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| WILLIAM ANTHONY . BIOGRAPHY |
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William Anthony was born in 1934 in Fort Monmouth, New Jersey, and he grew up in Washington state. Anthony studied art briefly with Josef Albers at Yale University, where he received a B.A. degree in European history in 1958. He also studied with Theodore Stamos at the Art Students League in New York, and at a number of art schools in San Francisco. He and his wife Normal currently live in New York.
Anthony’s drawings have been commissioned for Artforum, the Paris Review, Parnassus, and by Andy Warhol for his magazine Interview.
Anthony’s work is represented in the following collections:
Art Institute of Chicago
Cleveland Museum of Art
Corcoran Museum of Art, Washington, D.C.
Detroit Museum of Art
Ludwig Museum, Cologne
Metropolitan Museum of Art, New York
Museum of Contemporary Art, Chicago
Museum of Fine Arts, Houston
Seattle Art Museum
Solomon R. Guggenheim Museum, New York
University Art Museum, Berkeley
Whitney Museum of American Art, New York
Yale University Art Museum. New Haven Connecticut
SOME RANDOM THOUGHTS ABOUT WAR IS SWELL
by William Anthony
This book tells in pictures and words a kid’s-eye view of World War II. I was seven when the war started and almost eleven when it ended.
My boyhood friends and I were a lucky bunch. None of us had fathers killed or wounded. The war was something that happened in letters from overseas and in reports on the radio and in newspapers, and in the comics.
We loved the fighting men and combat. We loved the air raids and the commando raids and the plots to kill Hitler. We loved the action behind the lines, under the seas, and in the prisoner-of-war camps. We loved the heroics of the Allies and the villainy of the enemy. We were enthusiastic scholars of the tortures practiced by the Axis.
It never occurred to me that we could lose the war. In fact, I could hardly conceive of our losing a battle. On D-Day I remember that I couldn’t understand my parents’ concern that the Allies might be thrown back in the Channel. I had no doubt that we could triumph at the Battle of the Bulge and on every Pacific Island.
I’m sure my vision of the war will seem totally incomprehensible to anyone who was not an American kid in the 1940’s. A tale told by a grossly misinformed idiot. But still, for me, this is an accurate account of how I remember the war.
The language of and eleven-year-old in 1945 was not tempered by political correctness. It’s unfortunate that the words “Jap” and “Kraut” are part of the vocabulary here; however, a more polite word like “Japanese” was hardly in use at the time.
At first I tried putting quotation marks around offensive words, but it didn’t work. Quotation marks around every offensive sentence were even less successful.
In the initial printing of The Naked and the Dead, Norman Mailer had to substitute “fug” for “fuck”. I remember reading the novel when I was a teenager and thinking that since the war, the pronunciation of the word had actually changed. I’m not anxious to commit this sort of revisionism.
My drawing style is derived from the mistakes of my students. The following excerpt is from an interview with me that appeared in The Paris Review (Spring 1976 issue).
INTERVIEWER: How did you arrive at this style of drawing?
ANTHONY: A number of years ago when I was on the West Coast, I taught
drawing at a commercial art school. My students wanted to learn to draw
accurately, that is. To draw a hand that looked like a hand. To help them I did
exaggerations of the mistakes, which beginners make: heads too large, torsos
like sandbags, skinny necks, legs resembling carrots, elbow and knees that l
looked as though they’d suffered from some sort of tourniquet treatment. I put
all these mistakes together to form a classically idiotic figure. Then this satiric
how-not-to took on an insane life of its own in my work.
The eleven-year-old makes essentially the same mistakes as an adult; however, unlike the adult, he is not hindered by any great desire to correct his blunders. At age eleven I had no concern with the fact that my draftsmanship displayed “heads too large, torsos like sandbags, skinny necks and legs resembling carrots.” It was full steam ahead in portraying the bravery of the Allies and the evil of the enemy; don’t confuse me with anatomical facts.
The mindlessness of the style underscores the simplicity of my view of the war: Us against the bad guys.
The fact that my style is distilled from kids’ drawing blunders compels me to do a lot of kid subject matter. Besides war, I do cowboys and Indians, scenes of crime and punishment, and man versus beast.
The list continues with a boy’s skewed version of great historic events (e.g. Robespierre dragged kicking and screaming to the guillotine) to an eleven-year-old’s prurient idea of sexual proclivities of his elders (e.g., a panoramic of a police raid on a whorehouse).
I hoped to start my military adventures by spotting enemy planes near our home in a suburb of Tacoma, Washington. I fantasized about phoning the nearby army air base, McCord Field.
“Hi, McCord Field? This is Billy Anthony reporting. There are seven Jap
Zeroes, three Jap Bettys, and two Kraut Dornier-17s over my house, going
east.”
“OK, Billy, we’ll send some P-38s right over to shoot ‘em down. By the
way, thanks for collecting all that scrap paper and metal for the war effort.
We make P-38s out of scrap aluminum.”
“You’re sure welcome!”
Like the stars who volunteered to entertain the troops and the natives who helped out downed fliers, if I couldn’t get in on the fighting, at least I could help.
