Not exact matches
Smitsonian Institution Programs Summer Archeology Programs Connected with DC Universities [Program for Deaf Students] Drinking Water Quality Research Center, Miami, FL [proposal for outreach to disabled students]
Museum of Science and Industry, IL Chicago Schools Cooperative
Museum Program, IL Recreational Faculties for the Handicapped
at Rend Lake, IL SELPH Material Lawrence Hall King Report on Survey of the Special Educational Programs of Members of the Association of Science Technology Centers University of Kentucky Outdoor Education for Handicapped Project Directory of OOPS Programs Maryland Science Center, Baltimore, MD [notes on interview] ABCD Collaboration Science Program Non-Mainstreamed
Museum of Fine
Arts, Boston, MA Technical Education Research Center Camp Happy Hollow, Mayrille, MI Squam Lakes Science Center, NH Science Enrichment Program Opened to Handicapped Students NY League of Hard of Hearing, NY Center of Science and Industry, OH Carnegie
Museum, Pittsburg, PA Pacoma Environmental Education Center, PA Roanoke Valley Science
Museum, VA Fairfax County Public Schools, VA US Geological Survey Earth Science Program, WI ERIC - CRESS Info on Outdoor Ed - Science Programs National Council for Therapy and Rehabilitation through Horticulture Environments for the Able and Disabled Nature Study - A Journal of Education and Interpretation OOPS Out of School Science Proposal and Drafts Original Newspaper Article,
1980 - 1981 OOPS Out of School Science Proposal and Drafts II,
1980 - 1981
Instructor: Meredith Mowder, a Joan Tisch Teaching Fellow
at the Whitney
Museum since 2013, is currently a PhD candidate in
art history
at The Graduate Center, CUNY, where she is writing her dissertation on performance
art's migration into the sphere of entertainment in New York City during the
1980s.
The exhibition highlights two monumental works including the DODO
MUSEUM, 1980, which was recently exhibited at the Smithsonian American Art Museum in 2014 - 2015, and a mechanized self - portrait sculpture of the a
MUSEUM,
1980, which was recently exhibited
at the Smithsonian American
Art Museum in 2014 - 2015, and a mechanized self - portrait sculpture of the a
Museum in 2014 - 2015, and a mechanized self - portrait sculpture of the artist.
Recent group exhibitions include The St. Petersburg Paradox
at the Swiss Institute for Contemporary
Art, New York (2014); Rituals of Rented Island: Object Theater, Loft Performance, and the New Psychodrama — Manhattan, 1970 —
1980 at the Whitney
Museum of American
Art, New York (2014); and The Pictures Generation 1974 — 1984
at Metropolitan
Museum of
Art, New York (2010).
Exhibited: Four Young Realists, ACA Galleries, New York, June - July, 1977; National Annual Midyear Show, Butler Institute of American
Art, Youngstown, OH, 1977; Barkley L. Hendricks, The Studio
Museum in Harlem, New York, January 20 - March 30,
1980; Barkley L. Hendricks: Birth of the Cool, Nasher
Museum of
Art at Duke University, Durham, NC.
Fast Forward: Painting From The
1980s is
at the Whitney
Museum of American
Art, 99 Ganesvoort St., NYC, from Jan. 27 to May 14.
1980 Alex Katz: Scale and Gesture is held
at the Queens
Museum of
Art in New York.
Abstraction, New Observations, June 1984, No. 24 1984 Is Abstract Painting Regaining its Popularity by Victoria Donohoe, Philadelphia Inquirer, September 14, 1984 1983 Ted Stamm by Sanford Kwinter,
Art In America, January 1983, pp. 121-122 1983 Ted Stamm by Stephen Westfall,
Arts Magazine, January 1983, p. 3 1983 Ted Stamm
at the Far Turn by William Zimmer, Re-Dact 1 by Peter Frank, Published by Willis Locker and Owens, ISBN 093027900X 1982 Ted Stamm,
Art Economist, Volume II, No. 14, December 31, 1982, p. 5 1982 Drawing Invitational 1981 by Geynne Vernet,
Arts Magazine, February 1982 1982 Two Unprovincial Shows
at the Jersey City
Museum by Vivien Raynor, The New York Times, New Jersey supplement, October 10, 1982, p. 28 1981 Ted Stamm by Valentine Tatransky,
Arts Magazine, February 1981, pp. 35 - 36 1981 Surely Temple Black by William Zimmer, SoHo Weekly News, February 18, 1981, p. 49 1981 Abstraction with a Relaxed Air by David L. Shirey, The New York Times, March 1, 1981, p. 19 1981 Ted Stamm by Tiffany Bell,
Arts Magazine, May 1981, p. 8 1981 From the General to the Particular: Some Thoughts on Abstract Painting by Tiffany Bell,
Arts Magazine, June 1981, pp. 120-124
1980 Tre Amerikaner i Skaane by by Sune Nordgren, Dagens Nyheter (Stockholm), May 5,
1980 1980 Pool Documentation by Kay Larson, Village Voice, June 2,
1980, p. 85
1980 Jane Highstein and Sensibility Minimalism: A Tissue of Happenstance by Robert Pincus - Witten,
Arts Magazine, October
1980 p. 140
1980 La Nouvelle Vogue New Yorkaise est Portee Para La Musie Rock by Daniel Cornu, Tribune De Geneve, December
1980 School's Out by William Zimmer, The SoHo Weekly News, June 11,
1980, p. 61
1980 Old Wine, New Bottles, Bad Year by John Perreault, The SoHo Weekly News, June 18,
1980 1979 Ted Stamm by December Kur, Handelsblatt (Dusseldorf), March 3,1979, p. 21 1979 Entries: Styles of Artists and Critics by Robert Pincus - Witten,
Arts Magazine, November 1979, pp. 127 - 28 1979 Where is New York by Peter Frank, ARTnews, November 1979, pp. 59 - 65 1978 Ted Stamm by Tiffany Bell,
Arts Magazine, February 1978, pp. 33 - 34 1978 Ted Stamm by Edit De Ak, Artforum, February 1978, pp. 63 - 64 1978 Artful Dodger by Gerald Marzorati, SoHo Weekly News, May 18, 1978, 10 1978 Pittori di New York by Riccardo Guarneri, Visual, April - May 1978, No. 2 - 3, pp. 40 - 43 1978 Ted Stamm
at Hal Bromm Gallery by Peter Frank, Village Voice, December 19, 1977, pp. 93, 98 1977
Arts and Leisure Guide by Ann Barry, New York Times, November 27, 1977 1977 Voice Choices by Ali Anderson, Village Voice, December 12, 1977, p. 59 1977 New
Museum at the New School by Peter Frank, Village Voice, December 19, 1977, p. 98 1976 Ted Stamm by Barbara Catoir, Das Kunstwerk, January 1976, p. 64 1976 Alternative
Arts Spaces: One to one politics for the avant - garde by Stephen Reichard, New York Downtown Manhattan, Akademie Der Kunste - Berliner Festwochen, September 1976, p. 249 1975 Reviews by Susan Heineman, Artforum, March 1975, pp. 62 - 63 1975 Artists Space by Trudie Grace,
Art Journal, Summer 1975, XXXIV / 4, pp. 323 - 326.
