Podcasts about Richard Diebenkorn

This site hosts audio only. To see the video of this special episode, please go to, https://youtu.be/8NdUlrhpjHkMarie is an internationally exhibited painter. Her oil paintings address the tension of urban landscape and the natural world. Inspired by frequent walks through various trails and open spaces in California, her work reveals her observations of the changes and dynamics of nature in the face of the ongoing climate crisis. Engaging notions of abstraction, her work references the surrounding landscape using atmospheric color shifts, fragmented imagery and multiple viewpoints to suggest the ideas of flux, change and instability in the environment. Marie taught painting and color theory at CSULB for 30 years, where she developed an Advanced Studies in Color class.June is a recipient of the COLA Fellowship, the Guggenheim and the California Community Foundation, Fellowship for Visual Artists.  June uses abstract painting to explore how color, repetition, movement, and balance can serve as conduits to spiritual contemplation and interpersonal connection to her African-American roots. Exploring the psychological construct of skin color or tone through pattern and abstract painting has proven to be a revealing gesture and these ideas are explored in her two ongoing series: the Energy Wheel Paintings inspired by her meditation practice and her Flag Paintings, which explore the alignment of multiple identities such as race, nationality, gender, or political leanings.  June's public art works include a Venetian glass mosaic at the Metro Pacific Station in Long Beach Influences: Marie has two main influences: first, the New York abstract school where her formalist abstract artist teachers were students of the pivotal figure in Abstract Expressionism, Hans Hoffman. That experience that has always remained with her. Second, were her teachers Elmer Bishoff and Joan Brown at Berkeley, members of the "second generation" of the Bay Area Figurative Movement. Marie always loved the California painting of Richard Diebenkorn and Wayne Thiebaud and the landscape expanse.June's influences include Varnette Honeywood, Romare Beardon, Jacob Lawrence, Charles White, David Hockney and Alma Thomas. Another influence was the 1976 LACMA show ‘Two Centuries of Black American Art.' These works had a profound, formative impact upon June. Other inspiration/explorations have drawn from cultural and African American historical references, sacred geometry and very recently, the Benin emblem of the river leaf.Find more information at: www.mariethibeault.com  and www.luisdejesus.com/artists/june-edm 

Panel moderator SBWC faculty member Norm Thoeming (aka August Norman) is author of two literary thrillers and mysteries, Come and Get Me and Sins of the Mother. Barnaby Conrad III, is author of Jacques Villeglé and the Streets of Paris. His other books are Absinthe: History in a Bottle, Ghost Hunting in Montana, and The Martini. He's also written monographs on American artists Richard Diebenkorn, John Register, and Mark Stock. He served as senior editor of Art World in New York, senior editor of Horizon, and Editor-at-Large for Forbes Life, and he was a special correspondent in Paris for the San Francisco Chronicle.Marianne Dougherty, is the author of What We Remember, her debut novel about 4 women who find comfort in friendship before life begins to unravel. In the aftermath of unspeakable tragedy, they go separate ways. Twenty years later, when one is diagnosed with Alzheimer's, she asks her daughter to arrange a reunion to pick up threads of a story that began a long time ago. In 2018 and 2022 she was a finalist for a Golden Quill Award for journalistic excellence. Jim McCutchon is the author of To Free a Slave – The Moral Dilemma of Slavery, a historical novel set in the 1800s on the Ormond Plantation owned by his great, great grandfather. After retiring from a successful career as a urologist, and after raising 8 children, McCutcheon took up writing at age 84. Now at 92, and with two books completed, he resides in Corpus Christi, Texas where he enjoys gardening, crosswords, reading, and lifelong friends.Diana Raab is the author of 10 books, the latest being An Imaginary Affair – Poems Whispered to Neruda, a collection of sensitive and sensuous poems exploring the challenges and intricacies of being human. The poems touch on key human elements, such as love, desire, passion, memory loss, and gratitude. She's a memoirist, poet, essayist, blogger, and speaker. She teaches memoir at SBWC and presents workshops in writing for healing and transformation.Max Talley is the author of My Secret Place, 17 short stories about musicians and artists. These eccentrics are secret heroes of their own lives. Humor is mixed with pathos and social commentary. He was born in New York City and lives in Santa Barbara. He's a professional musician and artist, as well as a writer. His work has appeared in numerous journals. He teaches a writing workshop at the Santa Barbara Writers Conference.