Early in the war (I was probably eight), I had the vague idea that warplanes had souls, or something akin to souls. Stukas and Zeroes were always committing horrendous deeds, seeming to operate with pilotless minds of their own.
The most likely candidate for soulhood was the Stuka. A mere machine couldn’t exude such nifty malevolence.
On the other hand, I never felt that tanks had souls, not even Rommel’s tanks. I knew a tank was something like a car, only it had armor and treads.
I wasn’t visually sophisticated enough to distinguish between the Allied and Axis tanks. As far as I was concerned, they could all be represented by a potato-like lump on top of another potato-like lump. Add gun barrel to top lump and treads to bottom lump.
Included in the book are some curious events that would have appealed to any boy draftsman at the time of the war. Some are actually true.
Hitler had a riding crop made of hippopotamus hide. Admiral Yamamoto did put tacks on the chairs of his subordinate officers. The wheels were in fact rigged to come off some kamikaze planes at takeoff (although I never read of a kamikaze pilot being manhandled in the cockpit of his plane). General Keitel did have his staff sing for Hitler.
General Patton did swear that he would pee in the Rhine River; I don’t know if he did it. Eva Braun owned forbidden jazz records, but it is not established that she boogied to them.
On the other hand, Hitler didn’t dance in jubilation at the conquest of France or any other country. Early in the war the Allies’ propaganda mill artfully doctored some film that made it appear that Hitler was doing a jig at the French surrender at Compiègne. As Picasso remarked, “Art is a lie that makes us realize the truth.”
If you want to know why the world has been so productive of “ignorant armies [that} clash by night,” read on. I feel that the world view of this hare-brained, home-front Herodotus (me), though simplistic, racist, and inaccurate, explains much.
-William Anthony, from the introduction to his book, War is Swell
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| DMITRI BALTERMANTS . BIOGRAPHY |
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The images on display will range from the most wretched depictions of wars atrocities, shots of communism's foremost leaders in candid moments, and the people of a former regime in times of order and chaos.
While working part-time for Izvestia, , Dmitri Baltermants learned enough photography to support himself and his mother while studying Mathematics at Moscow University in the early 1930s. He was teaching at an artillery school in 1939 when he was "drafted" by Izvestia to document the Soviet occupation of eastern Poland. He would continue to report for Izvestia during World War II as well as for the Red Army Newspaper Na Razgromvraga. From 1945 until his death in May 1990, at the age of 78, Baltermants worked as Staff Photographer, Photo Editor and Editorial Board Member for the publication Ogonyok.
The notoriety for Baltermants' combat images came long after W.W.II was over. His most recognizable and most frequently reproduced image Grief, 1942, (an image of Kernch, a Crimean city, that witnessed the slaughter of one hundred and seventy-six thousand of its civilians by Nazi invaders) appeared in the USSR only when it had gained international acclaim and appeared in the German weekly Stern.
The breadth of Baltermants' photojournalistic work really only came into public view after the onset of glasnost. Traveling to China with Khrushchev he had the opportunity to catch Mao Tsetung in more relaxed moments, as well as Fidel Castro when he traveled to Cuba (and the United States) with Brezhnev. During the course of his career, Baltermants photographed every general secretary of the Soviet Communist Party from Stalin to Gorbachev. Most of his images were rejected for publication in their own time.
Dmitri Nikolaevich Baltermants was born May 13, 1912 in Warsaw. His father, an officer in the Russian Imperial Army, died in the early days of the First World War. With his mother, he moved to Moscow and grew up during the hectic, perilous days of the Bolshevick Revolution and the Civil War. Perhaps the most significant and formative influence was a family relative--Joseph Hanaovich Dvoretskii, a distinguished scholar of classical civilizations. Baltermants' resultant vision draws on the turbulence of the social and political while elevating the essence of humanity. |
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| EVA LAKE . BIOGRAPHY |
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(Courtesy Augen Gallery)
Photomontage Statement
Before I ever montaged, I collected old magazines and nostalgia. As it was the images I loved most, I had no problem cutting them up to create a different story.
I started right around the time of punk in the late 70s and was influenced by that movement as much as the Dadaists John Heartfield and Hannah Hoch and the Pop artist Richard Hamilton.
Over the years I've done all kinds of art but I keep coming back to photomontage. I've called it a Bedroom Art as often that was all I had. You can make it out of a suitcase. I was never one to just slap things together though and sometimes images traveled around with me for years before I used them.
In 2002 I had a Collage Show at the White Gallery at Portland State University. As I went through my inventory I saw what a constant art it had always been.
Sometimes there were big holes in my life, where it looks like I just dropped into an abyss of the Working Woman of New York City. But the work was still being made; it just didn't get shown. The collection spans four decades.
9/11 was oddly a time of regeneration for me. Terrible as that sounds, I know I was not the only artist to feel suddenly not alone in their paranoia. I returned to previous themes and works I had made years ago had a renewed meaning.
As it turns out, many artists montage, though they might not take it all that seriously. I often meet artists who got their start in the fanzine and the collages they made for it. Those fanzine days may be behind them and now they are on to hot galleries and the like, but they still make the occasional collage.
