We manage a robust rotating calendar of exhibitions, ranging from the work of local and national practicing artists, to student and faculty shows, and exhibitions organized by Museum Studies students and Art History faculty.
Liliana Porter (Argentina; b. 1941), Still Life No. I, 1970. Aquatint and Collage (Edition: 19/135), 12 ½ x 17 ½ inches, Franco Collection, Auburn University at Montgomery.
Catalogue entry by Jessica Roy
Liliana Porter was born in 1941 in Buenos Aires, Argentina, but has lived and work in New York since 1964. She obtained her training and education at Escuela Nacional de Bellas Artes, Buenos Aires, Argentina, Universidad Iberoamericana, Mexico City, Academica Correspondiente for Argentina, in 2003, and Academica Correspondiente for Argentina in the United States, in 2009.
After moving to New York in 1965, “along with artists Luis Camnitzer and José Guillermo Castillo, she co-founded the New York Graphic Workshop, which produced prints while redefining conventional models for making and distributing art.” (Sicardi) Porter works across mediums, having worked in painting, drawing, printmaking, photography, installation, public art, theater, and video. Porter had her first show in 1959 and since then has shown her work in 40 countries and some 450 exhibitions.
This copy of Still Life No.1 is number 19 out of 135 of a black and white printed series by Liliana Porter. Not only is this a printed artwork but it is also a mixed media collage. The printed aspect of the artwork is three cylinders, possibly three cans of some kind. What makes it mixed media is the fact the Porter has taken a black piece of yarn and pierced the print with it, thus making it look like the yarn is tied around the cylinders. Porter has singed the bottom right corner, editioned the middle bottom, and added the title on the bottom left corner.
While graduating BFA student thesis exhibitions for the Fall 2020 semester were not open to the public due to COVID-19, Goodwyn Gallery is pleased to showcase the hard-work of these individuals on our website. We are very proud of them and what they have accomplished!
This December, Kelsey Babcock graduates with a BFA in Painting & Drawing. Babcock’s thesis exhibition, titled RBY and completed under the supervision of Professor Andrew Hairstans, features nine 36″ x 48″ acrylic on canvas paintings. These abstract works explore the push/pull of color relationships and achieve compositional harmony through the use of a limited palette of Titanium White, Cadmium Yellow, Cadmium Red, Ultramarine Blue, and Phthalocyanine Blue. Through color mixing, Babcock creates prismatic colors, muted colors, and chromatic gray colors that are arranged into dynamic abstract compositions comprised of arrangements of geometric shapes.
Babcock was also inspired by Interaction of Color by Josef Albers. The influential painting instructor, who is known for his series of paintings: Homage to the Square, was a member of the famed German Bauhaus before emigrating to the United States in 1933. Albers taught at Black Mountain College and then at Yale University until his death in 1976. Originally published in 1963 as a limited silkscreen edition with 150 color plates, Interaction of Color was intended as a teaching aid and demonstrated Albers’ unique and complex color theories.
As Babcock explains in their artist statement: “In RBY, I wanted to dive deep into the world of color theory. . . . Using only the primary colors, I mixed every color by hand to create the painting’s color story. I have always been fascinated by the power of color. . . . To create RBY, I made a list of my family members and used The Secret Lives of Color by Kassia St. Clair to find the color that matched them perfectly. Their color became the starting point of each painting.”
Otto Eglau (German; 1917-1988), New York-Planned Disorder, 1967. Etching (Edition: 188/200), 22 1/4 in x 18 1/8 inches, Franco Collection, Auburn University at Montgomery.
Catalogue entry by Rashade Wilson
Otto Eglau is a German painter, born in 1917, “whose prints and paintings deconstruct scenes taken from aerial views.” (“Otto Eglau, Artnet”) Eglau’s work was based upon striking graphic fragments. His works are influenced by his military service and captivity; he served in the German Army during World War II. After the War, he studied art at the Academy of Fine Arts in Berlin under painters such as Oskar Nerlinger and Max Kaus. His style was based upon free painting and drawing. His career was influenced by his traveling the world by sea and teaching at the Technical University of Berlin. You can find his work in the Museum of Modern Art in New York and the Brooklyn Museum.
For this discussion, I decided to select his 1967 piece “New York – Planned Disorder.” The medium used to create this work was etching, dry point and aquatint printed in color on ivory wove paper. The dimensions are 19 5/8 x 15 1/2 inches. The print shows New York City. The structure of the buildings are well put together. It gives you the feeling of a cloudy day in New York City, where there is possibly rain also. All of his works of art have one thing in common: they all are based upon cityscapes filled with buildings, like this.
Robert Arneson (American, 1930-1992), Floating Brick (Landfall Press), c. 1970. Lithograph (Edition: 500), 8 ¾ x 11 ½ inches, Franco Collection, Auburn University at Montgomery.
