Synonyms for dintenfass or Related words with dintenfass

morseburg              solliday              clutz              eurich              masselos              haozous              krouse              siskind              carpay              deese              petley              conisbee              tworkov              kentridge              anuszkiewicz              vanderpoel              landfield              camhi              fausett              driskell              geers              lewers              brinson              tinterow              freeberg              ashbaugh              everist              kabotie              snelson              kienholz              kirshbaum              helmick              hainley              hunkin              feigen              leckey              caverly              hubbart              lindoe              ischar              woollard              storrier              hipkins              carmean              rosenhouse              bohrod              noland              balsley              grigely              surls             



Examples of "dintenfass"
The Estate of Arthur Dove is represented by the Terry Dintenfass Gallery.
Terry Dintenfass (April 4, 1920 – October 26, 2004) was an American art dealer.
Dintenfass often works with oil paint on wooden panels fragmented into parts of a grid. "After completing a painting," writes curator and critic Lilly Wei in a study of Dintenfass' work, "Dintenfass literally takes it apart, treating each panel as a discrete entity, exchanging panels between works in an aesthetic mix and match as she searches for interactions and relationships of color and form that satisfy her sense of visual excitement, sparked by the frisson of the dissonant." In an interview with critic Irving Sandler, Dintenfass speaks of the grid as a necessary, formal restraint for the passion of the gestural marks it contains. Joyce Robinson illuminates; “Dintenfass is at heart, though, a painter, and the grid, with its reference to and notion of modular parts, has remained central to her artistic enterprise, functioning as a kind of Apollonian matrix holding in check the exuberant, vividly colored abstractions of this essentially Dionysian artist.”
Marylyn Dintenfass was born in 1943 in Brooklyn, New York and spent most of her early years in Brooklyn and then Long Island. She attended Queens College, and graduated in 1965 with a bachelor's degree in Fine Arts. During this time, the artist worked with Abstract Expressionist painter John Ferren and muralist Barse Miller. Dintenfass explored new media and developed her own reaction to abstract expressionism with color, line, and gesture. Dintenfass acquired an appreciation for a broad range of materials that led to major sculpture installations composed of ceramic materials, steel, lead, wood, wax and a variety of pigments and epoxies.
Art critic Meredith Mendelsohn writes, “Dintenfass uses luscious colors, repetitive forms, and a gestural intensity that combines Abstract Expressionism and Pop Art.”
Dintenfass took a keen interest in social and political issues. She showed the works of African-American artists including Jacob Lawrence, whom she would represent for 25 years, Raymond Saunders, and Horace Pippin. Dintenfass notably represented African-American artists in a time when Manhattan galleries displayed little African-American art. The "Social Realist" painters Philip Evergood and Robert Gwathmey helped shape the gallery with a strong social consciousness. Once settled in New York, Dintenfass became the protégé of Edith Halpert. When Halpert retired in the early 1960s, the Arthur Dove estate joined Terry Dintenfass, Inc. which then had a stable of William King, Gwathmey, Evergood, Sidney Goodman, Hyman Bloom, Antonio Frasconi, among others, and later the sculptor Elisabeth Frink.
Terry Dintenfass established her first gallery, the D Contemporary, in 1954 in the lobby of the Traymore Hotel in Atlantic City, New Jersey, where she sold the work of Milton Avery, Georgia O'Keeffe, Ben Shahn, John Marin, Max Weber, among others. She showed work on consignment from prominent New York dealers, and became especially close to Edith Halpert, whose Downtown Gallery represented the estate of Arthur Dove. In 1959, Dintenfass moved to Manhattan and opened the Terry Dintenfass Gallery. She was part of a wave of women dealers, along with Halpert, Grace Borgenicht, Betty Parsons, Antoinette Kraushaar, Joan Washburn and others, who worked the New York art market between the 1940s to the 1980s.
Dintenfass has twice been a MacDowell Fellow, was awarded a New York Foundation for the Arts Individual Artists Grant, and two National Endowment Project Grants. She was awarded the Silver Medal at the First International Exhibition, Mino, Japan, and the Ravenna Prize at the 45th Concorso Internazionale Della Ceramica D’Arte, Faenza, Italy. She was also a member of the faculty at Parsons School of Design in New York City for ten years. She is included in the recent book 100 New York Painters by Cynthia Maris Dantzig (Schiffer, 2006) and is the subject of Lilly Wei’s recently published monograph Marylyn Dintenfass Paintings from Hudson Hills Press.
The Contemporary Art collection, housed in the galleries created out of the estate’s original garage and stables, is small but of high quality, including paintings by Larry Rivers, Andy Warhol, Robert Ryman, Red Grooms, and Marylyn Dintenfass. Additionally, seven small galleries were created in the old horse stable stalls to enable Cheekwood to display installation art.