Selected Solo Exhibitions
2006 Take Off, Augen Gallery, Portland, Or.
2005 Vive Chrome, Augen Gallery, Portland, Or.
2003 OPEN studio, Lovelake, Portland, Or.
2002 Axis, Ogle, Portland, Or., Astoria Visual Arts, Astoria, Or.
2002 Collage Show, White Gallery, Portland State University, Portland, Or.
1999 Chairs, Alysia Duckler Gallery, Portland, Or.
1998 Bridges, AIA Gallery, Portland, Or.
1998 Night Paintings, 333 Studios, Portland, Or.
1989 French Culinary Institute, New York City
1986 On the Theme of Architecture, Cafe Americain, San Francisco
1985 Shrine, Martin-Weber Gallery, San Francisco
1984 Night Gallery, Bannam Place, San Francisco
1983 Aware Recollections of an Ancient Age Japan Fan, the Storefront, San Francisco
1983 Russian-American Friendship, Eye Gallery, San Francisco
1980 Photomontage, etc., Goodman Building, San Francisco
Selected Group Shows
2007 Paper Chase, Guestroom, Portland
2006 Saturated, Portland Modern, Disjecta, Portland
2005 Affair at the Jupiter Hotel, Augen Gallery, Portland
2004 Saturated, Autzen Gallery, Portland State University, Portland
2004 International Mail Art Show, Zeitgeist, Portland
2003 Sitka Invitational, Portland
2003 Battle of the Artist Curators, Haze Gallery, Portland
2003 International Assemblage Art Exhibition, Gallery Oder 24, Berlin, Germany
2003 Propaganda, Start-Soma, San Francisco
2002 Reactions, Exit Art, New York, Art Center College of Design, Pasadena, CA.
2001 WTC group show, AVA Gallery, Astoria, Or.
1999 Master Mugs, PICA project, Portland, Or.
1999 Bay Area Dada: Before Punk and Zines, Printed Matter, New York City
1997 INI Show, Mark Woolley Gallery, Portland, Or.
1996 Columbus Day Show, Square Peg, Portland, Or.
1991 Ward Nasse Group Show, New York
1990 Christmas Show, John Gerstadt Gallery, New York City
1989 Legends Now, 3 person show, Helio Gallery, New York City
1989 The Prisoners of Art, Police Building, Colab, New York City
1988 Extinction Now, Colab, Fashion Moda, The Bronx
1988 The Heroes of Eros, ABC NO RIO, New York City
1981 ANTI-WW3, traveling exhibition, San Francisco and Parsons School of Design, New York City
1980 The Secret Side, Northwest Artist’s Workshop, Portland, Or.
Education
Art History, University of Oregon, Eugene, Oregon 1974-1977
Painting, Art Students League, New York City 1986-1988
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| DAVID LEVINTHAL . BIOGRAPHY |
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David Levinthal
Selected Bibliography
Books and Exhibition Catalogs
Barnes, Lucinda. Centric 35: David Levinthal. California State University Long Beach, 1989.
Busuttil-César, Stéphanie, ed. Red. Paris: Assouline, 2000.
Callister, Jane. Diabolical Beauty. Essay by Colin Gardner. Santa Barbara, CA: Santa Barbara Contemporary Arts Forum, 2001.
Colbert, David, ed. WWII: A Tribute in Art and Literature. Forward by James Bradley. New York: Time Life Books, 2001.
Company, David, ed. Art and Photography: Themes and Movements. London: England: Phaidon Press, 2003.
Davis, Keith F. An American Century of Photography: From Dry-Plate to Digital, The Hallmark Photographic Collection. Forward by Donald J. Hall. Kansas City, MO: Hallmark Cards, Inc. in association with Harry N. Abrams, 1995.
Deville, Francoise and Alain D'Hooghe. Des Vessies et des Lanternes. Brussels: Les Editions du Botanique, 1991.
Ebony, David, Jane Harris, Frances Richard, Martha Schwendener, Sarah Valdez, and Linda Yablonski, eds. Curve: The Female Nude Now. New York: Universe Publishing, 2003.
Evans, Harold, with Gail Buckland and David Lefer. They Made America. New York: Little, Brown and Company, 2004.
Faber, Monika. Sofort-Bild-Geschichte (Instant-Imaging-Stories). Vienna: Museum Moderner Kunst, 1992.
Fabry, Alexis, Céline Fribourg, and Grégory Leroy, eds. Dormir / Sleep. Paris: Coromandel Press, 2000.
Fabry, Alexis, Céline Fribourg, and Grégory Leroy, eds. Seduire / Seduce. Paris: Coromandel Design, 2002.
Feldman, Ronald, Martina Batan and Sean Elwood, eds. American Dre@m. New York: Ronald Feldman Fine Arts, 2003.
Field, Genevieve, ed. NERVE / The New Nude. San Francisco: Chronicle Books, 2000.
Fox, Howard N. Avant-Garde in the Eighties. Los Angeles: Los Angeles County Museum of Art, 1987.
Glenn, Constance W., ed. Historically Speaking: UAM: 25 Years of Excellence. University Art Museum, College of the Arts, California State University, Long Beach, 1999.
Gracia, Ricardo, ed. Retorn al País de les Meravelles: LÂ’art Contemporani i la Infància. Barcelona: Fundació "la Caixa," 2001.