Episode Notes Joan Brown (1938-1990) was an American figurative painter who was a key figure in the Bay Area Figurative Movement, which emerged in San Francisco in the 1950s and 60s. Her work is known for its powerful use of color and its exploration of identity, often focusing on the female experience. Brown was born in San Francisco and studied at the California School of Fine Arts (now the San Francisco Art Institute). She was strongly influenced by the Bay Area Figurative painters, including Richard Diebenkorn and David Park, who emphasized the importance of the human figure in their work. Brown's early paintings were characterized by a bold use of color and a focus on the human form, often depicting herself or her family members. In the 1960s, her work became more abstract, with a greater emphasis on texture and surface. In the 1970s, Brown returned to figurative painting, creating powerful images of women that challenged traditional notions of femininity. Her work often explored themes of motherhood, sexuality, and identity, and she was one of the few female artists of her time to gain widespread recognition. Brown's work has been exhibited widely in the United States and abroad, and she has been the subject of numerous retrospectives, including a major exhibition at the Berkeley Art Museum in 1990, the year of her death. Her legacy continues to influence contemporary artists today. Find out more at https://three-minute-modernist.pinecast.co

 In Platemark s3e21, host Ann Shafer talks with Pam Paulson, founder of Paulson Fontaine Press, Berkeley, California. After earning her MFA in painting from the San Francisco Art Institute in 1982 (she was a teaching assistant for Robert Colescott), Pam cut her teeth in printmaking at Crown Point Press in downtown San Francisco. There she worked with luminaries such as John Cage and Richard Diebenkorn. In 1996, she started publishing prints as Paulson Press. She and Renée Bott joined forces as Paulson Bott Press, and following Renée's retirement, Pam is joined by Rhea Fontaine precipitating the change in name to Paulson Fontaine Press. The Press works with a fabulous array of artists, specializing in intaglio printmaking. Our conversation focuses on some of the intriguing projects Pam has worked on over the years, leading off with projects at Crown Point with artist John Cage during which the press was set on fire (on purpose).  Episode image: Alex Wein

Episode Notes Our Patreon Auto-Generated Transcript ThreeMinuteModernist2022-UntitledDancingGirls-ErnestBriggs Mon, 8/15 10:50AM • 3:05 SUMMARY KEYWORDS figures, work, abstract, museum, fascinating, dynamic, british museum, inhabiting, dancing, sensation, briggs, bish, entire, representational, poses, women, canvas, garcia, indications, ernest SPEAKERS Christopher Garcia   Christopher Garcia  Ernest Briggs is an artist I've been aware of mostly for his association with the abstract expressionists. The 1960s, work, Untitled dancing girls is fantastic. In that sort of way that Richard Diebenkorn or Elmer Bischoff, we're in their representational phases, Phil Gusman, to a degree as well. Here, it's eight figures, all nude dancing. And they're both women and men. And it's fascinating because, first off, there is a genuine sexuality to the entire thing. The men all have erections, the women are all exceptionally sexy. In a way, it seems to be referencing a lot of the works that we were beginning to see filter into museums from Thailand from India that were hyper-sexualized as they were presented. In those museum settings. You can still see it today at the British Museum for very good example. The poses are incredibly dynamic. But what's fascinating is the level of abstraction. Because while pretty much the entire anatomy is evident, the faces are abstracted greatly. And well, the surrounding portions of them have various paint indications. It's really just as if that is indicating where the figure is in front of as if they are not in the same scene. They are just being placed together with some of their evidence, I guess. It's a beautiful dynamic piece. But the sensation I get from it is what's interesting, because it is the sensation of poking through not necessarily of inhabiting a canvas but being inserted into the Canvas from something else. And the distortion of the face. It seems to indicate not that the figures are indistinct, but that they are not whole. That we are only catching a glimpse. That's powerful, powerful, artistic work. And it's one of the reasons why I'm going to be looking a lot more into earnest briggs Find out more at https://three-minute-modernist.pinecast.co

Learn more about Benjamin here and follow him on Instagram. Benjamin referenced: Tobias Wolff, Bill Evans, Richard Diebenkorn's Notes to Myself, Siri Hustvedt on Giorgio Morandi, Teju Cole on art and hope, WJT Mitchell (particularly his book What Do Pictures Want?), and that moment Miles Davis bends a note in It Never Entered My Mind. He also discussed Raymond Carver and read his poem This Morning. Giorgio Morandi's Bottles features Marty Kondziolka on drums and was produced and mastered by Brian Trahan. That's me on keys Dig our explorations of working lives? Please show your support at Patreon.Get in touch on Insta, Twitter, Facebook, or at podcastforaliving [at] gmail [dot] com.Please hit that follow button and share the pod with your people.Special thanks to Liv Hunt for logo design, Rotem Fisher for mastering audio, and Brian Trahan for music production and engineering. Our theme song is Nile's Blues by Kevin MacLeod (incompetech.com). Licensed under Creative Commons by Attribution 4.0 License. Be kind and stay healthy. Thanks for listening to Studs. Love y'all.★ Support this podcast on Patreon ★

