Sentences with phrase «of gee»

George «Gee» Dunsten, president of Gee Dunsten Seminars, Inc., has been a real estate agent and broker / owner for almost 40 years, and a senior instructor with the Council of Residential Specialist for more than 20 years.

Everywhere I show up — either in person, in print, or online — I have to make sure that the same image of Gee is portrayed.

The plaintiff in the case of Gee v. Greyhound is a woman who was hurt when the passenger bus on which she was traveling was involved in a crash that she blamed on the bus driver.

Despite the grueling work, she has quilted all the while and become one of Gee's Bend's most celebrated artisans for her lively improvisational compositions.

Anderson oversaw such monographic exhibits as Alice Neel, Wayne Thiebaud and Joan Mitchell as well as groundbreaking thematic shows, including «Into the Light: The Projected Image in American Art 1964 - 1977» and «The Quilts of Gee's Bend.»

Working with Heather Nielsen at the Denver Art Museum, the kids had a personal tour of the Gee's Bends Quilt Exhibition.

This exhibition celebrates the distinctive and beautiful quilts made by African American women living in the isolated community of Gee's Bend, Alabama.

And then, to all our delight, six of Gee's Bends quilters came to PlatteForum to meet the kids, see their work and sing.

The organization of the wood's patinas and painted colors into a flat surface makes subtle reference to the symmetry of a Gee's Bend quilt or the geometric order of a Peter Halley painting.

«The Quilts of Gee's Bend.»

The acquisition also features 11 quilts created by the women of Gee's Bend, Alabama, tripling the museum's examples of this unparalleled tradition in American art.

Since 1995, John Baldessari, Vija Celmins, Chuck Close, Jasper Johns, Alex Katz, Ellsworth Kelly, Roy Lichtenstein, Robert Mangold, Brice Marden, Elizabeth Murray, Robert Rauschenberg, James Rosenquist, Susan Rothenberg, Ed Ruscha, Joel Shapiro, and the artists of Gee's Bend (Louisiana Bendolph, Mary Lee Bendolph, Loretta Bennett, and Loretta Pettway) have contributed editions.

Inspired by the colorful quilt work of the Gee's Bend Quilters, Rose employs fine woodworking techniques to create furniture made from sheets of steel and scrap metal.

Inspired by the colorful quilt work of the Gee's Bend Quilters, Rose employs fine woodworking techniques to create furniture made from sheets of hot rolled steel and scrap metal.

I mean, Thornton Dial, Lonnie Holley, some of the Gee's Bend quiltmakers, Joe Minter — that's kind of it.

Pettway is one of the Gee's Bend Quilters represented by the New York gallery

In his recent cupboards he has incorporated the patterns that are characteristic of the quilts of Gee's Bend.

And do not overlook: The Pierpont Morgan Library's show of recent accessions from the unparalleled Thaw Collection of Master Drawings and Oil Sketches (through Jan. 19); «The Written Image: Japanese Calligraphy and Painting From the Sylvan Barnet and William Burto Collection» at the Metropolitan Museum of Art (through March 2); «The Quilts of Gee's Bend» at the Whitney Museum of American Art (through March 9).

And a robust visual dialogue unfolds among the abstract canvases of Mary Heilmann and Howardena Pindell and the abstract quilts by self - taught artists Annie Mae Young, and Mary Lee Bendolph of Gee's Bend, Alabama.

The Whitney Museum mounted an exhibit of «The Quilts of Gee's Bend,» large, abstract quilts made by women in Gee's Bend, a small rural community nestled into a curve in the Alabama River southwest of Selma, Alabama.

Since then, Paulson Fontaine Press has published more than 500 editions with more than 45 artists including Tauba Auerbach, Ross Bleckner, Spencer Finch, Isca Greenfield - Sanders, the Quilters of Gee's Bend, Kerry James Marshall, and Martin Puryear.

For example, without foundation intervention, Martha Jane Pettway's denim and corduroy quilt from the 1940s (William S. Arnett Collection of Souls Grown Deep Foundation) might not have been preserved, nor would subsequent generations of the Gee's Bend community in Alabama, from which Pettway hails, have likely continued to engage in art - making.