Catalogue entry by Ron Blaesing
Floating Brick, c.1970 is by American artist Robert Arneson (1930-1992). Arneson was born in Benicia, CA and educated at the California College of the Arts, where he received a BFA in Arts Education, and Mills College, where he received his MFA. Arneson is best known as a sculptor and ceramicist, as well as being one of the originators of what came to be known as “Funk Art.” This style of art was born out of a technical proficiency in ceramics joined by found objects and an irreverent flair that first manifested while working as a cartoonist before attending college.
In 1962, Arneson was hired by the University of California at Davis to develop a sculptural ceramics department where he aimed to establish ceramics as a legitimate form of fine art and not just craft. It was during this period that Arneson attempted to break from his usual style and work on more serious art which, due to a kiln accident, led to a promising breakthrough. Using glue and found materials to fix a cracked ceramic bust, he had strayed from what was considered to be acceptable practice by traditional ceramicists. This became a regular practice for Arneson to the extent that he “would regularly insist that his students build something, destroy it, and then rework it in order to free them from a sense of preciousness about the materials.” (Fineberg, 275)
Arneson’s Bricks were part of an evolution in his sculptural works that took the form of everyday objects, but instead of repurposing them, as many had done before, he recreated them in clay with an absurd and surrealist twist. In the mid 1970s the terra cotta bricks that Arneson was producing, first as single pieces and essentially three-dimensional sketches, grew into larger and more complex sculptures built out of numerous combinations of his own constructed bricks.
Floating Brick is a lithograph printed made on handmade paper at Chicago’s Landfall Press in an edition size of five hundred. The work measures approximately 8 3/4 x 11 1/2 inches. It is a two-dimensional representation of one of his own terra cotta bricks, labeled “BRICK,” and floating in a river current with an industrial scene in the background. Though known primarily as a sculptor, Arneson’s roots were in illustration and he had taken great care in developing his skills with ceramic glazes, as if it were paint. In using such delicate handmade paper for this lithograph series, Arneson draws a stark contrast between the nature of each incarnation of this ubiquitous object.
Lucio Fontana (Italian-Argentine; 1899-1968), Concetto Spaziale B, 1968. Etching and aquatint with embossing and punched holes on wove paper (Edition: 196/210), 25 1/4 x 18 3/4 inches, Franco Collection, Auburn University at Montgomery.
Catalogue entry by Ivey Scott
Concetto Spaziale B, of 1968, is by Argentine-Italian painter, sculptor, ceramicist, and theorist, Lucio Fontana. He is best known as the founder of Spatialism. He was born in Argentina to two Italian immigrants. His father, Luigi Fontana, was also a sculptor. Lucio Fontana attended the Istituto Tecnico Carlo Cattaneo in Milan, served in World War 1, but was dismissed a year later, due to injuries, and studied sculpture at the Accademia di Belle Arti di Brera. He left the school to work in his father’s studio, then had his own studio, and in the late 1920’s, he moved back to Milan to go back to Accademia di Belle Arti di Brera. In 1946, Fontana co-wrote his first essay on spatialism, called “White Manifesto.” In this essay, he proposed expanding art into a fourth dimension. A year later, he wrote the “Primo Manifesto dello Spazialismo,” and founded the Movimento spaziale.
It was not until he was 50 years old, that Fontana produced his first perforated canvases, which later became his signature contribution and defined his work. He rejected traditional methods, techniques, and materials, to invent something new, and in response to he rapidly changing world that he lived in. Fontana reinterpreted the limits of art by thinking of works of art as concepts of space He used gestures to create holes and tears in canvases to disclose previously unseen spatial areas. Fontana was captivated by the Futurists’ rejection of the traditional ways of art, and he encouraged artists to make their own work, rather than sustaining the exhausted traditional normalities that do not help contemporary artists achieve their potential.
Fontana’s Concetto Spaziale B, of 1968, was created by etching and aquatint, with embossing and punched holes on woven paper. It is the 196th edition, out of 210, and is 25 1/4 x 18 3/4 inches. This work of art is in the Franco Collection, at Auburn University at Montgomery. Concetto Spaziale B, is from his series, Concetto Spaziale, or “spacial concept.” This work, along with the others in the series, shows how Fontana implemented his theory of Spatialism into his artwork. He punched holes into the woven paper to expose the reality of the paper as a material object to the viewer. This also allows the artwork to be experienced without formal preconceptions. We can see how, “Destruction and creation were bound together in these works. The same gesture that negated the canvas as a purely pictorial vehicle also opened up its sculptural possibilities.” (Spatial Concept ‘Waiting,’ The Tate) His works pushed the boundaries of painting at the time and speak to his innovative theories, while also making way for later developments in art.