Work by Jeff Koons, Sherrie Levine, and James Welling is included in Brand New:
Art and Commodity in the
1980s at the Hirshhorn
Museum and Sculpture Garden in Washington, DC, organized by Gianni Jetzer.
Karen Wilkin, «Greenberg and the Syracuse Artists», The Mirror Eye, Clement Greenberg in Syracuse, catalogue to the exhibition, Greenberg in Syracuse, Then and Now, May / June 2005, Syracuse, NY Suzanne Shane, «Greenberg in Syracuse, Then And Now», The Mirror Eye, Clement Greenberg in Syracuse, catalogue to the exhibition, Greenberg in Syracuse, Then and Now, May / June 2005, Syracuse, NY Clement Greenberg, «Interview with Clement Greenberg», Direct Sculpture; Dialogue in Polymers, catalogue to the exhibition, UMass / Amherst 2006 Robert Morgan, Clement Greenberg, Late Writings, University of Minnesota Press 2003 Donald Kuspit, «A Critic's Collection», Artnet.com, August 3, 2001 Karen Wilkin; Bruce Guenther, Clement Greenberg A Critic's Collection, Princeton University Press 2001 «Recontre avec Darryl Hughto, L'mour de la matiere», Pratique Des
Arts, no. 36 Fevrier - Mars 2001 Michael Ennis, «Long on
Art», Architectural Digest, May 1996 Dodie Kazanjian, «On Target», Vogue, February 1990 Karen Wilkin, «At the Galleries», Partisan Review, no. 2, 1989 Grace Glueck, «1 + 1 on Madison, Couples Show Adds Up», The New York Times, Feb. 17, 1984 Valentin Tatransky, «The Art of Painting; Jules Olitski, Lawrence Poons, and Darryl Hughto», Arts Magazine, May 1983 Terry Fenton, Darryl Hughto, Recent Paintings, Catalogue to the exhibition, The Edmonton Art Gallery, November 1981 Karen Wilkin, «The New Generation; A Curator's Choice», art magazine, May / June 1981 Ken Carpenter, «New Abstract Art», art magazine, May / June 1981 Stephen Pentak, «Darryl Hughto», Arts Magazine, May 1981 Vivien Raynor, «Darryl Hughto», The New York Times, May 30, 1980 Kenworth Moffett, The New Generation; A Curator's Choice, Rhineburgh Press, NY, 1980 Ken Carpenter, Darryl Hughto, catalogue to the exhibition, Meredith Long Contemporary, NY, 1980 John Russell, «The 20th Century at the Met», The New York Times, August 12, 1979 Suzanne Shane, «Darryl Hughto», 57th Street Review, Feb. 1976 Ken Carpenter, «Third Generation Abstraction: Darryl Hughto», Arts Magazine, Feb. 1975 James Harithas, Notes on Darryl Hughto, Catalogue to the exhibition, Everson Museum, Mar. 1
Art», Architectural Digest, May 1996 Dodie Kazanjian, «On Target», Vogue, February 1990 Karen Wilkin, «
At the Galleries», Partisan Review, no. 2, 1989 Grace Glueck, «1 + 1 on Madison, Couples Show Adds Up», The New York Times, Feb. 17, 1984 Valentin Tatransky, «The Art of Painting; Jules Olitski, Lawrence Poons, and Darryl Hughto», Arts Magazine, May 1983 Terry Fenton, Darryl Hughto, Recent Paintings, Catalogue to the exhibition, The Edmonton Art Gallery, November 1981 Karen Wilkin, «The New Generation; A Curator's Choice», art magazine, May / June 1981 Ken Carpenter, «New Abstract Art», art magazine, May / June 1981 Stephen Pentak, «Darryl Hughto», Arts Magazine, May 1981 Vivien Raynor, «Darryl Hughto», The New York Times, May 30, 1980 Kenworth Moffett, The New Generation; A Curator's Choice, Rhineburgh Press, NY, 1980 Ken Carpenter, Darryl Hughto, catalogue to the exhibition, Meredith Long Contemporary, NY, 1980 John Russell, «The 20th Century at the Met», The New York Times, August 12, 1979 Suzanne Shane, «Darryl Hughto», 57th Street Review, Feb. 1976 Ken Carpenter, «Third Generation Abstraction: Darryl Hughto», Arts Magazine, Feb. 1975 James Harithas, Notes on Darryl Hughto, Catalogue to the exhibition, Everson Museum, Mar. 19
At the Galleries», Partisan Review, no. 2, 1989 Grace Glueck, «1 + 1 on Madison, Couples Show Adds Up», The New York Times, Feb. 17, 1984 Valentin Tatransky, «The
Art of Painting; Jules Olitski, Lawrence Poons, and Darryl Hughto», Arts Magazine, May 1983 Terry Fenton, Darryl Hughto, Recent Paintings, Catalogue to the exhibition, The Edmonton Art Gallery, November 1981 Karen Wilkin, «The New Generation; A Curator's Choice», art magazine, May / June 1981 Ken Carpenter, «New Abstract Art», art magazine, May / June 1981 Stephen Pentak, «Darryl Hughto», Arts Magazine, May 1981 Vivien Raynor, «Darryl Hughto», The New York Times, May 30, 1980 Kenworth Moffett, The New Generation; A Curator's Choice, Rhineburgh Press, NY, 1980 Ken Carpenter, Darryl Hughto, catalogue to the exhibition, Meredith Long Contemporary, NY, 1980 John Russell, «The 20th Century at the Met», The New York Times, August 12, 1979 Suzanne Shane, «Darryl Hughto», 57th Street Review, Feb. 1976 Ken Carpenter, «Third Generation Abstraction: Darryl Hughto», Arts Magazine, Feb. 1975 James Harithas, Notes on Darryl Hughto, Catalogue to the exhibition, Everson Museum, Mar. 1
