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With its title taken from a signature work by Bruce Nauman, Life, Death, Love, Hate, Pleasure, Pain presents a selection of approximately 190 works from the collection of the Museum of Contemporary Art, Chicago. A wide-ranging, insightful survey, arranged in roughly chronological order, it features work by such artists as Vito Acconci, Magdalena Abakanowicz, Francis Bacon, Matthew Barney, Joseph, Beuys, Christo, Iìigo Manglano-Ovalle, KerryJames Marshall, Mariko Mori, Martin Puryear, Richard Serra, Yinka Shonibare and H. C. Westermann. In an introductory essay, chief curator Elizabeth Smith discusses key trends in art from World War II to the present and provides a brief history of the MCA and its collection. Additional, accessible short texts by the curatorial staff of the MCA focus on individiual works.
Box contains: Jumpin' Backflash: original imagist artwork, 1966-1969, exhibition catalogue, Northern Indiana Arts Association, Sept. 12-Oct. 30, 1999; Hidden aspects: a selection of works on paper and other materials from the Roger Brown study collection of the School of the Art Institute of Chicago, exhibition catalogue, Gallery 2, May 15-June 12, 1998; For George: an autobiography in pictures by Roger Brown 1972-1984, facsimile of Roger Brown's original book of text in memory of his partner George Veronda; Autobiography in the shape of Alabama II, text from self-published autobiography (photocopy), 1997; Roger Brown by Sidney Lawrence and John Yau, exhibition catalogue (photocopy), Hirshhorn Museum and Sculpture Garden, Aug. 13-Oct. 18, 1987; Made in Chicago: some resources, exhibition catalogue (photocopy), Museum of Contemporary Art (Chicago, Ill.), Jan. 11-Mar. 2, 1975; "In Roger Brown's apartment, it's art for the artist's sake" by Patricia Moore, Chicago sun-times, Apr. 10, 1981 (photocopy of news article); "Private residence New Buffalo, Michigan 1979-81" by Veronda Associates, George A. Veronda, Global Architecture Houses, no.15 (photocopy of journal article); "Tigerman on Tigerman" by Joseph Giovannini, Elle Decor, Aug/Sept., 1993 (photocopy of journal article); "Beachfront basilica: artist's studio and residence, La Conchita, California, Tigerman McCurry, architect", Architectural record, v.181, no.4, Apr. 1993 (photocopy of journal article); "Interview with Roger Brown" by Mark Price, Sculpture Magazine, Sept. 1997 (photocopy of journal article); "An interview with Roger Brown" by Russell Bowman, Art in America, Jan/Feb. 1978; Roger Brown: exhibition history; Roger Brown: selected public collections; 1 Roger Brown Study Collection flyer; 2 Roger Brown Study Collection newsletters, Fall 2001 & Spring/Summer 2002; 2 exhibition information - Jesse Howard & Roger Brown: now read on, Betty Rymer Gallery, Oct. 14-Nov. 18, 2005; "Roger Brown 1941-1997" obituary by Michael Bonesteel, Outsider Magazine, v.2, Issue 2, 1998; and a list of contents.
This exhibition of twenty-five painters celebrates the remarkable creative talents that have contributed much to Chicago's vital cultural life. Moreover, the exhibition introduces the works of younger Chicago artists who continue to reinforce the artistic excellence with which the city, its collectors, and its institutions are identified.
Bridging the fields of conservation, art history, and museum curating, this volume contains the principal papers from an international symposium titled "Historical Painting Techniques, Materials, and Studio Practice" at the University of Leiden in Amsterdam, Netherlands, from June 26 to 29, 1995. The symposium—designed for art historians, conservators, conservation scientists, and museum curators worldwide—was organized by the Department of Art History at the University of Leiden and the Art History Department of the Central Research Laboratory for Objects of Art and Science in Amsterdam. Twenty-five contributors representing museums and conservation institutions throughout the world provide recent research on historical painting techniques, including wall painting and polychrome sculpture. Topics cover the latest art historical research and scientific analyses of original techniques and materials, as well as historical sources, such as medieval treatises and descriptions of painting techniques in historical literature. Chapters include the painting methods of Rembrandt and Vermeer, Dutch 17th-century landscape painting, wall paintings in English churches, Chinese paintings on paper and canvas, and Tibetan thangkas. Color plates and black-and-white photographs illustrate works from the Middle Ages to the 20th century.
In 1961 the 22-year-old Mike Brown joined the New Zealand artist, Ross Crothall, in an old terrace house in inner Sydney's Annandale. Over the following two years the artists filled the house with a remarkable body of work. Launched with an equally extraordinary exhibition, the movement they called Imitation Realism introduced collage, assemblage and installation to Australian art for the first time. Laying the groundwork for a distinctive Australian postmodernism, Imitation Realism was also the first Australian art movement to respond in a profound way to Aboriginal art, and to the tribal art of New Guinea and the Pacific region. By the mid-1960s Brown was already the most controversial figure in Australian art. In 1963 a key work was thrown out of a major travelling exhibition for being overtly sexual; a year later he publicly attacked Sydney artists and critics for having failed the test of integrity. Finally, in 1966-67, Brown became the only Australian artist to have been successfully prosecuted for obscenity. Brown spent the last 28 years of his life in Melbourne, where his reputation for radicalism and nonconformity was cemented with his multiplicity of styles, exploration of themes of sexuality, and transgressive commitment to the ideal of street art and graffiti. Against a background of the counter-culture and the social and political upheavals of the 1960s and 1970s, Brown's art and remarkable life of personal and creative struggle is without parallel in Australian art.
The Congressional Record is the official record of the proceedings and debates of the United States Congress. It is published daily when Congress is in session. The Congressional Record began publication in 1873. Debates for sessions prior to 1873 are recorded in The Debates and Proceedings in the Congress of the United States (1789-1824), the Register of Debates in Congress (1824-1837), and the Congressional Globe (1833-1873)
"Nauman argues that contrary to the technological and teleological interpretations presented by the polemicists of "international style" modernism, the academy's actual production was squarely grounded in bureaucratic and political processes. He demonstrates that selection of both the site and the design firm was the result of political maneuverings involving the U.S. military leadership."--BOOK JACKET.