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[
"Walter Lofthouse Dean",
"work location",
"United States of America"
] |
Family
Walter Lofthouse Dean was born on June 4, 1854, in Lowell, Massachusetts, in Middlesex County. He was the third son of the Honorable Benjamin Dean and Mary Ann (French) Dean, who were related to several of the best-known families of the region. Walter Dean's grandparents, Benjamin Dean and Alice Lofthouse Dean, of Clitheroe, England, moved to the United States of America in 1829, when Benjamin, an engraver and designer, entered the employ of the Merrimack Print Works.Dean's father, Benjamin Dean was born in Clitheroe, England in 1824, and became a prominent Boston lawyer, a US Congressman and a 33-degree Mason who served as grand master of the Grand Commandery of the United States from 1880 to 1883. His mother, Mary Ann French, was born to Josiah Bowers French, a bank president and former Mayor of Lowell, and his wife, Mary Anne Stevens of Billerica, Massachusetts.Dean had three brothers and two sisters. He never knew his oldest brother, Josiah French Dean, who died before the age of two. His second oldest brother, Benjamin Wheelock Dean, was a contractor who married Annie Page of South Boston. His younger sister, Clitheroe, was born in South Boston and married Charles L. James of Brookline. His youngest brother, Josiah Stevens Dean married May Lillian Smith in 1888 and became a prominent Boston lawyer and judge who died in 1941. Dean's youngest sister, Mary Dean, was born in Lowell and married Walter Tufts.Dean married Katharine Bates Whiting of Boston on July 1, 1874 and together they had two daughters, May (1875) and Clitheroe (1879).Peace (1891)
Perhaps Dean's most important work, Peace (see image) is a large painting (9 × 6.25 ft or 274 × 191 cm) depicting the original US Navy fleet at rest in Boston Harbor. Peace was completed in 1891, exhibited widely from 1891 to 1900, placed in the US Capitol in 1900 and purchased by the US Government in 1928. Known variously as "The White Squadron" and "The Squadron of Evolution", this impressive fleet of white-hulled, ironclad, steam and sail-powered naval war ships was built to protect America's growing commercial ventures at sea in the late 19th century.An 1895 article in the Boston Sunday Journal had the following to say about Peace.Peace is perhaps the best known marine work of an American artist. It pleased the public as soon as it was shown [to] them, for it was almost the first prominent attempt made to introduce modern war ships into real art. When the North Atlantic squadron came into Boston Harbor a few years ago, Mr. Dean anchored his yacht alongside the white war ships, and secured studies for his painting.
The US House Resolution 5454 in 1900, which proposed to purchase "Peace" for $15,000, states the following:The bill proposes to purchase an historical painting entitled "Peace" by Walter L. Dean of Boston, Massachusetts. It represents "The Squadron of Evolution," better known as "The White Squadron," as constituted in 1891, lying peacefully at anchor in the harbor of Boston. This squadron is the nucleus of the present Navy. The Chicago as originally constructed was bark rigged, and it is in the foreground of the painting. The Boston and Atlanta are represented as brig rigged, while the Newark is bark rigged and the Yorktown is schooner rigged. These vessels have since been reconstructed to meet modern requirements, so that their original identity has been lost. "Peace" shows them as originally constructed, and is a means of keeping in view the type of ship which started the Navy of which every American is justly proud. There is no question among the minds of your committee but what it is perfectly proper that this historical painting should be owned by the Government and hung in a suitable place in the Capitol building.
The painting is 9 feet long [274 cm] by 6 feet 3 inches high [191 cm]. Wherever it has been exhibited nothing but praise has been bestowed upon it. It was shown at the Columbian Exposition in Chicago in 1892 [1893], where it occupied a place of honor in the United States section of the fine arts department. It was then exhibited at the St. Louis Museum of Fine Arts, and afterwards sent to the Museum of Fine Arts in Boston. It was next shown in the art gallery of the Massachusetts Mechanic's Association fair, and later in the public library under the auspices of the Worcester Art Society. Later it was sent to the Tennessee Centennial Exposition at Nashville, and also to the public library at Bridgeport, Conn. Then at the Boston South End Exposition, and last summer at Poland Springs, Me. Where it was placed in the building which had previously been the Maine State Building at the Chicago Exposition. In all these places this work of art occupied the place of honor and received many awards.
| 8
|
[
"Walter Lofthouse Dean",
"work location",
"England"
] |
Europe and the Académie Julian (1882-84)
After earning $2,500 from the sale of his paintings, in 1882, at the age of 28, Dean traveled to France, where he first spent seven months on the French coast, sketching the local people and boats in Brittany. He then went on to Paris, France to study at the Académie Julian with Jules-Joseph Lefebvre and Gustave Boulanger. These were two of the most influential art instructors in the world at that time. It is apparent that Dean enjoyed Europe, where he traveled primarily along the coastlines of France, Belgium, the Netherlands, Italy and England. In England, he secured an old chapel as a studio in the village of Cornwall, and finished a number commissions for "Manchester gentleman" of Mediterranean scenes.
| 9
|
[
"Walter Lofthouse Dean",
"work location",
"France"
] |
Europe and the Académie Julian (1882-84)
After earning $2,500 from the sale of his paintings, in 1882, at the age of 28, Dean traveled to France, where he first spent seven months on the French coast, sketching the local people and boats in Brittany. He then went on to Paris, France to study at the Académie Julian with Jules-Joseph Lefebvre and Gustave Boulanger. These were two of the most influential art instructors in the world at that time. It is apparent that Dean enjoyed Europe, where he traveled primarily along the coastlines of France, Belgium, the Netherlands, Italy and England. In England, he secured an old chapel as a studio in the village of Cornwall, and finished a number commissions for "Manchester gentleman" of Mediterranean scenes.
| 13
|
[
"Walter Lofthouse Dean",
"family name",
"Dean"
] |
Family
Walter Lofthouse Dean was born on June 4, 1854, in Lowell, Massachusetts, in Middlesex County. He was the third son of the Honorable Benjamin Dean and Mary Ann (French) Dean, who were related to several of the best-known families of the region. Walter Dean's grandparents, Benjamin Dean and Alice Lofthouse Dean, of Clitheroe, England, moved to the United States of America in 1829, when Benjamin, an engraver and designer, entered the employ of the Merrimack Print Works.Dean's father, Benjamin Dean was born in Clitheroe, England in 1824, and became a prominent Boston lawyer, a US Congressman and a 33-degree Mason who served as grand master of the Grand Commandery of the United States from 1880 to 1883. His mother, Mary Ann French, was born to Josiah Bowers French, a bank president and former Mayor of Lowell, and his wife, Mary Anne Stevens of Billerica, Massachusetts.Dean had three brothers and two sisters. He never knew his oldest brother, Josiah French Dean, who died before the age of two. His second oldest brother, Benjamin Wheelock Dean, was a contractor who married Annie Page of South Boston. His younger sister, Clitheroe, was born in South Boston and married Charles L. James of Brookline. His youngest brother, Josiah Stevens Dean married May Lillian Smith in 1888 and became a prominent Boston lawyer and judge who died in 1941. Dean's youngest sister, Mary Dean, was born in Lowell and married Walter Tufts.Dean married Katharine Bates Whiting of Boston on July 1, 1874 and together they had two daughters, May (1875) and Clitheroe (1879).
| 16
|
[
"Walter Lofthouse Dean",
"has works in the collection",
"United States Capitol"
] |
Peace (1891)
Perhaps Dean's most important work, Peace (see image) is a large painting (9 × 6.25 ft or 274 × 191 cm) depicting the original US Navy fleet at rest in Boston Harbor. Peace was completed in 1891, exhibited widely from 1891 to 1900, placed in the US Capitol in 1900 and purchased by the US Government in 1928. Known variously as "The White Squadron" and "The Squadron of Evolution", this impressive fleet of white-hulled, ironclad, steam and sail-powered naval war ships was built to protect America's growing commercial ventures at sea in the late 19th century.An 1895 article in the Boston Sunday Journal had the following to say about Peace.
| 25
|
[
"Walter Lofthouse Dean",
"genre",
"genre painting"
] |
Walter Lofthouse Dean (June 4, 1854 – March 13, 1912) was an American marine painter, commodore of the Boston Yacht Club and Vice President of the Boston Art Club. Dean was one of the most prominent members in Boston, Massachusetts of the Paint and Clay Club, the Art Club, the Society of Water Color Painters, the South Boston Art Club and was also a member of the Salmagundi Club of New York and on the Massachusetts jury of paintings for the 1900 Paris Exposition. Dean was also one of first artists to work primarily from Gloucester, Massachusetts, where he worked for 25 summers from a large studio on Rocky Neck, and later settled year round. While Dean is primarily known for marine paintings from the Boston region, he also created a wide-range of art from his travels to France, the Netherlands, Italy, Belgium, England, Canada and Puerto Rico.
Dean was a well recognized artist while he was alive and was listed in the 1896 Men of Progress, the 1903 Men of Massachusetts, along with Who's Who in American Art. His canvases were seen in most of the important general exhibitions for more than a quarter century. Dean's largest painting, Peace (see below: Peace), depicting several units of the White Squadron in Boston harbor, is owned by the US Government and was exhibited at the Chicago World's Fair in May–October 1893.Walter Lofthouse Dean died at his home in Gloucester, Massachusetts, on March 13, 1912.
| 26
|
[
"Walter Lofthouse Dean",
"has works in the collection",
"Whistler House Museum of Art"
] |
Selected works
Yacht Tempest (1881) Whistler House Museum of Art
The Sardine Fleet, Concarneau (1882) exhibited at William & Everett Gallery, 1883
A Summer Day on the Dutch Shore (1883) exhibited at Poland Spring Gallery, 1898
At the Fountain, Capri (ca 1884) Massachusetts Charitable Mechanic Association, 1884
Market Boat. Capri (ca 1884) Massachusetts Charitable Mechanic Association, 1884
North Sea Fisherman off a Lee Shore (ca 1885) Whistler House Museum of Art
North Sea Fishermen Racing Home (ca 1888) Massachusetts Charitable Mechanic Association, 1890
The Gloucester Seiners (1888) exhibited at Boston Art Club, 1889
View of Gloucester Harbor (ca 1890) Cape Ann Museum
Open Sea (1890) exhibited at Chicago World's Fair, 1893
Peace (1891) Cannon House Office Building
The Seiners Return (1892) exhibited at Chicago World's Fair, 1893
A Fine Catch (1893) Whistler House Museum of Art
Naval Review New York (1893) Whistler House Museum of Art
US Fleet at Hampton Roads (1893) Whistler House Museum of Art
An October Catch (1894) exhibited at the Boston Art Club, 1894
Well Rewarded (1894) exhibited at American Water Color Society, Philadelphia Museum of Art, 1894
Ton Catcher, Bay of Biscay (1895) exhibited at American Water Color Society, Philadelphia Museum of Art, 1895
Bay of Naples (1896) exhibited at American Water Color Society, Philadelphia Museum of Art, 1896
U.S.S. Enterprise (ca 1896) exhibited at Paint and Clay Club, 1896
U.S.S Gunboat Gloucester, at Santiago (1898) exhibited at Worcester Art Club, 1905
Moonrise (1900) exhibited at Pittsburgh International Exhibition, 1900
On the Deep Sea (1901) Farnsworth Art Museum
Ballast Haulers (ca 1903), STOLEN from Lowell General Hospital, 1972
Gloucester Harbor (1906) Sheldon Museum of Art
Fog Off Gloucester (ca 1906) New Britain Museum of American Art
Harbor Cove (1908), exhibited at Boston Art Club, 1908
| 28
|
[
"Bill Glass Jr.",
"occupation",
"artist"
] |
Bill Glass Jr. is a Cherokee Nation ceramic artist, sculptor, and public artist, who was named a Cherokee National Treasure in 2009.Art career
After working as art coordinator for several years, Glass turned to his own art full time in 1977. Glass uses Georgia clay, which allows him to fire at higher temperatures than locally-sourced clays. Higher glazing temperatures then allow for a wider range of glazing colors. His work is inspired by the art of the Southeastern Woodlands people during the Mississippian era. During this era, Willard Stone (1916–1985) and Cecil Dick (Cherokee Nation, 1915–1992) served as Glass’ mentors.
