Archives Scrapbooks

The image is a photograph of a printed document featuring an interview with an artist named Gregory Gillespie. The interview was conducted by Ruth Kligman and was published in May 1984. The document is a part of the New England Newscip, and it includes a photograph of the artist at the top.

In the interview, Gregory Gillespie discusses various aspects of his work and artistic philosophy. Key points include:

1. Polish Village Series: Gillespie mentions that he created a series called "Polish Village," which was influenced by the destruction of Polish architecture by the Nazis. He also talks about a book he read and a set of drawings he made while recovering from knee surgery.

2. Constructivism: He explains his interest in Constructivism, particularly in Russia, Germany, and Poland. He contrasts the Constructivists' work with his own, noting that his work is more textured and colored.

3. Artistic Intentions: Gillespie discusses the idea of beauty in art and the challenges of creating art that is both beautiful and meaningful. He also expresses concern about the influence of other artists and the nature of painting today.

4. Personal Style: He describes his work as accessible and meant to be enjoyed by people. He mentions that his paintings often have a Mediterranean quality and are influenced by artists like Matisse and Picasso.

5. Abstract vs. Figurative: Gillespie talks about the balance between abstraction and figurative elements in his work, stating that his paintings are always less abstract than he initially imagines them to be.

6. Creative Process: He explains his vision of his paintings as part of a larger whole, seeing them as flowing out of himself and fitting together with other paintings to form a greater whole.

The document also includes a list of picture credits, detailing the sources and descriptions of various artworks mentioned in the interview.

The image shows a two-page spread featuring an interview or article about an artist. The left page contains the text of the interview, while the right page includes a header that reads "MAY 1984" and "NEW ENGLAND NEWSCLIP," along with some credits and a list of images under the title "Fogg Art."

Left Page:

The text discusses the artist's thoughts on their work and influences. Key points include:

• The artist mentions reading about Polish synagogues and being influenced by Constructivism, leading to the creation of the "Polish Village" series.
• The artist believes that while Constructivism was mechanistic, their work is textured and colored, aiming for beauty.
• The artist feels a responsibility to create beautiful work and is aware of the need to push their work further.
• The artist's paintings are described as clear and accessible, intending to create an environment that invites the viewer to join in, contrasting with the idea of "projectiveness" that might push the viewer away.
• The artist's work combines abstraction with a Mediterranean sensibility, blending a sense of heat and density different from the work of Mondrian or Kandinsky.
• The artist sees their work as part of a larger tradition of painting and hopes it will be seen as flowing out of that tradition.

Right Page:

• The header indicates the date (May 1984) and source (New England Newsclip).
• The section titled "Fogg Art" lists several artworks with their respective details such as medium, dimensions, and collections. Some of the artworks mentioned include:
  • "Pages: 44-45, Parahiba, 1978, 9' x 8', Graham Gund Collection, Boston."
  • "Page 48: 3 B 74, 1974, 8' x 8', Fogg Art Museum, Harvard University, Cambridge, MA, 02138."
  • Several other artworks with details on their mediums and collections.

In summary, the document is a 1984 interview or article that delves into the artist's creative process, influences, and views on the role of beauty and accessibility in art, alongside details of some of their works exhibited or collected by various institutions.

The image shows a transcribed excerpt from a 1984 interview conducted by the New England Newsclip with an artist discussing their work and artistic philosophy.

Key points from the transcript include:

1. Polish Village Series: The artist reflects on a series of works inspired by Polish villages, initially triggered by a book about Polish synagogues. They describe these pieces as textured and colorful, contrasting with the more austere and mechanistic style of Constructivists.

2. Artistic Responsibility: The artist emphasizes the importance of an artist’s responsibility in creating art. They believe beauty is a personal responsibility and that one can't rely on others to create beauty. The artist finds beauty in their own work and feels it's valid if it resonates with them.

3. Contribution to Painting: The artist is concerned about the impact of individual artists on the broader field of painting. They feel it's crucial to enrich the nature of contemporary painting and the role of the artist in the context of the whole.

