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Mark Tobey in 40 Years Explores Artist’S Groundbreaking Contributions to American Modernism
PRESS RELEASE First U.S. Retrospective of Mark Tobey in 40 Years Explores Artist’s Groundbreaking Contributions to American Modernism Organized by the Addison Gallery of American Art, Mark Tobey: Threading Light presents extraordinary breadth, nuance, and radical beauty of artist’s work Andover, Massachusetts (September 27, 2017) – The first comprehensive retrospective of Mark Tobey in the U.S. in 40 years will open at the Addison Gallery of American Art on November 4, 2017. Organized by the Addison Gallery of American Art, Mark Tobey: Threading Light traces the evolution of Tobey’s groundbreaking style and his significant, yet Eventuality, 1944. Tempera on paper mounted on board; 10 x 14 15/16 in. under-recognized, contributions to Addison Gallery of American Art abstraction and mid-century American modernism. Comprised of 67 paintings spanning the 1920s through 1970, Threading Light includes three exceptional works from the Addison’s renowned collection of American art and major loans from the Museum of Modern Art, Whitney Museum of American Art, Smithsonian American Art Museum, Tate Modern, and Centre Pompidou, among numerous other collections. Organized by the Addison and guest curator Debra Bricker Balken, who also authored the accompanying catalogue, Threading Light opened earlier this year at the Peggy Guggenheim Collection in Venice during the 2017 Venice Biennale, and will be on view at the Addison, which is located on the campus of Phillips Academy in Andover, MA, from November 4, 2017, through March 11, 2018. “As an institution dedicated to provoking new discourse and insights into the field of American art, we are delighted to share with our visitors a groundbreaking re-appraisal of one of the foremost American artists to emerge from the 1940s, a decade that saw the rise of Abstract Expressionism,” said Judith F. -
Oral History Interview with Guy Anderson, 1983 February 1-8
Oral history interview with Guy Anderson, 1983 February 1-8 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Interview This transcript is in the public domain and may be used without permission. Quotes and excerpts must be cited as follows: Oral history interview with Guy Anderson, 1983 February 1-8, Archives of American Art, Smithsonian Institution. Oral History Interview with Guy Anderson Conducted by Martha Kingsbury At La Conner, Washington 1983 February 1 & 8 GA: GUY ANDERSON MK: MARTHA KINGSBURY [Part 1] GA: Now that it is spring and February and I suppose it's a good time to talk about great things. I know the sun's out, the caterpillars and things coming out soon; but talking about the art scene, I have been reading a very interesting thing that was sent to me, once again, by Wesley Wehrÿ-- the talk that Henry Geldzahler gave to Yale, I think almost a year ago, about what he felt about the state of the New York scene, and the scene of art, generally speaking in the world. He said some very cogent things all through it, things that I think probably will apply for quite a long time, particularly to those people and a lot of young people who are so interested in the arts. Do you want to see that? MK: Sure. [Break in tape] MK: Go ahead. -
Modernism in the Pacific Northwest: the Mythic and the Mystical June 19 — September 7, 2014
Ann P. Wyckoff Teacher Resource Center Educator Resource List Modernism in the Pacific Northwest: The Mythic and the Mystical June 19 — September 7, 2014 BOOKS FOR STUDENTS A Community of Collectors: 75th Anniversary Gifts to the Seattle Art Museum. Chiyo Ishikawa, ed. Seattle: Seattle Adventures in Greater Puget Sound. Dawn Ashbach and Art Museum, 2008. OSZ N 745 S4 I84 Janice Veal. Anacortes, WA: Northwest Island Association, 1991. QH 105 W2 A84 Overview of recent acquisitions to SAM’s collection, including works by Northwest artists. Educational guide and activity book that explores the magic of marine life in the region. George Tsutakawa. Martha Kingsbury. Seattle: University of Washington Press, 