Glass exhibited nationally and garnered awards at the Santa Fe Indian Market, Heard Museum Guild Fair, Philbrook Indian Annual, Tulsa Indian Art Festival, Cherokee Art Market, and Artesian Arts Festival.Bill Glass is the father of artist Demos Glass, and in the early millennium the father-son team began to build public sculptures together. The two share a large studio where they can craft their public pieces. The two convened Team Gadugi, an intertribal group of artists to create the public sculptural installation, The Passage (2003) about the Trail of Tears in Chattanooga, Tennessee. Father and son also sculpted Touched to Above for the First Americans Museum in Oklahoma City, Oklahoma.
Glass led a team of artists to create Origins, an installation at the Cherokee National History Museum in downtown Tahlequah, that depicts Cherokee oral history of an ancient migration.
| 2
|
[
"Bill Glass Jr.",
"place of birth",
"Tahlequah"
] |
Background and education
Glass was born in Tahlequah, Oklahoma, and spent his childhood there and in Arizona. The Native art Glass saw while living in Arizona instilled a love of native culture and art in him.
He attended Central State University in Edmond, Oklahoma in 1973, where he decided to major in computer science. Glass took several art classes during his first year at Central State University under the direction of T.C. Cannon (Kiowa/Caddo, 1946–1978) and Sherman Chaddlesone (Kiowa, 1947–2013), who had both studied at the Institute of American Indian Arts (IAIA) in Santa Fe, New Mexico. Glass transferred to IAIA in 1973, where he worked under renowned Chiricahua Apache sculptor Allan Houser (1914–1994). While there, the faculty encouraged him to research his Cherokee heritage.
| 3
|
[
"Bill Glass Jr.",
"has works in the collection",
"National Museum of the American Indian"
] |
Bill Glass Jr. is a Cherokee Nation ceramic artist, sculptor, and public artist, who was named a Cherokee National Treasure in 2009.
| 4
|
[
"Bill Glass Jr.",
"occupation",
"sculptor"
] |
Bill Glass Jr. is a Cherokee Nation ceramic artist, sculptor, and public artist, who was named a Cherokee National Treasure in 2009.
| 5
|
[
"Bill Glass Jr.",
"family name",
"Glass"
] |
Bill Glass Jr. is a Cherokee Nation ceramic artist, sculptor, and public artist, who was named a Cherokee National Treasure in 2009.
| 14
|
[
"Alfred Freddy Krupa",
"instance of",
"human"
] |
Alfred Freddy Krupa (14 June 1971, Karlovac, Yugoslavia ) is a Croatian painter and book illustrator. He graduated from the University of Zagreb Academy of Fine Arts in 1995. He published New Ink Art Manifesto in 1996. He departed to Tokyo Gakugei University as the very first Croatian painter in 1998. He first gained fame with the general public in 1990 via the then popular Yugoslav weekly "Vikend/Weekend". Author Milica Jović wrote in her article for New York-based Highlark Magazine that Krupa is considered the pivotal figure in the Western New Ink Art movement.
| 0
|
[
"Alfred Freddy Krupa",
"country of citizenship",
"Croatia"
] |
Alfred Freddy Krupa (14 June 1971, Karlovac, Yugoslavia ) is a Croatian painter and book illustrator. He graduated from the University of Zagreb Academy of Fine Arts in 1995. He published New Ink Art Manifesto in 1996. He departed to Tokyo Gakugei University as the very first Croatian painter in 1998. He first gained fame with the general public in 1990 via the then popular Yugoslav weekly "Vikend/Weekend". Author Milica Jović wrote in her article for New York-based Highlark Magazine that Krupa is considered the pivotal figure in the Western New Ink Art movement.
| 2
|
[
"Alfred Freddy Krupa",
"place of birth",
"Karlovac"
] |
Alfred Freddy Krupa (14 June 1971, Karlovac, Yugoslavia ) is a Croatian painter and book illustrator. He graduated from the University of Zagreb Academy of Fine Arts in 1995. He published New Ink Art Manifesto in 1996. He departed to Tokyo Gakugei University as the very first Croatian painter in 1998. He first gained fame with the general public in 1990 via the then popular Yugoslav weekly "Vikend/Weekend". Author Milica Jović wrote in her article for New York-based Highlark Magazine that Krupa is considered the pivotal figure in the Western New Ink Art movement.
| 4
|
[
"Alfred Freddy Krupa",
"educated at",
"Tokyo Gakugei University"
] |
Alfred Freddy Krupa (14 June 1971, Karlovac, Yugoslavia ) is a Croatian painter and book illustrator. He graduated from the University of Zagreb Academy of Fine Arts in 1995. He published New Ink Art Manifesto in 1996. He departed to Tokyo Gakugei University as the very first Croatian painter in 1998. He first gained fame with the general public in 1990 via the then popular Yugoslav weekly "Vikend/Weekend". Author Milica Jović wrote in her article for New York-based Highlark Magazine that Krupa is considered the pivotal figure in the Western New Ink Art movement.
| 6
|
[
"Alfred Freddy Krupa",
"educated at",
"Academy of Fine Arts, University of Zagreb"
] |
Alfred Freddy Krupa (14 June 1971, Karlovac, Yugoslavia ) is a Croatian painter and book illustrator. He graduated from the University of Zagreb Academy of Fine Arts in 1995. He published New Ink Art Manifesto in 1996. He departed to Tokyo Gakugei University as the very first Croatian painter in 1998. He first gained fame with the general public in 1990 via the then popular Yugoslav weekly "Vikend/Weekend". Author Milica Jović wrote in her article for New York-based Highlark Magazine that Krupa is considered the pivotal figure in the Western New Ink Art movement.
| 7
|
[
"Alfred Freddy Krupa",
"sex or gender",
"male"
] |
Alfred Freddy Krupa (14 June 1971, Karlovac, Yugoslavia ) is a Croatian painter and book illustrator. He graduated from the University of Zagreb Academy of Fine Arts in 1995. He published New Ink Art Manifesto in 1996. He departed to Tokyo Gakugei University as the very first Croatian painter in 1998. He first gained fame with the general public in 1990 via the then popular Yugoslav weekly "Vikend/Weekend". Author Milica Jović wrote in her article for New York-based Highlark Magazine that Krupa is considered the pivotal figure in the Western New Ink Art movement.
| 8
|
[
"Alfred Freddy Krupa",
"educated at",
"University of Zagreb"
] |
Alfred Freddy Krupa (14 June 1971, Karlovac, Yugoslavia ) is a Croatian painter and book illustrator. He graduated from the University of Zagreb Academy of Fine Arts in 1995. He published New Ink Art Manifesto in 1996. He departed to Tokyo Gakugei University as the very first Croatian painter in 1998. He first gained fame with the general public in 1990 via the then popular Yugoslav weekly "Vikend/Weekend". Author Milica Jović wrote in her article for New York-based Highlark Magazine that Krupa is considered the pivotal figure in the Western New Ink Art movement.
| 14
|
[
"Alfred Freddy Krupa",
"occupation",
"painter"
] |
Alfred Freddy Krupa (14 June 1971, Karlovac, Yugoslavia ) is a Croatian painter and book illustrator. He graduated from the University of Zagreb Academy of Fine Arts in 1995. He published New Ink Art Manifesto in 1996. He departed to Tokyo Gakugei University as the very first Croatian painter in 1998. He first gained fame with the general public in 1990 via the then popular Yugoslav weekly "Vikend/Weekend". Author Milica Jović wrote in her article for New York-based Highlark Magazine that Krupa is considered the pivotal figure in the Western New Ink Art movement.
| 18
|
[
"Alfred Freddy Krupa",
"given name",
"Alfred"
] |
Alfred Freddy Krupa (14 June 1971, Karlovac, Yugoslavia ) is a Croatian painter and book illustrator. He graduated from the University of Zagreb Academy of Fine Arts in 1995. He published New Ink Art Manifesto in 1996. He departed to Tokyo Gakugei University as the very first Croatian painter in 1998. He first gained fame with the general public in 1990 via the then popular Yugoslav weekly "Vikend/Weekend". Author Milica Jović wrote in her article for New York-based Highlark Magazine that Krupa is considered the pivotal figure in the Western New Ink Art movement.
| 24
|
[
"Alfred Freddy Krupa",
"family name",
"Krupa"
] |
Alfred Freddy Krupa (14 June 1971, Karlovac, Yugoslavia ) is a Croatian painter and book illustrator. He graduated from the University of Zagreb Academy of Fine Arts in 1995. He published New Ink Art Manifesto in 1996. He departed to Tokyo Gakugei University as the very first Croatian painter in 1998. He first gained fame with the general public in 1990 via the then popular Yugoslav weekly "Vikend/Weekend". Author Milica Jović wrote in her article for New York-based Highlark Magazine that Krupa is considered the pivotal figure in the Western New Ink Art movement.
| 29
|
[
"Alfred Freddy Krupa",
"occupation",
"book artist"
] |
Alfred Freddy Krupa (14 June 1971, Karlovac, Yugoslavia ) is a Croatian painter and book illustrator. He graduated from the University of Zagreb Academy of Fine Arts in 1995. He published New Ink Art Manifesto in 1996. He departed to Tokyo Gakugei University as the very first Croatian painter in 1998. He first gained fame with the general public in 1990 via the then popular Yugoslav weekly "Vikend/Weekend". Author Milica Jović wrote in her article for New York-based Highlark Magazine that Krupa is considered the pivotal figure in the Western New Ink Art movement.
| 30
|
[
"Buckminster Fuller",
"conflict",
"World War I"
] |
Wartime experience
Between his sessions at Harvard, Fuller worked in Canada as a mechanic in a textile mill, and later as a laborer in the meat-packing industry. He also served in the U.S. Navy in World War I, as a shipboard radio operator, as an editor of a publication, and as commander of the crash rescue boat USS Inca. After discharge, he worked again in the meat-packing industry, acquiring management experience. In 1917, he married Anne Hewlett. During the early 1920s, he and his father-in-law developed the Stockade Building System for producing lightweight, weatherproof, and fireproof housing—although the company would ultimately fail in 1927.
| 5
|
[
"Buckminster Fuller",
"place of burial",
"Mount Auburn Cemetery"
] |
Guinea Pig B:
I am now close to 88 and I am confident that the only thing important about me is that I am an average healthy human. I am also a living case history of a thoroughly documented, half-century, search-and-research project designed to discover what, if anything, an unknown, moneyless individual, with a dependent wife and newborn child, might be able to do effectively on behalf of all humanity that could not be accomplished by great nations, great religions or private enterprise, no matter how rich or powerfully armed.
Fuller died on July 1, 1983, 11 days before his 88th birthday. During the period leading up to his death, his wife had been lying comatose in a Los Angeles hospital, dying of cancer. It was while visiting her there that he exclaimed, at a certain point: "She is squeezing my hand!" He then stood up, had a heart attack, and died an hour later, at age 87. His wife of 66 years died 36 hours later. They are buried in Mount Auburn Cemetery in Cambridge, Massachusetts.
| 84
|
[
"Buckminster Fuller",
"spouse",
"Anne Hewlett"
] |
Wartime experience
Between his sessions at Harvard, Fuller worked in Canada as a mechanic in a textile mill, and later as a laborer in the meat-packing industry. He also served in the U.S. Navy in World War I, as a shipboard radio operator, as an editor of a publication, and as commander of the crash rescue boat USS Inca. After discharge, he worked again in the meat-packing industry, acquiring management experience. In 1917, he married Anne Hewlett. During the early 1920s, he and his father-in-law developed the Stockade Building System for producing lightweight, weatherproof, and fireproof housing—although the company would ultimately fail in 1927.
| 95
|
[
"Ray Johnson",
"manner of death",
"suicide"
] |
Death
On January 13, 1995, Johnson was seen diving off a bridge in Sag Harbor, Long Island, and backstroking out to sea. His body washed up on the beach the following day. Many aspects of his death involved the number "13": the date; his age, 67 (6+7=13); the room number of a motel he had checked into earlier that day, 247 (2+4+7=13), etc. Some continue to speculate about a 'last performance' aspect of Johnson's drowning. Hundreds of collages were found carefully arranged in his home. He left no will and his estate is now administered by Adler Beatty.
| 9
|
[
"Ray Johnson",
"work location",
"Locust Valley"
] |
I'm an artist and a, well, I shouldn't call myself a poet but other people have. What I do is classify the words as poetry. ... The Paper Snake ... is all my writings, rubbings, plays, things that I had given to the publisher, Dick Higgins, editor and publisher, which I mailed to him or brought to him in cardboard boxes or shoved under his door, or left in his sink, or whatever, over a period of years. He saved all these things, designed and published a book, and I simply as an artist did what I did without classification. So when the book appeared the book stated, "Ray Johnson is a poet", but I never said, "this is a poem", I simply wrote what I wrote and it later became classified.