4. Accessibility and Projection: The core of their work aims at being accessible and engaging with the viewer. The artist mentions the concept of "projection" and the idea of inviting the spectator to engage with the art rather than just being passive observers.

5. Influence and Sensibility: The interview discusses the artist’s influences, including Mondrian, Kandinsky, and the Mediterranean sensibility. They note that their approach combines Northern, barbaric traditions with Mediterranean sensibility, focusing on the organization of forms and the overall impression rather than literalism.

6. Norton Lectures: The artist mentions that their views have been influenced by the Norton Lectures, which changed their perspective on their work.

The interview also includes a small section of references to specific artworks, mentioning details like titles, dimensions, and the collections where these pieces are housed.

The image contains a transcribed interview or conversation about an artist's work, specifically focusing on their "Polish Village" series. Here's a detailed summary:

1. Introduction to the Series:

   • The artist mentions reading about Polish synagogues, which led them to explore the architecture destroyed by the Nazis.
   • The artist was in the hospital recovering from knee surgery and began drawing, incorporating ideas from Proctorator and the Eccentric Polygons.
   • Initially, the forms were reminiscent of Constructivist work, but the artist began thinking about the Constructivists in Russia and the aesthetic differences between Germany and Poland.

2. Artistic Intent and Beauty:

   • The artist expresses that they cannot determine if their work is beautiful, but they know their responsibility as an artist is to create art.
   • They acknowledge the beauty perceived by others in their work and consider it a plus when it happens.
   • The artist is concerned about the contributions of individual artists to the broader enterprise of painting, worried about the nature of painting today and its future direction.

3. Influence and Validation:

   • The artist believes everything has meaning in context and that they are not expected to do exactly what others do.
   • They admit they may push their work beyond their current abilities and feel there is a balance between their own vision and the efforts of other painters.

4. Accessibility and Impulse:

   • The artist states that their paintings aim to be accessible and create an environment that is available to everyone.
   • Their work is described as "projectiveness," which is meant to reach out and join the spectator, rather than simply being an abstract spectacle.

5. Influence from Norton Lectures:

   • The Norton Lectures significantly influenced the artist’s perspective on their work.
   • The artist identifies with American painter qualities, an Italian Catholic sensibility, and a Mediterranean quality, highlighting a kind of density and sensibility different from Mondrian and Kandinsky.

6. Abstract and Sensual Elements:

   • The artist blends abstraction with a kind of heat and sensuality, contrasting with the approach of Matisse and Picasso who hated abstract painting.
   • The artist’s paintings are seen as a blend of Northern, barbaric tradition with Mediterranean sensibility, aiming to create a kind of image and organization of forms that is less literal and more visionary.

7. Overall Vision:

   • The artist’s paintings are not literal but rather a vision of what they could be, seen in terms of the whole enterprise of painting.
   • They believe their paintings flow out of them and are part of a larger, greater whole, taking into account the broader context of painting.

The document is dated May 1984 and is from the "New England Newsclip" at Hampshire College, University of Massachusetts Amherst. The text includes references to various artworks and artists, and there are notes about the pictures credited to Jeffry Art.

The image shows a handwritten page from an interview with an artist, along with a clipping from a newspaper or magazine.

Handwritten Page:

The handwritten page appears to be a transcript of an artist discussing their work and artistic influences. Here are the key points:

1. Polish Village Series:

   • The artist mentions reading a book about Polish synagogues destroyed by the Nazis, which inspired their series "Polish Village."
   • They were recovering from knee surgery and were thinking about Constructivism and its relation to Russia, Germany, and Poland.

2. Constructivism:

   • The artist notes that while much of the Constructivists' work was mechanical and austere, their own "Polish Village" pieces are textured and colored, emphasizing the beauty found in many people's work.

3. Artistic Responsibility:

   • The artist discusses the responsibility of creating art and the challenge of knowing what the artist wants to convey.

4. Contribution to the Artistic Community:

   • The artist expresses concern about not contributing enough to the broader artistic community and worries about the nature of painting today.

