibition will be on view from March 3rd through April 25th, 2020. Roy De Forest’s freewheeling vision, treasured for its combination of dots, dogs, and fantastical voyages, made him a pillar of Northern California’s artistic community for more than fifty years. Born in 1930 to migrant farmers in North Platte, Nebraska, De Forest and his family fled the dust bowl for Washington State, where he grew up on the family farm in the lush Yakima Valley, surrounded by dogs and farm animals.
    [Show full text]
  • 2015-011315Fed
    National Register Nomination Case Report HEARING DATE: OCTOBER 21, 2015 Date: October 21, 2015 Case No.: 2015-011315FED Project Address: 800 Chestnut Street (San Francisco Art Institute) Zoning: RH-3 (Residential House, Three-Family) 40-X Height and Bulk District Block/Lot: 0049/001 Project Sponsor: Carol Roland-Nawi, Ph.D., State Historic Preservation Officer California Office of Historic Preservation 1725 23rd Street, Suite 100 Sacramento, CA 95816 Staff Contact: Shannon Ferguson – (415) 575-9074 [email protected] Reviewed By: Timothy Frye – (415) 575-6822 [email protected] Recommendation: Send resolution of findings recommending that, subject to revisions, OHP approve nomination of the subject property to the National Register BACKGROUND In its capacity as a Certified Local Government (CLG), the City and County of San Francisco is given the opportunity to comment on nominations to the National Register of Historic Places (National Register). Listing on the National Register of Historic Places provides recognition by the federal government of a building’s or district’s architectural and historical significance. The nomination materials for the individual listing of the San Francisco Art Institute at 800 Chestnut Street were prepared by Page & Turnbull. PROPERTY DESCRIPTION 800 Chestnut Street, also known as the San Francisco Art Institute, is located in San Francisco’s Russian Hill neighborhood on the northwest corner of Chestnut and Jones streets. The property comprises two buildings: the 1926 Spanish Colonial Revival style original building designed by Bakewell & Brown (original building) and the 1969 Brutalist addition designed by Paffard Keatinge-Clay (addition). Constructed of board formed concrete with red tile roofs, the original building is composed of small interconnected multi-level volumes that step up from Chestnut Street to Jones Street and range from one to two stories and features a five-story campanile, Churrigueresque entranceway and courtyard with tiled fountain.
    [Show full text]
  • W E S T C O a S T a R T S a N D C U L T U
    free SWEST COAST ARTS AND CULTUREFAQ Jay DeFeo Jens Hoffmann Kathan Brown Bay Area Latino Arts Part 1: Enrique Chagoya - MENA Report Part 1: Istanbul Biennial with Jens Hoffmann - Scales Fall From My Eyes: Bay Area Beat Generation Visual Art as told to Paul Karlstrom - Peter Selz - Crown Point Press: Kathan Brown SFAQ Artist Spread - Paulson Bott Press - Collectors Corner: Peter Kirkeby Flop Box Zine Reviews - Bay Area Event Calendar: August, September, October West Coast Residency Listing SAN FRANCISCO ARTS QUARTERLY ISSUE.6 ROBERT BECHTLE A NEW SOFT GROUND ETCHING Brochure available Three Houses on Pennsylvania Avenue, 2011. 30½ x 39", edition 40. CROWN POINT PRESS 20 Hawthorne Street San Francisco, CA 94105 www.crownpoint.com 415.974.6273 3IGNUPFOROURE NEWSLETTERATWWWFLAXARTCOM ,IKEUSON&ACEBOOK &OLLOWUSON4WITTER 3IGNUPFOROURE NEWSLETTERATWWWFLAXARTCOM ,IKEUSON&ACEBOOK &OLLOWUSON4WITTER berman_sf_quarterly_final.pdf The Sixth Los Angeles International Contemporary Art Fair September 30 - October 2, 2011 J.W. Marriott Ritz Carlton www.artla.net \ 323.965.1000 Bruce of L.A. B. Elliott, 1954 Collection of John Sonsini Ceramics Annual of America 2011 October 7-9, 2011 ART FAIR SAN FRANCISCO FORT MASON | FESTIVAL PAVILION DECEMBER 1 - 4, 2011 1530 Collins Avenue (south of Lincoln Road), Miami Beach $48$$570,$0,D&20 VIP Preview Opening November 30, 2011 For more information contact: Public Hours December 1- 4, 2011 [email protected] 1.877.459.9CAA www.ceramicsannual.org “The best hotel art fair in the world.” DECEMBER 1 - 4, 2011 1530 Collins Avenue (south of Lincoln Road), Miami Beach $48$$570,$0,D&20 VIP Preview Opening November 30, 2011 Public Hours December 1- 4, 2011 “The best hotel art fair in the world.” Lucas Soi ìWe Bought The Seagram Buildingî October 6th-27th For all your art supply needs, pick Blick.
    [Show full text]