Art of Painting; Jules Olitski, Lawrence Poons, and Darryl Hughto»,
Arts Magazine, May 1983 Terry Fenton, Darryl Hughto, Recent Paintings, Catalogue to the exhibition, The Edmonton
Art Gallery, November 1981 Karen Wilkin, «The New Generation; A Curator's Choice», art magazine, May / June 1981 Ken Carpenter, «New Abstract Art», art magazine, May / June 1981 Stephen Pentak, «Darryl Hughto», Arts Magazine, May 1981 Vivien Raynor, «Darryl Hughto», The New York Times, May 30, 1980 Kenworth Moffett, The New Generation; A Curator's Choice, Rhineburgh Press, NY, 1980 Ken Carpenter, Darryl Hughto, catalogue to the exhibition, Meredith Long Contemporary, NY, 1980 John Russell, «The 20th Century at the Met», The New York Times, August 12, 1979 Suzanne Shane, «Darryl Hughto», 57th Street Review, Feb. 1976 Ken Carpenter, «Third Generation Abstraction: Darryl Hughto», Arts Magazine, Feb. 1975 James Harithas, Notes on Darryl Hughto, Catalogue to the exhibition, Everson Museum, Mar. 1
Art Gallery, November 1981 Karen Wilkin, «The New Generation; A Curator's Choice»,
art magazine, May / June 1981 Ken Carpenter, «New Abstract Art», art magazine, May / June 1981 Stephen Pentak, «Darryl Hughto», Arts Magazine, May 1981 Vivien Raynor, «Darryl Hughto», The New York Times, May 30, 1980 Kenworth Moffett, The New Generation; A Curator's Choice, Rhineburgh Press, NY, 1980 Ken Carpenter, Darryl Hughto, catalogue to the exhibition, Meredith Long Contemporary, NY, 1980 John Russell, «The 20th Century at the Met», The New York Times, August 12, 1979 Suzanne Shane, «Darryl Hughto», 57th Street Review, Feb. 1976 Ken Carpenter, «Third Generation Abstraction: Darryl Hughto», Arts Magazine, Feb. 1975 James Harithas, Notes on Darryl Hughto, Catalogue to the exhibition, Everson Museum, Mar. 1
art magazine, May / June 1981 Ken Carpenter, «New Abstract
Art», art magazine, May / June 1981 Stephen Pentak, «Darryl Hughto», Arts Magazine, May 1981 Vivien Raynor, «Darryl Hughto», The New York Times, May 30, 1980 Kenworth Moffett, The New Generation; A Curator's Choice, Rhineburgh Press, NY, 1980 Ken Carpenter, Darryl Hughto, catalogue to the exhibition, Meredith Long Contemporary, NY, 1980 John Russell, «The 20th Century at the Met», The New York Times, August 12, 1979 Suzanne Shane, «Darryl Hughto», 57th Street Review, Feb. 1976 Ken Carpenter, «Third Generation Abstraction: Darryl Hughto», Arts Magazine, Feb. 1975 James Harithas, Notes on Darryl Hughto, Catalogue to the exhibition, Everson Museum, Mar. 1
Art»,
art magazine, May / June 1981 Stephen Pentak, «Darryl Hughto», Arts Magazine, May 1981 Vivien Raynor, «Darryl Hughto», The New York Times, May 30, 1980 Kenworth Moffett, The New Generation; A Curator's Choice, Rhineburgh Press, NY, 1980 Ken Carpenter, Darryl Hughto, catalogue to the exhibition, Meredith Long Contemporary, NY, 1980 John Russell, «The 20th Century at the Met», The New York Times, August 12, 1979 Suzanne Shane, «Darryl Hughto», 57th Street Review, Feb. 1976 Ken Carpenter, «Third Generation Abstraction: Darryl Hughto», Arts Magazine, Feb. 1975 James Harithas, Notes on Darryl Hughto, Catalogue to the exhibition, Everson Museum, Mar. 1
art magazine, May / June 1981 Stephen Pentak, «Darryl Hughto»,
Arts Magazine, May 1981 Vivien Raynor, «Darryl Hughto», The New York Times, May 30,
1980 Kenworth Moffett, The New Generation; A Curator's Choice, Rhineburgh Press, NY,
1980 Ken Carpenter, Darryl Hughto, catalogue to the exhibition, Meredith Long Contemporary, NY,
1980 John Russell, «The 20th Century
at the Met», The New York Times, August 12, 1979 Suzanne Shane, «Darryl Hughto», 57th Street Review, Feb. 1976 Ken Carpenter, «Third Generation Abstraction: Darryl Hughto», Arts Magazine, Feb. 1975 James Harithas, Notes on Darryl Hughto, Catalogue to the exhibition, Everson Museum, Mar. 19
at the Met», The New York Times, August 12, 1979 Suzanne Shane, «Darryl Hughto», 57th Street Review, Feb. 1976 Ken Carpenter, «Third Generation Abstraction: Darryl Hughto»,
Arts Magazine, Feb. 1975 James Harithas, Notes on Darryl Hughto, Catalogue to the exhibition, Everson
Museum, Mar. 1973
Her first
museum retrospective, curated by Dan Byers
at the Institute of Contemporary
Art, Boston, will include fifteen sculptures and twelve drawings made between
1980 and 2014.