This week on Peps, we're going to tackle the metaphysical question: When is a work finished? I explore some texts that try to pin down a definition and also share some of my own thoughts and metaphors...But I am most excited to share that this episode contains recorded messages from listener-artist contributors! 6 generous artist listeners sent in their own unique ways of describing this indescribable phenomenon. A very special thanks to: Elizabeth (Beth) Gilfilen https://elizabethgilfilen.com/ Sue McNally https://suemcnally.com/ Brantner DeAtley https://www.brantnerdeatley.com/ Robert Zurer https://www.robertzurer.com/2022/feel-something-drawing-me-on Monica Church http://www.monicachurch.org/ Mark Creegan https://www.markcreeganart.com/ Other artists quoted/mentioned were: Richard Diebenkorn, Rembrandt, Paul Cezanne, Henri Matisse, Pavel Filonov and "sdelannost", Kazmir Malevich, Mikhail Matiushin, Graham Nickson. John Marin, Louise Fishman Readings were excerpted from: "On the Creation of Art" by Monroe Beardsley, The Journal of Aesthetics and Art Criticism Vol. 23, No. 3, Spring, 1965 (reacting to Vincent Tomas' "Creativity in Art" The Philosophical Review, Vol. 67, No. 1 Jan., 1958) "When is a Work Finished" by Darren Hudson Hick "Beyond Reason: Malevich, Matiushin, and their Circles" by Charlotte Douglas, "Spiritual in Art: Abstract Painting 1890-1985" My website: http://www.amytalluto.com Support the Peps by making a Donation, reviewing us on Apple Podcasts or following us on Instagram to see more images illustrating this episode: @peptalksforartists. All licensed music is from Soundstripe. --- Send in a voice message: https://anchor.fm/peptalksforartistspod/message Support this podcast: https://anchor.fm/peptalksforartistspod/support

Art Fraud is investigative journey through one of the biggest cases of art fraud in US history done by The Knoedler Gallery written by VANITY REPORTER Michael Shnayerson and hosted by Alec Baldwin. On this episode two drawings on paper allegedly by the artist Richard Diebenkorn become the first of dozens of problematic works sold by the Knoedler Gallery. Also, a mysterious “Mr. X” enters the picture on this episode. Listen to Art Fraud on the iHeartRadio App or wherever you get your podcasts. Learn more about your ad-choices at https://www.iheartpodcastnetwork.com

Two drawings on paper allegedly by the artist Richard Diebenkorn become the first of dozens of problematic works sold by the Knoedler Gallery. Also, a mysterious “Mr. X” enters the picture.  Hosted by Alec Baldwin. Art Fraud is brought to you by iHeart Radio and Cavalry Audio. Our executive producers are Matt DelPiano, Keegan Rosenberger, Andy Terner, Alec Baldwin and Michael Shnayerson. We're produced by Branden Morgan and Zach McNees. Zach also edited and mixed this episode. Music by Blue Dot Sessions. Lindsay Hoffman is our managing producer. Our writer is Michael Shnayerson. Learn more about your ad-choices at https://www.iheartpodcastnetwork.com

The meaning people derive from your art is up to them. No one lives this edict better than world renown, NY-based painter Gary Komarin. Gary's work is utterly unique, modern, somewhat playful, but also has a seriousness to it...with its use of line, iconic shapes and color fields--it's like a gorgeous visual feast given to all the viewers of his art. And we the viewers get to decide for ourselves what exactly this work means — what's in it for us? Gary's carefree exploration is not just demonstrated in his art, but in his life too. Join us for a lovely conversation about his journey. You'll hear about the influences that have shaped him into the amazing artist he is, the experiences he's had with collectors, exhibitions, and a glimpse into his carefree art practice and approach. ================================ LISTEN IF YOU ARE INTERESTED IN… Gary's time under mentor, Philip Guston at Boston University, lessons learned [3:25] The first gallery Gary approached, his first show, his first sales of his works [15:26] Gary's experience with a Japanese collector who bought 100 paintings [19:29] The “figure it out as you go” approach Gary takes to his work [29:14] How Gary uses his “Cakes” works to fill the gaps and explore [42:07] The process Gary uses to title his works [54:49] Future plans for Gary and where he's at emotionally these days [57:26] ================================ RESOURCES MENTIONED Philip Guston - Gary's mentor: https://www.philipguston.org/home  Oscar Wilde - https://en.wikipedia.org/wiki/Oscar_Wilde  Georgiano Morandi, Painter - https://www.tate.org.uk/art/artists/giorgio-morandi-1660  Artist, Bill Traylor - https://en.wikipedia.org/wiki/Bill_Traylor  Barry Schwabsky, New York Times Art Critic - https://en.wikipedia.org/wiki/Barry_Schwabsky  Richard Diebenkorn, artist - https://diebenkorn.org/  Artist, Hans Hoffman - http://www.hanshofmann.org/about  Artist, Joan Mitchell - https://www.joanmitchellfoundation.org/    =============================== CONNECT WITH GARY KOMARIN Gary's website: http://www.garykomarin.com/ Follow Gary on Facebook: https://www.facebook.com/garykomarinstudio Gary's Instagram: https://www.instagram.com/garykomarin/  ============================= CONNECT WITH NICHOLAS WILTON: Facebook: https://facebook.com/art2lifeworld/  Instagram: https://www.instagram.com/art2life_world/ YouTube: https://www.youtube.com/c/Art2Life Pinterest: www.pinterest.com/art2life_world/ Join the Art2Life Artists' List and get the Sunday vlog here: https://art2life.lpages.co/sign-up-for-the-a2l-vlog/   #Art2Life #FineArt #AbstractArt #ModernArt #Contemporary