Marylyn Dintenfass (born 1943) is an American painter, printmaker, and sculptor. She is primarily known for her oil paintings, which use a dynamic color palette and lexicon of gestural imagery to explore dualities in the human experience and everyday sensual pleasures.
This painting was acquired by the IMA in 1997 from Terry Dintenfass Inc., courtesy of the National Coalition of 100 Black Women, Indianapolis Chapter; the Alliance of the Indianapolis Museum of Art; and the Mr. and Mrs. Richard Crane Fund. It is currently on display in the American Art gallery and has the accession number 1997.130.
Lilly Wei adds, "Ultimately, however, Dintenfass is more sensualist than theorist, and her paintings owe much of their allure to their materiality and the dazzle of color. Her array of ripe, radiant, saturated hues—a palette of gorgeous diversity—can be silkily smooth and nuanced; boldly exuberant; or edgily, feverishly discordant."
More than 30 public collections hold works by Dintenfass, including the Museum of Fine Arts Houston, Minneapolis Institute of Arts, the Cleveland Museum, The Detroit Institute of Arts, the Smithsonian American Art Museum, and the Metropolitan Museum of Art in New York City.
The gallery represented these artists for much of the last three to four decades and is now involved in their secondary market. The gallery continues to represent the estate of Arthur Dove. After maintaining a gallery in Manhattan for nearly 40 years, Dintenfass retired in 1999 and died in 2004. Her business is currently run by her son Andrew and his wife Ann.
Read stepped down as President of Wilmington College in 1969 to become Vice-President of the Charles F. Kettering Foundation. In 1974, when he attained the mandatory retirement age, Read chose to continue his association with the Foundation, serving as Senior Consultant in International Affairs. Two years after Henrietta Read's sudden death from cancer in 1976, James Read married Theresa K. Dintenfass.
The Vim Comedy Company was a short lived movie studio in Jacksonville, Florida and New York City. Vim bought out Siegmund Lubin's Lubin Manufacturing Company Jacksonville, Florida facilities located at 750 Riverside Avenue in 1915 after that company went bankrupt. It was founded by Louis Burstein and Mark Dintenfass. Vim specialized in two-reel comedies, producing hundreds of them in the short time it existed. Notable Vim actors were Oliver Hardy, Ethel Marie Burton, Walter Stull, Billy Ruge, Rosemary Thebe, Billy Bletcher and his wife Arline Roberts, and Kate Price. At its peak Vim had a workforce of nearly 50 people. The Vim Comedy Company went out of business in 1917 after Oliver Hardy discovered that both Burstein and Dintenfass were stealing from the payroll. Vim was bought out by the King Bee studio started by Burstein.
Although known for her paintings, Dintenfass was first recognized for her sculptural installations. Her innovative use of mixed media (ceramics, epoxies, wax, pigments, steel, lead, wood, etc.) transformed understanding of what a “ceramic” work of art could be and firmly fixed her position and influence among a generation of mixed media artists expanding the traditional definitions and boundaries of object and materials to create modern art. The results came as architectural reliefs and installation sculptures unique to her organic but structural personal style. Similar to her paintings, Dintenfass developed a modular language of symbols, amalgams of line and curve, which she would combine to create detailed pictographic languages all her own, what she has called “organic alphabets.” As Ted Castle relates, “Ideas are furtive elements, stolen from the matrix, so as to be reformed by human genius into something unforeseen—a poem, a painting, a game of dominoes, a television set, a brick, a tile, a cup. Marylyn Dintenfass is a master of the transformation of ideas into palpable form.”
The artist's abstract imagery usually appears in her work as various forms of stripes or circles arranged across translucent layers of alternating matte and high gloss textures. In a conversation with gallery owner, John Driscoll, Dintenfass likens these symbols to language that predates the written word, saying her "work relates to communication through the visceral channel." Rooted in autobiography, the artist’s paintings also examine the contrast between what she calls the “micro” and the “macro.” At times the shapes simultaneously resemble cells under a microscope and visions of the cosmos. Dintenfass' themes explore the dualities of everyday pleasures; depending on the focus of a series, her symbols might conjure characters, candies, car wheels, or paint itself.
Dintenfass has also been commissioned to create many large-scale installations, including works for the State of Connecticut Superior Courthouse; the Port Authority of NY 42nd Street Bus Terminal; IBM in Atlanta, Charlotte, and San Jose; The Baltimore Federal Financial Building; Ben Gurion University, Israel; Tagimi Middle School, Japan; and her 2010 project (and largest project to date) in Ft Myers, Florida entitled “Parallel Park.”
Dintenfass’ work has been included in more than 60 national and international exhibitions and more than a dozen solo shows including the Queens Museum of Art the Katonah Museum, The Greenville County Museum of Art and, at the Mississippi Museum of Art –an exhibition underwritten by the Andy Warhol Foundation. In 2008, her work was included in the inaugural exhibition of the Museum of Arts and Design in New York.