Long out of print, The Paper Snake was re-printed by Siglio Press in 2014.On June 3, 1968 – the same day that Andy Warhol was shot by Valerie Solanas with a gun she'd stored under May Wilson's bed – Johnson was mugged at knifepoint. Two days later, Robert Kennedy was assassinated. Severely shaken, Johnson moved to Glen Cove, Long Island, and the next year bought a house in nearby Locust Valley, where Richard Lippold and his family resided. He began to live in a state of increasing reclusion in what he called a "small white farmhouse with a Joseph Cornell attic."
Johnson appeared twice in the Art in Process series, described by blogger Greg Allen as "a series of topical, process-oriented, teaching exhibitions organized by Finch College Museum director Elayne Varian. They included sketches, models and studies to show how the artist did what he was doing."Locust Valley years
From 1966 into the mid-1970s, Johnson's work was shown at the Willard Gallery (New York) and Feigen Gallery (Chicago and New York), as well as by Angela Flowers in London and Arturo Schwarz in Milan. In 1970, mail from 107 participants to curator Marcia Tucker was exhibited in a Ray Johnson – New York Correspondence School exhibition at the Whitney Museum of American Art, New York – a significant moment of cultural validation for Johnson. Another notable exhibition followed – Correspondence: An Exhibition of the Letters of Ray Johnson at the North Carolina Museum of Art in Raleigh, 1976, organized by Richard Craven: 81 lenders' works, 35 years of Johnson's outgoing mail. Around that time, Johnson began his silhouette project, creating approximately 200 profiles of personal friends, artists, and celebrities which became the basis for many of his later collages. His subjects included Chuck Close, Andy Warhol, William S. Burroughs, Edward Albee, Louise Nevelson, Larry Rivers, Lynda Benglis, Nam Jume Paik, David Hockney, David Bowie, Christo, Peter Hujar, Roy Lichtenstein, Paloma Picasso, James Rosenquist, Richard Feigen, among others – a who's who of the New York arts and letters scene.
During the 1980s Johnson purposefully receded from view, cultivating his role as outsider, maintaining personal connections via mail art and telephone largely in place of physical interaction. In 1981, he began a longstanding correspondence with librarian and artists' book specialist, Clive Phillpot. Only a handful of people were ever allowed into his house in Locust Valley. Eventually, Johnson ceased to exhibit or sell his work commercially altogether. His underground reputation bubbled beneath the surface into the 1980s and 90s despite his general absence from the flourishing New York art scene. Johnson feverishly continued to work on richer and more complex collages, such as Untitled (Seven Black Feet with Eyelashes), in the collection of the Honolulu Museum of Art. It demonstrates the artist's incorporation of text into collage, which is his preferred medium. In contrast to his physical seclusion, Johnson's pre-digital network of correspondents increased in size exponentially.Film, television and music
Following his suicide, filmmakers Andrew Moore and John Walter (in conjunction with Frances Beatty of Richard L. Feigen & Co.) spent six years probing the mysteries of Johnson's life and art. Their collaboration yielded the award-winning documentary How to Draw a Bunny, released in 2002. The film includes interviews with artists Chuck Close, James Rosenquist, Billy Name, Christo and Jeanne-Claude, Judith Malina, and many others.The Manic Street Preachers wrote and recorded a song about Johnson, titled "Locust Valley." Released as a B-side on the "Found That Soul" single (2001), "Locust Valley" describes Johnson as "famously unknown/elusive and dismantled".
John Cale's song "Hey Ray" from the Extra Playful EP (2011) is about Cale's encounters with Johnson in New York during the 1960s.Canadian art rock band Women's 2010 album Public Strain includes two songs that directly reference Ray Johnson. Locust Valley is the town where Johnson lived in New York State. Venice Lockjaw is a phrase Johnson incorporated in pins that he made to be given away at the Ubi Fluxus ibi Motus exhibit in 1990 at the Venice Biennale. Their 2008 album Women also featured a song called Sag Harbor Bridge, referencing the place of Johnson's death.
| 20
|
[
"Ray Johnson",
"educated at",
"Black Mountain College"
] |
Early years and education
Born in Detroit, Michigan, on October 16, 1927, Ray Johnson grew up in a working-class neighborhood and attended Cass Technical High School where he was enrolled in the advertising art program. He took weekly classes at the Detroit Art Institute and spent a summer drawing at Ox-Bow School in Saugatuck, Michigan, affiliated with the Art Institute of Chicago.
Johnson left Detroit after high school in the summer of 1945 to attend the progressive Black Mountain College (BMC) in North Carolina, where he stayed for the next three years (spending the spring 1946 semester at the Art Students League in New York but returning the following summer). Josef Albers, before and after his notable sabbatical in Mexico, was in residence at Black Mountain College for six of the ten semesters that Johnson studied there. Anni Albers, Walter Gropius, Lyonel Feininger, Robert Motherwell, Ossip Zadkine, Paul Rand, Alvin Lustig, Ilya Bolotowski, Jacob Lawrence, Beaumont Newhall, M. C. Richards, and Jean Varda also taught at BMC during Johnson's time there. Johnson decided on Albers' advice to stay at BMC for a final term in summer 1948, when the visiting faculty included John Cage, Merce Cunningham, Willem de Kooning, Buckminster Fuller, and Richard Lippold. Johnson took part in "The Ruse of Medusa" – the culmination of Cunningham's Satie Festival - with Cage, Cunningham, Fuller, Willem and Elaine de Kooning, Lippold, Ruth Asawa, Arthur Penn, and others among the cast and crew. "Because of those who participated, the event has taken on the reputation of a watershed event in 'mixed media' " wrote Martin Duberman in his history of BMC.In the documentary How to Draw a Bunny, Richard Lippold delicately but candidly confesses to carrying on a love affair with Johnson for many years which began at Black Mountain College.
| 32
|
[
"Ray Johnson",
"place of death",
"Sag Harbor"
] |
Death
On January 13, 1995, Johnson was seen diving off a bridge in Sag Harbor, Long Island, and backstroking out to sea. His body washed up on the beach the following day. Many aspects of his death involved the number "13": the date; his age, 67 (6+7=13); the room number of a motel he had checked into earlier that day, 247 (2+4+7=13), etc. Some continue to speculate about a 'last performance' aspect of Johnson's drowning. Hundreds of collages were found carefully arranged in his home. He left no will and his estate is now administered by Adler Beatty.
| 34
|
[
"Brian Clarke",
"has works in the collection",
"Museum Brandhorst"
] |
Brian Clarke (born 2 July 1953) is a British painter, architectural artist and printmaker, known for his large-scale stained glass and mosaic projects, symbolist paintings, set designs, and collaborations with major figures in Modern and contemporary architecture.
Born to a working-class family in the north of England, and a full-time art student on scholarship by age 13, Clarke came to prominence in the late 1970s as a painter and figure of the Punk movement and designer of stained glass. By the early 1980s he had become a major figure in international contemporary art, the subject of several television documentaries and a café society regular. He is known for his architectonic art, prolific output in various media, friendships with key cultural figures, and polemical lectures and interviews.
His practice in architectural and autonomous stained glass, often on a monumental scale, has led to successive innovation and invention in the development of the medium. This includes the creation of stained glass without lead and the subsequent pioneering of a 'dramatically enhanced Pointillism' in glass, as well as the creation of sculptural stained glass works, analogous to collage, made primarily or entirely of lead. The latter two advances are described as having taken stained glass as an art form to its zero-point in each direction: absolute transparency and complete opacity.A lifelong exponent of the integration of art and architecture, his architectural collaborations include work with Zaha Hadid, Norman Foster, Arata Isozaki, Oscar Niemeyer, I. M. Pei, César Pelli, and Renzo Piano. He served a seven-year term as chairman of The Architecture Foundation and served on the Design Review Committee of the Commission for Architecture and the Built Environment. His artistic collaborations have included work with David Bailey, Hugh Hudson, Malcolm McLaren, and with Linda McCartney and Paul McCartney.
| 10
|
[
"Brian Clarke",
"field of work",
"art of painting"
] |
Brian Clarke (born 2 July 1953) is a British painter, architectural artist and printmaker, known for his large-scale stained glass and mosaic projects, symbolist paintings, set designs, and collaborations with major figures in Modern and contemporary architecture.
Born to a working-class family in the north of England, and a full-time art student on scholarship by age 13, Clarke came to prominence in the late 1970s as a painter and figure of the Punk movement and designer of stained glass. By the early 1980s he had become a major figure in international contemporary art, the subject of several television documentaries and a café society regular. He is known for his architectonic art, prolific output in various media, friendships with key cultural figures, and polemical lectures and interviews.
His practice in architectural and autonomous stained glass, often on a monumental scale, has led to successive innovation and invention in the development of the medium. This includes the creation of stained glass without lead and the subsequent pioneering of a 'dramatically enhanced Pointillism' in glass, as well as the creation of sculptural stained glass works, analogous to collage, made primarily or entirely of lead. The latter two advances are described as having taken stained glass as an art form to its zero-point in each direction: absolute transparency and complete opacity.A lifelong exponent of the integration of art and architecture, his architectural collaborations include work with Zaha Hadid, Norman Foster, Arata Isozaki, Oscar Niemeyer, I. M. Pei, César Pelli, and Renzo Piano. He served a seven-year term as chairman of The Architecture Foundation and served on the Design Review Committee of the Commission for Architecture and the Built Environment. His artistic collaborations have included work with David Bailey, Hugh Hudson, Malcolm McLaren, and with Linda McCartney and Paul McCartney.
| 15
|
[
"Brian Clarke",
"genre",
"Symbolist painting"
] |
Brian Clarke (born 2 July 1953) is a British painter, architectural artist and printmaker, known for his large-scale stained glass and mosaic projects, symbolist paintings, set designs, and collaborations with major figures in Modern and contemporary architecture.
Born to a working-class family in the north of England, and a full-time art student on scholarship by age 13, Clarke came to prominence in the late 1970s as a painter and figure of the Punk movement and designer of stained glass. By the early 1980s he had become a major figure in international contemporary art, the subject of several television documentaries and a café society regular. He is known for his architectonic art, prolific output in various media, friendships with key cultural figures, and polemical lectures and interviews.
His practice in architectural and autonomous stained glass, often on a monumental scale, has led to successive innovation and invention in the development of the medium. This includes the creation of stained glass without lead and the subsequent pioneering of a 'dramatically enhanced Pointillism' in glass, as well as the creation of sculptural stained glass works, analogous to collage, made primarily or entirely of lead. The latter two advances are described as having taken stained glass as an art form to its zero-point in each direction: absolute transparency and complete opacity.A lifelong exponent of the integration of art and architecture, his architectural collaborations include work with Zaha Hadid, Norman Foster, Arata Isozaki, Oscar Niemeyer, I. M. Pei, César Pelli, and Renzo Piano. He served a seven-year term as chairman of The Architecture Foundation and served on the Design Review Committee of the Commission for Architecture and the Built Environment. His artistic collaborations have included work with David Bailey, Hugh Hudson, Malcolm McLaren, and with Linda McCartney and Paul McCartney.
| 52
|
[
"Brian Clarke",
"occupation",
"printmaker"
] |
Brian Clarke (born 2 July 1953) is a British painter, architectural artist and printmaker, known for his large-scale stained glass and mosaic projects, symbolist paintings, set designs, and collaborations with major figures in Modern and contemporary architecture.
Born to a working-class family in the north of England, and a full-time art student on scholarship by age 13, Clarke came to prominence in the late 1970s as a painter and figure of the Punk movement and designer of stained glass. By the early 1980s he had become a major figure in international contemporary art, the subject of several television documentaries and a café society regular. He is known for his architectonic art, prolific output in various media, friendships with key cultural figures, and polemical lectures and interviews.