It included 13 works by Thornton Dial (1928 — 2016) that span four decades of the artist's career in addition to 11 quilts by the women of Gee's Bend, Ala., which tripled the Museum's examples of this unparalleled tradition in American art.

They're members of the Gee's Bend, Ala., quilting community, another social network focused on honing craft and exchanging ideas.

Finally, culture watchers of many persuasions welcome the widening of critical purview forced by «The Quilts of Gee's Bend» and other openings to so - called folk artists on the part of mainstream institutions.

The catalog that accompanies «The Quilts of Gee's Bend» seems to want to have it both ways: to celebrate the Alabama quilters» independent brilliance and to tame it with the sort of typology and analysis that art historians practice.

11:30 am LIVE: TIME on the Quilts of Gee's Bend By Jason Moran Featuring Bill Frisell, guitar Alicia Hall Moran, vocals Tarus Mateen, bass Jamire Williams, drums Asali Solomon, author, «Cold Water for Blood Stains» Originally commissioned by the Philadelphia Museum of Art

Since establishing the department in 1994, the High has presented other notable exhibitions, including «Howard Finster: Visions from Paradise Garden» (1996), «The Quilts of Gee's Bend» (2006), «Hard Truths: The Art of Thornton Dial» (2012 — 2013) and «Bill Traylor: Drawings from the Collections of the High Museum of Art and the Montgomery Museum of Fine Arts» (2012 — 2013).

To many champions of the «decorative arts,» «The Quilts of Gee's Bend» must count as a breakthrough event because it has forced critics to focus on a phenomenon they might have preferred to sideline.

Not even the vogue term «outsider artist» fit the quiltmakers of Gee's Bend comfortably.

«The Quilts of Gee's Bend,» which opened at the de Young Museum during the weekend, created a sensation in 2002 when it appeared at New York's Whitney Museum of American Art, the second stop on a 12 - venue tour.

Both exhibitions include some of the elegant prints made by several of the Gee's Bend quilters at Berkeley's Paulson Press.

«Both of these institutions, with exhibitions like The Quilts of Gee's Bend and William Eggleston: Democratic Camera — Photographs and Video, 1961 - 2008, display an interest in how art of the American South fits into the broad category of American Art.»

«Dis / Cover / ing the Quilts of Gee's Bend, Alabama,» The Journal of Modern Craft (Victoria and Albert Museum, London) 1, no. 2 (July 2008): 221 - 54

Mendive's soft sculpture is light years away from Claes Oldenburg but does invite subtle parallels with celebrated quilts made by African - American women of Gee's Bend, Alabama.

«The Foundation's efforts will ensure the long - term survival of artworks by the more than 150 artists in their holdings, including works by Thornton Dial, Lonnie Holley, Ronald Lockett, the quiltmakers of Gee's Bend, Joe Minter, Nellie Mae Rowe, and many more.»

The Fine Arts Museums acquisition encompasses paintings, sculptures, drawings, and quilts by 22 acclaimed artists, including Thornton Dial, Ralph Griffin, Bessie Harvey, Lonnie Holley, Joe Light, Ronald Lockett, Joe Minter, Mary T. Smith, Mose Tolliver, Purvis Young, and a number of the Gee's Bend Quiltmakers, such as Jessie T. Pettway and Annie Mae Young, and will be presented in an exhibition opening in June at the de Young.

Exhibitions in recent years have drawn works primarily from the collection today in the care of Souls Grown Deep Foundation, including The Quilts of Gee's Bend, organized by the Museum of Fine Arts, Houston and the Whitney Museum of American Art in 2002, which traveled to the Corcoran Gallery of Art, Cleveland Museum of Art, Chrysler Museum of Art, Museum of Fine Arts, Boston, High Museum of Art, and other museums; Thornton Dial in the 21st Century at the Museum of Fine Arts, Houston in 2006; and Hard Truths: The Art of Thornton Dial, organized by the Indianapolis Museum of Art in 2011, which traveled to New Orleans Museum of Art, the Mint Museum, and the High Museum of Art.

Among other coups, it was he who assembled in one place and popularized the extraordinary, highly praised abstract works of the quilters of Gee's Bend, Ala., touring them in the early 2000s to major American museums.

