Название гранд-отеля «Les Trois Rois» переводится как «Отель трех королей».
Более точно название переводится как «Три волхва». Не случайно главный фасад отеля украшают фигуры трех волхвов. Подобные названия часто давали гостиницам и постоялым дворам: волхвы считались покровителями путешественников и паломников. – Примеч. переводчика.
Первоначальное название – Центр современной культуры «Гараж».
Julia Halperin, “Here Are All the Basquiats at Art Basel, Worth a Combined $89 Million,” Artnet News, June 14, 2017, https://news.artnet.com/market/here-are-all-the-many-basquiats-at-art-basel-991865.
Dodie Kazanjian, “House of Wirth: The Gallery World’s Power Couple,” Vogue, January 10, 2013, www.vogue.com/article/house-of-wirth-the-gallery-worlds-art-couple.
Alexander Forbes, “Art Market Rebounds at Art Basel in Basel,” Artsy, June 13, 2017, www.artsy.net/article/artsy-editorial-art-market-rebounds-art-basel-basel.
Brenna Hughes Neghaiwi, “As Art Flies Off the Walls at Basel, Buyers Beware, Experts Warn,” Reuters, June 15, 2017, www.reuters.com/article/us-art-basel-idUSKBN19623G.
В оригинале, на немецком языке, высказывание звучало следующим образом: “Kunst ist eine Linie um deine Gedanken”.
См.: Peggy Guggenheim to Betty Parsons, 5 May 1947, Betty Parsons Gallery records and personal papers, Archives of American Art, Smithsonian Institution.
Susan Davidson and Philip Rylands, eds., Peggy Guggenheim & Frederick Kiesler: The Story of Art of This Century (New York: Guggenheim Museum, 2004), 370.
Ibid., 379.
Lee Hall, Betty Parsons: Artist, Dealer, Collector (New York: H. N. Abrams, 1991), 17.
«Катинки» были ближайшими подругами Бетти и поддерживали ее на протяжении всей жизни. Слово составлено из двух существительных: «качина» (название индейских кукол) и «Катринка» (имя персонажа популярного комикса 1950-х). – Примеч. переводчика.
Ibid.
Парсонс сразу же взяла в свою галерею Ротко, Ньюмана и Стилла. См.: Steven Naifeh and Gregory White Smith, Jackson Pollock: An American Saga (New York: C. N. Potter, 1989), 545.
Hall, Betty Parsons, 77.
Биограф Дебора Соломон пишет, что этот случай, скорее всего, был единичным. См.: Deborah Solomon, Jackson Pollock: A Biography (New York: Simon & Schuster, 1987), 127–128.
B. H. Friedman, Jackson Pollock: Energy Made Visible (New York: McGraw-Hill, 1972), 180.
Dore Ashton, “Artists and Dealers,” in A History of the Western Art Market: A Sourcebook of Writings on Artists, Dealers, and Markets, ed. Titia Hulst (Oakland: University of California Press, 2017), 317.
Гуггенхайм прекратила выплачивать пособие в 1948 году. “No Limits, Just Edges: Jackson Pollock Paintings on Paper,” Guggenheim Museum, www.guggenheim.org/exhibition/no-limits-just-edges-jackson-pollock-paintings-on-paper.
Philip Hook, Rogues’ Gallery: The Rise (and Occasional Fall) of Art Dealers, the Hidden Players in the History of Art (New York: Experiment, 2017), 239.
Этот эпизод относится к декабрю 1947 года. См.: Harold Rosenberg, Barnett Newman (New York: Abrams, 1978), 234.
Ann Temkin, Barnett Newman (Philadelphia: Philadelphia Museum of Art, 2002), 158.
Цит. по: James E. B. Breslin, Mark Rothko: A Biography (Chicago: University of Chicago Press, 1993), 251, 335.
Solomon, Jackson Pollock, 177–178.
См.: Mary V. Dearborn, Ernest Hemingway: A Biography (New York: Knopf, 2017), 691.
См.: Robert Motherwell, “The School of New York,” manifesto, January 1, 1951, transcribed by Smithsonian Digital Volunteers, Archives of American Art, Smithsonian Institution.
Термин «живопись действия» первым ввел Гарольд Розенберг. См.: Harold Rosenberg, “The American Action Painters,” ARTnews, December 1952, 22.
