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Recent Submissions
Item Island People Inselmenschen(Kiel : Nieswand, 1995) Ulrich, Mack; Rüdiger, JoppienItem Phillip Guston, 1975-1980: Private and Public Battles(Boston: Boston University Art Gallery; Seattle: University of Washington Press, 1994) Sichel, Kim; Guston, PhillipItem Territories of Terror: Mythologies and Memories of the Gulag in Contemporary Russian-American Art(Boston, Mass.: Boston University Art Gallery; Seattle, Wash.: Distributed by University of Washington Press, 2006) Boym, SvetlanaItem Telling Histories: Installations by Ellen Rothenberg and Carrie Mae Weems(Seattle: University of Washington Press, 1999) Rothenberg, Ellen; Weems, Carrie MaeTelling Histories presents recent installations by two artists-Ellen Rothenberg and Carrie Mae Weems -whose work examines the nature of memory and history. Their art constructs new critical narratives that reclaim "woman" and her story. Each installation evokes the female body as interrogator of and accomplice to history.Item A Theater Of Recollection: Paintings and Prints by John Walker(Boston University Art Gallery, 1997) Stomberg, John; Walker, JohnItem Alice Neel: Paintings Of Two Decades(Boston University , 1980) Neel, Alice; Hills, Patricia[Alice Neel, born 1900, has lived in New York for over half a century, painting still lifes, cityscapes, narrative scenes and portraits. During that time she had indifferent husbands and zealous lovers, she mourned a dead child and felt a mother's anxiety for two sons who grew and matured, she experienced a harrowing mental depression but recuperated to pursue singlemindedly her own artistic career in spite of neglect. For ten years during the 1930s she lived off her wages from the Works Progress Administration, while being active in left-wing causes. In the 1950s she knew and painted the Beat writers, and even appeared in Robert Frank's and Al Leslie's film Pull My Daisy. Since then she has had major exhibitions across the country, and, in 1976, was elected to the American Academy of Arts and Letters. In 1979 she received a citation along with four other women for outstanding work in art from President Carter in a ceremony held in the Oval Office. Reviewing her life, she remarks: "All experience is great provided you live through it." ]Item The World as a Mirror: Paintings by John Imber, 1978-1998(Boston, MA: Boston University's 808 Gallery, 1999) Imber, John; Stromberg, JohnItem Mel Wiseman: A Retrospective of Paintings and Monotypes(Boston University Art Gallery, 1990) Wiseman, Mel[Mel Wiseman's work originates in the realist and figurative Boston art tradition, a common starting point for many of his contemporaries.]Item Jack Kramer: A Retrospective(Boston University Art Gallery, 1988) Spinari, S. Tatiana; Kramer, JackBOSTON REALIST ARTISTS of the past four decades, many of them affiliated initially with the School of the Museum of Fine Arts and later with Boston University, have generally considered their art as a form of personal expression within the tradition of art and craftsmanship. Jack Kramer was a part of this Boston tradition from the early 1940s, first as a student in the Museum School and later as an artist and art professor at Boston University's School of Visual Arts. His art and career reflect his figure-based training as well as contemporary developments of art in the city. Kramer, a versatile artist who experimented with different ideas and styles, expressed in his work the artist's craft and creation as part of a vital art tradition as well as the private drama and psychological tension of human existence.Item Social Concern in the 80's: A New England Perspective(Boston University Art Gallery, 1984) Hills, PatriciaItem The Visionary Decade: New Voices In Art in 1940s Boston(Boston, Mass.: Boston University Art Gallery in cooperation with Boston Public Library, Print Dept., 2002) Hitchings, Sinclair; Mayer, StephanieItem Surrounded by Water: Expressions of Freedom and Isolation in Contemporary Cuban Art(Boston: Boston University Art Gallery, 2008) Remba, NataniaThe art from the period represented in this exhibition has recovered and renewed the cosmopolitan traditions characteristic of the most advanced Cuban intelligentsia, and with a sense of its own prestige has firmly claimed a place on the international