Many thanks to the fabulous artist Ronnie Cay .. an extraordinary artist who works in drawing painting and ceramics - she is a master of all these processes - she has a unique style and is a colourful artist. Ronnie runs life drawing sessions and uses a different model every week these as a jumping board for her work. She is represented by many galleries and has shown all over the world.  Ronnie is a hero of mine as she tries to always start her work differently and each work is unique. She is a fan of midcentury artists one of our favourites Richard Diebenkorn.  You can find out about her on her website https://veronicacay.comor instagram https://www.instagram.com/ronniecay/?hl=enYou can see her work right now in her show called  'Conversations with my Aunt' at Anthea Polson gallery on the Gold Coast http://www.antheapolsonart.com.au/exhibitions.phpMany many thanks Ronnie. 

TO WATCH A VIDEO OF THIS INTERVIEW, GO TO INSPIRING CONVERSATIONS PODCAST CHANNEL OR VIEW DIRECTLY AT https://youtu.be/CS7GmKmD5gsJeff sits down with Ursula O'Farrell for an incredibly unique and deep conversation about her Journey and her perspective on the intersection of art and metaphysics.To learn more about Ursula and her work, visithttp://ursulafineart.comBack in the 1950s a group of painters in the San Francisco Bay Area established what came to be known as Bay Area Figurative Painting. Originally David Park, Elmer Bischoff and Richard Diebenkorn, painters who had all done abstract pictures, decided to embark on figuration which was indebted to abstract gesture painting, but looked again the world of appearances for their subjects. They even painted from the life model which simply was not done by the Abstract Expressionists. A second generation, Joan Brown, Manuel Neri, Bruce McGaw and others made this new approach to painting (or sculpting) the human figure, into their own and endowed it with a new spirit. Ursula O’Farrell can be said to represent a third generation which includes Christopher Brown and Roger Hermann. She has made this tradition as the source of her own work. It is important that she looked beyond her immediate environment. She spent a seminal year in Florence and another in Germany and she took a long look at Matisse’s paintings of women and learned how to fuse figuration with abstraction.

I had Martha Braun on the show today. You know this is an interesting podcast for those who are into interior design. Martha was a world-class interior designer who had her own company in San Francisco for 25 years. She also built high-end spec homes and sold them in San Francisco but really found her calling in being an abstract painter. We get a different sensibility of somebody who's painting - not from a realistic standpoint - but a nonobjective one. I think anyone who likes art, whether it's traditional or contemporary, can take something away from this podcast about how you can find success and have a very successful career as an abstract painter. Her work has hung next to a Rothko and Georgia O'Keeffe painting at the University of Arizona Museum collection where one of her paintings is in their permanent collection.View available Martha Braun paintings here:https://www.medicinemangallery.com/western-fine-art/southwestern-contemporary-painters/braun-martha

In this episode, Mark finishes his talk with friend and artist Ronnie Landfield.