Exhibitions in recent years have drawn works primarily from the collection today in the care of the Souls Grown Deep Foundation, including The Quilts of Gee's Bend, organized by the Museum of Fine Arts, Houston and the Whitney Museum of American Art in 2002, which traveled to the Corcoran Gallery of Art, Cleveland Museum of Art, Chrysler Museum of Art, Museum of Fine Arts, Boston, High Museum of Art, and other museums; Thornton Dial in the 21st Century at the Museum of Fine Arts, Houston in 2006; and Hard Truths: The Art of Thornton Dial, organized by the Indianapolis Museum of Art in 2011, which traveled to New Orleans Museum of Art, the Mint Museum, and the High Museum of Art.

The Gee family sold the plantation to Mark Pettway in 1845, and most present - day residents, including many of the Gee's Bend quilters, are descendants of slaves from the former Pettway plantation.

The Souls Grown Deep Foundation has placed in the museum's permanent collection works by artists including Thornton Dial, Ronald Lockett and Mary Proctor, as well as five quilts made by the women of Gee's Bend, Alabama.

Works from the Souls Grown Deep collection have been featured in numerous exhibitions, including The Quilts of Gee's Bend, organized by the Museum of Fine Arts, Houston and the Whitney Museum of American Art in 2002, which travelled to the Corcoran Gallery of Art, Cleveland Museum of Art, Chrysler Museum of Art, Museum of Fine Arts, Boston, High Museum of Art, among others; Thornton Dial in the 21st Century at the Museum of Fine Arts, Houston in 2006; and Hard Truths: The Art of Thornton Dial, organized by the Indianapolis Museum of Art in 2011, which traveled to New Orleans Museum of Art, the Mint Museum, and the High Museum of Art.

Since then, Anderson has engaged with the artists represented in the Foundation's collection, organizing numerous exhibitions including Souls Grown Deep: African - American Vernacular Art of the South (1996) presented in conjunction with the Atlanta Olympic Games at Michael C. Carlos Museum at City Hall East, The Quilts of Gee's Bend (2002) while director at the Whitney Museum of American Art, and Hard Truths: The Art of Thornton Dial (2011) at the Indianapolis Museum of Art.

It is our hope that a century hence, in survey exhibitions of art of the late 20th and early 21st centuries, the artworks of Thornton Dial, Lonnie Holley, Ronald Lockett, the quilters of Gee's Bend, and dozens of others will be shown alongside works by artists who are today household names — together with other artists whose names have yet to surface.

A better chapter began nearly a decade later with the pioneering exhibition The Quilts of Gee's Bend in 2002, that earned accolades from the chief art critic of The New York Times as «some of the most miraculous works of modern art America has produced.»

Several exhibitions in recent years have drawn works primarily from the collection today in the care of the Souls Grown Deep Foundation, including The Quilts of Gee's Bend, organized by the Museum of Fine Arts, Houston and the Whitney Museum of American Art in 2002, which traveled to the Corcoran Gallery of Art, Cleveland Museum of Art, Chrysler Museum of Art, Museum of Fine Arts, Boston, High Museum of Art, and four other museums; Thornton Dial in the 21st Century at the Museum of Fine Arts, Houston in 2006; Hard Truths: The Art of Thornton Dial, organized by the Indianapolis Museum of Art in 2011, which traveled to the New Orleans Museum of Art, the Mint Museum, and the High Museum of Art; and Fever Within: The Art of Ronald Lockett, organized by the Ackland Museum of Art in 2016, which traveled to the American Folk Art Museum and the High Museum of Art.

Among the artists represented are Thornton Dial, Lonnie Holley, Mary T. Smith, Joe Minter, Nellie Mae Rowe, Purvis Young, Emmer Sewell, Ronald Lockett, Joe Light, and the quiltmakers of Gee's Bend.

The quilts of Gee's Bend, Alabama; assemblages by Thornton Dial; and sculptures by Lonnie Holley are today recognized as fundamental examples of American art.

Like quilters of Gee Bend, John often begins a work with little idea of where it will take her pictorially.