Grundberg, Andy and Kathleen McCarthy Gauss. Photography and Art: Interactions Since 1946. New York: Abbeville Press, 1987.
Hirsch, Robert. Exploring Color Photography. Dubuque, IA: William C. Brown Publishers, 1988.
Hitchcock, Barbara, ed. Emerging Bodies: Nudes From the Polaroid Collections. Zurich: Edition Stemmle, 2000.
Hornstein, Shelley, Laura Levitt, and Laurence Silberstein, eds. Impossible Images: Contemporary Art After the Holocaust. New York: New York University Press, 2003.
Hoy, Anne H. Fabrications: Staged, Altered, and Appropriated Photographs. New York: Abbeville Press, 1987.
Karabinis, Paul. Telling Stories. Jacksonville, FL: The Jacksonville Museum of Contemporary Art, 1996.
Kawachi, Taka and Akio E-da, eds. KAWS One. Tokyo: Little More, 2001.
Kleeblatt, Norman, ed. Mirroring Evil: Nazi Imagery/Recent Art. New Brunswick, NJ: Rutgers University Press, 2002.
Kolb, Gary. Photographing in the Studio. Madison, WI: William. C. Brown Publishers, 1993.
Landauer, Susan, ed. Selections: The San Jose Museum of Art Permanent Collection. San Jose, CA: San Jose Museum of Art, 2004.
Lang, Gerald and Lee Marks. The Horse: Photographic Images, 1839 to the Present. New York: Harry N. Abrams, Inc., 1991.
Levinthal, David. American Beauties. Essay by Rosetta Brooks. Santa Monica, CA: Pence Gallery and New York: Laurence Miller Gallery, 1990.
____________. Barbie Millicent Roberts: An Original. Preface by Valerie Steele. New York: Pantheon, 1998.
____________. Blackface. Essay by Manthia Diawara. Santa Fe, NM: Arena Editions, 1999.
____________. Dark Light: David Levinthal Photographs 1984-1994. Essay by David Allen Mellor. London: The Photographers' Gallery, 1994.
____________. David Levinthal: Works from 1975-1996. Essay and interviews by Charles Stainback and Richard B. Woodward. New York: International Center of Photography with Distributed Art Publishers, 1997.
____________. Desire. Essay by Andy Grundberg. San Francisco: The Friends of Photography Ansel Adams Center, CA, 1993.
____________. Die Nibelungen. Text by Julien Robson and Andrea Hurton. Vienna: Wiener Staatsoper, Galerie H.S. Steinek. Published by Herausgeber, 1993.
____________. Mein Kampf. Essay by James E. Young, Introduction by Roger Rosenblatt, Afterword by Garry Trudeau. Santa Fe, NM: Twin Palms Publishers, 1996.
____________. Modern Romance: David Levinthal. San Diego, CA: Aaron Press in association with Founders Gallery, University of San Diego, 1985.
____________. Modern Romance. Essay by Eugenia Parry. Los Angeles, CA: St. AnnÂ’s Press, 2000.
____________. SMALL WONDER: Worlds in a box. Essay by David Corey. Washington D.C.: National Museum of American Art/ D.A.P., 1997.
____________. The Wild West: Photographs by David Levinthal. Constance Sullivan, ed. Essay by Richard B. Woodward. Washington, D.C.: Smithsonian Institution Press, 1993.
____________. XXX Series. Interview by Cecilia Andersson. Paris: Galerie Xippas, 2000.
Levinthal, David and Garry Trudeau. Hitler Moves East: A Graphic Chronicle 1941-43. New York: Sheed, Andrews & McMeel, 1977.
Levinthal, David and James Ellroy. My MotherÂ’s Killer. Paris: Coromandel Express, 1998.
Lord, M. G. Forever Barbie: The Unauthorized Biography of a Real Doll. New York: William Morrow and Company, Inc., 1994.
Merritt, Raymond and Miles Barth, eds. A Thousand Hounds: The Presence of the Dog in the History of Photography. Cologne: Tachen, 2000.
Muniz, Vik. Making it Real. Introduction by Luc Sante. New York: Independent Curators Incorporated, 1996.
Murayama, Keiko et al. Masterminds of Mode: International Fashion Festival in Japan. Nagoya, Japan: H2O Company Ltd., 2000.
Orvell, Miles. American Photography: Oxford History of Art. Oxford, England: Oxford University Press., 2003.
Robson, Julien. Interpreting The American Dream. Graz, Austria: Galerie Eugen Lendl, 1992.
Rule, Amy and Nancy Solomon, eds. Original Sources: Art and Archives at the Center for Creative Photography. Center for Creative Photography, The University of Arizona, 2002.
Shales, Ezra and Susan Edwards, eds. Horse Tales: American Images and Icons 1800-2000. Preface by Verlyn Klinkenborg. Essays by Ezra Shales, Susan Edwards, and Deborah Bright. Katonah Museum of Art, 2001.
Simpson, Fronia, ed. The Darker Side of Playland: Childhood Imagery from the Logan Collection. San Francisco Museum of Modern Art, 2000.
Solomon-Godeau, Abigal. In Plato's Cave. New York: Marlborough Gallery, 1983.