Traveled to Worcester
Art Museum, Worcester, Massachusetts (October 3 — November 25); Grey
Art Gallery, New York University, New York (January 15 — February 23, 1985); Contemporary
Arts Center, Cincinnati (March 14 — April 27, 1985); Albright - Knox
Art Gallery, Buffalo (September 14 — November 3, 1985) and Archer M. Huntington
Art Gallery, University of Texas
at Austin (January 12 — February 23, 1986) Sur Invitation, Musée des
Arts Décoratifs, Paris (June 6 — September 17) Olympic
Arts Festival Los Angeles 1984, Newport Harbor
Art Museum, Newport Harbor, California (June 1 — September 9) Selections from the Permanent Collection: Paintings and Sculpture,
Museum of Modern
Art, New York (opened May 17) Three Painters, Three Decades: Lee Krasner — Joan Mitchell — Pat Steir, Harcus Gallery, Boston (May 5 — June 20) XXIX Salon de Montrouge,
Art Contemporain, Peinture — Sculpture — Dessin, Montrouge, France (May 2 — June 3) Aspects de la Peinture Contemporaine (1945 — 1983), Musée d'
art moderne de Troyes, France (April 29 — June 18) Vent «anni d'arte in Francia, 1960 —
1980, Association Française d'Action Artistique, Galleria comunale d'arte moderna di Bologna (March — April) Master Drawings: 1928 — 1984, Janie C. Lee Gallery, Houston (March 7 — April) La Part des Femmes dans l'
Art Contemporain, Galerie Municipale, Vitry - sur - Seine, France (March) American Women Artists, Part I: 20th Century Pioneers, Sidney Janis Gallery, New York (January12 — February 4)
Biomorphic Forms in Sculpture,» Kunsthaus Graz, September 27, 2008 — January 11, 2009 «AURUM Gold in Contemporary
Art,» curated by Dolores Denaro, CentrePasquArt, Biel, Switzerland, September 13 — November 30, 2008 «Red Wind,» Blum & Poe, Los Angeles, CA, June 28 — August 23, 2008 «Collecting Collections: Highlights from the Permanent Collection of the
Museum of Contemporary
Art, Los Angeles,»
Museum of Contemporary
Art, Los Angeles, Los Angeles, CA, February 9 — May 19 2007 «Celebrating the Lucelia Artist Award, 2001 - 2006,» Smithsonian American
Art Museum, Washington, D.C., September 21, 2007 — June 22, 2008 «Makers and Modelers: Works in Ceramic,» Gladstone Gallery, New York, NY, September 8 — October 13, 2007 «Blood Meridan,» curated by David Hunt, Galerie Michael Janssen, Berlin, Germany, April 27 — May 26, 2007 «From Close to Home: Recent Acquisitions of Los Angeles
Art,»
Museum of Contemporary
Art, Los Angeles, Los Angeles, CA, April 1 — July 2 «eight sculptors from los angeles,» sabine knust, Münich, Germany, March 22 — April 17, 2007 «Multiple Vantage Points: Southern California Women Artists,
1980 - 2006,» curated by Dextra Frankel, Los Angeles Municipal Gallery
at Barnsdall, Los Angeles, CA, February 25 — April 15, 2007 «Fast Forward: Contemporary Collections for the Dallas
Museum of
Art,» Dallas
Museum of
Art, Dallas, Texas, February 11 — May 20, 2007; cat.
Exhibited: The Southern New England Invitiational
Art Exhibition, Fairfield University, Fairfield, CT, 1978; National Midyear Show, Butler Institute of American
Art, Youngstown, OH, summer, 1979; Barkley L. Hendricks, The Studio
Museum in Harlem, New York, January 20 - March 30, 1980; Black Male - Representations of Masculinity in Contemporary American Art, the Whitney Museum of American Art, New York, NY, November 10, 1994 - March 5, 1995, the Hammer Museum of Art, Los Angeles, CA, April 25 - June 18, 1995; Barkley L. Hendricks: Birth of the Cool, Nasher Museum of Art at Duke University, Durham, NC, February 7 - July 13, 2008, Santa Monica Museum of Art, Santa Monica, CA, May 9 - August 15, 2009, Pennsylvania Academy of the Fine Arts, Philadelphia, PA, September 18 - December 20, 2009, Contemporary Arts Museum, Houston, TX, January 23, 2010 - April 18, 2010, with museum labels on the painting
Museum in Harlem, New York, January 20 - March 30,
1980; Black Male - Representations of Masculinity in Contemporary American
Art, the Whitney
Museum of American Art, New York, NY, November 10, 1994 - March 5, 1995, the Hammer Museum of Art, Los Angeles, CA, April 25 - June 18, 1995; Barkley L. Hendricks: Birth of the Cool, Nasher Museum of Art at Duke University, Durham, NC, February 7 - July 13, 2008, Santa Monica Museum of Art, Santa Monica, CA, May 9 - August 15, 2009, Pennsylvania Academy of the Fine Arts, Philadelphia, PA, September 18 - December 20, 2009, Contemporary Arts Museum, Houston, TX, January 23, 2010 - April 18, 2010, with museum labels on the painting
Museum of American
Art, New York, NY, November 10, 1994 - March 5, 1995, the Hammer
Museum of Art, Los Angeles, CA, April 25 - June 18, 1995; Barkley L. Hendricks: Birth of the Cool, Nasher Museum of Art at Duke University, Durham, NC, February 7 - July 13, 2008, Santa Monica Museum of Art, Santa Monica, CA, May 9 - August 15, 2009, Pennsylvania Academy of the Fine Arts, Philadelphia, PA, September 18 - December 20, 2009, Contemporary Arts Museum, Houston, TX, January 23, 2010 - April 18, 2010, with museum labels on the painting
Museum of
Art, Los Angeles, CA, April 25 - June 18, 1995; Barkley L. Hendricks: Birth of the Cool, Nasher
Museum of Art at Duke University, Durham, NC, February 7 - July 13, 2008, Santa Monica Museum of Art, Santa Monica, CA, May 9 - August 15, 2009, Pennsylvania Academy of the Fine Arts, Philadelphia, PA, September 18 - December 20, 2009, Contemporary Arts Museum, Houston, TX, January 23, 2010 - April 18, 2010, with museum labels on the painting
Museum of
Art at Duke University, Durham, NC, February 7 - July 13, 2008, Santa Monica
Museum of Art, Santa Monica, CA, May 9 - August 15, 2009, Pennsylvania Academy of the Fine Arts, Philadelphia, PA, September 18 - December 20, 2009, Contemporary Arts Museum, Houston, TX, January 23, 2010 - April 18, 2010, with museum labels on the painting
Museum of
Art, Santa Monica, CA, May 9 - August 15, 2009, Pennsylvania Academy of the Fine
Arts, Philadelphia, PA, September 18 - December 20, 2009, Contemporary
Arts Museum, Houston, TX, January 23, 2010 - April 18, 2010, with museum labels on the painting
Museum, Houston, TX, January 23, 2010 - April 18, 2010, with
museum labels on the painting
museum labels on the painting back.