Zoran Antonio Music (Slovakian; 1909-2005), Motif Dalmate (Dalmatian Coast Horses, Dalmatia, Croatia), 1967. Color aquatint, 7 ¾ x 11 inches, Franco Collection, Auburn University at Montgomery.
Catalogue entry by Nyaradzai Mahachi
Music was born in Bukovica, Austia-Hungary and was associated with the Contemporary and Post war Slovenian art. He painted landscapes, still lifes, self-portraits, the veduta of Venice, and horror scenes inspired by his irrepressible trauma from the concentration camp in Dachau he was deported to in 1944. He studied at the Academy of Fine Arts in Zagreb from 1930-1935 and was a well-travelled person. Music was a Slovenian painter, graphic artist and printmaking artist and one of the only painters of Slovene descent who managed to establish himself in the circles of the elite of Italy and France, particularly Paris – where he lived most of his life. His work is in collections such as the Stedelijk Museum in Amsterdam, The Museum of Modern Art in New York, and the Galleria d’Arte moderna in Bologna to mention a few.
Motif Dalmate is a series of color etching by Zoran Antonio Music that share a common subject of horses or earth-toned landscapes. Dalmatia is one four regions in Croatia, which is a place with beautiful landscapes and teams of horses. This is an etching that depicts a grey sky rendered into a fading grey that turns into a dirty white with light swooshes of grey marks in the middle. At the bottom of the landscape composition is a field and a team of grazing horses. The black and purple horses stand out most, while the green one is camouflaged within the bushes behind the others. This conveys a sense of horses grazing. Music used an analogous color scheme. The color choices create an atmosphere of peace and serenity. This is also due to the calm and organized composition of the etching. This makes it calming to look at for the viewer, as the colors have a comforting effect that juxtaposes the grey sky and the grey border. This overall calming effect might be explained by the artist’s biography and experience living in the horrific setting of a concentration camp. Perhaps the work presents the peace that the artist needed.
Theodoros Stamos (Greek-American; 1922-1997), Infinity Field: Green on Pink, c. 1965. Silkscreen (Edition: 54/75), 30 x 22 inches, Franco Collection, Auburn University at Montgomery.
Catalogue entry by Rhianna Ragan
Theodoros Stamos, born to Greek immigrant parents in 1922, is the youngest of the first-generation abstract expressionists. He is best known for his early use of color, his biomorphic shapes, and his large-scale gestural abstractions. “… his paintings are documents of emotional responses to the light, mood, and color of certain exotic landscapes and experiences.” (Artsy) He received a scholarship to New York’s American Artists’ School when he was only thirteen; here, he studied sculpture until he dropped out just four years later, in 1939. He then concentrated on painting. He met artists Arshile Gorky and Fernand Léger while working in a frame shop in New York from 1941 to 1948. When Stamos was only twenty, he received his first solo exhibition at the Wakefield Gallery in New York. Stamos’ paintings often appear rudimentary; this is because he was inspired by East Asian aesthetics and philosophies. “After studying at the American Artists School in the 1930s, his artistic style developed in the late 1940s to incorporate muted colors and organic shapes, an aesthetic he would maintain for the majority of his life.” (Scott and Passantino) In his early career, Stamos, like Rothko and Newman, had techniques based on expressive color fields, which were subdued and tranquil in comparison to the dynamic gestural painting styles of Pollock and de Kooning. Later in his career, Stamos activated his brushstrokes and modulated the tonalities of his paintings in an attempt to commit further to abstraction.
Though there is no available information on this specific painting, it is comparable to Still’s, Rothko’s, and Newman’s Color-Field paintings; this would explain Still’s, Rothko’s, and Stamos’ participation in Newman’s 1947 exhibition, “The Ideographic Picture.” As such, “an ideograph is a written symbol that communicates an idea directly, rather than through language or through the mediation of any symbolic form.” (Fineberg) This shows that the exhibition focused on abstract shapes (like the biomorphic shapes evident in Stamos’ work) and colors. Stamos created other paintings that look much like Infinity Field: Green on Pink; his “Sun Box” series is especially similar. The idea of emotional response represented in color is evident in the works of Stamos, alongside the works of artists such as Rothko, who appreciated viewers breaking down and crying at the sight of his Color-Field paintings.
“Barnett Newman.” Art Since 1940: Strategies of Being, by J. Fineberg, (3rd ed., Prentice Hall/Pearson, 2011), p. 99.
Stahl, Joan. “Theodoros Stamos, from American Artists in Photographic Portraits from the Peter A. Juley & Son Collection.” Smithsonian American Art Museum, National Museum of American Art and Dover Publications, Inc., 1995, https://americanart.si.edu/artist/theodoros-stamos-4595.