5. Personal Approach to Art:

   • The artist talks about their work being meant to be accessible and creating an environment that is both projective and reachable.

6. Influence of Norton Lectures:

   • The artist reflects on how the Norton Lectures influenced their thinking, particularly in terms of abstract art and its sensibility.

7. Artistic Sensibility and Style:

   • The artist discusses their style, which combines abstraction with Mediterranean sensibility and a kind of density, inspired by Mondrian and Kandinsky.
   • They mention the heat and sensuality in their work, aiming to create an environment that is accessible and inviting.

8. Organizing Forms:

   • The artist's paintings are described as starting from an image or organization of forms, aiming to create a kind of heat and flow within the painting.

Magazine/Newspaper Clipping:

The clipping is from "New England Newsclip" dated May 1984 and features an article titled "Judy Art Picture credited to...":

• The clipping lists various works by the artist Judy Art, including paintings and mixed media pieces, with their respective sizes and mediums.
• It includes information about the exhibitions and collections where these works are displayed, such as the Harvard University Art Museums and the Fogg Art Museum.
• The clipping mentions specific works like "Eastern Road" and "Mixed Media on Encaustic," and provides the dimensions of each piece.

Overall, the image captures a thoughtful discussion on artistic philosophy and a detailed record of an artist's exhibitions and works.

The image displays a page from the New England Newscip, dated May 1984. The main feature of the page is an interview with an artist, accompanied by a picture credit to Jay Cassidy.

Interview Summary:

Topic: Discussion about the artist's work and views on art, specifically focusing on the influence of Polish Village synagogues and Constructivism.

Key Points:

1. Inspiration from Polish Synagogues:

   • The artist read about Polish synagogues destroyed by the Nazis and saw drawings of their architecture post-knee surgery.
   • The intricate designs of these synagogues inspired thoughts about the Eclectic Polygons and led to an interest in Constructivism in Russia, Germany, and Poland.

2. Constructivism vs. Polish Village Pieces:

   • The artist acknowledges that while Constructivist works are austere and mechanical, their own Polish Village pieces are more textured and colorful.
   • They express uncertainty about the beauty of their work, leaving that judgment to others.

3. Responsibility of the Artist:

   • The artist feels it's their responsibility to create the best work they can, given their abilities and limitations.
   • They believe that creating beautiful art is not solely their concern but that of all artists.

4. Nature of Painting Today:

   • The artist expresses concern that contemporary painting might not enrich people as a whole and worries about the current state of painting.
   • They feel that many artists today might not be addressing the true problems of painting.

5. Understanding Art:

   • The artist feels that everything has been done to some extent, but they try to push their work within their limits.

6. Purpose of Art:

   • The artist believes their paintings aim to be accessible and hospitable, inviting viewers into an environment.
   • They mention "Projectiveness" as an important aspect, not just for the spectator but to engage them.

7. Influence of Norton Lectures:

   • The lectures changed the artist's perspective on their work, emphasizing the Mediterranean quality of weight and density, differing from Northern European traditions.

8. Artistic Style:

   • The artist's work is described as abstract yet grounded in a sense of image and organization.
   • It blends abstraction with a Mediterranean sensibility, focusing on heats and sensitivity.
   • Their paintings are part of a broader enterprise of painting, larger than themselves, and contribute to a collective artistic effort.

Picture Credits:

The credits at the bottom list various artists whose works are featured in the issue, including:

• Grace Graupe Pillard
• Graham Gund
• Sylvia Lark
• David Maxim
• Michael Mazur
• Steve Trefonides
• among others.

Additionally, there is a note about the photographs and their source, the Archives of American Art and Harry Rand from the Humanities Research Center, University of Texas at Austin.

The image shows a document with text that appears to be from an interview or an article, and a newspaper clipping affixed to the bottom right corner. The document is printed in English and partially discusses the subject of Polish synagogues, art, and the painter's perspective on their own work and influences.