«Revolution in the Making» also has an institutional precedent: Hauser Wirth & Schimmel is just walking distance from the
Museum of Contemporary
Art's first building of the early
1980s, the Geffen Contemporary
at MoCA, and its proximity prompts visceral memories of the 2007 exhibition «WACK!
In The Hamptons, paintings in the»80s decade received a closer look through the
art of Eric Fischl, David Salle and Ross Bleckner at the Parrish Art Museum's «Unfinished Business: Paintings From the 1970s and 1980s by Ross Bleckner, Eric Fischl, and David Salle.&raq
art of Eric Fischl, David Salle and Ross Bleckner
at the Parrish
Art Museum's «Unfinished Business: Paintings From the 1970s and 1980s by Ross Bleckner, Eric Fischl, and David Salle.&raq
Art Museum's «Unfinished Business: Paintings From the 1970s and
1980s by Ross Bleckner, Eric Fischl, and David Salle.»
BASIC FACTS: «Fast Forward: Painting from the
1980s» is on view January 27 to May 14, 2017
at The Whitney
Museum of American
Art.
The Peter Blum Edition Archive (
1980 - 1994) was the subject of the exhibition Singular Multiples
at the
Museum of Fine
Arts, Houston in 2006, the largest exhibition ever in North America devoted entirely to printmaking.
1989 Abstract Expressionism: Paintings, Drawings and Watercolors, Manny Silverman Gallery, Los Angeles (December 2, 1989 — January 13, 1990) The Gestural Impulse, 1945 — 60: Paintings from the Permanent Collection of the Whitney
Museum of American
Art, Whitney
Museum of American
Art / Downtown
at Federal Reserve Plaza, New York (September 29 — December 1) Barnard Collects: The Educated Eye, Salander - O'Reilly Galleries, New York (September 28 — October 31) A Decade of American Drawings:
1980 — 1989, Daniel Weinberg Gallery, Los Angeles (July 15 — August 26)
Art in Place: 15 Years of Acquisitions, Whitney
Museum of American
Art, New York (July 7 — October 15) Works on Paper, Lennon, Weinberg, Inc., New York (June 13 — August 11) Lines of Vision: Drawings by Contemporary Women, Hillwood
Art Gallery, Long Island University, Brookville, New York (May 24 — June 28).
Widely revered and remembered in Miami, and in general by collectors and scholars of contemporary Latin American
art, Alfonzo's painting can once again be seen at the Whitney Museum of American Art, in the current show, described here, «Fast Forward: Painting from the 1980s.&raq
art, Alfonzo's painting can once again be seen
at the Whitney
Museum of American
Art, in the current show, described here, «Fast Forward: Painting from the 1980s.&raq
Art, in the current show, described here, «Fast Forward: Painting from the
1980s.»
From her start
at the Bronx
Museum of the Arts in the late 1980s to her assistant curator position at MoMA — where from 1995 to 2001 she oversaw the first American solo museum exhibitions for pathbreaking artists like Luc Tuymans and John Currin — Hoptman has remained steadfast in her belief that good paintings will always be rel
Museum of the
Arts in the late
1980s to her assistant curator position
at MoMA — where from 1995 to 2001 she oversaw the first American solo
museum exhibitions for pathbreaking artists like Luc Tuymans and John Currin — Hoptman has remained steadfast in her belief that good paintings will always be rel
museum exhibitions for pathbreaking artists like Luc Tuymans and John Currin — Hoptman has remained steadfast in her belief that good paintings will always be relevant.
High above, hanging in the rafters, were several re-creations of the bulbous, monstrous - looking costumes from Lee's late
1980s and early 1990s public performances that had been produced for her midcareer retrospective
at the Mori
Art Museum in Tokyo, held in early 2012.