Nancy Willis is an artist, activist, and educator. Until the pandemic, she taught "Principles of Design," an art class for pastry students at the Culinary Institute of America (CIA) in Napa Valley. As an artist and chef, Nancy works to bridge the divide between the culinary arts and the fine arts through exhibitions, workshops, and her art practice. We spoke about her work at the CIA, activism with the Yazidi refugee community, and Nourish, an exhibition project she curated at the Napa Valley Museum. Her course at the CIA taught students traditional design conventions and how to look at art and analyze it through their own experiences. She required students to visit a gallery or museum and select a work they could translate into a plating design. For many, it was the first time they had been to a museum. In this intensive course, many students had profound responses that allowed them to work through past trauma.In 2015 Nancy curated NOURISH, an exhibition that brought together chefs and artists, including Anne-Sophie Pic, Grant Achatz, Richard Diebenkorn, Miro, Picasso, and Wayne Thiebaud. Through a Kickstarter campaign, she was able to present a diverse group of works across all media. She also traveled to Valence, France, to install a Nest camera in the kitchen of Anne-Sophie Pic, one of four female Michelin starred chefs, that live-streamed the kitchen during service into the museum. In 2017 she was invited to participate in an exhibition related to President Trump's travel ban on immigrants from seven Muslim-majority countries, which allowed her to engage with the Yazidi refugee community. She traveled around the world to conduct monotype workshops with Yadizi refugees of all ages. On a trip to Europe, she met Nadia Murad, a recipient of a Nobel Peace Prize (2018), and led her and her husband through a monotype workshop in her hotel room. In conducting workshops with diverse communities, Nancy brings her extensive background in hospitality to art-making that fosters intimate exchanges that are often transformative. 36:51 Lightning round questions.51:35 One work of Art she would own.57:22 Wish for the Art World.We recorded this episode on May 28, 2020.More about Nancy:Artist Nancy Willis lives and works in the Napa Valley. As a painter/printmaker she works with themes of intimacy and social connection by creating series such as The BED, RSVP, the CHANDELIER and TERRAIN. With paint or printing ink, Willis uses an additive and subtractive process to explore how color, light and atmosphere can instill meaning and evoke a sense of place.Until the Covid-19 restrictions, Willis taught classes at the Culinary Institute of America/Greystone, Nimbus Arts and the Napa Valley College. She quickly pivoted to offering online classes out of her studio, including Bake Like an Artist, and Postcards from the Edge. Her entrepreneurial projects include Path of an Artist tours, leading artists to France and Sundance for annual painting workshops. Willis' curatorial projects include Discrepancy/living between war and peace (2011) and Nourish (2015). Her recent exhibitions include NEXT: Print Matters in Houston, Texas and her solo exhibition, Savor the Moment, in Oakland which was an homage to Paris. In 2018/19, Willis was awarded two Community Fund Grants for her project Conflict Zone, a collaborative printmaking project with Yazidi women, men, and kids from northern Iraq. Learn more on her website: https://www.nancywillis.comMusic credit: Maurice Ravel's String Quartet in F major - II. Assez vif, très rythmé produced by the Isabella Stuart Gardener Museum (issued under a Creative Commons License).

Jennifer Pochinski is an American figurative painter. Her work is characterized by gestural marks and bold color. Relationships, the male-female power dynamic, and humanity are key themes in her work. She was raised in Hawaii and received her BFA from the University of Hawaii in Painting in 1991. Much of her young adulthood was spent traveling and living on the mainland USA and Europe. Since late 2010, she has been living and working in California. Topics Discussed In This Episode: Pochinski's journey, including moving to Hawaii at a young age, experiencing her senior year abroad in Germany, living in Greece, and ultimately finding her way to Sacramento, CA Her decision in college to change her major to art at the University of Hawaii, and later a brief stint studying interior architecture at an art and design school in Greec Finding an escape and freedom from people pleasing in her artistic practice Pochinski's methods of exploration and experimentation in her art, such as layering, linoleum printing, and collage The act of letting her paintings "sit" and taking time to construct and deconstruct her work Pochinski's passion for art, art books, and learning about other artists' lives. Names mentioned: Sol LeWitt, Eva Hesse, Edward Hopper, Henri Matisse, Markus Lupertz, Georg Baselitz, Cherry Pickles, Christopher Brown, R.B. Kitaj, Eric Fischl, Richard Diebenkorn, Paula Rego, Philip Guston, Jack Oden, Willem de Kooning, Lucian Freud  www.artistdecoded.com

Western born artist, Francis Livingston was one of the top ranks of American illustrators, including the book cover for "Dances with Wolves". Francis Livingston's paintings have been exhibited in San Francisco, Los Angeles, and New York. Livingston was awarded both Gold and Silver Medals from the New York Society of Illustrators, San Francisco Society of Illustrators, and Society of Illustrators of Los Angeles. Francis Livingston first studied at the Rocky Mountain School of Art in Denver before moving to San Francisco in 1975 to attend the Academy of Art. He has been an instructor in the illustration and painting department for 25 years. Influenced by Sargent and Whistler, Francis Livingston painted primarily in a monochromatic style until he began to study the work of the Bay Area Figurative Movement, including Richard Diebenkorn, Wayne Thiebaud, and others. That led to experiments with color and a fondness for the California and French Impressionists.Livingston is now one of the top western artist focusing on Native and Southwest imagery whose inspiration included the Taos artists and Maynard Dixon

The American abstract expressionist painter Richard Diebenkorn (1922 –1993) is noted not only for his great work, but also for his thoughts about the creative process. Diebenkorn’s “Notes to myself on beginning a painting” is a list of 10 things to think about as we begin any creative work – we can think of them … Continue reading Camera Position 176 : 10 Rules Rules for Getting Started →

Richard Diebenkorn is regarded as one of the most significant artists in post-war America. His work captures a sense of the light and place in which he worked, of New Mexico and California, and reveals his mastery as a consummate colourist. In this lecture, curator Edith Devaney explores the life and work of Richard Diebenkorn and considers why this is the first UK exhibition of such a major artist in over 20 years.