“Colour Field Painting,” Tate, www.tate.org.uk/art/art-terms/c/colour-field-painting.
William Grimes, “Grace Hartigan, 86, Abstract Painter, Dies,” New York Times, November 18, 2008, www.nytimes.com/2008/11/18/arts/design/18hartigan.html.
Mark Stevens and Annalyn Swan, De Kooning: An American Master (New York: Knopf, 2004), 209.
Ibid., 251.
Ibid., 271.
Hall, Betty Parsons, 20.
Ibid., 178.
Ibid., 41.
Ibid., 54.
John Yau, “The Legendary Betty Parsons Meets the Not-So-Legendary Betty Parsons,” Hyperallergic, July 9, 2017, https://hyperallergic.com/389386/betty-parsons-invisible-presence-alexander-gray-associates-2017/.
Hall, Betty Parsons, 61.
Ibid., 72.
Ibid., 81.
“Jackson Pollock,” Collection Online, Guggenheim Museum, www.guggenheim.org/artwork/artist/jackson-pollock; “The Post-War Period, 1948–1973,” La Biennale di Venezia, www.labiennale.org/en/history/post-war-period-and-60s; “History, 1985–2018,” La Biennale di Venezia, www.labiennale.org/en/history.
Patricia Albers, Joan Mitchell: Lady Painter (New York: Knopf, 2011), 139.
Hall, Betty Parsons, 94–95.
Artspace Editors, “Dealer Betty Parsons Pioneered Male Abstract Expressionists – But Who Were the Unrecognized Women Artists She Exhibited?” Artspace, April 3, 2017, www.artspace.com/magazine/interviews_features/book_report/dealer-betty-parsons-pioneered-male-abstract-expressionistsbut-who-were-the-unrecognized-women-54682.
Hall, Betty Parsons, 102.
“Chronology,” Barnett Newman Foundation, www.barnettnewman.org/artist/chronology; Hilarie M. Sheets, “Clyfford Still, Unpacked,” Art in America, November 1, 2011, www.artinamericamagazine.com/news-features/magazine/clyfford-still-unpacked/.
Breslin, Mark Rothko, 335.
Interview with Sidney Janis, October 15–November 18, 1981, Archives of American Art, Smithsonian Institution.
Clayton Press, “Motherwell to Hofmann: The Samuel Kootz Gallery, 1945–1966 at Neuberger Museum of Art, Purchase, NY,” Forbes, February 18, 2018, www.forbes.com/sites/claytonpress/2018/02/18/motherwell-to-hofmann-the-samuel-kootz-gallery-1945-1966-at-neuberger-museum-of-art-purchase-ny/#30a553e443c0.
Hall, Betty Parsons, 102; Jennifer Farrell et al., The History and Legacy of Samuel M. Kootz and the Kootz Gallery (Charlottesville: Fralin Museum of Art at the University of Virginia, 2017), 78.
“Sidney Janis Gallery,” Archives Directory for the History of Collecting in America, Frick Collection, http://research.frick.org/directoryweb/browserecord.php? – action=browse&-recid=6222.
Interview with Sidney Janis, October 15 – November 18, 1981, Archives of American Art, Smithsonian Institution.
Laura De Coppet and Alan Jones, The Art Dealers (New York: Cooper Square Press, 2002), 37.
Willem de Kooning, Excavation, 1950, oil on canvas, 205.7 x 254.6 cm, Art Institute Chicago, www.artic.edu/aic/collections/artwork/76244.
Barbara Hess and Willem de Kooning, Willem de Kooning, 1904–1997: Content as a Glimpse (Cologne: Taschen, 2004), 42.
“Willem de Kooning,” Art Bios, March 8, 2011, https://artbios.net/3-en.html.
Ben Heller, interview by Avis Berman, Museum of Modern Art Oral History Program, April 18, 2001, 5.
Ibid., 26.
Ibid., 5; Jed Perl, “The Opportunist,” New Republic, October 20, 2010, https://newrepublic.com/article/78555/the-opportunist-leo-castelli-art.
Perl, “The Opportunist.”
Ben Heller, interview by Avis Berman, Museum of Modern Art Oral History Program, April 18, 2001, 5.
Jackson Pollock, One: Number 31, 1950, 1950, oil and enamel paint on canvas, 8’ 10” × 17’ 5 5/8» (269.5 × 530.8 cm), Museum of Modern Art, New York, www.moma.org/collection/works/78386.