December 2006 Beware the Holiday Punchbowl: An Evening of Cautionary Songs and Stories SI
Museum, Staten Island, NY February 2006 MY NEW YORK SLIP: A Post-Valentine's Day Post-Mortem w / Minnie Van Driver SI
Museum, Staten Island, NY February 2005 FREE LOVE w / Minnie Van Driver The Muddy Cup, Staten Island, NY April 2003 Ask Minnie Day de Dada Part Deux, The Muddy Cup, Staten Island, NY April 2002 Love Songs & Posh Tunes Day de Dada, The Muddy Cup, Staten Island, NY Feb. 1996 Original Soundtrack Dixon Place, NYC, NY Feb. 1991 The Odile Variations Theater 22, NYC, NY May 1987 Looking Good: Reuben Sandwich
at The Saint The Saint, NYC, NY Apr. 1986 The Wakitty WAC's, A USO show for the New Militarism Darinka, NYC, NY Aug. 1985 Prime Parts 8 BC, NYC, NY May 1985 Trite»N' True: an unexplained series of events Darinka, NYC Mar. 1985 HEARTBREAKLAND: a performance Darinka, NYC Dec. 1984 Nocturnes Darinka, NYC Nov. 1983 Bars of Night a performance BACA, Brooklyn, NY July 1983 Man Machine / Men Magazine: a performance Inroads Multimedia
Art Center, NYC, NY 10012 July 1981 Europarail: Images of Other Places Inroads, NYC Dec.
1980 I Hear America Eating: a massive media piece Rutgers University, NJ July
1980 Love is Like a Poached Egg: a performance 15th Annual Avant - Garde Festival, NYC Apr.
1980 Meteors Crossing: an exercise in 25 acts Franklin Furnace, NYC, NY Grants 2011 Visual AIDS Artists» Material Grant 1985 185 Nassau Street Corporation
«Transmissions:
Art in Eastern Europe and Latin America, 1960 —
1980» ran
at the The
Museum of Modern
Art through January 3, 2016, «Take an Object» through February 28.
[5] She served as the chief curator
at the
Museums of Contemporary
Art in Chicago from
1980 - 86.
As part of the Getty Research Institute's Pacific Standard Time:
Art in L.A. 1945 -
1980, she curated Civic Virtue: The Impact of the Los Angeles Municipal
Art Gallery and the Watts Towers
Arts Center for the Los Angeles Department of Cultural Affairs in addition to co-curating the suite of exhibitions, L.A. Xicano,
at UCLA's Fowler
Museum, LACMA and the Autry National Center.
Margaret Lee (b
1980, Bronx, NY) has organized and exhibited work
at numerous venues domestically and internationally including The Windows, Barneys, NY; Concentrations HK: Margaret Lee, curated by Gabriel Ritter, Duddell's x DMA, Hong Kong; Made in L.A, 2014 Hammer
Museum Biennial, Los Angeles; 2013 Biennale de Lyon; de, da do... da, Carpenter Center for the Visual
Arts, Harvard University, Cambridge, MA; Caza, curated by Sofía Hernández Chong Cuy, Bronx
Museum, New York; NO MAN»S LAND: Women Artists from the Rubell Family Collection, Rubell Family Collection, Miami; New Pictures of Common Objects, curated by Christopher Lew, MoMA PS1, New York, and Looking Back, White Columns, New York, amongst others.
In addition to participating in an international array of group exhibitions including the Venice Biennale (1997,
1980, 1976), the Whitney
Museum of American
Art Biennial (1995, 1977), and Documenta, Kassel, Germany (1972), Martin has been the recipient of multiple honors including the Lifetime Achievement Award on behalf of the Women's Caucus for
Art of the College
Art Association (2005); the Governor's Award for Excellence and Achievement in the
Arts given by Governor Gary Johnson, Santa Fe, New Mexico (1998); the National Medal of
Arts awarded by President Clinton and the National Endowment for the
Arts (1998); the Distinguished Artist Award for Lifetime Achievement by the College
Art Association (1998); the Golden Lion for Contribution to Contemporary
Art at the Venice Biennale (1997); the Oskar Kokoschka Prize awarded by the Austrian government (1992); the Alexej von Jawlensky Prize awarded by the city of Wiesbaden, Germany (1991); and election to the American Academy and Institute of
Arts and Letters, New York (1989).
P. Carlsen, «Jeff Koons: On the Occasion of His First
Museum Retrospective, A Look
at One of the Most Captivating Artist of the
1980s», Contemporanea International
Art Magazine, Vol.
Art and Black Los Angeles, 1960 -
1980» — part of the Getty Foundation's Pacific Standard Time initiative — which originated
at the Hammer
Museum, Los Angeles in 2011.
Oiticica's work and influence have been increasingly acknowledged since his death in
1980, most recently by the landmark retrospective To Organize Delirium, currently on view
at the Carnegie
Museum of
Art, Pennsylvania, and travelling to the
Art Institute of Chicago, Illinois,
Museum of Modern
Art painting and sculpture curator Laura Hoptman, who since the late
1980s has served as a curator
at the Bronx
Museum of the
Arts, the Carnegie
Museum of
Art, and the New
Museum before settling into her current position
at MoMA, experienced this shift firsthand.
Since the
1980s, Feher has exhibited poetic sculptures and installations made from everyday, recognizable materials: his 25 year survey show organized by the Blaffer
Art Museum at the University of Houston just concluded its five city tour.