The text alludes to artistic themes such as Constructivism, the Polish Village pieces, and mentions artists like Mondrian and Kandinsky. It also touches upon the intersection of culture, heritage, and artistic work, with the painter reflecting on their connection to a Polish and European heritage.

The newspaper clipping at the bottom has the date "MAY 1984" and the title "NEW ENGLAND NEWSCLIP" with the location listed as Cambridge, Massachusetts. It also features a handwritten signature or inscription that resembles the word "Lotty."

The document is slightly curled at the top edge, showing that it is a physical piece of paper rather than a digital document, and there appears to be a photograph or illustration on the reverse side, as indicated by a visual bleed-through at the top right corner.

The image shows a piece of white paper with printed text on it, placed on a gray surface. The top left corner of the paper is being held or lifted by another sheet. The main body of the visible paper contains a column of text aligned to the left side, with dialogue or interview-style content discussing art, artists, and painting. The text references Polish synagogues, Constructivists, and artists like Matisse and Picasso.

On the right side of the paper, there is a date "MAY 1984" stamped or printed above the words "NEW ENGLAND NEWSCLIP." Below this is a stamp indicating "HARVARD UNIVERSITY CAMBRIDGE, MA" with additional small text underneath. There is also a handwritten note or signature that reads "Fogg Art."

Near the bottom right, there is a section labeled "Picture credits," which lists various pages, collections, and artists with detailed citations related to the images or artworks referenced in the clip.

Overall, the paper looks like a clipped article or interview from a publication, likely related to art history or critique.

The image shows a white page from a magazine or book, featuring an excerpt from an interview with an artist. The text is written in black ink and appears to be a discussion about the artist's work and philosophy. The excerpt discusses the artist's desire to create accessible art, their approach to abstraction, and the influence of their Mediterranean background on their work. The page also includes credits for the article and images used, as well as a date of May 1984.

The image shows a page from a publication titled "New England Newsletter", dated May 1984. The page appears to be part of an issue from the Harvard Art Museums, as indicated by the header. The layout includes a mix of text and a small photograph or illustration in the upper-left corner, though the image is partially cropped and not fully visible.

Key Elements on the Page:

1. Header Information:

   • The top of the page features the title "NEW ENGLAND NEWS CLIP" and the publication name "HARVARD ART MUSEUMS".
   • The date is clearly marked as "MAY 1984".

2. Main Text Content:

   • The main body of text is a reflective essay or article discussing art, specifically focusing on the artist's perspective and philosophy regarding their work. The author reflects on their experiences with Polish synagogues, Constructivist art, and their own artistic approach.
   • The text explores themes such as beauty in art, the artist's responsibility, the nature of painting, and the influence of other artists like Mondrian and Kandinsky. The author also discusses their own artistic style, which incorporates abstraction and sensuality.

3. Footer Information:

   • At the bottom of the page, there is a section titled "Picture Credits", listing various artworks and their details:
     • Page 44–45: References works by artists such as Laurie Berenson, Graham Gund, and others.
     • Page 46: Mentions a collection piece by Laurie Berenson and a gift by Lawrence Ruth.
     • Page 47: Includes details about a Graham Gund Collection.
     • Page 48: References Graham Gund Collection again, along with works by Laurie Berenson and Harry Ransom.
     • Page 49: Lists a photograph by Mrs. Campbell on page 55A of the State University of Texas Press.
   • The footer also includes a note about an Appointed Visiting Fellow in the Humanities Research Center, University of Texas at Austin.

4. Visual Layout:

   • The page is formatted in a standard newsletter style, with justified text and clear headings.
   • The left margin contains a small, cropped image, likely a photograph or illustration, but its details are not fully visible due to the cropping.

Overall Context:

The page appears to be an excerpt from an art-focused newsletter or magazine, likely discussing contemporary art, artist reflections, and exhibitions. The inclusion of picture credits suggests that the issue may accompany a gallery or exhibition, providing context for the artworks mentioned in the text. The reflective tone of the main article indicates a focus on personal artistic philosophy and critique.