1990. N 6537 T74 A4 Ancient Ones: The World of the Old–Growth Douglas Fir. Barbara Bash. San Francisco: Sierra Club Books for Exhibition catalogue covering 60 years of work of the Children, 2002. QK 494.5 P66 B37 Seattle–born painter, sculptor, and fountain maker. Traces the life cycle of the Douglas fir and the old–growth Kenneth Callahan. Thomas Orton and Patricia Grieve forest and their intricate web of life. Watkinson. Seattle : University of Washington Press; 2000. ND 237 C3 O77 Larry Gets Lost in Seattle. John Skewes. Seattle: Sasquatch Books, 2007. F 899 S44 S5 Overview of the life and work of artist Kenneth Callahan. Pete looks for his dog Larry in Seattle’s famous attractions. Margaret Callahan: Mother of Northwest Art. Margaret Bundy Callahan and Brian Tobey Callahan, ed. Victoria, S Is for Salmon: A Pacific Northwest Alphabet. Hannah BC: Trafford Publising, 2009. ND 237 C19 C35 Viano. -
The Galleries
THE GALLERIES ART at the convention center A SELF-GUIDED TOUR Enriching Your Visit: Taking the Tour The Public Art Program Washington State Convention Center features approximately The Washington State Convention Center (WSCC) public 100 works of art on public display around four levels of its North and South Gallerias. Several other works are located in art program, perhaps the largest of its kind in the nation, its office and convention lobby areas. Areas of the facility that was established to provide an environment that enriches may not be available to the public due to convention- the experience of all who visit the meeting facility. With well related activities are clearly noted. over 100 works on display, art has been a popular feature since the facility opened in 1988. Initially, art was incorporated into This self-guided, self-paced tour booklet was designed to the original building design with assistance from the state’s direct you to the many different areas where artworks are cur- Percent for the Arts Program. Since then, due to a commit- rently on display. A few of the works listed inthis booklet are ment to provide civic benefits to our community, the WSCC has located outside of the WSCC. offered an ever-changing collection, readily accessible at no This self-tour begins on Level 1 just south of the Convention charge to meeting attendees and the general public. Place entrance. The indicated route will direct you back to the south escalators for easy access to the next level. All areas of In 1997, the board established the WSCC Art Foundation at this tour are also accessible by elevator. -
2016 Annual Report
MoNAMuseum of Northwest Art 2016 ANNUAL REPORT Annual Report 2016 D.indd 24 9/25/17 11:07 AM 3 From the President MISSION STATEMENT 4 Board & Staff The Museum of Northwest Art connects people with the art, diverse cultures and environments of the Northwest. 5 Exhibitions Visitor Testimonials VISION STATEMENT 10 The Museum of Northwest Art enriches lives in our diverse community by fostering essential 11 Acquisitions conversations and encouraging creativity through exhibitions and educational activities that explore the art of the Northwest. 12 MoNA Store COLLECTIONS & EXHIBITIONS 13 Education MoNA collects and exhibits contemporary art from across the Northwest, including Alaska, British Columbia, California, Idaho, Montana, Oregon and Washington. 15 Year in Review 17 Supporters 22 Volunteers Annual Report 2016 D.indd 1 9/25/17 11:07 AM 17,283 visits 42,866 website visits 100% visited for free 427 155 members volunteers 1,404 32 students visited with permanent collection 76 school tours acquisitions monamuseum.org 2 Annual Report 2016 D.indd 2 9/25/17 11:07 AM FROM THE PRESIDENT It is my great pleasure to share with you some of the successes achieved in 2016, made possible by your generous support. Because of you, more members of our community have experienced Northwest art in all of its facets through museum visits, program participation, and attendance at MoNA events and celebrations. MoNA’s commitment to providing free museum admission has fostered a broader and more engaged audience, making the museum accessible to more first-time visitors than ever before. MoNA, with your support, continues to fund significant investments in programming and collections. -