scene. The reaffirmation of outstanding aesthetic qualities, at the generational and individual level, is a process inseparable from the history, the politics, and the social and cultural upheavals in whose midst these artists worked. This turmoil is reflected, from different points of view, in the works selected for the exhibition. For example, among them are allusions to the frequent, risky, and illegal emigration of rafters from Cuba to the United States, and comments on the insularity, understood as a state of geographical isolation-with cultural resonance and as an existential, solitary condition of individuals.Item Provincetown Prospects: The Work of Hans Hofmann And His Students(Boston, Mass.: Boston University Art Gallery, 1993) McInnes, Mary DrachItem Terra Firma?: Earth Watch, Earth Sense, Earth Sites(Boston, MA: Boston University Art Gallery, 1989) Ranalli, DanielItem Celestial Images: Astronomical Charts from 1500 to 1900(Boston: Boston University Art Gallery, 1985)Item Syncopated Rhythms: 20th-Century African American Art From the George And Joyce Wein Collection(Boston: Boston University Art Gallery; Seattle: Distributed by University of Washington Press, 2005) Hills, Patricia; Renn, MelissaItem Power and Paper: Margaret Bourke-White, Modernity, And The Documentary mode(Boston: Boston University Art Gallery, 1998) Stomberg, John; Bourke-White, MargaretItem Sergio Castillo Sculpture: Energy Made Visible(Boston, MA: Boston University Art Gallery, 1990) Castillo, Sergio; Canizares, JenniferAs suggested by the title Sergio Castillo Sculpture: Energy Made Visible, this exhibition invites its viewers to consider the larger significance of the sculptural properties and imagery of this Chilean artist's work. Castillo's sculpture represents a marriage between traditional sculptural values and twentieth century innovations.Item Sidney Goodman: Recent Work(Boston: The Gallery, 1981) Goodman, SidneySidney Goodman's humanism: the forms of art and metaphors for life. In terms of art, Goodman reviews his work of the 1960s and early 1970s and admits that the imagery dominated the formal problems. Today he feels that the "form and the idea are more inextricable" and that the "sense of atmosphere and color are more resolved." As a result "painting now seems limitless" to him. In terms of metaphor, Goodman heightens our grasp of the reality of the brutalities inherent in our culture by giving us realistic scenes, with carefully studied forms, measurable space, and convincing light and atmosphere. His artistry consists in manipulating the elements of art for the creation of memorable images. Assaults, rape, destruction, violence, and death pummel our consciousness-but our empathy is cathartic and our awareness need not descend to passivity. His art is visual and speaks on that level, but it also reveals, through metaphor, a range of human vulnerabilities and, dialectically, insists on human strengths and endurances.Item Painting Machines: Industrial Images And Process In Contemporary Art(Seattle: University of Washington Press, 1997) Jones, Caroline A.; Stromberg, JohnPainting Machines pursues the Boston University Art Gallery's ongoing investigation of the machine as a visual and cultural entity with enduring meaning in the United States and abroad. It is a logical outgrowth of several recent projects at Boston University and the Art Gallery: in a series of interdisciplinary conferences and exhibitions, the University has encouraged the intellectual exploration of twentieth-century attitudes toward technology. For example, the "Histories of Science, Histories of Art" symposium in November 1995 was jointly sponsored by Boston University and Harvard University, and was co-organized by Professor Caroline Jones, the curator of Painting Machines. The lectures and discussions were accompanied by an installation of transformed household machinery, Faraday's Islands, by artist Perry Haberman. In 1995 we also organized the exhibition From Icon to Irony: German and American Industrial Photography, which juxtaposed heroic photographers of 1920s industry (Margaret Bourke-White, Germaine Krull, Albert Renger-Patzsch, Charles Sheeler) with contemporary critiques of the technological world (Bernd and Hilla Becher, Joachim Brahm, Frank Gohlke, John Pfahl).
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