Naifeh and Smith, Jackson Pollock: An American Saga, 765.
Ibid. По словам Бадда Хопкинса, этот подарок был сделан «в знак признательности за его [Хеллера] преданность творчеству Поллока». См. также: Friedman, Jackson Pollock: Energy Made Visible, 199.
Laurie Gwen Shapiro, “An Eye-Popping Mid-Century Apartment Filled with Pollocks, Klines, and De Koonings,” New York, October 27, 2017, www.thecut.com/2017/10/ben-hellers-mid-century-nyc-apartment.html.
В английском варианте название картины «Обмен» («Смешение») иногда указывают как Interchange, однако корректным является написание Interchanged (1955). См.: John Elderfield, De Kooning: A Retrospective (New York: Museum of Modern Art, 2012), 32.
Закон США, по которому лицам, служившим на фронте во время Второй мировой войны, выделялись стипендии для получения образования и предоставлялись другие льготы. – Примеч. переводчика.
Hall, Betty Parsons, 94–95, 180; Holland Cotter, “Ellsworth Kelly, Who Shaped Geometries on a Bold Scale, Dies at 92,” New York Times, December 27, 2015, www.nytimes.com/2015/12/28/arts/ellsworth-kelly-artist-who-mixed-european-abstraction-into-everyday-life-dies-at-92.html; John Russell, “Art: Jack Youngerman at the Guggenheim,” New York Times, March 7, 1986, www.nytimes.com/1986/03/07/arts/art-jack-youngerman-at-the-guggenheim.html?pagewanted=all; “Ellsworth Kelly: Biography,” Hollis Taggart, 2017, www.hollistaggart.com/artists/ellsworth-kelly.
Слово slip имеет, в частности, значения «стапель», «аппарель». – Примеч. переводчика.
Holland Cotter, “Where City History Was Made, a 50’s Group Made Art History,” New York Times, January 5, 1993, www.nytimes.com/1993/01/05/arts/where-city-history-was-made-a-50-s-group-made-art-history.html.
Ibid.
Hans Namuth, Artists on the Roof of 3–5 Coenties Slip (left to right: Delphine Seyrig, Duncan Youngerman, Robert Clark, Ellsworth Kelly, Jack Youngerman, and Agnes Martin), ca. 1967, photograph, Hans Namuth Archive, Center For Creative Photography.
Alanna Martinez, “How Rauschenberg Elevated Tiffany’s Window Displays into an Art Form,” Observer, December 30, 2016, http://observer.com/ 2016/12/robert-rauschenberg-tiffany-windows/.
Grace Glueck, “Alfred Hamilton Barr Jr. Is Dead; Developer of Modern Art Museum,” New York Times, August 16, 1981, www.nytimes.com/ 1981/08/16/obituaries/alfred-hamilton-barr-jr-is-dead-developer-of-modern-art-museum.html?pagewanted=all.
Ibid.
В 1958–1959 годах выставка «Новая американская живопись» объехала восемь европейских стран.
Interview with Sidney Janis, October 15 – November 18, 1981, Archives of American Art, Smithsonian Institution.
Leo Castelli, interview, May 14, 1969 – June 8, 1973, Archives of American Art, Smithsonian Institution.
Annie Cohen-Solal, Leo and His Circle: The Life of Leo Castelli (New York: Knopf, 2010), 171, 176.
Ibid., 177.
Ibid., 361.
Titia Hulst, “The Right Man at the Right Time: Leo Castelli and the American Market for Avant-Garde Art,” (PhD diss., New York University, 2014), 67.
Cohen-Solal, Leo and His Circle, 122.
Hulst, “The Right Man at the Right Time,” 67.
Cohen-Solal, Leo and His Circle, 151.
Ibid., 178.
Ibid., 151.
Ibid., 186.
Hiroko Ikegami, The Great Migrator: Robert Rauschenberg and the Global Rise of American Art (Cambridge, MA: MIT Press, 2010), 21.
“The Ninth Street Exhibition – 1951,” in Art Now and Then, a blog by Jim Lane, September 6, 2015, http://art-now-and-then.blogspot.com/2015/09/the-ninth-street-exhibition-1951.html.