___________________. "Photography at the Dock." In The Art of Memory / The Loss of History. New York: The New Museum of Contemporary Art, 1985.
Speer, Lance. "Ceci n'est pas une nue: David Levinthal's XXX Series." In Strange Genius, edited by John Wood. Vol. 5 of 21st: The Journal of Contemporary Photography. N.p.: Steven Albahari, 2001.
Storr, Robert. Devil on the Stairs. Philadelphia: Institute of Contemporary Art, 1991.
Subway Series: The New York Mets and Our National Pastime and Subway Series: The New York Yankees and the American Dream. New York: The Bronx Museum of the Arts, Queens Museum of Art, zingmagazine, 2004.
Sultan, Terrie. Surrogate Selves: David Levinthal, Cindy Sherman, Laurie Simmons. Washington, D.C.: The Corcoran Gallery of Art, 1989.
Varnedoe, Kirk, Paola Antonelli, and Joshua Siegal, eds. Modern Contemporary Art at MOMA Since 1980. New York: Museum of Modern Art, 2000.
Weiermair, Peter, ed. Desire: Ein Bilderbuch zur gleichnamigen Ausstellung herausgegeben von der Ursula Blickle Siftung. Zurich: Edition Oehrli and Kraichtal, Germany: Ursula Blickle Siftung, 2001
Weiermair, Peter. Prospect 96: Photography in Contemporary Art. Frankfurter Kunstverein and Schirn Kunsthalle Frankfurt, Frankfurt am Main, Germany: Edition Stemmle, 1996.
Weinberg, Adam D. From The Heart: The Power of Photography–A Collector's Choice. New York: Aperture, 1998.
Wendt, Selene. A Doll's House. Hovikodden, Norway: Henie Onstad Kunstsenter, 2002.
Yoe, Craig. The Art of Barbie: Artists Celebrate the World's Favorite Doll. New York: Workman Publishing Co., 1994.
Young, James E. At MemoryÂ’s Edge: After Images of the Holocaust in Contemporary Art and Architecture. New Haven, CT: Yale University Press, 2000.
Articles and Reviews
Albig, Jörg-Uwe Von. "Der Fotografie wird die Wirkchlichkeit Ausgetrieben." Geo Extra (Summer 1996): 150.
Aletti, Vince. "Valley of the Dolls." The Village Voice, 21 May, 1991, 95.
Aiger, Carl. "Mein Kampf/Hitler Moves East." EIKON: Internationale
Zeitschrift Für Photographie & Medienkunst (August 1995): 94–95.
Baker, Kenneth. "The Holocaust on a Whole New Scale." The San Francisco Chronicle, 14 May, 1996, E1.
Barron, James. "For Some, the Lure of Horror." The New York Times, Sunday, 19 July, 1998, sec. 4–5.
Benfey, Christopher. "Toys Are Us: David Levinthal's Dollhouse History." Slate (February 19, 1997) Internet.
Bensley, Lis. "'Mein Kampf' Show Marks Full Circle for Levinthal: Pushing Vision to Horrifying New Heights." Pasatiempo (September 8-14, 1995).
Berry, Wendell. "Property, Patriotism and National Defense." Aperture: The Return of the Hero (Spring 1988): 32–40.
Boxer, Sarah. "Hardly Child's Play: Shoving Toys into Darkest Corners." The New York Times, 24 January 1997, Photography Review sec.
Brockington, Horace. "David Levinthal: Blackface and Stereotypes." Review (February 15, 1997): 17–19.
Broder, Henryk. "We Invented the Holocaust!" Transition 89, vol. 11, no. 1: 74-87.
Brooks, Rosetta. "A Biennial of Our Own." Seven Days (May 3, 1989): 24.
Carlson, Lance. "Enlarging the Photographic Impact." Artweek (April 29, 1989): 12.
Chen, Aric. "Fleeting Moments." Dutch, no. 31 (January / February 2001): 20–21.
Coleman, A.D. "Hitler Moves East Turns Fourteen." Camera & Darkroom (January 1992): 54–56.
___________. "Hitler Moves East." European Photography 12, no. 47, 47–49.
___________. "New York City as Subject and Inspiration." The New York Observer, 9 January, 1989, 12.
___________."The Image In Question." Center Quarterly 9, no.4 (Summer 1988): 4–9.
Costello, Michael. "Tabletop History." Afterimage (April 1978):18-19.
Crump, James. "David Levinthal: Mein Kampf." The Magazine (October 1995): 55.
"David Levinthal The West: The Return of the Hero." Aperture (Spring 1988): 33-39.
Durant, Mark Alice. "Imaging Horror: Mein Kampf Photographs by David Levinthal." The Boston Book Review, vol. 4, no. 4. (May 1997): p.10.
Eauclaire, Sally. "Hitler: A Chronicle of Horror." Rochester Democrat & Chronicle, 19 February, 1978, 1E, 4E.
Ehrlich, Jane. "About Time, as Levinthal Photos Show in London." The American 22 April, 1994.
Exley, Roy. "Construction Sights." Contemporary Visual Arts, no. 16, 20-25.
Foresta, Merry. "Toying with History: A Conversation with David
Levinthal, William Christenberry, and Merry Foresta." SEE: A Journal of Visual Culture, no. 1:2 (1995): 25-31.