A Selection of American
Art: Minimalism and After, Galerie Ronny Van de Velde, Antwerp, Belgium (catalogue) The Kitchen
Art Benefit, Curt Marcus & Leo Castelli Galleries, New York Re-Framing Cartoons, Loughelton Gallery, New York Grids, Vrej Baghoonian Gallery, New York Modern Detour / Umweg Moderne: R.M. Fischer, Peter Halley, Laurie Simmons, Wiener Secession, Vienna (catalogue) The Last Decade: American Artists of the 80s, Tony Shafrazi Gallery, New York (curated by Collins & Milazzo, catalogue) Weitersehen
1980 — 1990, Krefelder Kunstmuseen,
Museum Haus Lange and
Museum Haus Esters, Krefeld, Germany (catalogue) Mel Bochner, Peter Halley, Robert Rauschenberg, Sonnabend Gallery, New York Classical Modernism: Six Generations, Sidney Janis Gallery, New York Peter Halley, Annette Lemieux, Meyer Vaisman, Galerie Antoine Candau, Paris Peter Halley, Jeff Koons, Meyer Vaisman, Galerie Carola Moesh, Berlin 1989 Nonrepresentation: The Show of the Essay, Anne Plumb Gallery, New York (catalogue); travelled to Security Pacific Corporation, Los Angeles (curated by Jeremy Gilbert - Rolfe, catalogue) Horn of Plenty, Stedelijk
Museum, Amsterdam (catalogue) Buena Vista, John Gibson Gallery, New York (curated by Collins & Milazzo, catalogue) Abstraction in Question, John and Mable Ringling
Museum of
Art, Sarasota, FL (catalogue); travelled to Center for the Fine
Arts, Miami Paula Cooper Gallery, New York A Climate of Site, Galerie Barbara Farber, Amsterdam (curated by Robert Nickas, catalogue) Science — Technology — Abstraction:
Art at the End of the Decade, University
Art Galleries, Wright State University, Dayton, OH (catalogue) Prospect 89, Frankfurter Kunstverein, Schirn Kunsthalle, Frankfurt am Main (catalogue) Re-Presenting the 80s, Simon Watson Gallery, New York (catalogue) Ten + Ten: Contemporary Soviet and American Painters, Fort Worth
Museum of
Art, Fort Worth, TX; travelled to San Francisco
Museum of Modern
Art, San Francisco, CA; Albright - Knox
Art Gallery, Buffalo, NY; Milwaukee
Art Museum, Milwaukee, WI; Corcoran Gallery of
Art, Washington, DC; Artists» Union Hall of the Tretyakov, Krymskaia Embankment, Moscow, USSR; State Picture Gallery of Georgia, Tbilisi, Georgian Soviet Socialist Republic; Central Exhibition Hall, Leningrad, USSR (catalogue) The Silent Baroque, Villa Arenberg, Galerie Thaddaeus Ropac, Salzburg, Austria (catalogue) New Editions, Pace Prints, New York Psychological Abstraction, Deste Foundation for Contemporary
Art, Athens (catalogue) Exposition Inaugurale, Fondation Daniel Templon, Musée Temporaire, Fréjus, France (catalogue) Wittgenstein: The Play of the Unsayable, Wiener Secession, Vienna, Austria; travelled to Palais des Beaux -
Arts, Brussels (catalogue) Abstraction — Geometry — Painting, Albright - Knox
Art Gallery, Buffalo, NY; travelled to Center for the Fine
Arts, Miami, FL; Milwaukee
Art Museum, Milwaukee, WI; Yale University
Art Gallery, New Haven, CT (catalogue) New Work by Gallery Artists: John Baldessari, Bernd and Hilla Becher, Ashley Bickerton, Mel Bochner, Carroll Dunham, Fischli + Weiss, Gilbert & George, Peter Halley, Barry Le Va, Haim Steinbach, Meyer Vaisman, Terry Winters, Robert Yarber, Sonnabend Gallery, New York Gober, Halley, Kessler, Wool: Four Artists from New York, Kunstverein, Munich (catalogue) Projects and Portfolios: The 25th National Print Exhibition, Brooklyn
Museum, Brooklyn, NY (catalogue) Recent Acquisitions, Carl Solway Gallery, Cincinnati, OH Buena Vista, John Gibson Gallery, New York
It features work by Hartigan and Mitchell from 1950 -
1980 from the collections of the Albright - Knox
Art Gallery, the Castellani
Art Museum of Niagara University, the Smith College
Museum of
Art, Annette Cravens, the Estate of David K. Anderson, the University
at Buffalo collections, and rare archival materials from the Martha Jackson Gallery Archives
at UB Anderson Gallery.
The Brooklyn
Museum has been
at the forefront of presenting Korean modern
art since the seminal 1981 exhibition Korean Drawing Now, which featured many artists of the Dansaekwa (monochrome painting) movement popular in the 1970s and
1980s.
Also on view now
at the
Museum of Contemporary
Art is This Will Have Been: Art, Love and Politics in the 1980s, where a Girls» flier, though historically vital to the section on gender examinations in political art, feels dull amidst the poetics of Jenny Holzer and the strong advertising aesthetic of Barbara Krug
Art is This Will Have Been:
Art, Love and Politics in the 1980s, where a Girls» flier, though historically vital to the section on gender examinations in political art, feels dull amidst the poetics of Jenny Holzer and the strong advertising aesthetic of Barbara Krug
Art, Love and Politics in the
1980s, where a Girls» flier, though historically vital to the section on gender examinations in political
art, feels dull amidst the poetics of Jenny Holzer and the strong advertising aesthetic of Barbara Krug
art, feels dull amidst the poetics of Jenny Holzer and the strong advertising aesthetic of Barbara Kruger.
The Clare Hart DeGolyer Memorial Fund and The Arch and Anne Giles Kimbrough Fund were created
at the Dallas
Museum of
Art in
1980 for the purpose of recognizing exceptional talent and potential in young visual artists.
They were joined by Gianni Jetzer, 48, who curated a show about this era
at Washington D.C.'s Hirshhorn
Museum and Sculpture Garden called «Brand New:
Art and Commodity in the
1980s» (closing May 13).
Others were «Take It or Leave It: Institution, Image, Ideology»
at the Hammer
Museum (2014), which surveyed the use of appropriation and institutional critique in
art from the 1980s; and «Jack Goldstein X 10,000» at Orange County Museum of Art (2012) which was a retrospective on the artist who helped initiate an avant - garde art movement referred to as the «Pictures Generation.&raq
art from the
1980s; and «Jack Goldstein X 10,000»
at Orange County
Museum of
Art (2012) which was a retrospective on the artist who helped initiate an avant - garde art movement referred to as the «Pictures Generation.&raq
Art (2012) which was a retrospective on the artist who helped initiate an avant - garde
art movement referred to as the «Pictures Generation.&raq
art movement referred to as the «Pictures Generation.»