His practice in architectural and autonomous stained glass, often on a monumental scale, has led to successive innovation and invention in the development of the medium. This includes the creation of stained glass without lead and the subsequent pioneering of a 'dramatically enhanced Pointillism' in glass, as well as the creation of sculptural stained glass works, analogous to collage, made primarily or entirely of lead. The latter two advances are described as having taken stained glass as an art form to its zero-point in each direction: absolute transparency and complete opacity.A lifelong exponent of the integration of art and architecture, his architectural collaborations include work with Zaha Hadid, Norman Foster, Arata Isozaki, Oscar Niemeyer, I. M. Pei, César Pelli, and Renzo Piano. He served a seven-year term as chairman of The Architecture Foundation and served on the Design Review Committee of the Commission for Architecture and the Built Environment. His artistic collaborations have included work with David Bailey, Hugh Hudson, Malcolm McLaren, and with Linda McCartney and Paul McCartney.
| 53
|
[
"Brian Clarke",
"place of birth",
"Oldham"
] |
2010s to present
In 2010, Clarke was commissioned to design stained windows for the new Papal Chapel of the Apostolic Nunciature, the diplomatic embassy of the Holy See to Great Britain, for the 2010 visit of Pope Benedict XVI to the United Kingdom, the first-ever state visit made by a pope to Britain. The exhibitionThe Art of Light (2018) in Norwich highlighted Clarke's free-standing glass panels. While their folding structures draw inspiration from Japanese folding screens, they explore a new context for stained glass, no longer confined to the fabric of a building, but nevertheless having a strong architectural impact on whatever space they inhabit. The subject matter of these panels is diverse: many depict flowers and nature's opulence in vivid colour, but there are also images of intense grief and Pop-inspired subject matter. A Pop sensibility also runs through his Caryatids panels (2002), which depict muscular young men in beachwear by the sea. The work received criticism when it was shown at Christie's, London in 2011, reflective of the traditionalist values that surround the medium of stained glass.
In 2015, Clarke curated A Strong Sweet Smell of Incense: A Portrait of Robert Fraser, an exhibition held at the Royal Academy of Arts in London, in association with Pace Gallery, together with author Harriet Vyner (whose 'cult biography' of Fraser, Groovy Bob, Clarke had contributed to). The 2014 solo exhibition Spitfires and Primroses with the Pace Gallery, juxtaposed two recent series of works, pairing oil paintings of the Second World War aircraft, arranged in a heraldic semé, with watercolours of English primroses. The show revealed an underlying disquiet to Clarke's botanical imagery. This aspect resonated later in his paintings of poppies, which formed the exhibition Vespers at Phillips, London in 2021.
In 2020, it was announced that a new Blue Coat School was to be built in Oldham, Clarke's hometown, named the Brian Clarke Church of England Academy, to provide free school places to 1,200 pupils. The Academy was granted planning permission in April 2021, with construction due to be completed in 2023.
| 56
|
[
"Brian Clarke",
"genre",
"monumental art"
] |
Brian Clarke (born 2 July 1953) is a British painter, architectural artist and printmaker, known for his large-scale stained glass and mosaic projects, symbolist paintings, set designs, and collaborations with major figures in Modern and contemporary architecture.
Born to a working-class family in the north of England, and a full-time art student on scholarship by age 13, Clarke came to prominence in the late 1970s as a painter and figure of the Punk movement and designer of stained glass. By the early 1980s he had become a major figure in international contemporary art, the subject of several television documentaries and a café society regular. He is known for his architectonic art, prolific output in various media, friendships with key cultural figures, and polemical lectures and interviews.
His practice in architectural and autonomous stained glass, often on a monumental scale, has led to successive innovation and invention in the development of the medium. This includes the creation of stained glass without lead and the subsequent pioneering of a 'dramatically enhanced Pointillism' in glass, as well as the creation of sculptural stained glass works, analogous to collage, made primarily or entirely of lead. The latter two advances are described as having taken stained glass as an art form to its zero-point in each direction: absolute transparency and complete opacity.A lifelong exponent of the integration of art and architecture, his architectural collaborations include work with Zaha Hadid, Norman Foster, Arata Isozaki, Oscar Niemeyer, I. M. Pei, César Pelli, and Renzo Piano. He served a seven-year term as chairman of The Architecture Foundation and served on the Design Review Committee of the Commission for Architecture and the Built Environment. His artistic collaborations have included work with David Bailey, Hugh Hudson, Malcolm McLaren, and with Linda McCartney and Paul McCartney.
| 57
|
[
"Brian Clarke",
"field of work",
"stained glass"
] |
Brian Clarke (born 2 July 1953) is a British painter, architectural artist and printmaker, known for his large-scale stained glass and mosaic projects, symbolist paintings, set designs, and collaborations with major figures in Modern and contemporary architecture.
Born to a working-class family in the north of England, and a full-time art student on scholarship by age 13, Clarke came to prominence in the late 1970s as a painter and figure of the Punk movement and designer of stained glass. By the early 1980s he had become a major figure in international contemporary art, the subject of several television documentaries and a café society regular. He is known for his architectonic art, prolific output in various media, friendships with key cultural figures, and polemical lectures and interviews.
His practice in architectural and autonomous stained glass, often on a monumental scale, has led to successive innovation and invention in the development of the medium. This includes the creation of stained glass without lead and the subsequent pioneering of a 'dramatically enhanced Pointillism' in glass, as well as the creation of sculptural stained glass works, analogous to collage, made primarily or entirely of lead. The latter two advances are described as having taken stained glass as an art form to its zero-point in each direction: absolute transparency and complete opacity.A lifelong exponent of the integration of art and architecture, his architectural collaborations include work with Zaha Hadid, Norman Foster, Arata Isozaki, Oscar Niemeyer, I. M. Pei, César Pelli, and Renzo Piano. He served a seven-year term as chairman of The Architecture Foundation and served on the Design Review Committee of the Commission for Architecture and the Built Environment. His artistic collaborations have included work with David Bailey, Hugh Hudson, Malcolm McLaren, and with Linda McCartney and Paul McCartney.Work
In his career, Clarke has advanced new approaches across a range of mediums including stained glass, mosaic, collage, painting and drawing. He is recognised as being instrumental in bringing critical attention to the medium of stained glass and revealing its relevance to the present day through both his practice of the medium and through exhibitions and writings on the subject.
From the beginning of his career, Clarke has had an architectural vision for stained glass. Always responsive to the building and surrounding context, this vision came to fruition in his later collaborations with world-renowned architects.1970s
Clarke received his first commission for a stained glass at age 17. However, his suite of 20 windows for the Church of St Lawrence, Longridge (1975) is considered his first mature work. Here, the use of transparent glass has a Pop Art sensibility; the 'see through’ panes embrace the everyday by letting the real world in. In 1976, Clarke received a large-scale commission from the University of Nottingham to produce 45 paintings, vestments, and a series of stained glass windows for a multi-faith chapel in the Queen's Medical Centre. One of the largest public art commissions of the decade, the process of design and installation was filmed by the BBC as material for a documentary.In the early years of his career, most of Clarke's work was for religious buildings. However, by 1978 his relationship with the Church had become untenable, as his designs were constantly being modified. The ending of this relationship freed Clarke to create stained glass for secular contexts and advance the medium as social art. Throughout this period, Clarke was active in bringing attention to stained glass and promoting it as a modern medium. In 1975, he organised the travelling exhibition Glass Art One, which featured secular, autonomous stained glass panels inspired in part by Japanese-landscape painting. Later, he co-curated GLASS/LIGHT, an extensive survey of twentieth-century stained glass, with British war artist John Piper and art historian Martin Harrison, in collaboration with the artist Marc Chagall as part of the 1978 Festival of the City of London. Clarke also produced the book Architectural Stained Glass,a polemical collection of essays.
In his painting, Clarke developed a strictly abstract Constructivist language of geometric signs; often his work had an underlying grid structure made from repetitions and variations on the cross. In later years, he would disrupt the grid with free-flowing amorphic forms. In 1977 Punk hit the UK, which had a deep impact on Clarke. He connected with Vivienne Westwood and Malcolm McLaren and later collaborated as a designer on their aborted zine Chicken, whose creation was funded by EMI and filmed by BBC's Arena. He also expressed Punk's nihilistic energy in the 1977 series of paintings, ‘Dangerous Visions’ (1977). Around the same time, Clarke became friends with the physical chemist Lord Snow. After Snow's death, he made a tributary portfolio of screenprints; their title, The Two Cultures referenced Snow's influential 1959 Rede Lecture on the perceived gulf between the humanities and sciences. In 1983 the Tate acquired an edition of The Two Cultures.Between 1978 and 1979, the BBC filmed Clarke's studio practice and life for an hour-long BBC Omnibus documentary, Brian Clarke: The Story So Far. Millions watched the documentary in the UK, and the BBC recorded multiple viewer complaints. The programme and subsequent press coverage, including Clarke's appearance on the cover of Vogue, photographed by Robert Mapplethorpe, brought him to broader public attention. Later in 1979, Clarke became a presenter on the BBC2 arts programme Mainstream and the BBC Radio 4 programme Kaleidescope, conducting interviews with figures including Brassaï, Andy Warhol, John Lennon, and Elisabeth Lutyens. He also gave Sheffield band The Human League their first television appearance.
| 61
|
[
"Brian Clarke",
"occupation",
"stained-glass artist"
] |
Brian Clarke (born 2 July 1953) is a British painter, architectural artist and printmaker, known for his large-scale stained glass and mosaic projects, symbolist paintings, set designs, and collaborations with major figures in Modern and contemporary architecture.
Born to a working-class family in the north of England, and a full-time art student on scholarship by age 13, Clarke came to prominence in the late 1970s as a painter and figure of the Punk movement and designer of stained glass. By the early 1980s he had become a major figure in international contemporary art, the subject of several television documentaries and a café society regular. He is known for his architectonic art, prolific output in various media, friendships with key cultural figures, and polemical lectures and interviews.
His practice in architectural and autonomous stained glass, often on a monumental scale, has led to successive innovation and invention in the development of the medium. This includes the creation of stained glass without lead and the subsequent pioneering of a 'dramatically enhanced Pointillism' in glass, as well as the creation of sculptural stained glass works, analogous to collage, made primarily or entirely of lead. The latter two advances are described as having taken stained glass as an art form to its zero-point in each direction: absolute transparency and complete opacity.A lifelong exponent of the integration of art and architecture, his architectural collaborations include work with Zaha Hadid, Norman Foster, Arata Isozaki, Oscar Niemeyer, I. M. Pei, César Pelli, and Renzo Piano. He served a seven-year term as chairman of The Architecture Foundation and served on the Design Review Committee of the Commission for Architecture and the Built Environment. His artistic collaborations have included work with David Bailey, Hugh Hudson, Malcolm McLaren, and with Linda McCartney and Paul McCartney.
| 62
|
[
"Brian Clarke",
"notable work",
"Stained glass apex and windows of the Pyramid of Peace and Accord"
] |
Work
In his career, Clarke has advanced new approaches across a range of mediums including stained glass, mosaic, collage, painting and drawing. He is recognised as being instrumental in bringing critical attention to the medium of stained glass and revealing its relevance to the present day through both his practice of the medium and through exhibitions and writings on the subject.
From the beginning of his career, Clarke has had an architectural vision for stained glass. Always responsive to the building and surrounding context, this vision came to fruition in his later collaborations with world-renowned architects.
| 73
|
[
"Brian Clarke",
"occupation",
"painter"
] |
Brian Clarke (born 2 July 1953) is a British painter, architectural artist and printmaker, known for his large-scale stained glass and mosaic projects, symbolist paintings, set designs, and collaborations with major figures in Modern and contemporary architecture.
Born to a working-class family in the north of England, and a full-time art student on scholarship by age 13, Clarke came to prominence in the late 1970s as a painter and figure of the Punk movement and designer of stained glass. By the early 1980s he had become a major figure in international contemporary art, the subject of several television documentaries and a café society regular. He is known for his architectonic art, prolific output in various media, friendships with key cultural figures, and polemical lectures and interviews.