“Now, the idea is to get everything right – it’s not just color or form or space or line – it’s everything all at once.” Richard Diebenkorn Whether landscape or abstract canvas, the work of American artist Richard Diebenkorn captures a sense of the light and place in which he worked, and reveals his mastery as a consummate colourist. The palette and pentimenti of his works are at once quiet and uproarious, subtle and unrestrained. Curator Sarah C. Bancroft explores Richard Diebenkorn’s consuming attention to detail and improvisational process that led to his magnificent compositions. Image caption: Sarah C. Bancroft standing in front of the Richard Diebenkorn painting 'Ocean Park #117' (1979) / Art work © 2015 the Estate of Richard Diebenkorn. Photo courtesy of Sarah C. Bancroft

The daughter of artist Richard Diebenkorn, Gretchen Diebenkorn Grant, speaks about the life and art of her father, giving an insight into his personality, career and the environment in which he produced his exceptional body of work.

Curator Edith Devaney explores the RA's exhibition of Richard Diebenkorn, giving an overview of his career and considers why one of America's most celebrated 20th century artists hasn't been shown to a UK audience for more than 20 years.

Conférence par Laurent Salomé, directeur scientifique de l'établissement public de la Réunion des musées nationaux Grand Palais. Fondé en 1935, le San Francisco Museum of Modern Art est aujourd’hui l’un des plus grands musées d’art moderne et contemporain du monde. Le Grand Palais accueille une sélection d’œuvres des artistes américains les plus emblématiques de la deuxième moitié du XXe siècle, représentés aussi bien dans le fonds du musée que dans l’extraordinaire collection constituée par Donald et Doris Fisher, les fondateurs de GAP. Les œuvres sont réunies en avant-première, annonçant la donation de la collection Fisher au musée où elle sera présentée après une importante extension. Alexander Calder, Chuck Close, Richard Diebenkorn, Ellsworth Kelly, Cy Twombly, Roy Lichtenstein, Agnes Martin ou Andy Warhol : chacun est représenté par un groupe d’œuvres majeures. L’art minimal est particulièrement à l’honneur avec Carl Andre, Sol LeWitt et Donald Judd.

Gretchen Diebenkorn Grant discusses the life and work of artist Richard Diebenkorn, her father.

The first major retrospective of Richard Diebenkorn's work for 25 years opens at London's Royal Academy. Derided by some for making abstract art popular, does this new show, which includes his figurative paintings too, restore his reputation as a serious artist? A new Channel 4 drama "Coalition" dramatises the negotiations which took place immediately after the last general election and is based on first hand research by writer James Graham, whose past work includes Privacy, Tory Boyz and the Olivier-nominated This House. With Mark Gatiss as Peter Mandelson, how much of a behind the scenes insight does Coalition give us about this historic moment in British politics? And how well does it work as a drama? A revival of Bryony Lavery's award winning play Frozen opens at the Park Theatre in London tells the story of the disappearance of a 10-year-old girl, Rhona, through three protagonists: the girl's killer, her mother and a New York psychiatrist researching why people commit such crimes. How does Frozen negotiate such a controversial and complex subject as child killers? Set on a collection of islands off the coast of Virginia, Bailey longlisted debut novel "The Shore" by Sara Taylor interweaves stories that trace different generations of the same family over the course of 150 years. In "Mommy" 25 year old Canadian director Xavier Dolan returns to the theme of mothers and sons, first explored in his debut feature "I Killed My Mother." Casting Anne Dorval as a strong, independent woman overwhelmed with the task of caring for a teenage tyrant, how does he portray the pressures inflicted by the chaotic, testosterone fuelled madness of a 15 year old boy.

Exhibition curator Sarah C. Bancroft explores Richard Diebenkorn's consuming attention to detail and improvisational process that led to his magnificent compositions.

This is an extract from the audio guide to 'Richard Diebenkorn', on display in The Sackler Wing until 7 June 2015.