Northwest Fine Art & Antique Auction
Northwest Fine Art & Antique Auction August 27th, 2009 - 717 S 3rd St, Renton 14% Buyers Premium in Effect Auction Pick-up: Half Hour Following Auction or Friday, 08/28 & Tuesday, 09/01: Noon-5PM Lot Description 21 2 Boxes Loose Richard Lachman Cut Ink Drawings 1 Richard Kirsten "House of Many 22 3ea Richard Lachman Colored Ink Drawings Memories" Acrylic 22x16" 23 Box Richard Lachman Square Ink Drawings 2 Edna Crews "Snowcapped Forest" 24 4ea Richard Lachman Portrait Ink Drawings Watercolor 16x20.75" 25 Richard Lachman Large Sketchbook & 3 James Farr "Infinite Cycle of Renewal" Loose Ink Drawings 1973 Tempera 23.5x18.5" 26 Stack Richard Lachman Ink Drawings - 4 1997 S/N Abstract Etching Sketchbook Pages 5 Norman Lundin "Russian Landscape: 27 5x11' Oriental Rug Morning River" Charcoal/Pastel 26x37" 28 2 Carol Stabile Pastel Framed Paintings 6 K.C. McLaughlin "Exterior with 29 1969 Surrealist Mixed Media Painting Awnings" Dry Pigment 17x25" 34x30" - Signed Riote? 7 Edna Crews "Moonlit Meadow" 30 Signed F.W. Die? "Eye" Ink/Canvas 16x20" Watercolor 16.5x21.5" 31 Fred Marshall A.W.S. "Harbor - Puget 8 Edna Crews "Winter Meadow" Acrylic Sound" 1970 Watercolor 17x20.5" 31.5x23" 32 Fred Marshall Framed Watercolor 9 Richard Lachman "Cocktail Party" 1980 "Landscape with Deer" 16x21" Ink/Paper 16x22" 33 Flora Correa "Weeds Blowing" 1977 Collage 10 Richard Lachman "Dixy & Jaques" 24x12" Mixed Media 18x26" 34 Bonnie Anderson "Bucket of Lemons" Oil 11 Richard Lachman "Day Before Eden" 8x10" Mixed Media 18x26" 35 Bonnie Anderson "Lemon Drop Tree" Oil 12 Natalie McHenry Untitled – 38x14.25" "Marionettes" Watercolor 19x25" 36 Ray Hill Untitled - "Lake Scene" 1969 13 Edna Crews Untitled - "Mystic Bird" Watercolor 14x20" Oil/Board 40x30" 37 Signed S. -
Northwest Modernism & Western Fine Art Thursday June 20Th @ 5:00PM
Northwest Modernism & Western Fine Art Thursday June 20th @ 5:00PM 20% Buyers Premium In-House 25% Buyers Premium Online/Phone (425) 235-6345 SILENT AUCTIONS custom made Northwest Designer Craftsmen tansu chest with four drawers and door with Featuring a Large Silent Auction of metal pulls. Burned in mark on interior of Northwest Art & Native Books! drawer. Some scattered light surface wear. 5 Eames for Herman Miller Rosewood Lounge Lots 1,000’s End @ 8:00PM Chair & Ottoman. A vintage 670 & 671 set with black leather cushions. One of a pair Lot Description being offered. Chair 32''x33.5''x32'' and ottoman 17''x26''x22''. Original labels on 1 George Nakashima Studio Lounge Chair bottom dated Nov. 1 1978. Scattered wear to Rocker with Free Arm 32.5"x31"x34". A leather from use and one leather button is custom walnut rocking lounge chair with missing on chair seat. Overall excellent right free edge arm. Hickory wood spindles. condition. Charles and Ray Eames. Burned in mark on bottom with family name 6 Eames for Herman Miller "Time-Life" Stool on tape. Break to one spindle with scattered 15"x13". A vintage walnut stool or bench. light surface wear. Some light surface wear to top. Overall 2 Nakashima Style Free Edge Walnut Coffee excellent condition. Unmarked. Charles and Table 17.5"x79.5"x35". A long free edge Ray Eames. coffee table with trestle base. Unsigned. 7 Eames for Herman Miller Rosewood Lounge Some scattered light surface wear. From the Chair & Ottoman. A vintage 670 & 671 set same collection as the George Nakashima with black leather cushions. -
All Natural Oct 8–Nov 7, 2015 Glass Exhibit Curated by Kait Rhoads
