October 15 - November 14, 2009Marlborough Chelsea

April 21 - May 22, 1999

"Uncovering the legacy of [art dealer] Richard Bellamy, one of the most influential tastemakers of abstract expressionism and pop art"--

This comprehensive international bibliography is the first to attempt documentation of this diverse field, covering the history of Artist's Performance. It focuses on its early twentieth-century antecedents in such movements as Futurism, Dada, Russian Constructivism, and the Bauhaus as well as its peak period in the 1950s, 1960s, and 1970s with such developments as Gutai, Fluxus, Viennese Actionism, Situationism, and Guerrilla Art Action. Major emphasis is also given to sources on 115 individual performance artists and groups. More than 3700 entries document print and media materials dating from 1914 to 1992. Organized for maximum accessibility, the sources are also extensively cross-referenced and are indexed by artist, subject, title, and author. Three appendices identify reference works, libraries, and archives, and addenda material not found in the book text, and two others list artists by country and by group or collective.

This package for educators includes a looseleaf three-ring binder, a videotape, and a CD-ROM. The material is not meant as a linear history of this century's art, but rather as a guide to some of the Museum's exceptional works. It can be used on its own in the classroom or as enhancement for a trip to the Museum. Each of 32 paintings is presented with a full-page reproduction, an essay, and strategies for discussion. The videotape contains a 10-minute exploration of one piece of installation art. The CD-ROM is an electronic version of the printed material. Though it may be a peripheral point, Georgia O'Keefe is the only woman whose work is represented.

In early October 1959, thirty-two-year-old Allan Kaprow presented a performance piece entitled "18 Happenings in 6 Parts." This unique conjunction of visual, aural, and physical events, performed for an intimate art world audience by his friends and colleagues, would change the course of art history. The genre of artwork that evolved from this debut would become known as Happenings. Author Mildred Glimcher, an art historian, author, and close observer of contemporary art for more than fifty years, provides a vivid and comprehensive look not only at the events, but also at the culture and society that surrounded it. This new volume provides a comprehensive look at this revolutionary art form. Prepared in conjunction with an exhibition at the Pace Gallery in New York, it focuses on the years that saw the movement's birth in New York and Provincetown, Mass., and the artists who made the genre a legend: Red Grooms, Allan Kaprow, Robert Whitman, Jim Dine, Claes Oldenburg, Simone Forti, Carolee Schneemann. Together, they created a new and outrageous art form with an "anything goes" attitude, one whose influence is still felt within the contemporary art world. Glimcher visits the formative years of the movement in great detail, describing each performance piece in words and photographs. The radical nature of the time and the works is evidenced by Red Grooms's The Burning Building, Claes Oldenburg's Ray Gun Spex, Jim Dine's A Shining Bed, and many more. Happenings is heavily illustrated with photographs from the era, many drawn from a previously unpublished cache by Robert McElroy.

""Everything is beautiful,"" raved Andy Warhol, in raptures at the glamour of modern life, consumer society, the world of the media and its stars. And in so saying, he was expressing the feelings of a generation who felt their age was dawning, an age of ""love"" and ""freedom."" In art, too, a new attitude towards the present was making itself felt. Jasper Johns, Roy Lichtenstein, Claes Oldenburg, Robert Rauschenberg, James Rosenquist, Tom Wesselmann, Richard Hamilton and many other artists were discovering Marilyn Monroe, Elvis Presley, Coca Cola, comics, advertising, household appliances and food cans as an independent aesthetic reality. Popularity and triviality were no longer terms of abuse, but were central to a new understanding of an art whose aim was to break down the barriers between art and life. The author gives us a detailed account of the styles, themes and sources of Pop Art, investigating its development in different countries and providing biographies of its leading exponents.

This sampler was designed for art specialists and art museum educators with a basic understanding of teaching discipline-based art education content. The introduction offers a brief history of the Sampler and explains its intended purpose and use. Then 8 unit models with differing methodologies for relating art objectives to the four disciplines: aesthetics, art criticism, art history, and art production, are presented. The sampler consists of two elementary units, two units for middle school, two units intended for required high school art, one high school studio ceramic unit, and a brief unit for art teachers and art museum educators that focuses on visits to art museums. Learning activities, resource material, and learning strategies are given for the units along with a sequence of lessons organized on a theme.