Recorded: 9 September, 2013Participants: Steve Harlow, Emory Holmes II, Jim "Jimmy The Peach" Aaron, Ruth Parson, Ferrie Differentieel, Allan Ludwig, Tom Giansante, Anneke van de Kassteele.AudioDownload Mp3 Jim introduces his guest, Tom Giansante, as a "fantastic artist and an iconoclast."Ferrie says he has switched to a new DAW (digital audio workstation) and is learning how to use reverb to create "rooms" of various sizes and sound characteristics. He has been experimenting with Jim to with various reverb effects, they discovered today how to get Jim's voice from North America to sound like it is beside Ferrie in Europe. He is in process of making some music for a collection of Dutch spoken word using his newly learned techniques. He's mixing the voice and the music in separate "rooms" to bring the voice to the foreground.Emory says he finds the different sound qualities of rooms to be similar to what he found when traveling, each area stamps the people, flora and fauna with identifying characteristics.Ferrie says it is true that he is exploring the different feeling the sound elicits from various environments. Music sounds different in the woods than it does in an open field.Emory asks Allan if the circles Allan is photographing in Maine are different that the ones he finds in New York city.Allan says yes, in the city there are manufactured circles, such as manhole covers, some made as long ago as 1875, some new ones cast in India. He wonders how casting a heavy object like that and shipping it from India to NYC can be cheaper than casting it in New York.Jim says he's heard of beaches in India where giant ships have been run aground to be cut up for scrap metal, perhaps that is where the metal comes from for casting NYC's manhole covers.Allan says, in Maine, he's photographed granite millstones near streams and is reminded of the old song, "Down By The Old Mill Stream."Steve says he was at the corner of E. Houston and 2nd Avenue in New York a few years ago when a manhole cover exploded out of the middle of a busy intersection, flipping like a coin about 10 feet above ground, falling back to the street without damaging anyone or any vechicle. The explosive sound made him jump 2 feet into the air and the traumatic memory stayed with him for days afterwards, causing him to give every manhole a wide berth. The memory of it causes him fear even now. He wonders if Anneke, in her dance therapy work deals with traumatic memories affecting people's movements.Emory also wondered if Anneke, in her travels, recognized different types of movements as typical of specific locations?Anneke says she sees identifying body language from each country in Europe. For example the expression of obedience is different in Austria than in Holland. The physical memory is always being expressed in an individual's movements.Mary asks if that memory can be changed?Anneke says yes, that is what she does in her dance therapy work.Ruth asks if the work involves shifting the emotions?Anneke says yes. In the split second when frightened, a person must decide between fight or flight responses. In Dance Therapy she gives the person the opportunity to decide whether to run away or attack. Those new opportunities can change the memory.Emory says he remembers when he was growing up in the South (USA) that people live as if superstitions were an accurate way of understanding the world. His Grandmother said whenever you hear thunder when the sun is shining it meant, "the devil was beating his wife with a hambone."The community's newspapers would carry "news" items reflecting the mythological understanding, like, "the devil was sighted today taking the daughter of..."Mary said she just attended the annual Sacred Music Festival in Quebec City, held in an old church that serves the "oldest parish in North America." While listening to Bach chorales played on harspicord and flute, she observed above the alter depictions of angels and ships. She understsnds they represent myth of city and that's how myth works, representing the way a people understand themselves in their enviornment.Emory says his Grandmother was only interested in listening to radio if it was playing gospel music or the "Grand Ol Oprey". When Screaming Jay Hawkins or the pop music came on, she knew it was the Devil sneaking into her world and she rushed to turn it off.When Faulkner writes about the past not being the pat in the South, any Southerner understands that to be the case. The enviornment is so full of magic. At night, lightning bugs show that the stars have descended to ground level.Mary asks if any participants use myth in their work?Tom says he thinks artists are influenced by their environments, by the light. When he has visited areas in the world, he sees the light of that area reflected in the work of local artists.Steve asks Tom if he does plein air painting?Tom says he has, but dislikes people approaching him while he paints, so he does it no more.He saw the Richard Diebenkorn show, "The Berkeley Years" where he demonstrates how the local light affects his painting.Steve says he saw the show of Diebenkorn's later, "Ocean Park series at Orange County Art Museum in the last year or two and thought the work was dry, academic, and lifeless, but he likes the figurative paintings from the '50s. He likes the other two painters he worked with, David Park and Elmer Bischoff better, although Diebenkorn is the most famous of the group.Tom says Diebenkorn started with abstract paintings, a rejection of reality. He thinks an inner order brought Diebenkorn back to figurative work. He likes that Diebenkorn used the language of hard edge and rough edge together.Emory likes Diebenkorn's use of heavy impasto with a cleanhard, edge.Tom says he loves Diebenkorn's colors.Emory says he lost respect for Gauguin When he lived in Micronesia because all he needed to do was "trace" the world he lived in there, every view was a painting.Steve asks why would Emory lose respect for an artist who painted what he saw?Emory says he thinks painters need to bring all their personal furnishings into their paintings, as Cezanne did, infusing the mountain landscape with so much of his interior vision, there can be no mistake about who painted it, whereas Gauguin seemed to have so much of the external world pressing on him that Emory saw the paintings as theft.Steve says he thought Emory was going to object to Gauguin's colors because they're not nearly as intense as the South Pacific colors are, because he was too broke to use much paint.Emory thought Gauguin had painted from photographs.Steve says he sees no evidence, in the work, of Gauguin having done that. Subscribe to this blog's feed  |  Subscribe to the podcast in iTunes  |  Follow  |  Like  |  Plus

This exhibition celebrates an extraordinary array of newly acquired and promised gifts to the museum. It features nearly 100 works by European and American modern masters including Gustave Caillebotte, Edgar Degas, Hans Hofmann, Paul Klee, Ansel Adams, Milton Avery, Alexander Calder, Richard Diebenkorn, Elizabeth Murray, Robert Motherwell, Aaron Siskind, and David Smith, as well as living artists William Christenberry, Howard Hodgkin, Ellsworth Kelly, Sean Scully, and many others. The strength and variety of these gifts and acquisitions include some of the most significant developments in painting, photography, works on paper, and sculpture from the 19th to the 21st century.