TM All Natural Oct 8–Nov 7, 2015 Glass exhibit curated by Kait Rhoads Jennifer Umphress, Uni Lost wax cast glass with flamework components Volume 24 OCTOBER • NOVEMBER • DECEMBER 2015 Number 4 www.artaccess.com John Andro Avendaño • “Rhythm and Blues” mixed media, oil, and chalk on canvas, 96 x 48 inches Visit John Andro Avendaño and his work during Pioneer Square Art Walk: First Thursdays in October, November, and December The Kitchen—Sous Sol Winery • 309 First Avenue South • Seattle, WA John Andro Avendaño • ”Umbrella” mixed media on canvas, 96 x 48 inches John Andro Avendaño is featured as a solo artist through ArtSpot during the Spectrum International Art Fair held December 2-6 3011 N.E. 1st Avenue • Miami, Florida Visit John Andro Avendaño’s website or Facebook page for information www.johnandroavendano.com Follow John Andro Avendaño on ART & CRAFT OF THE PUGET SOUND REGION FALL EXHIBITIONS OPEN OCTOBER 10 Public Opening Reception Saturday, Oct. 10, 2-5pm Meet the Artists EYE ON ARTIST LECTURES October 21 Steven Maslach November 12 Caroline Cooley Browne BIMA AUDITORIUM 6:30 - 8:30pm For tickets & information: www.biartmuseum.org STEVEN MASLACH, La Chanteuse 3, 2015, 47” h, hot-cast clear and colored glass with graphite, steel base. FREE ADMISSION Thanks to our Sponsors & Members OPEN DAILY Galleries & Store 10am - 6pm Bistro 9am - 3pm 550 Winslow Way East Bainbridge Island, WA 98110 206.842.4451 TF: 855.613.1342 CAROLINE COOLEY BROWNE, Lingering Around the Table, 2005, www.biartmuseum.org oil pastel. 4 www.artaccess.com © OCT • -
Annual Report for the Year 2003–2004
2003–2004 ANNUAL REPORT SAM Students with Sanislo Feast SAM CONNECTS ART TO LIFE CONTEMPORARY CHINESE ARTIST LI JIN’S A FEAST made a permanent impression on the fourth- and fifth-grade students at Sanislo Elementary School. Inspired by the fifty-nine- foot-long painting depicting food from a traditional Chinese dinner on a background of recipes written in Chinese calligraphy, the students set out to re-create their own version. Art teachers Ruth Winter and Carolyn Autenrieth designed the project to celebrate the diversity of cultures at their school. Students painted their favorite ethnic foods, and staff helped transcribe the recipes into the students’ original languages. On display at the Seattle Asian Art Museum last spring, the students’ work, Sanislo Feast, a fifty-foot-long art scroll portraying food and languages from seventeen different nations and cultures, reflected the heritage of Sanislo students and staff. Students, families and teachers commemorated the unveiling of their “masterpiece” with a special celebration at SAAM. cover: Li Jin, China, born 1958, A Feast, 2001, ink on Xuan paper, 39 3/8 x 708 5/8 in., Courtesy of the artist and CourtYard Gallery, Beijing right: Wolfgang Groschedel and Kunz Lochner, Equestrian armor for Philip II, ca. 1554, etched steel and gold, Patrimonio Nacional, Real Armería, Madrid SEATTLE ART MUSEUM TABLE OF CONTENTS 1 Director’s Letter 17 Betty Bowen Award 2 Board of Trustees 18 Reaching Out to Youth & Families 3 Broadening, Deepening, Diversifying 19 Teaching and Learning 4–5 One Museum, Three -
Hilda Morris
HILDA MORRIS Born 1911, New York, NY Died 1991, Portland, OR EDUCATION AND AWARDS Cooper Union School of Art and Architecture, New York, NY 1932-34 Arts Students League of New York, NY 1934-35 Study with Comcetta Scaravaglione, New York, NY 1935-36 Ford Foundation Fellowship, one of ten selected 1960 Ninth Annual Governor’s Arts Award, Oregon 1985 ONE-PERSON EXHIBITIONS The Laura Russo Gallery, Portland, OR 1988, 2006 “Hilda Morris: A Retrospective,” Portland Art Museum, Portland, OR 2006 Foster/White Gallery, Seattle, WA 1990 The Ochi Fine Art Gallery, Boise, ID 1988 The Kraushaar Gallery, New York, NY 1987 The Portland Art Museum, OR 1946, 1955, 1972, 1974, 1977, 1984 The Fountain Gallery of Art, Portland, OR 1961, 1962, 1964, 1971, 1974, 1980, 1984 Woodside/Braseth Gallery, Seattle, WA 1968, 1972, 1975, 1978, 1981, 1987 Reed College, Portland, OR 1969, 1972, 1980 Gordon Woodside Galleries, Seattle, WA 1967, 1968, 1972, 1978 Triangle Gallery, San Francisco, CA 1974, 1976 University of Rochester Memorial Art Gallery, Rochester, NY 1976 Museum of Art, Tacoma, WA 1970 Albina Art Center, Portland, OR 1969 Salt Lake Art Center, UT 1963 University of Puget Sound, Tacoma, WA 1961 Otto Seligman Gallery, Seattle, WA 1955, 1957, 1960 Barone Gallery, New York, NY 1958 University of Oregon Museum of Art, Eugene, OR 1947 GROUP EXHIBITIONS “In Passionate Pursuit: The Arlene and Harold Schnitzer Collection and Legacy,” Portland Art Museum, 805 NORTHWEST TWENTY-FIRST AVE., PORTLAND, OR 97209 (503) 226-2754 HILDA MORRIS page 2 Portland, OR 2014-2015 “Creating the New Northwest: Selections from the Herb and Lucy Pruzan Collection,” Tacoma Art Museum, Tacoma, WA 2013 “Living Legacies: JSMA at 80,” Jordan Schnitzer Museum of Art, University of Oregon, Eugene, OR 2013 “Early Northwest Artists: Works from Estates and Private Collections,” The Laura Russo Gallery, Portland, OR 2013 “Provenance: In Honor of Arlene Schnitzer,” Jordan Schnitzer Museum of Art, Univ of Oregon, Eugene, OR 2012 “Museion,” Douglas F. -
