In this polychromed bronze sculpture, multiple views of a woman are presented in a single work, constructed of metal planes of varying color and texture. Her neck, back, and side appear in profile, her left breast viewed straight on. Her face is turned toward the viewer as her arms wrap around herself, her left arm wrapping around to the right side of her head, while her right arm holds a fan in front of her hip.
The sharp edges of the sculpture and multiple views create the illusion of depth; the work is meant to be viewed from a single viewpoint—the front—and the back of the sculpture is flat. Archipenko created the related 1914 work, a “sculpto-painting” titled Woman with a Fan, out of wood, sheet metal, a glass bottle, and a metal funnel. It is in the collection of the Tel Aviv Museum of Art.
Frances Archipenko Gray, the Artist’s widow;
[Zabriskie Gallery, New York, NY];
[Gerald Peters Gallery, New York, NY];
St. Gallen, Switerland. Galerie Im Erker. Alexander Archipenko. November 17, 1962-January 10, 1963, ill. p. 32, no. 5, np. cat. no. 8.
Los Angeles. UCLA Art Galleries. Alexander Archipenko, A Memorial Exhibition (February 26-April 9, 1967); Colorado Springs. Fine Art Center (1967); Dallas. Dallas Museum of Fine Arts (November 22, 1967-January 1, 1968); San Diego. Fine Arts Gallery of San Diego; Phoenix. Phoenix Art Museum (October 3-29, 1967); Minneapolis. Walker Art Center (May 22-June 25, 1967); Chicago, Illinois. The Museum of Contemporary Art; St. Louis. Washington University (March 15-April 20, 1968); Washington D.C. Smithsonian American Art Museum (June 26-August 31, 1968); Utica. Munson-Williams-Proctor Institute (September 20-October 31, 1968); Cincinnati. Cincinnati Art Museum (November 20-January 1, 1969), pp. 17, 66, ill. p. 17, cat. no. 23.
Annandale-on-Hudson. Edith C. Blum Art Institute, Bard College. Archipenko: Drawings, Reliefs, and Constructions. September-December 1985, pp. 60, 88, ill. p. 60, cat. no. IV-12.
New York. Gerald Peters Gallery. Cast and Carved: American Sculpture 1850-1950. November 9-December 17, 2004, p. 144, ill. p. 145.
Tulsa. Philbrook Museum of Art. From New York to New Mexico: Masterworks of American Modernism from the Vilcek Foundation Collection (February 8-May 3, 2015); Phoenix. Phoenix Art Museum (June 5-September 6, 2015); Santa Fe. Georgia O’Keeffe Museum (September 25, 2015-January 10, 2016).
Other casts/Unspecified casts:
New York. Perls Galleries. Alexander Archipenko. January 9-February 3, 1962, np., ill. cat. no. 6.
Rome. Palazzo Barberini. Alexander Archipenko. 1963, p. 34, ill. np. cat. 15.
Brussels. Palais des Beaux-Arts. Archipenko. October 22-November 11, 1969, pp. 43, 45, cat. no. 22.
Paris. Galerie Maeght. Archipenko. 1997, pp. 10, 14-15, ill. p. 10.
Zabriskie Gallery advertisement. Artforum 19 (Summer 1981), ill, p. 8.
Agee, William C. and Lewis Kachur. Masterpieces of American Modernism: From the Vilcek Collection. London: Merrell, 2013, pp. 138-139, 262, ill. p. 139.
Watts Jr., James D. “Modern masterworks: Philbrook exhibit brings American masters to Tulsa,” Tulsa World, February 12, 2015, ill.
Other casts/Unspecified casts:
Kovler Gallery advertisement. Art in America 55 (September 1967), p. 1 , ill. [advertisement for show, suggests it is cast 6/8].
Karshan, Donald H. Content and Continuity. Chicago: Kovler Gallery, 1968, pp. 27, 29, 48, ill. on cover, p. 29, fig. 22, and p. 48, no. 10.
Karshan, Donald H. “Archipenko: A Rediscovered Modern Master on Tour,” Arts Magazine 42, no. 6, April 1968, pp. 36-38, ill. p. 36.
“Notable Works of Art Now on the Market: Supplement,” The Burlington Magazine, 110, No. 789, Special Issue Commemorating the Bicentenary of The Royal Academy (1768-1968) (December 1968), n.p. ill. pl. LXXIX.
“Sotheby’s Park-Bernet,” The Burlington Magazine, 121, no. 913, Special Issue Devoted to Neapolitan Art in the Eighteenth Century (Apr., 1979), ill. p. lxv.
Michaelsen, Katherin Janszky. “The Planar Dimension. Europe, 1912-1932,” The Structurist, no. 19/20 (1979/1980), p. 128.
Schmoll, Helga, ed. Alexander Archipenko. Saarbrucken: Moderne Galerie des Saarland-Museums, 1986, pp. 48-49, ill. p. 49, cat. no. 18.
Gray, Frances Archipenko. Alexander Archipenko. New York: Zabriskie Gallery, 1987, n.p.
Nari Ward receives the Vilcek Prize in Fine Arts for a body of found-object assemblage artwork that invites both a public discourse and an intimate dialogue with viewers on topics such as race, poverty, immigration, and the Caribbean diaspora identity.
Iman Issa receives the Vilcek Prize for Creative Promise in Fine Arts for exploring, through works of various media, difficult philosophical questions, such as the individual’s relationship to places, figures, and events that are collectively familiar, or the difference between experience and recognition.
Meleko Mokgosi receives the Vilcek Prize for Creative Promise in Fine Arts for paintings that rely on intensive research, reflection, and conversation in order to address widespread misrepresentation of Africa and Africans, and to accurately portray the continent’s complex social and political realities.
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