His practice in architectural and autonomous stained glass, often on a monumental scale, has led to successive innovation and invention in the development of the medium. This includes the creation of stained glass without lead and the subsequent pioneering of a 'dramatically enhanced Pointillism' in glass, as well as the creation of sculptural stained glass works, analogous to collage, made primarily or entirely of lead. The latter two advances are described as having taken stained glass as an art form to its zero-point in each direction: absolute transparency and complete opacity.A lifelong exponent of the integration of art and architecture, his architectural collaborations include work with Zaha Hadid, Norman Foster, Arata Isozaki, Oscar Niemeyer, I. M. Pei, César Pelli, and Renzo Piano. He served a seven-year term as chairman of The Architecture Foundation and served on the Design Review Committee of the Commission for Architecture and the Built Environment. His artistic collaborations have included work with David Bailey, Hugh Hudson, Malcolm McLaren, and with Linda McCartney and Paul McCartney.
| 85
|
[
"Forrest Bess",
"has works in the collection",
"Whitney Museum of American Art"
] |
Legacy
In the years following his death, Bess was nearly forgotten to history, but a 1981 solo show curated by Barbara Haskell at the Whitney Museum of Art helped revive his reputation as an artist. In the catalog, Haskell wrote, "Indeed, this painter's direct, almost primitive images, loaded with symbolic meaning and emotional content, are finding echoes in the so-called New Image painters. It may be that the show at the Whitney is the first step toward readdressing the import of his work." Bess's legacy was further enhanced in 1988, when Hirschl & Adler Modern exhibited 61 of his works.In 1999, an award-winning 48 minute documentary film, Forrest Bess: Key to the Riddle, was produced by Chuck Smith and directed by Chuck Smith and Ari Marcopoulos. The film features interviews with Meyer Schapiro, Robert Thurman, and other friends and artists who knew Bess. In 2013, Smith turned the film into a book, Forrest Bess: Key to the Riddle, published by powerHouse Books. The book features a foreword by Robert Thurman.
As part of the 2012 Whitney Biennial, sculptor Robert Gober curated an exhibition of Bess' paintings from the late 1950s, as well as archival material.In 2013 and 2014, the museum retrospective "Forrest Bess: Seeing Things Invisible" exhibited nearly 50 of his paintings and was curated by Clare Elliott, assistant curator of the Menil Collection.Today, Bess is regarded as a unique phenomenon, an artist who cannot be grouped with any one school, but who answered solely and completely to his own vivid, personal vision. His best art consists of only about 100 small paintings, many with simple driftwood frames that he built himself. The majority of these paintings are in private collections, although the Menil Collection, Houston; the Museum of Contemporary Art, Chicago; Museum of Modern Art and Whitney Museum of American Art in New York; the Phillips Collection in Washington, D.C. and San Francisco Museum of Modern Art and the City by the Sea Museum in Palacios, Texas have Bess paintings in their collections.
| 4
|
[
"Forrest Bess",
"place of birth",
"Bay City"
] |
Early life
Bess was born on October 5, 1911, in Bay City, Texas to Arnold "Butch" Bess, an oil field worker, and Minta Lee Bess. Bess first experienced the "visions" he would use later in his art as a young child. His first introduction to oil painting were works done by a neighbor, and at thirteen years old he began lessons in painting from another neighbor.A semi-itinerant childhood was followed by some years at college, where he began by studying architecture, but found himself diverted into religion, psychology, and anthropology, readings that would later inform his own radical theories. Dropping out of university in 1932, Bess worked for several years roughnecking in the Beaumont oil fields, and also made several trips to Mexico, where he saw the work of muralists Diego Rivera and David Alfaro Siqueiros. He returned to Bay City in 1934 to establish a painting studio.During World War II, he enlisted in the Army Corps of Engineers and was given the task of designing camouflage. However, he was later moved to MacDill Air Force Base at Tampa, Florida, to teach bricklaying. He suffered a psychological breakdown, took a leave of absence, and then transferred to teaching painting at a convalescent hospital.After living and painting for a while in San Antonio, he finally settled at his family's fishing camp at Chinquapin, near Bay City.
| 10
|
[
"Forrest Bess",
"place of death",
"Bay City"
] |
Death
Forrest Bess died on November 10, 1977, in a Bay City, Texas, nursing home from skin cancer at the age of 66.
| 11
|
[
"Forrest Bess",
"family name",
"Bess"
] |
Forrest Clemenger Bess (October 5, 1911 – November 10, 1977) was an American painter and fisherman. He was discovered and promoted by the art dealer Betty Parsons. He is known for his abstract, symbol-laden paintings based on what he called "visions."Early life
Bess was born on October 5, 1911, in Bay City, Texas to Arnold "Butch" Bess, an oil field worker, and Minta Lee Bess. Bess first experienced the "visions" he would use later in his art as a young child. His first introduction to oil painting were works done by a neighbor, and at thirteen years old he began lessons in painting from another neighbor.A semi-itinerant childhood was followed by some years at college, where he began by studying architecture, but found himself diverted into religion, psychology, and anthropology, readings that would later inform his own radical theories. Dropping out of university in 1932, Bess worked for several years roughnecking in the Beaumont oil fields, and also made several trips to Mexico, where he saw the work of muralists Diego Rivera and David Alfaro Siqueiros. He returned to Bay City in 1934 to establish a painting studio.During World War II, he enlisted in the Army Corps of Engineers and was given the task of designing camouflage. However, he was later moved to MacDill Air Force Base at Tampa, Florida, to teach bricklaying. He suffered a psychological breakdown, took a leave of absence, and then transferred to teaching painting at a convalescent hospital.After living and painting for a while in San Antonio, he finally settled at his family's fishing camp at Chinquapin, near Bay City.
| 25
|
[
"Roland Brener",
"instance of",
"human"
] |
Life
Brener was born Roland Albert Brener on February 22, 1942, in Johannesburg. He studied art at Saint Martin's School of Art under Anthony Caro. He completed his academic training in 1965, and in 1967, Brener was one of the founders of the Stockwell Depot, a studio and exhibition space occupying part of a disused brewery in south London. Brener taught at Saint Martin's, at the University of California, Santa Barbara and at the University of Iowa before being appointed Associate Professor at the University of Victoria in 1974. He retired from teaching in 1997 and continued to live and work in Victoria, British Columbia, Canada until his death in 2006.
| 0
|
[
"Roland Brener",
"artist files at",
"Philadelphia Museum of Art Library and Archives"
] |
Roland Brener (February 22, 1942 – March 22, 2006) was a South African-born Canadian artist.
| 1
|
[
"Roland Brener",
"place of death",
"Victoria"
] |
Life
Brener was born Roland Albert Brener on February 22, 1942, in Johannesburg. He studied art at Saint Martin's School of Art under Anthony Caro. He completed his academic training in 1965, and in 1967, Brener was one of the founders of the Stockwell Depot, a studio and exhibition space occupying part of a disused brewery in south London. Brener taught at Saint Martin's, at the University of California, Santa Barbara and at the University of Iowa before being appointed Associate Professor at the University of Victoria in 1974. He retired from teaching in 1997 and continued to live and work in Victoria, British Columbia, Canada until his death in 2006.
| 15
|
[
"Roland Brener",
"residence",
"Victoria"
] |
Life
Brener was born Roland Albert Brener on February 22, 1942, in Johannesburg. He studied art at Saint Martin's School of Art under Anthony Caro. He completed his academic training in 1965, and in 1967, Brener was one of the founders of the Stockwell Depot, a studio and exhibition space occupying part of a disused brewery in south London. Brener taught at Saint Martin's, at the University of California, Santa Barbara and at the University of Iowa before being appointed Associate Professor at the University of Victoria in 1974. He retired from teaching in 1997 and continued to live and work in Victoria, British Columbia, Canada until his death in 2006.
| 16
|
[
"Roland Brener",
"work location",
"Victoria"
] |
Life
Brener was born Roland Albert Brener on February 22, 1942, in Johannesburg. He studied art at Saint Martin's School of Art under Anthony Caro. He completed his academic training in 1965, and in 1967, Brener was one of the founders of the Stockwell Depot, a studio and exhibition space occupying part of a disused brewery in south London. Brener taught at Saint Martin's, at the University of California, Santa Barbara and at the University of Iowa before being appointed Associate Professor at the University of Victoria in 1974. He retired from teaching in 1997 and continued to live and work in Victoria, British Columbia, Canada until his death in 2006.
| 17
|
[
"Roland Brener",
"place of birth",
"Johannesburg"
] |
Life
Brener was born Roland Albert Brener on February 22, 1942, in Johannesburg. He studied art at Saint Martin's School of Art under Anthony Caro. He completed his academic training in 1965, and in 1967, Brener was one of the founders of the Stockwell Depot, a studio and exhibition space occupying part of a disused brewery in south London. Brener taught at Saint Martin's, at the University of California, Santa Barbara and at the University of Iowa before being appointed Associate Professor at the University of Victoria in 1974. He retired from teaching in 1997 and continued to live and work in Victoria, British Columbia, Canada until his death in 2006.
| 19
|
[
"Roland Brener",
"occupation",
"artist"
] |
Roland Brener (February 22, 1942 – March 22, 2006) was a South African-born Canadian artist.Life
Brener was born Roland Albert Brener on February 22, 1942, in Johannesburg. He studied art at Saint Martin's School of Art under Anthony Caro. He completed his academic training in 1965, and in 1967, Brener was one of the founders of the Stockwell Depot, a studio and exhibition space occupying part of a disused brewery in south London. Brener taught at Saint Martin's, at the University of California, Santa Barbara and at the University of Iowa before being appointed Associate Professor at the University of Victoria in 1974. He retired from teaching in 1997 and continued to live and work in Victoria, British Columbia, Canada until his death in 2006.
| 22
|
[
"Roland Brener",
"employer",
"University of Victoria"
] |
Life
Brener was born Roland Albert Brener on February 22, 1942, in Johannesburg. He studied art at Saint Martin's School of Art under Anthony Caro. He completed his academic training in 1965, and in 1967, Brener was one of the founders of the Stockwell Depot, a studio and exhibition space occupying part of a disused brewery in south London. Brener taught at Saint Martin's, at the University of California, Santa Barbara and at the University of Iowa before being appointed Associate Professor at the University of Victoria in 1974. He retired from teaching in 1997 and continued to live and work in Victoria, British Columbia, Canada until his death in 2006.
| 27
|
[
"Roland Brener",
"educated at",
"Saint Martin's School of Art"
] |
Life
Brener was born Roland Albert Brener on February 22, 1942, in Johannesburg. He studied art at Saint Martin's School of Art under Anthony Caro. He completed his academic training in 1965, and in 1967, Brener was one of the founders of the Stockwell Depot, a studio and exhibition space occupying part of a disused brewery in south London. Brener taught at Saint Martin's, at the University of California, Santa Barbara and at the University of Iowa before being appointed Associate Professor at the University of Victoria in 1974. He retired from teaching in 1997 and continued to live and work in Victoria, British Columbia, Canada until his death in 2006.
| 29
|
[
"Roland Brener",
"family name",
"Brener"
] |
Roland Brener (February 22, 1942 – March 22, 2006) was a South African-born Canadian artist.Life
Brener was born Roland Albert Brener on February 22, 1942, in Johannesburg. He studied art at Saint Martin's School of Art under Anthony Caro. He completed his academic training in 1965, and in 1967, Brener was one of the founders of the Stockwell Depot, a studio and exhibition space occupying part of a disused brewery in south London. Brener taught at Saint Martin's, at the University of California, Santa Barbara and at the University of Iowa before being appointed Associate Professor at the University of Victoria in 1974. He retired from teaching in 1997 and continued to live and work in Victoria, British Columbia, Canada until his death in 2006.
| 30
|
[
"Roland Brener",
"occupation",
"sculptor"
] |
Life
Brener was born Roland Albert Brener on February 22, 1942, in Johannesburg. He studied art at Saint Martin's School of Art under Anthony Caro. He completed his academic training in 1965, and in 1967, Brener was one of the founders of the Stockwell Depot, a studio and exhibition space occupying part of a disused brewery in south London. Brener taught at Saint Martin's, at the University of California, Santa Barbara and at the University of Iowa before being appointed Associate Professor at the University of Victoria in 1974. He retired from teaching in 1997 and continued to live and work in Victoria, British Columbia, Canada until his death in 2006.
| 31
|
[
"Mika Rottenberg",
"country of citizenship",
"Argentina"
] |
Mika Rottenberg (born 1976) is a contemporary Argentine-Israeli video artist who lives and works in New York City. Rottenberg is best known for her surreal video and installation work that often "investigates the link between the female body and production mechanisms". Her work has been exhibited both nationally and internationally.Biography
Mika Rottenberg was born in Buenos Aires, Argentina in 1976. She made aliyah to Israel with her family in 1977. In 1998, she graduated from HaMidrasha School of Art, Beit Berl College, Israel. In 2000, Rottenberg moved to New York to continue her education, receiving a Bachelor of Fine Arts from the School of Visual Arts in 2000 and a Master of Fine Arts from Columbia University in 2004. She was represented by Andrea Rosen Gallery in New York City until the gallery closed its doors in 2017. She was also represented by Galerie Laurent Godin in Paris. As of 2019, she is represented by Hauser & Wirth.