February 5, 2002 - JANUARY 5, 2003
february 5, 2002 - JANUARY 5, 2003 WINTER PARK, FLORIDA American Terra Cotta and Ceramic lines, exotic and extremely ornamental Art Nouveau refers to a style that developed in the last Company [Teco] (1895 - 1921) forms with whiplash and tendril two decades of the 19th century. It waned quickly and Pottery in Terra Cotta, Illinois. designs, sometimes dusted with gilt. Founder William Day Gates (1852- virtually disappeared by World War I. During its peak at 1935), a lawyer, won two gold medals Ashbee, Charles Robert (1863 – 1942) the turn of the century, Art Nouveau revolutionized the for his crystalline glaze art ware at the English architect, interior designer, decorative arts and architecture. St. Louis world’s fair in 1904. Lotus silversmith, artist craftsman, art theo- blossoms, water lilies, leaves, and plant retician, and poet. Inspired by William stalks influenced Teco’s green matte- Morris (1834-1996), Ashbee founded glazed ware, a pottery trademark for Art Nouveau is French for “new subject, they favored attractive, often the Guild and School of Handicraft ten years. Afterwards brown, buff and art.” Centers of this new art arose in sensuous images of flowers, vines, in London in 1888. The guild was so shades of red were introduced. Pottery Paris, Vienna, Munich, London, and youth, and women. successful that several London firms, pieces were always molded or carved Milan, and in short order designers In seeking liberation from the including Liberty & Co., copied and in relief. from Central Europe to the American past, the practitioners of the new art sold its versions of his designs. Ashbee Midwest adopted and adapted the ideas zealously turned away from historical published books and essays on the of the new art. -
Rookwood and the Industry of Art: Women, Culture, and Commerce, 1880–1913 by Nancy E
Elizabeth Fowler book review of Rookwood and the Industry of Art: Women, Culture, and Commerce, 1880–1913 by Nancy E. Owen Nineteenth-Century Art Worldwide 2, no. 3 (Autumn 2003) Citation: Elizabeth Fowler, book review of “Rookwood and the Industry of Art: Women, Culture, and Commerce, 1880–1913 by Nancy E. Owen,” Nineteenth-Century Art Worldwide 2, no. 3 (Autumn 2003), http://www.19thc-artworldwide.org/autumn03/263-rookwood-and-the- industry-of-art-women-culture-and-commerce-1880-1913-by-nancy-owen. Published by: Association of Historians of Nineteenth-Century Art Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. ©2003 Nineteenth-Century Art Worldwide Fowler: Rookwood and the Industry of Art: Women, Culture, and Commerce, 1880–1913 Nineteenth-Century Art Worldwide 2, no. 3 (Autumn 2003) Nancy E. Owen Rookwood and the Industry of Art: Women, Culture, and Commerce, 1880–1913 Athens, Ohio: Ohio University Press, 2001 335 pp.; 16 color ills.; 96 b/w ills.; bibliography, index; $49.95 (hardcover), $24.95 (paperback) ISBN 0821413376 (hardcover); 0821413384 (paperback) Nancy Owen's book, Rookwood and the Industry of Art: Women, Culture, and Commerce, 1880–1913, is the outgrowth of the author's doctoral dissertation written under Hollis Clayson at Northwestern University in Evanston, Illinois. Owen's text is an invaluable addition to Rookwood scholarship and contributes to a better understanding of such fields as nineteenth- and early twentieth-century decorative arts, material culture, gender studies, and cultural history. As indicated in the title, the author discusses women, culture, and commerce and the complex and often contradictory relationship between them.