Forgacs, Éva. "David Levinthal at Craig Krull." Art Issues, no. 38 (Summer 1995). French, David. "Seeking Critical Dialog." Artweek (Nov. 28, 1987): 6.
Fuchs, Francesca. "Mein Kampf: The Photography of David Levinthal." ArtL!ES, Texas Art Journal, no.16, (Fall 1997): 37.
Goodman, Tim. "Absolutely Successful." Palo Alto Weekly, 16, August 1989, sec. 2.
Goff, Robert. "This Toy Story is Rated R." Forbes, (April 6, 1998): 164-165.
Grundberg, Andy. "Where Blurred Focus Makes Sharp Statements." The New York Times, 20 December 1987, sec. 2.
____________. "Image and Idea." The New York Times Magazine, 30 August, 1987, sec. 2, 74, 117.
____________. "David Levinthal: American Beauties." The New York Times, 25 May, 1990, sec. 3.
Hagen, Charles. "David Levinthal: Modern Romance." The New York Times, 13 September, 1991, sec. 3.
___________. "Treating Nazis in Art, Even Seriously, Is Risky." The New York Times, 25 November, 1994.
Heiferman, Marvin and Carol Kismaric. "Getting Close to Gotham." ARTnews, (September 1987):106-111.
Hoffmann, Justin. "Das Neue Konzept." Artis (May, 1990): 26-29.
Illetschko, Peter. "Fabrik der Mythologien." Der Standard, 8 May, 1992, sec. 1.
"Imaged Documents" in C.E.P.A. Quarterly, (Winter/Spring 1988): 15-17.
Ise, Claudine. "'Babes' Aimes to Demystify Expectations of Women." Los Angeles Times, 24 July, 1998, F33.
Jenkins, Steve. "Boy Toys." Bay Area Reporter, 14 August, 1997, 43.
Johnson, Patricia C. "2 Exhibits Explore Aftermath, Scars of Nazi Holocaust." Houston Chronicle, 8 October, 1997, sec. D, 1.
Kent, Sarah. "Macho Pink." Time Out, London, 8 June, 1994. Kessler, Pamela. "The Created Event." The Washington Post, 26 March, 1988, sec. 2.
Knight, Christopher. "Photographer Levinthal Goes West." Los Angeles Herald Examiner, 14 April, 1989, Weekend edition.
Kozloff, Max. "Hapless Figures in an Artificial Storm." Artforum, (November 1989): 132.
Levinthal, David. "Mein Kampf." Blind Spot Photography, no. 3, 1994.
____________. "Captain Gallant." American Art, (Winter/Spring 1991): 60-67.
____________. "Hitler Moves East." Camera Austria, 33/34. (1989): 49-56.
Loke, Margarette. "Up Now, David Levinthal: International Center of Photography." ARTnews, (March 1997): 108.
Matis, Gretchen. "Photos Display Myths, Romanticism Shaping Our Perspective of the West." The Atlanta Journal / The Atlanta Constitution, 6 April, 1993.
Mellor, David Allen. "David Levinthal: Mein Kampf." Creative Camera : Independent Magazine of Photography, (June/July 1994): 34-37. Mendelson, John. "Toy Story." The Jewish Week, 7 March, 1997.
"Models." Richardson, vol. A2, (2000): 17.
Murray, Joan. "Memorable Books." Artweek, (January 7, 1978): 13-14.
Nash, Eric P. "Boxes of Reality." New York Times Book Review, 8 February, 1998, 19.
Newhall, Edith. "Photography: The World's a Stage." New York Magazine, 20 January, 1997.
Pagel, David. "David Levinthal." Art Issues, (September/October 1989): 28.
_________. "Toys in Bondage." The Los Angeles Times, 8 August, 1991, sec. 6.
Princenthal, Nancy. "Artist's Book Beat." On Paper: The Journal of Prints, Drawings, and Photography, vol.1, no.4. (March-April 1997): 47.
Richards, Jane. "Mein Kampf, the Polaroids." The Independent 25 (May 1994).
Rowe, James. "Hitler Moves East." Review (November/December 1989): 6.
Schjeldahl, Peter. "Down in Flames." The Village Voice, 4 February, 1997, 90.
Singer, Mark. "Toy Stories." The New Yorker, 20 January, 1997, 68-69.
Starenko, Michael. "Modern Romance." Afterimage (January 1986): 21.
Stark, Thomas F. "Playsets given an artist's touch." Plastic Figure & Playset Collector, no.56 (August 1998): 6.
Strasser, Teresa. "Controversial Photographer Toys with Holocaust." Jewish Bulletin of Northern California, 17 May, 1997, 36.
Sutherland, Amy. "Reality Click." Maine Telegram, Sunday, 11 January, 1998, 1E.
Temin, Christine. "Recasting Racism or Renewing It?: Kara Walker's cutting silhouettes ignite a Harvard debate about whether co-opting toxic stereotypes can help or hurt black artists." The Boston Globe, 13 March,1998, D1.
Thorson, Alice. "Camera Records Invented Worlds." The Washington Times, 21 April, 1988, sec. 5.