| 4
|
[
"Mika Rottenberg",
"country of citizenship",
"Israel"
] |
Mika Rottenberg (born 1976) is a contemporary Argentine-Israeli video artist who lives and works in New York City. Rottenberg is best known for her surreal video and installation work that often "investigates the link between the female body and production mechanisms". Her work has been exhibited both nationally and internationally.Biography
Mika Rottenberg was born in Buenos Aires, Argentina in 1976. She made aliyah to Israel with her family in 1977. In 1998, she graduated from HaMidrasha School of Art, Beit Berl College, Israel. In 2000, Rottenberg moved to New York to continue her education, receiving a Bachelor of Fine Arts from the School of Visual Arts in 2000 and a Master of Fine Arts from Columbia University in 2004. She was represented by Andrea Rosen Gallery in New York City until the gallery closed its doors in 2017. She was also represented by Galerie Laurent Godin in Paris. As of 2019, she is represented by Hauser & Wirth.
| 6
|
[
"Mika Rottenberg",
"place of birth",
"Buenos Aires"
] |
Mika Rottenberg (born 1976) is a contemporary Argentine-Israeli video artist who lives and works in New York City. Rottenberg is best known for her surreal video and installation work that often "investigates the link between the female body and production mechanisms". Her work has been exhibited both nationally and internationally.Biography
Mika Rottenberg was born in Buenos Aires, Argentina in 1976. She made aliyah to Israel with her family in 1977. In 1998, she graduated from HaMidrasha School of Art, Beit Berl College, Israel. In 2000, Rottenberg moved to New York to continue her education, receiving a Bachelor of Fine Arts from the School of Visual Arts in 2000 and a Master of Fine Arts from Columbia University in 2004. She was represented by Andrea Rosen Gallery in New York City until the gallery closed its doors in 2017. She was also represented by Galerie Laurent Godin in Paris. As of 2019, she is represented by Hauser & Wirth.
| 14
|
[
"Mika Rottenberg",
"educated at",
"School of Visual Arts"
] |
Biography
Mika Rottenberg was born in Buenos Aires, Argentina in 1976. She made aliyah to Israel with her family in 1977. In 1998, she graduated from HaMidrasha School of Art, Beit Berl College, Israel. In 2000, Rottenberg moved to New York to continue her education, receiving a Bachelor of Fine Arts from the School of Visual Arts in 2000 and a Master of Fine Arts from Columbia University in 2004. She was represented by Andrea Rosen Gallery in New York City until the gallery closed its doors in 2017. She was also represented by Galerie Laurent Godin in Paris. As of 2019, she is represented by Hauser & Wirth.
| 16
|
[
"Mika Rottenberg",
"educated at",
"Columbia University School of the Arts"
] |
Biography
Mika Rottenberg was born in Buenos Aires, Argentina in 1976. She made aliyah to Israel with her family in 1977. In 1998, she graduated from HaMidrasha School of Art, Beit Berl College, Israel. In 2000, Rottenberg moved to New York to continue her education, receiving a Bachelor of Fine Arts from the School of Visual Arts in 2000 and a Master of Fine Arts from Columbia University in 2004. She was represented by Andrea Rosen Gallery in New York City until the gallery closed its doors in 2017. She was also represented by Galerie Laurent Godin in Paris. As of 2019, she is represented by Hauser & Wirth.
| 24
|
[
"Robert W. Newmann",
"instance of",
"human"
] |
Robert W. Newmann (born 1944) is an American painter and sculptor. He was a member of the Washington Color School art movement. In his early career he painted canvas and transitioned in his late career to working in sculpture and installation art.Biography
Robert W. Newmann was born in 1944 in Nyack, New York. He attended Rochester Institute of Technology, the University of Iowa, and the Corcoran College of Art and Design.
In 1984, he was part of a New York lawsuit, Newmann vs. Delmar Realty Co. over the completion of a New York City mural sandblasted on the side of a brick wall. The lawsuit was notable for establishing artists legal rights in the case of defaced public artwork.Newmann's work is included in the public museum collection at the Smithsonian American Art Museum.
| 0
|
[
"Robert W. Newmann",
"educated at",
"University of Iowa"
] |
Biography
Robert W. Newmann was born in 1944 in Nyack, New York. He attended Rochester Institute of Technology, the University of Iowa, and the Corcoran College of Art and Design.
In 1984, he was part of a New York lawsuit, Newmann vs. Delmar Realty Co. over the completion of a New York City mural sandblasted on the side of a brick wall. The lawsuit was notable for establishing artists legal rights in the case of defaced public artwork.Newmann's work is included in the public museum collection at the Smithsonian American Art Museum.
| 2
|
[
"Robert W. Newmann",
"artist files at",
"Museum of Modern Art"
] |
== References ==
| 3
|
[
"Robert W. Newmann",
"occupation",
"painter"
] |
Robert W. Newmann (born 1944) is an American painter and sculptor. He was a member of the Washington Color School art movement. In his early career he painted canvas and transitioned in his late career to working in sculpture and installation art.Biography
Robert W. Newmann was born in 1944 in Nyack, New York. He attended Rochester Institute of Technology, the University of Iowa, and the Corcoran College of Art and Design.
In 1984, he was part of a New York lawsuit, Newmann vs. Delmar Realty Co. over the completion of a New York City mural sandblasted on the side of a brick wall. The lawsuit was notable for establishing artists legal rights in the case of defaced public artwork.Newmann's work is included in the public museum collection at the Smithsonian American Art Museum.
| 4
|
[
"Robert W. Newmann",
"educated at",
"Corcoran College of Art and Design"
] |
Robert W. Newmann (born 1944) is an American painter and sculptor. He was a member of the Washington Color School art movement. In his early career he painted canvas and transitioned in his late career to working in sculpture and installation art.Biography
Robert W. Newmann was born in 1944 in Nyack, New York. He attended Rochester Institute of Technology, the University of Iowa, and the Corcoran College of Art and Design.
In 1984, he was part of a New York lawsuit, Newmann vs. Delmar Realty Co. over the completion of a New York City mural sandblasted on the side of a brick wall. The lawsuit was notable for establishing artists legal rights in the case of defaced public artwork.Newmann's work is included in the public museum collection at the Smithsonian American Art Museum.
| 6
|
[
"Robert W. Newmann",
"has works in the collection",
"Smithsonian American Art Museum"
] |
Biography
Robert W. Newmann was born in 1944 in Nyack, New York. He attended Rochester Institute of Technology, the University of Iowa, and the Corcoran College of Art and Design.
In 1984, he was part of a New York lawsuit, Newmann vs. Delmar Realty Co. over the completion of a New York City mural sandblasted on the side of a brick wall. The lawsuit was notable for establishing artists legal rights in the case of defaced public artwork.Newmann's work is included in the public museum collection at the Smithsonian American Art Museum.
| 8
|
[
"Robert W. Newmann",
"occupation",
"sculptor"
] |
Robert W. Newmann (born 1944) is an American painter and sculptor. He was a member of the Washington Color School art movement. In his early career he painted canvas and transitioned in his late career to working in sculpture and installation art.Biography
Robert W. Newmann was born in 1944 in Nyack, New York. He attended Rochester Institute of Technology, the University of Iowa, and the Corcoran College of Art and Design.
In 1984, he was part of a New York lawsuit, Newmann vs. Delmar Realty Co. over the completion of a New York City mural sandblasted on the side of a brick wall. The lawsuit was notable for establishing artists legal rights in the case of defaced public artwork.Newmann's work is included in the public museum collection at the Smithsonian American Art Museum.
| 9
|
[
"Robert W. Newmann",
"educated at",
"Rochester Institute of Technology"
] |
Biography
Robert W. Newmann was born in 1944 in Nyack, New York. He attended Rochester Institute of Technology, the University of Iowa, and the Corcoran College of Art and Design.
In 1984, he was part of a New York lawsuit, Newmann vs. Delmar Realty Co. over the completion of a New York City mural sandblasted on the side of a brick wall. The lawsuit was notable for establishing artists legal rights in the case of defaced public artwork.Newmann's work is included in the public museum collection at the Smithsonian American Art Museum.
| 10
|
[
"Robert W. Newmann",
"given name",
"Robert"
] |
Robert W. Newmann (born 1944) is an American painter and sculptor. He was a member of the Washington Color School art movement. In his early career he painted canvas and transitioned in his late career to working in sculpture and installation art.Biography
Robert W. Newmann was born in 1944 in Nyack, New York. He attended Rochester Institute of Technology, the University of Iowa, and the Corcoran College of Art and Design.
In 1984, he was part of a New York lawsuit, Newmann vs. Delmar Realty Co. over the completion of a New York City mural sandblasted on the side of a brick wall. The lawsuit was notable for establishing artists legal rights in the case of defaced public artwork.Newmann's work is included in the public museum collection at the Smithsonian American Art Museum.
| 11
|
[
"Robert W. Newmann",
"place of birth",
"Nyack"
] |
Biography
Robert W. Newmann was born in 1944 in Nyack, New York. He attended Rochester Institute of Technology, the University of Iowa, and the Corcoran College of Art and Design.
In 1984, he was part of a New York lawsuit, Newmann vs. Delmar Realty Co. over the completion of a New York City mural sandblasted on the side of a brick wall. The lawsuit was notable for establishing artists legal rights in the case of defaced public artwork.Newmann's work is included in the public museum collection at the Smithsonian American Art Museum.
| 12
|
[
"Robert W. Newmann",
"movement",
"Washington Color School"
] |
Robert W. Newmann (born 1944) is an American painter and sculptor. He was a member of the Washington Color School art movement. In his early career he painted canvas and transitioned in his late career to working in sculpture and installation art.
| 14
|
[
"Robert W. Newmann",
"occupation",
"installation artist"
] |
Robert W. Newmann (born 1944) is an American painter and sculptor. He was a member of the Washington Color School art movement. In his early career he painted canvas and transitioned in his late career to working in sculpture and installation art.Biography
Robert W. Newmann was born in 1944 in Nyack, New York. He attended Rochester Institute of Technology, the University of Iowa, and the Corcoran College of Art and Design.
In 1984, he was part of a New York lawsuit, Newmann vs. Delmar Realty Co. over the completion of a New York City mural sandblasted on the side of a brick wall. The lawsuit was notable for establishing artists legal rights in the case of defaced public artwork.Newmann's work is included in the public museum collection at the Smithsonian American Art Museum.
| 15
|
[
"Robert W. Newmann",
"family name",
"Newmann"
] |
Robert W. Newmann (born 1944) is an American painter and sculptor. He was a member of the Washington Color School art movement. In his early career he painted canvas and transitioned in his late career to working in sculpture and installation art.Biography
Robert W. Newmann was born in 1944 in Nyack, New York. He attended Rochester Institute of Technology, the University of Iowa, and the Corcoran College of Art and Design.