*This source includes a source within it; that is the source that is being credited to the article from the Smithsonian American Art Museum
Philip Pearlstein (American, b. 1924), Girl on Orange and Black Mexican Rug, 1973. Color lithograph (Edition: 38/100), 32 x 40 inches, Franco Collection, Auburn University at Montgomery.
Catalogue entry by Rowena Turner
The succeeding work of art was composed by Philip Pearlstein. Pearlstein was born in Pittsburgh, PA, and is still alive today residing in New York. His art career began when he won both the 1st and 3rd prizes in the 14th National High School Art Contest in the 1940s. After high school, he sought higher education at Carnegie Institute of Technology receiving his BFA in 1949. Post graduation, he sought a master’s at New York Institute and became a graphic designer for Life Magazine.
This work was done on colored lithograph, and is 32 x 40 inches in size. Completed in 1973, the work features a nude woman seated on top of an orangey-reddish and black Mexican rug. Similar to other representations of the female nude by Pearlstein, he incorporates a modernist style. In such works, he creates truly realist nude paintings using careful detail. The warm hues of the rug enhance the nude woman’s pale, peachy skin and similarly-colored wall. Additionally, Pearlstein is incorporating an aspect of another country into the mainstream of American Art. As stated in the Print Collector’s Newsletter, “Girl and striped rug are integrated by diagonal composition and the fusion of the paper.”
The Print Collector’s Newsletter, Vol. 4, No. 6 (January-February 1974), pp. 136, 141-142.
Warrington Colescott (American; 1921-2018), The Great Moon Trip, 1972. Color etching, aquatint, and photo transfer on paper (Edition: 60/100), 22 1/8 × 30 inches, Franco Collection, Auburn University at Montgomery.
Catalogue entry byThurston Liptrot
Warrington Colescott was born in Oakland, CA in 1921 and attended the University of California, Berkeley. He was drafted in the US army during WW2 and served from 1942-1946. His preferred medium in the arts was printmaking, which he studied at the Slade School of Art in London in 1957, being taught in the ways of the intaglio processes of printmaking under Anthony Gross.
Colescott began his art endeavors focusing on abstract pieces in serigraphy, but after his studies in London, he shifted completely to using intaglio printmaking. His practice as an artist is very focused and one of recognizable growth and learning of himself. While he was a practicing artist, he was also an avid teacher. He provided social commentary and satire within his art.
Here is one of his works, The Great Moon Trip (1972), created in a style similar to Pop Art. There is a lot to digest within this piece. We see a buzzing and busy highway of cars, with a city of roads with more lined cars. The right side of the composition is cut off by a rather ‘big’ gentleman enjoying television with his family within the domesticated but messy confines of his household. The top half holds astronauts and a woman having a drink, and to the right of her we’re greeted with what seems to be a solar system. The main ideas here are the great Space Race of the 1960’s, established by John F. Kennedy, but the jarring topic at hand is: what’s to become of space once we get there? Are we doomed to repeat our lives of domestication and consumerism, or will we be the adventurous astronauts exploring the cosmos, with lives filled with excitement?
Jeff Diederen (Dutch; 1920-2009), Four in Blue, 1971. Lithograph (Edition: 35/135), 25 1/2 x 30 1/2 inches, Franco Collection, Auburn University at Montgomery.
Catalogue entry by Jennifer Hardy
Four in Blue was created by Jef Diederen (Dutch; 1920-2009) in 1971. Diederen was born in Heerlan, The Netherlands. He attended school at The School of Applied Arts Maastricht, and The Academy of Fine Arts in Amsterdam. He was a participant in the group exhibition “Amsterdam Painters van nu” in 1948 and received the Royal Grant in 1950.
Dierderen’s early works were primarily landscapes, but he later became involved with the COBRA movement; named for the French names of the cities Copenhague, Bruxelles, and Amsterdam. The artists in this movement believed that art should be unplanned, a product of the artist’s imagination. Dierderen’s work was based on this ideal in his central years, although he later moved away from it. In the fifties and sixties his works became increasingly abstract and more focused on form and color in composition.
Dierderen used his works as social commentaries and included issues such as apartheid in South Africa, Jews in World War II, oppression of Native Americans in the United States, and the war in Vietnam.
His works are on display at the Stedelijk Museum in Amsterdam, The museum in the Hague, The Museum of Modern Art in Toledo, The Museum of Art, Buenos Aries, The Stockholm Museum and The Library of Congress in Washington.
Four in Blue is a Lithograph print and is 25 1/2 x 30 1/2 inches. It is representative of his later works, demonstrating a playful use of color and form. The rich reds and golds against the bold blue background provide a cheerful image with an excellent harmony.