Turner, Grady T. "David Levinthal at Paul Morris." Art in America (May, 2003): 149-150.
Ueoka, Yasuko. "Reality Within My Belief: David Levinthal." BeanÂ’s Mono, vol. 1 (June 2001), 403-408.
Walker, Ian. "David Levinthal: Photographers' Gallery." Untitled, (Summer 1994).
Warren, Mike. " Museum Exhibit Depicts Horrors of the Holocaust." Houston Chronicle, 17 September, 1997, 1.
__________. "Holocaust Photography Exhibit to Run Through Jan. 5." Houston Chronicle, 1 October, 1997, 1.
Welzenbach, Michael. "Static, Photographic 'Surrogate'." The Washington Post, 25 January, 1989.
Weiley, Susan. "The Darling of the Decade." ARTnews (April 1989): 143-150.
Wise, Kelly. "Photos Miniature the Old West." The Boston Globe, 13 February, 1988.
Woodward, Richard B. "David Levinthal." ARTnews (March 1989):108.
_________________. "Taking Toys Seriously: Mini-Movement or
Sideshow." The New York Times, 26 February, 1989, sec. 2.
_________________. "Color Bind: White Artist + Black Memorabilia = No Show." The Village Voice, 25 June, 1996, 78.
"XXX Series." Camera Style 11 (2001), 115-119 |
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| JIM RISWOLD . BIOGRAPHY |
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(Courtesy Augen Gallery)
BORN 1957, Seattle, WA
Resides Portland, OR
EDUCATION
1983 BA Philosophy, History, Communications, University of Washington, Seattle, WA
SOLO EXHIBITIONS
2008 Augen Gallery, Portland, OR Selling Jesus
2007 Kittredge Gallery, University of Puget Sound, Tacoma, WA, Mao Home and Garden
Augen Gallery, Portland, OR, Mao Home and Garden
Vermillion Gallery, Seattle, WA Bad People Have to Eat Too
2006 Augen Gallery, Portland, OR, The Last Supper
Hallie Ford Museum of Art, Willamette University, Salem, OR, Göring’s Lunch
2005 Augen Gallery, Portland, OR, Napoléon 1769 a 2005
Augen Gallery, Portland, OR, Göring’s Lunch
GROUP EXHIBITIONS
2008 Guestroom Gallery, Portland, OR, WAR
2007 Blue Sky Gallery, Portland, OR, Pacific Northwest Photography Viewing Drawers
2007 Maryhill Museum, Goldendale, WA, Gadzooks, Amazing Books by Northwest Artists
Tacoma Art Museum, Tacoma, WA, 8th Northwest Biennial
Tacoma Art Museum, Tacoma, WA, Frida: Portraits of an Icon
2006 Portland Art Museum, Photography Collection, Portland, OR, Work from the Permanent
Collection
2004 S.K. Josefsberg Gallery, Portland, OR, Decade 1994-2004,
PUBLICATIONS
Cowan, K.C. "Oregon Art Beat" television series, season premiere, Oregon Public Broadcasting, first aired September 20, 2007
Davison, Dave R. "Digital artist deflates late dictators," Tacoma Weekly, March 29, 2007,
p. C-2, (illustrated)
Row, D.K. "Ad guru turned artist skewers political world with satire," The Sunday Oregonian,
January 7, 2007, pp. D4-D5 (illustrated)
Row, D.K. "Post-Holiday Feasting for the Eyes", The Oregonian, January 4, 2007, p. E1 (illustrated)
Raymond, Camela. "Mao and Me," Portland Monthly, January 2007, pp. 213-214 (illustrated)
Visual Codec. One Shot 2006 flipbook, January 2007
Roberts, Prudence F. "Jim Riswold at Augen Gallery," Artweek, September 2006, Volume 37,
Issue 7, pp. 21 & 22 (illustrated)
Speer, Richard. "Overkill," Willamette Week, June 21, 2006, p. 76 (illustrated)
Row, D.K. "'The Last Supper,' but first, a word from our sponsors," The Oregonian,
June 16, 2006, p. 39 & 41 (illustrated)
Libby, Brian. “First Thursday pulses with vibrancy,” The Oregonian, June 1, 2006, p. E1 (illustrated)
PUBLICATIONS (cont.)