In 1984, he was part of a New York lawsuit, Newmann vs. Delmar Realty Co. over the completion of a New York City mural sandblasted on the side of a brick wall. The lawsuit was notable for establishing artists legal rights in the case of defaced public artwork.Newmann's work is included in the public museum collection at the Smithsonian American Art Museum.
| 16
|
[
"Margaret Peterson (artist)",
"has works in the collection",
"Oakland Museum of California"
] |
Collections
Confederation Memorial Building, Charlottetown, Prince Edward Island, Canada
National Gallery of Canada, Ottawa
Oakland Art Museum, California
Palace of Legion of Honor, San Francisco, California
University of Victoria, British Columbia
Her personal papers are held at the University of Victoria Archives and were donated by the Greater Victoria Art Gallery in 2010
| 3
|
[
"Margaret Peterson (artist)",
"has works in the collection",
"National Gallery of Canada"
] |
Collections
Confederation Memorial Building, Charlottetown, Prince Edward Island, Canada
National Gallery of Canada, Ottawa
Oakland Art Museum, California
Palace of Legion of Honor, San Francisco, California
University of Victoria, British Columbia
Her personal papers are held at the University of Victoria Archives and were donated by the Greater Victoria Art Gallery in 2010
| 7
|
[
"Margaret Peterson (artist)",
"employer",
"University of California, Berkeley"
] |
Biography
Peterson was born in Seattle, Washington. In the 1920s she studied at the University of California, Berkeley, graduating in 1926 with a Bachelor in Arts and soon joined its faculty of Fine Arts in 1928. The years between 1928 and 1950 were productive years for Peterson; this included a funded trip to Europe (1931), several exhibitions, marriage to her husband, the Canadian writer Howard O'Hagan (1937), and a year spent at Green Point, Cowichan Bay, British Columbia to study Indigenous Art in Victoria’s former anthropological museum (1947-1948). In 1950, at the height of McCarthyism, she rejected an oath of loyalty imposed by the University of California, Berkeley’s board of regents and left her faculty position for New York, where she would have a solo exhibition at the former Algonquin Hotel.Throughout the 1950s, she would continue to exhibit and travel. In 1951, she went to both Mexico and Guatemala and saw the arts of the Toltecs, Zapotecs, Aztecs, and Mayan cultures and also returned to Cowichan Bay. In 1952 she returned to San Francisco and founded a painting school. By 1956 she had moved to Victoria, BC. During the 1960s she would go on to learn mosaic techniques in Europe (1963), pursue a new interest in Romanesque and Medieval painting (1964), and have a mosaic of hers, Source of Sources (1964), installed in the McPherson Library at the University of Victoria. In the 1970s, she returned to Victoria (1974), created a mosaic for the Richard Blanshard building (1976-1977), and had a retrospective exhibition at the Art Gallery of Greater Victoria (1978). Her husband died in 1982 and Peterson died on May 15, 1997.
| 29
|
[
"Margaret Peterson (artist)",
"occupation",
"painter"
] |
Margaret Peterson (1902 - May 15, 1997) was an American painter of abstract art and known for creating a style that was highly influenced by the art of the Indigenous peoples of North America.Biography
Peterson was born in Seattle, Washington. In the 1920s she studied at the University of California, Berkeley, graduating in 1926 with a Bachelor in Arts and soon joined its faculty of Fine Arts in 1928. The years between 1928 and 1950 were productive years for Peterson; this included a funded trip to Europe (1931), several exhibitions, marriage to her husband, the Canadian writer Howard O'Hagan (1937), and a year spent at Green Point, Cowichan Bay, British Columbia to study Indigenous Art in Victoria’s former anthropological museum (1947-1948). In 1950, at the height of McCarthyism, she rejected an oath of loyalty imposed by the University of California, Berkeley’s board of regents and left her faculty position for New York, where she would have a solo exhibition at the former Algonquin Hotel.Throughout the 1950s, she would continue to exhibit and travel. In 1951, she went to both Mexico and Guatemala and saw the arts of the Toltecs, Zapotecs, Aztecs, and Mayan cultures and also returned to Cowichan Bay. In 1952 she returned to San Francisco and founded a painting school. By 1956 she had moved to Victoria, BC. During the 1960s she would go on to learn mosaic techniques in Europe (1963), pursue a new interest in Romanesque and Medieval painting (1964), and have a mosaic of hers, Source of Sources (1964), installed in the McPherson Library at the University of Victoria. In the 1970s, she returned to Victoria (1974), created a mosaic for the Richard Blanshard building (1976-1977), and had a retrospective exhibition at the Art Gallery of Greater Victoria (1978). Her husband died in 1982 and Peterson died on May 15, 1997.
| 37
|
[
"Margaret Peterson (artist)",
"given name",
"Margaret"
] |
Margaret Peterson (1902 - May 15, 1997) was an American painter of abstract art and known for creating a style that was highly influenced by the art of the Indigenous peoples of North America.Biography
Peterson was born in Seattle, Washington. In the 1920s she studied at the University of California, Berkeley, graduating in 1926 with a Bachelor in Arts and soon joined its faculty of Fine Arts in 1928. The years between 1928 and 1950 were productive years for Peterson; this included a funded trip to Europe (1931), several exhibitions, marriage to her husband, the Canadian writer Howard O'Hagan (1937), and a year spent at Green Point, Cowichan Bay, British Columbia to study Indigenous Art in Victoria’s former anthropological museum (1947-1948). In 1950, at the height of McCarthyism, she rejected an oath of loyalty imposed by the University of California, Berkeley’s board of regents and left her faculty position for New York, where she would have a solo exhibition at the former Algonquin Hotel.Throughout the 1950s, she would continue to exhibit and travel. In 1951, she went to both Mexico and Guatemala and saw the arts of the Toltecs, Zapotecs, Aztecs, and Mayan cultures and also returned to Cowichan Bay. In 1952 she returned to San Francisco and founded a painting school. By 1956 she had moved to Victoria, BC. During the 1960s she would go on to learn mosaic techniques in Europe (1963), pursue a new interest in Romanesque and Medieval painting (1964), and have a mosaic of hers, Source of Sources (1964), installed in the McPherson Library at the University of Victoria. In the 1970s, she returned to Victoria (1974), created a mosaic for the Richard Blanshard building (1976-1977), and had a retrospective exhibition at the Art Gallery of Greater Victoria (1978). Her husband died in 1982 and Peterson died on May 15, 1997.
| 40
|
[
"Margaret Peterson (artist)",
"sex or gender",
"female"
] |
Margaret Peterson (1902 - May 15, 1997) was an American painter of abstract art and known for creating a style that was highly influenced by the art of the Indigenous peoples of North America.Biography
Peterson was born in Seattle, Washington. In the 1920s she studied at the University of California, Berkeley, graduating in 1926 with a Bachelor in Arts and soon joined its faculty of Fine Arts in 1928. The years between 1928 and 1950 were productive years for Peterson; this included a funded trip to Europe (1931), several exhibitions, marriage to her husband, the Canadian writer Howard O'Hagan (1937), and a year spent at Green Point, Cowichan Bay, British Columbia to study Indigenous Art in Victoria’s former anthropological museum (1947-1948). In 1950, at the height of McCarthyism, she rejected an oath of loyalty imposed by the University of California, Berkeley’s board of regents and left her faculty position for New York, where she would have a solo exhibition at the former Algonquin Hotel.Throughout the 1950s, she would continue to exhibit and travel. In 1951, she went to both Mexico and Guatemala and saw the arts of the Toltecs, Zapotecs, Aztecs, and Mayan cultures and also returned to Cowichan Bay. In 1952 she returned to San Francisco and founded a painting school. By 1956 she had moved to Victoria, BC. During the 1960s she would go on to learn mosaic techniques in Europe (1963), pursue a new interest in Romanesque and Medieval painting (1964), and have a mosaic of hers, Source of Sources (1964), installed in the McPherson Library at the University of Victoria. In the 1970s, she returned to Victoria (1974), created a mosaic for the Richard Blanshard building (1976-1977), and had a retrospective exhibition at the Art Gallery of Greater Victoria (1978). Her husband died in 1982 and Peterson died on May 15, 1997.
| 41
|
[
"Margaret Peterson (artist)",
"archives at",
"University of Victoria Special Collections and University Archives"
] |
Collections
Confederation Memorial Building, Charlottetown, Prince Edward Island, Canada
National Gallery of Canada, Ottawa
Oakland Art Museum, California
Palace of Legion of Honor, San Francisco, California
University of Victoria, British Columbia
Her personal papers are held at the University of Victoria Archives and were donated by the Greater Victoria Art Gallery in 2010
| 50
|
[
"Barbara Jo Revelle",
"occupation",
"photographer"
] |
Barbara Jo Revelle (born 1946) is an American artist known for her public murals and photography. Among Revelle's works is A Colorado Panorama: A People's History, a 200-foot (61 m) long porcelain tile mural installed along the side of the Colorado Convention Center in Denver. The work features the faces of 168 Coloradans, but no official key to the faces was produced.
| 2
|
[
"Barbara Jo Revelle",
"occupation",
"artist"
] |
Barbara Jo Revelle (born 1946) is an American artist known for her public murals and photography. Among Revelle's works is A Colorado Panorama: A People's History, a 200-foot (61 m) long porcelain tile mural installed along the side of the Colorado Convention Center in Denver. The work features the faces of 168 Coloradans, but no official key to the faces was produced.
| 6
|
[
"Barbara Jo Revelle",
"has works in the collection",
"Seattle Art Museum"
] |
Collections
Seattle Art Museum
Los Angeles Museum of Contemporary Art
Museum of Contemporary Photography
Center for Creative Photography
Portland Art Museum
Oakland Museum of Contemporary Art
| 8
|
[
"Revington Arthur",
"place of birth",
"Stamford"
] |
Early life and education
Revington Arthur was born in 1908 in the Glenbrook neighborhood of Stamford, Connecticut, where he was also raised. His father was an engineer. He began painting from an early age.Arthur studied at the Art Students League of New York, the Eastport Summer School of Art, and the Grand Central School of Art; under Kimon Nicolaïdes, George Luks, and George Pearse Ennis. Arthur had been taught painting for three years by abstract expressionist artist Arshile Gorky at the Grand Central School of Art, from 1927 until 1929.
| 3
|
[
"Revington Arthur",
"artist files at",
"Solomon R. Guggenheim Museum"
] |
Death and legacy
He died in 1986. After his death, the "Revington Arthur Award for Excellence in Painting" was given to artists.
Arthur's work is in museum collections including the Buffalo AKG Art Museum, Walker Art Center, and the Brooklyn Museum. The Solomon R. Guggenheim Museum Archives holds his artist files, and the New-York Historical Society holds "[c]atalogs, brochures and invitations for exhibitions held at the Babcock Galleries" by Arthur among many other artists. The Chautauqua Institution archives has photographs of Arthur with his students.
| 6
|
[
"Revington Arthur",
"has works in the collection",
"Brooklyn Museum"
] |
Death and legacy
He died in 1986. After his death, the "Revington Arthur Award for Excellence in Painting" was given to artists.
Arthur's work is in museum collections including the Buffalo AKG Art Museum, Walker Art Center, and the Brooklyn Museum. The Solomon R. Guggenheim Museum Archives holds his artist files, and the New-York Historical Society holds "[c]atalogs, brochures and invitations for exhibitions held at the Babcock Galleries" by Arthur among many other artists. The Chautauqua Institution archives has photographs of Arthur with his students.
| 7
|
[
"Revington Arthur",
"has works in the collection",
"Walker Art Center"
] |
Death and legacy
He died in 1986. After his death, the "Revington Arthur Award for Excellence in Painting" was given to artists.
Arthur's work is in museum collections including the Buffalo AKG Art Museum, Walker Art Center, and the Brooklyn Museum. The Solomon R. Guggenheim Museum Archives holds his artist files, and the New-York Historical Society holds "[c]atalogs, brochures and invitations for exhibitions held at the Babcock Galleries" by Arthur among many other artists. The Chautauqua Institution archives has photographs of Arthur with his students.
| 13
|
[
"Revington Arthur",
"has works in the collection",
"Buffalo AKG Art Museum"
] |
Death and legacy
He died in 1986. After his death, the "Revington Arthur Award for Excellence in Painting" was given to artists.
