Artstor and Larry Qualls have released approximately 32,000 images of contemporary art exhibited in the New York area in the past three decades. This release joins the more than 100,000 images already available in the Larry Qualls Archive, making it our largest survey of contemporary art, and completes the collection in the Digital Library.
Archive for the ‘Modern & Contemporary Art’ Category
Our friends at JSTOR Daily remind us that this year marks the centennial of the cacophonous beginnings of the Dada movement in Zurich’s Cabaret Voltaire.
An anarchic response to the ravages of World War I, the movement is notoriously difficult to pin down. Matthew Wills writes, “Dada combined absurdity and nonsense, radical politics and anti-politics, outrage and outrageousness in the mediums of spoken (more often shouted) word, theatre, collage, photomontage, cut-ups, assemblages, and readymades…”
Artstor and the Menil Foundation have just released nearly 200 images of highlights from the Menil Collection in the Digital Library.
The Menil Collection opened to the public in June 1987 to house, exhibit, and preserve the art collection of John and Dominique de Menil. Assembled over the course of many decades by the Houston philanthropists, the collection is recognized not only for its quality and depth but also for its distinctive presentation and eclecticism. An actively collecting institution, the Menil Collection contains diverse holdings representing many world cultures and thousands of years of human creativity, from prehistoric times to the present. Today, the collection comprises over 16,000 objects. (more…)
Artstor is sharing two new collections of photographs by Barbara J. Anello: graffiti in Lower Manhattan in the 1980s and 90s, and Tibetan Buddhist art and architecture in Ladakh, India.
The photographs from Ladakh were exhibited at the Overseas Press Club in New York City and Kenyon College in Gambier, Ohio in 1982. (more…)
A zealous group of Artstor users have pitched in to collaboratively catalogue images from the D. James Dee Archive of contemporary art on our crowdsourcing site, arcades.artstor.org. Thanks to a combination of their expertise and a lot of internet sleuthing, 555 works are now a welcome addition to the D. James Dee Archive of Contemporary Art collection in the Artstor Digital Library. You can read more about Arcades on this blog, and about the Dee Archive in the New York Times.
At Arcades, participants are presented with images in a game environment where they are able to enter basic data, such as creator, title, date, medium, and exhibition history in order to accumulate points. In doing so, they “level-up” and progressively acquire titles ranging from “flâneur” and “connoisseur” to “apprentice” and “master” (all references to Walter Benjamin’s unfinished Arcades Project—more about that to come). At the time of our October 2015 launch we wondered what kind of results we would get. General crowdsourcing theory assumes that the more entries, the smarter the results. Would we secure enough participants? Would they feel compelled to return again and again?
We invited Barbara Anello to tell us about her photographs of graffiti in Lower Manhattan, newly released in the Artstor Digital Library.
I photographed graffiti, stencil art, wall paintings, and murals on New York City streets during the 1980s and early ’90s in Lower Manhattan from about 14th Street south to Battery Park, and from the Hudson to the East Rivers, but generally in Soho, Noho, the Lower East Side, and “Alphabet City.”
At the time, Soho, where I lived, was still the neighborhood of artists and galleries, but rapidly gentrifying, forcing younger artists east and out. While much of the public art and graffiti was anonymous, the neighborhoods where I photographed embodied the “art world” of the time; these were the streets where artists worked and played, dealers bought and sold. So my photographs included works and writing by artists who became “art world” figures, such as Kenny Scharf and Keith Haring, by artists who built reputations in their neighborhoods as “writers” and social activists, as well as by dedicated, working artists who made statements independently on the walls of abandoned buildings or squats, intended for the people, for the neighborhood, outside the confines of commercial galleries.
Artstor and the Amistad Research Center are now making available in the Digital Library nearly 300 images from the Center’s art collection, focusing on works by Harlem Renaissance masters from the Harmon Foundation.
The collection in Artstor includes Jacob Lawrence’s The Life of Toussaint L’Ouverture, the artist’s first historical series, as well as the work of many other important African American artists such as Romare Bearden, Hale Woodruff, Aaron Douglas, and Elizabeth Catlett.