Marika Herskovic, New York School Abstract Expressionists: Artists Choice by Artists, a Complete Documentation of the New York Painting and Sculpture Annuals, 1951–1957 (Franklin Lakes, NJ: New York School Press, 2000), 13–14.
De Coppet and Jones, Art Dealers, 87.
Ibid., 88.
John Cage, Silence (Middletown, CT: Wesleyan University Press, 1967), 102.
Olivia Laing, “Robert Rauschenberg and the Subversive Language of Junk,” Guardian, November 25, 2016, www.theguardian.com/artanddesign/2016/nov/25/robert-rauschenberg-and-the-subversive-language-of-junk-tate.
Leo Steinberg, The New York School: Second Generation (published in conjunction with the exhibition of the same title, organized by and presented at the Jewish Museum, New York, March 10 – April 28, 1957), cover.
Ann Fensterstock, Art on the Block: Tracking the New York Art World from Soho to the Bowery, Bushwick and Beyond (New York: Palgrave Macmillan, 2013), 49.
Deborah Solomon, “The Unflagging Artistry of Jasper Johns,” New York Times, June 19, 1988, www.nytimes.com/1988/06/19/magazine/the-unflagging-artistry-of-jasper-johns.html?pagewanted=all.
Ibid.
Editors of ARTnews, “From the Archives: Betty Parsons, Gallerist Turned Artist, Takes the Spotlight, in 1979,” ARTnews, June 16, 2017, www.artnews.com/2017/06/16/from-the-archives-betty-parsons-gallerist-turned-artist-takes-the-spotlight-in-1979/.
Ibid.
Solomon, “Jasper Johns.”
Calvin Tomkins, Off the Wall: A Portrait of Robert Rauschenberg (New York: Picador, 2005), 131.
По поводу истинных масштабов этой коллекции единого мнения нет. См.: Carol Vogel, “A Colossal Private Sale by the Heirs of a Dealer,” New York Times, April 4, 2008, www.nytimes.com/2008/04/04/arts/04iht-04vogel.11673988.html.
Hulst, “The Right Man at the Right Time,” 154.
Ibid., 79.
Robert Sam Anson, “The Lion in Winter,” Manhattan, Inc., December 1984.
Hunter Drohojowska-Philp, “Art Dealer Irving Blum on Andy Warhol and the 1960s L. A. Art Scene (Q & A),” Hollywood Reporter, November 4, 2013, www.hollywoodreporter.com/news/art-dealer-irving-blum-andy-653195. В 1962 году Блум стал единоличным владельцем галереи Ferus: его партнер Уолтер Хоппс перешел работать куратором в Художественный музей Пасадены.
Calvin Tomkins, Lives of the Artists: Portraits of Ten Artists Whose Work and Lifestyles Embody the Future of Contemporary Art (New York: Henry Holt, 2008), 178.
Emma Brockes, “Master of Few Words,” Guardian, July 26, 2004, www.theguardian.com/artanddesign/2004/jul/26/art.usa.
Cohen-Solal, Leo and His Circle, 367–369.
Эта работа 1960 года, также получившая название «Окрашенная бронза», формально находилась в частной коллекции Джаспера Джонса, но экспонировалась по решению автора в Художественном музее Филадельфии, пока в 2015 году ее не приобрели коллекционеры Мари-Жозе и Генри Крэвис. См.: Museum of Modern Art, “MoMA Announces Recent Acquisitions, Including ‘Painted Bronze’ by Jasper Johns,” press release, March 16, 2015, http://press.moma.org/2015/03/new-acquisitions-johns/.
Sidney Janis Gallery, Sidney Janis Presents an Exhibition of Factual Paintings & Sculpture From France, England, Italy, Sweden and the United States: By the Artists Agostini, Arman, Baj… Under the Title of the New Realists (New York: Sidney Janis Gallery, 1962).
“4 East 77th Street – 1957–1976,” Castelli Gallery, http://castelligallery.com/history/4e77.html.
Solomon, “Jasper Johns.”
Christine Bianco, “Selling American Art: Celebrity and Success in the Postwar New York Art Market” (MA diss., University of Florida, 2000), 32.
Tomkins, Off the Wall, 133.
“Collecting Jackson Pollock,” in Greg.org, a blog by Greg Allen, September 4, 2007, http://greg.org/archive/2007/09/04/collecting_jackson_pollock.html.