Arthur's work is in museum collections including the Buffalo AKG Art Museum, Walker Art Center, and the Brooklyn Museum. The Solomon R. Guggenheim Museum Archives holds his artist files, and the New-York Historical Society holds "[c]atalogs, brochures and invitations for exhibitions held at the Babcock Galleries" by Arthur among many other artists. The Chautauqua Institution archives has photographs of Arthur with his students.
| 14
|
[
"Revington Arthur",
"artist files at",
"Frick Art Reference Library"
] |
== References ==
| 15
|
[
"Yumi Hogan",
"instance of",
"human"
] |
Yumi Hogan (Korean: 유미 호건, née Kim; born December 25, 1959) is a Korean–American artist. She served as the first lady of Maryland as wife of Governor Larry Hogan from 2015 to 2023, and is the first Korean American first lady of a U.S. state and the first Asian American first lady in the history of Maryland.
| 2
|
[
"Yumi Hogan",
"place of birth",
"Naju"
] |
Early life
Yumi Kim was born on December 25, 1959, in Naju, South Korea. Kim is the youngest of eight children and grew up on a chicken farm in the rural South Jeolla Province. Kim immigrated to the United States with her first husband while in her twenties.
| 7
|
[
"Yumi Hogan",
"position held",
"First Lady"
] |
Yumi Hogan (Korean: 유미 호건, née Kim; born December 25, 1959) is a Korean–American artist. She served as the first lady of Maryland as wife of Governor Larry Hogan from 2015 to 2023, and is the first Korean American first lady of a U.S. state and the first Asian American first lady in the history of Maryland.First Lady of Maryland
Yumi Hogan became First Lady of Maryland on January 21, 2015, when Larry Hogan was inaugurated as Governor of Maryland. She is the first Korean American first lady of a U.S. state and the first Asian American first lady in the history of Maryland. Five months into her husband's term, he was diagnosed with non-Hodgkin lymphoma. Hogan served as her husband's caregiver and unofficial nurse. Her public initiatives shifted upon his recovery, and she began advocating the benefits of art therapy, especially for cancer patients.In 2016, Hogan received the International Leadership Foundation's Inspirational Leader Award. She is also a 2017 recipient of the Ellis Island Medal of Honor.In September 2018, Hogan received the National Association of Secretaries of State Medallion Award for her advocacy and work to benefit victims of domestic violence and human trafficking.In April 2020, Hogan worked with her husband and South Korean Ambassador to the United States Lee Soo-hyuck to obtain 500,000 testing kits for $9.46 million during the 2020 coronavirus pandemic in Maryland. However they turned out to be flawed and were never used. The Hogan administration quietly paid the same South Korean company another $2.5 million for 500,000 replacement tests.
According to the findings of a state audit released in April 2021, the purchase of them was based on a flawed agreement and most of the replacement tests were likely never used.
| 10
|
[
"Yumi Hogan",
"occupation",
"artist"
] |
Yumi Hogan (Korean: 유미 호건, née Kim; born December 25, 1959) is a Korean–American artist. She served as the first lady of Maryland as wife of Governor Larry Hogan from 2015 to 2023, and is the first Korean American first lady of a U.S. state and the first Asian American first lady in the history of Maryland.
| 11
|
[
"Yumi Hogan",
"given name",
"Yumi"
] |
Early life
Yumi Kim was born on December 25, 1959, in Naju, South Korea. Kim is the youngest of eight children and grew up on a chicken farm in the rural South Jeolla Province. Kim immigrated to the United States with her first husband while in her twenties.Career and education
Hogan is an artist. Following encouragement from her husband, she earned a Bachelor of Fine Arts in Painting degree from Maryland Institute College of Art in 2008 and a Master of Fine Arts degree from American University in 2010.Hogan's artwork, primarily abstract landscapes in Sumi ink on Korean Hanji paper, has been shown locally and around the world. Twenty-seven of her abstract landscape paintings were featured at an art show at the Ocean City Center for the Arts in July 2017, with sales proceeds from her exhibit donated to art therapy programs for pediatric cancer patients. In late 2017, Hogan launched an art therapy program at the University of Maryland Children's Hospital via her Yumi C.A.R.E.S Foundation.Her work was featured at an exhibition in May and June 2019 by the University of Maryland University College Arts Program, in which it was described as blending Maryland and Korean landscapes.As First Lady of Maryland, Hogan has continued to teach as an adjunct faculty member at her alma mater, Maryland Institute College of Art.In 2016, Hogan had a gallery showing of paintings inspired by her husband's cancer diagnosis and recovery.
| 14
|
[
"Yumi Hogan",
"spouse",
"Larry Hogan"
] |
Yumi Hogan (Korean: 유미 호건, née Kim; born December 25, 1959) is a Korean–American artist. She served as the first lady of Maryland as wife of Governor Larry Hogan from 2015 to 2023, and is the first Korean American first lady of a U.S. state and the first Asian American first lady in the history of Maryland.
| 17
|
[
"Yumi Hogan",
"sex or gender",
"female"
] |
Yumi Hogan (Korean: 유미 호건, née Kim; born December 25, 1959) is a Korean–American artist. She served as the first lady of Maryland as wife of Governor Larry Hogan from 2015 to 2023, and is the first Korean American first lady of a U.S. state and the first Asian American first lady in the history of Maryland.First Lady of Maryland
Yumi Hogan became First Lady of Maryland on January 21, 2015, when Larry Hogan was inaugurated as Governor of Maryland. She is the first Korean American first lady of a U.S. state and the first Asian American first lady in the history of Maryland. Five months into her husband's term, he was diagnosed with non-Hodgkin lymphoma. Hogan served as her husband's caregiver and unofficial nurse. Her public initiatives shifted upon his recovery, and she began advocating the benefits of art therapy, especially for cancer patients.In 2016, Hogan received the International Leadership Foundation's Inspirational Leader Award. She is also a 2017 recipient of the Ellis Island Medal of Honor.In September 2018, Hogan received the National Association of Secretaries of State Medallion Award for her advocacy and work to benefit victims of domestic violence and human trafficking.In April 2020, Hogan worked with her husband and South Korean Ambassador to the United States Lee Soo-hyuck to obtain 500,000 testing kits for $9.46 million during the 2020 coronavirus pandemic in Maryland. However they turned out to be flawed and were never used. The Hogan administration quietly paid the same South Korean company another $2.5 million for 500,000 replacement tests.
According to the findings of a state audit released in April 2021, the purchase of them was based on a flawed agreement and most of the replacement tests were likely never used.
| 19
|
[
"Eduardo Arroyo",
"has works in the collection",
"Institut Valencià d'Art Modern"
] |
Eduardo Arroyo Rodríguez (26 February 1937 – 14 October 2018) was a Spanish painter and graphic artist. He was also active as an author and set designer. Arroyo is regarded as one of the most important exponents of politically committed realism.Arroyo was born in Madrid and originally trained a journalist, graduating from School of Journalism, Madrid in 1958. Following his studies and growing contempt for the Francoist Spain, Arroyo emigrated to Paris at the age of 21. He originally began working as an author and journalist, but soon decided to devote himself to painting.
In Paris, he befriended members of the young art scene, especially Gilles Aillaud, with whom he later collaborated in creating stage sets, such as Vivre et laisser mourir ou la fin tragique de Marcel Duchamp, a work in eight pieces intended to criticize contemporary French art. He also befriended Joan Miró. In 1964, he made his breakthrough with his first important exhibition. He dominated the major post-Franco exhibition of Spanish art at the Venice Biennale of 1976. Over 20 years of critical and commercial success followed. In his old age, the ideologically and creatively uncompromising artist was as active as ever.
Stylistically, Arroyo's mostly ironic, colorful works are at the crossroads between the trends of nouvelle figuration or figuration narrative and pop art. A characteristic of his representations is the general absence of spatial depth and the flattening of perspective.
Arroyo also became known to a broad public through his many works as a set designer, as well as partially by his costume designs. In this relation, he cooperated since 1969 especially with the director Klaus Michael Grüber, who encouraged him in this activity. Arroyo created sets for, among others, the Piccolo Teatro in Milan, the Paris Opéra (in 1976, Richard Wagner's Die Walküre), the Schaubühne am Lehniner Platz in Berlin and the Salzburger Festspiele (in 1991, Leoš Janáček's Z mrtveho domu).
In 1982 he received Spain's National Award for Plastic Arts.Arroyo's stage play, Bantam, premiered at the Bayerisches Staatsschauspiel (Residenztheater) in Munich with great success in 1986, with his friend, Grüber, as director and Ailland and Antonio Recalcati for sets and costumes.
Exhibiting since 1961, Arroyo’s work has been shown in exhibitions across the globe, including the Neue Gesellschaft für Bildende Kunst, Berlin (1971); the Centre Pompidou, Paris (1982); Solomon R. Guggenheim Museum, NY (1984); Museum für Kunst und Kulturgeschichte, Dortmund, (1987); Institut Valencià d'Art Modern, Valencia (1989); Museo Nacional Centro de Arte Reina Sofía, Madrid (1998), and most recently held a solo exhibition at Fundación ENAIRE in Santander, Spain (2021–22). Arroyo's paintings are showcased at the Museo de Arte Contemporáneo in Madrid. His most renowned work, Vestido bajando la escalera, belongs to the collection of the Institut Valencià d'Art Modern, in València.
| 3
|
[
"Eduardo Arroyo",
"movement",
"Figuration narrative"
] |
Eduardo Arroyo Rodríguez (26 February 1937 – 14 October 2018) was a Spanish painter and graphic artist. He was also active as an author and set designer. Arroyo is regarded as one of the most important exponents of politically committed realism.Arroyo was born in Madrid and originally trained a journalist, graduating from School of Journalism, Madrid in 1958. Following his studies and growing contempt for the Francoist Spain, Arroyo emigrated to Paris at the age of 21. He originally began working as an author and journalist, but soon decided to devote himself to painting.
In Paris, he befriended members of the young art scene, especially Gilles Aillaud, with whom he later collaborated in creating stage sets, such as Vivre et laisser mourir ou la fin tragique de Marcel Duchamp, a work in eight pieces intended to criticize contemporary French art. He also befriended Joan Miró. In 1964, he made his breakthrough with his first important exhibition. He dominated the major post-Franco exhibition of Spanish art at the Venice Biennale of 1976. Over 20 years of critical and commercial success followed. In his old age, the ideologically and creatively uncompromising artist was as active as ever.
Stylistically, Arroyo's mostly ironic, colorful works are at the crossroads between the trends of nouvelle figuration or figuration narrative and pop art. A characteristic of his representations is the general absence of spatial depth and the flattening of perspective.
Arroyo also became known to a broad public through his many works as a set designer, as well as partially by his costume designs. In this relation, he cooperated since 1969 especially with the director Klaus Michael Grüber, who encouraged him in this activity. Arroyo created sets for, among others, the Piccolo Teatro in Milan, the Paris Opéra (in 1976, Richard Wagner's Die Walküre), the Schaubühne am Lehniner Platz in Berlin and the Salzburger Festspiele (in 1991, Leoš Janáček's Z mrtveho domu).
In 1982 he received Spain's National Award for Plastic Arts.Arroyo's stage play, Bantam, premiered at the Bayerisches Staatsschauspiel (Residenztheater) in Munich with great success in 1986, with his friend, Grüber, as director and Ailland and Antonio Recalcati for sets and costumes.
Exhibiting since 1961, Arroyo’s work has been shown in exhibitions across the globe, including the Neue Gesellschaft für Bildende Kunst, Berlin (1971); the Centre Pompidou, Paris (1982); Solomon R. Guggenheim Museum, NY (1984); Museum für Kunst und Kulturgeschichte, Dortmund, (1987); Institut Valencià d'Art Modern, Valencia (1989); Museo Nacional Centro de Arte Reina Sofía, Madrid (1998), and most recently held a solo exhibition at Fundación ENAIRE in Santander, Spain (2021–22). Arroyo's paintings are showcased at the Museo de Arte Contemporáneo in Madrid. His most renowned work, Vestido bajando la escalera, belongs to the collection of the Institut Valencià d'Art Modern, in València.
| 38
|
[
"Edith Hoyt",
"place of birth",
"West Point"
] |
Life and work
Edith Hoyt was born in West Point, New York in April 1894. She attended the Corcoran School of the Arts and Design, studying under painter Charles Herbert Woodbury. Starting in 1921, Hoyt spent summers in Canada, specifically in Jasper National Park and in Gaspé, Quebec. Her work was exhibited at the Corcoran, American Watercolor Society, Pennsylvania Academy and Brooklyn Museum. In 1963, she worked and exhibited in Cap-à-l'Aigle, Canada, in 1963. In 1932, Hoyt was invited to the Howard University Gallery event Presenting Works of Negro Artists to talk on her experiences in Jasper national park. One of her paintings was allegedly requested by the Little Rock Ark art association the prior week.
| 10
|
[
"Edith Hoyt",
"educated at",
"Corcoran College of Art and Design"
] |
Life and work
Edith Hoyt was born in West Point, New York in April 1894. She attended the Corcoran School of the Arts and Design, studying under painter Charles Herbert Woodbury. Starting in 1921, Hoyt spent summers in Canada, specifically in Jasper National Park and in Gaspé, Quebec. Her work was exhibited at the Corcoran, American Watercolor Society, Pennsylvania Academy and Brooklyn Museum. In 1963, she worked and exhibited in Cap-à-l'Aigle, Canada, in 1963. In 1932, Hoyt was invited to the Howard University Gallery event Presenting Works of Negro Artists to talk on her experiences in Jasper national park. One of her paintings was allegedly requested by the Little Rock Ark art association the prior week.
| 11
|
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