Frank has also organized numerous theme and survey shows, including «Driven to Abstraction: Southern California and the Non-Objective World, 1950 -
1980,» for the Riverside
Art Museum; «Artists» Books U.S.A.», «Mapped
Art: Charts, Routes, Regions» and «Line and Image: The Northern Sensibility in Recent European Drawing», all for Independent Curators Inc.; «Fluxus Film and Video» for the Museo Reina Sofia in Madrid; «Young Fluxus» for Artists» Space in New York; «To the Astonishing Horizon» for Los Angeles Visual
Arts; «Southern Abstraction» for the Raleigh (NC) City Gallery of Contemporary
Art; «The Theater of the Object, 1958 ‑ 1972» for New York's Alternative
Museum; «Visual Poetry» for the Otis / Parsons
Art Institute in Los Angeles; «Multiple World» for the Atlanta College of
Art; and, most notably, «19 Artists — Emergent Americans,» the 1981 Exxon National Exhibition mounted
at the Guggenheim
Museum.
1995 Images, Masks, and Models, 11, rue Larrey
at Sidney Janis Gallery, New York (booklet) Mario Diacono Gallery, Boston, MA (booklet) Galerie Bruno Bischofberger, Zurich Wall Installation, TZ
Art, New York (installation) Exploding Cell, Edition Schellmann and Pace Prints, New York Galerie Thaddaeus Ropac, Paris (installation) Drawings 1977 — 1978, Schmidt Contemporary
Art, St. Louis Drawings 1991 — 1995, Frances Lehman Loeb
Art Center, Vassar College, Poughkeepsie, NY (catalogue); travelled to Greenberg Van Doren Gallery, St. Louis; Rhona Hoffman Gallery, Chicago; Kohn Turner Gallery, Los Angeles Paintings:
1980 — 1981, Turner, Byrne & Runyon, Dallas (catalogue) Encounters 6, Dallas
Museum of
Art, Dallas (installation, booklet)
Bridget Riley: Paintings from the 1960s to the Present is the first major
museum presentation of the artist's work in Japan since Bridget Riley: Works 1959 — 78 at the National Museum of Modern Art in Tokyo in
museum presentation of the artist's work in Japan since Bridget Riley: Works 1959 — 78
at the National
Museum of Modern Art in Tokyo in
Museum of Modern
Art in Tokyo in
1980.
«Mastry», Kerry James Marshall's aptly - titled retrospective
at the
Museum of Contemporary
Art in Los Angeles (which has travelled from New York's Met Breuer), provides an in - depth survey of the American artist's work from the
1980s to the present day.
:
Art and Black Los Angeles, 1960 -
1980,» featuring Melvin Edwards, Suzanne Jackson, William Pajaud, Purifoy, Betye Saar, Raymond Saunders, Ruth Waddy and Charles White, was on view from 2011 to 2013
at UCLA's Hammer
Museum and MoMA PS1.
An
art review on Friday about «Fast Forward: Painting From the 1980s» at the Whitney Museum of American Art misspelled the surname of an artist whose work is featured in the sh
art review on Friday about «Fast Forward: Painting From the
1980s»
at the Whitney
Museum of American
Art misspelled the surname of an artist whose work is featured in the sh
Art misspelled the surname of an artist whose work is featured in the show.
From Group Material co-founder Julie Ault's personal
art collection from the 1980s and»90s on view at Artists Space to Fiona Tan's film of the Sir John Soane Museum's antiquities collection at the Philadelphia Museum of Art (echoing Alain Resnais's great 1956 documentary of Paris's national library, «Toute la mémoire du monde») to the Museum of the City of New York's upcoming show of graffiti art collected by the late artist Martin Wong, artists and institutions are devoting considerable efforts to showing groups of historical art objects gathered through an idiosyncratic personal vision — with that act of curation being foregrounded as an artistic gestu
art collection from the
1980s and»90s on view
at Artists Space to Fiona Tan's film of the Sir John Soane
Museum's antiquities collection
at the Philadelphia
Museum of
Art (echoing Alain Resnais's great 1956 documentary of Paris's national library, «Toute la mémoire du monde») to the Museum of the City of New York's upcoming show of graffiti art collected by the late artist Martin Wong, artists and institutions are devoting considerable efforts to showing groups of historical art objects gathered through an idiosyncratic personal vision — with that act of curation being foregrounded as an artistic gestu
Art (echoing Alain Resnais's great 1956 documentary of Paris's national library, «Toute la mémoire du monde») to the
Museum of the City of New York's upcoming show of graffiti
art collected by the late artist Martin Wong, artists and institutions are devoting considerable efforts to showing groups of historical art objects gathered through an idiosyncratic personal vision — with that act of curation being foregrounded as an artistic gestu
art collected by the late artist Martin Wong, artists and institutions are devoting considerable efforts to showing groups of historical
art objects gathered through an idiosyncratic personal vision — with that act of curation being foregrounded as an artistic gestu
art objects gathered through an idiosyncratic personal vision — with that act of curation being foregrounded as an artistic gesture.
Photographed in
1980 and printed in
1980, this work is number three from an edition of fifteen plus three artist's proofs Other gelatin silver prints from the edition are in the collection of the Solomon R. Guggenheim
Museum, New York, the Musée national d'
Art moderne - centre Georges Pompidou, Paris; the joint collection of the J. Paul Getty Trust and the Los Angeles County
Museum of
Art, and the
Museum of Contemporary Photography
at Columbia College, Chicago.
According to Michael Auping, chief curator
at the Modern
Art Museum of Fort Worth, Texas, «If you wonder why the art world is like it is today, refer to the 198
Art Museum of Fort Worth, Texas, «If you wonder why the
art world is like it is today, refer to the 198
art world is like it is today, refer to the
1980s.
Organized by the Walker
Art Center, Minneapolis, a retrospective of her work titled Kiki Smith: A Gathering,
1980 — 2005 opened
at the San Francisco
Museum of Modern
Art in 2005 and traveled throughout the United States before closing
at La Colección Jumex, Mexico City, in 2007.