Gallivan, Joseph. “This Last Supper took eons to cook up,” Portland Life, Portland Tribune,
May 30, 2006, p. B3 (illustrated)
Row, D.K. “Jim Riswold,” Summer Guide – Visual Arts, The Oregonian, May 26, 2006, p. 10
Ryan, Chris. “Collectible Fascists,” The Fader, May/June 2006, p. 38 (illustrated)
Levere, Jane L. “Actually, A Role Model,” New York Times, February 19, 2006 Section 3, p. 2 (illustrated)
Gallivan, Joseph. “Art openers ring in the new year,” Portland Tribune, January 3, 2006, pp. B1 & B4
(illustrated)
Speer, Richard. “The Best of 2005,” Willamette Week, December 29, 2005. p. 46
(Best photography show-three way tie)
Gallivan, Joseph. “Galleries trot out the odd and unusual,” Portland Tribune, November 29, 2005, p. 3
Toedtemeier, Terry. “The Power of Toys and the Emperor Reincarnate: The Art of Jim Riswold,"
November 19, 2005, (brochure)
Dundas, Zach. “Q&A Jim Riswold,” Willamette Week, September 21-27, 2005, p. 14
Riswold, Jim. “Hitler Saved My Life,” Esquire, September 2005, pp. 162-169 (illustrated)
Speer, Richard. Willamette Week, August 17, 2005, p. 53
Row, D.K. “D.K.’s Hot Sheet,” The Oregonian, July 29, 2005, p. 39 (illustrated)
Feitelberg, Rosemary. “Riswold Toys With Dictators,” Women’s Wear Daily, March 2005 (illustrated)
Speer, Richard. “One Review,” Willamette Week, February 9, 2005, p. 66 (illustrated)
Spitznass, Jill. “Göering’s Lunch,” Portland Tribune, February 4, 2005, p. B6
Row, D.K. “Despots on Display,” The Oregonian, February 3, 2005, pp. E1 & E3 (illustrated)
WEBOGRAPHY
Ponnekanti, Rosemary. “Best of 2007: Top 10 in movies, music, the arts and video games”, (www.thenewstribune.com) January 3, 2008 Tacoma, WA
Ponnekanti, Rosemary. "Witty Artist has fun mocking Mao," the news tribune.com,
(www.thenewstribune.com) March 26, 2007 Tacoma, WA
Bernstein, Amy. "Mao Chairman Mao: Jim Riswold at Augen Gallery," PORT
(www.portlandart.net) January 21, 2007, Portland, OR (illustrated)
SELECTED COLLECTIONS
Portland Art Museum, Portland, OR
Tacoma Art Museum, Tacoma, WA
Hallie Ford Museum, Willamette University, Salem, OR
Jordan Schnitzer Collection
Roberts Family Fine Art Collection, Portland, OR
Gordon Sondland Collection
Bastide Restaurant, Los Angeles: The Great Wall of Small Maos
LECTURES
University of Washington Philosophy Department, January 17, 2008, Seattle, WA: “An Evening with Jim Riswold”
MC2 Conference, October 3, 2006, Golden Gate Club at the Presidio, San Francisco, CA: "Hitler Saved My Life"
Apple Computer, July 27, 2006, Cupertino, CA: "Hitler Saved My Life"
Tacoma Art Museum, July 14, 2006, Tacoma, WA: "What's So Funny About Hitler, Stalin, Mussolini,
World War II and All Its Unpleasantness, Napoleon, Mao, the Cultural Revolution, the Crusades,
the Reign of Terror, the Guillotine, Hubris, and Some Really Adorable Dollhouse Furniture?"
COMMISSIONS
Tacoma Art Museum, Frida's Owies for the exhibition, "Frida: Portraits of an Icon," 2007
Tacoma Art Museum, Marie Antoinette suite for the exhibition, "Bastille Day," 2006
CURATORIAL
2008 Guestroom Gallery, Portland, Oregon, WAR
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| SUSAN SEUBERT . BIOGRAPHY |
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(Courtesy Froelick Gallery)
Seubert is an active fine art and journalism photographer. Her provocative imagery has earned her critical acclaim with inclusion in the Portland Art Museum's 1999 and 2001 Biennials. Also in 1999 Columbia University nominated her for an Alfred Eisenstaedt Award for magazine cover. Exacting in her preparation and printing, she is a master with the techniques of silver gelatin, platinum print, and tintype.
Susan Seubert will be exhibiting her silver gelatin photographs of 'Ten Most Popular Places to Dump a Body on the Columbia River Gorge' at the Abbaye Saint-Andre, Centre d'Art Contemporain in Paris France from February 25th - June 26, 2006.
For more information visit:
www.froelickgallery.com
or www.seubertfineart.com |
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| MICHAEL SPAFFORD . BIOGRAPHY |
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Michael Spafford
Auto-Biographical Statement
I have been encouraged and aided by many people during my career as a painter. My mother first expressed appreciation for my efforts to make pictures, and by the time I had graduated from Pomona College in 1959, the difference between making pictures and painting had become clear to me.
My interest in art was stimulated by my studies of art history, philosophy, and classics. My interests in painting were stimulated by the work of the abstract expressionists, the German expressionists, and Mondrian. A class in early Netherlandish painting, taught with singular intensity and wonderful intelligence by the art historian and artist Teresa Zezzos Fulton, had a great impact on my emerging visual sensibilities.
After receiving an M.A. in art history at Harvard, I spent three years in Mexico City where I painted full-time and exhibited. During these years I explored certain classic Greek mythological themes. My interest in mythology as a visual framework for thought and feeling was intensified by the two years I spent as a Fellow of the American Academy in Rome, from 1967 to 1969. Dualism, metamorphosis, the confrontation of opposites, the struggle for achievement, the ultimate failure of an heroic effort - each of these gestures is expressed in the myths I use. My effort is to translate these gestures into abstract visual terms and pass their energy on to the viewer.
For more information visit:
www.sedersgallery.com |
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| JOHN WESLEY . BIOGRAPHY |
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Biography
1928 Born in Los Angeles, CA
1946 - 1950 Los Angeles City College and University of California, Los Angeles, CA |
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