This exhibition celebrates an extraordinary array of newly acquired and promised gifts to the museum. It features nearly 100 works by European and American modern masters including Gustave Caillebotte, Edgar Degas, Hans Hofmann, Paul Klee, Ansel Adams, Milton Avery, Alexander Calder, Richard Diebenkorn, Elizabeth Murray, Robert Motherwell, Aaron Siskind, and David Smith, as well as living artists William Christenberry, Howard Hodgkin, Ellsworth Kelly, Sean Scully, and many others. The strength and variety of these gifts and acquisitions include some of the most significant developments in painting, photography, works on paper, and sculpture from the 19th to the 21st century.

The San Jose Museum of Art is pleased to offer this audio tour to compliment your visit to the exhibition De-Natured: Works from the Anderson Art Collection. In it you will hear commentary by curator Heather Green, interviews with several of the artists in the exhibition, and insight into the collection provided by Harry W. Anderson himself. You can download it to your iPod or other audio device for your next visit to the museum! In this episode Vija Celmins speaks about her two drawings in the exhibition De-Natured: Works from the Anderson Collection; on view at the San Jose Museum of Art October 13, 2007 - January 6, 2008. Broadly defined, to denature is to change the character or condition of something. In the milieu of contemporary painting, sculpture, and work on paper seen in this exhibition, it is the connection between artist and nature that has changed. Gone are the romantic vistas and picturesque scenes of traditional landscape painting. Instead we find images of pollution and alienation that mirror the post-war urban-industrial landscape, depictions in which artistic media have been pressed into embodiments of natural elements (and vice versa), and abstractions that highlight a distance between the world perceived and the world represented. Featuring works by artists such as Wayne Thiebaud, Roy DeForest, David Hockney, Vija Celmins, Ed Ruscha, Frank Stella, Louise Nevelson, and Richard Diebenkorn, the art of De-Natured presents a sampling of the many ways that artists have engaged with their changing environs. At a time when we are increasingly “growing up denatured,” as one New York Times writer recently described the divide between urban and pastoral life, these artistic collisions with nature (or its absence) have much to tell us about our own relationships with the environment, both natural and urban. This exhibition was curated by Heather Pamela Green, a doctoral candidate in Art History at Stanford University, and features work drawn from the Collection of Harry W. and Mary Margaret Anderson, as well as the Fine Arts Museums of San Francisco's Anderson Graphic Arts Collection.

The San Jose Museum of Art is pleased to offer this audio tour to compliment your visit to the exhibition De-Natured: Works from the Anderson Art Collection. In it you will hear commentary by curator Heather Green, interviews with several of the artists in the exhibition, and insight into the collection provided by Harry W. Anderson himself. You can download it to your iPod or other audio device for your next visit to the museum! In this episode for the exhibition De-Natured: Works from the Anderson Collection curator Heather Green talks about the ideas behind the exhibition and the Anderson art collection; on view at the San Jose Museum of Art Oct. 13, 2007 - Jan. 6, 2008. Broadly defined, to denature is to change the character or condition of something. In the milieu of contemporary painting, sculpture, and work on paper seen in this exhibition, it is the connection between artist and nature that has changed. Gone are the romantic vistas and picturesque scenes of traditional landscape painting. Instead we find images of pollution and alienation that mirror the post-war urban-industrial landscape, depictions in which artistic media have been pressed into embodiments of natural elements (and vice versa), and abstractions that highlight a distance between the world perceived and the world represented. Featuring works by artists such as Wayne Thiebaud, Roy DeForest, David Hockney, Vija Celmins, Ed Ruscha, Frank Stella, Louise Nevelson, and Richard Diebenkorn, the art of De-Natured presents a sampling of the many ways that artists have engaged with their changing environs. At a time when we are increasingly “growing up denatured,” as one New York Times writer recently described the divide between urban and pastoral life, these artistic collisions with nature (or its absence) have much to tell us about our own relationships with the environment, both natural and urban. This exhibition was curated by Heather Pamela Green, a doctoral candidate in Art History at Stanford University, and features work drawn from the Collection of Harry W. and Mary Margaret Anderson, as well as the Fine Arts Museums of San Francisco's Anderson Graphic Arts Collection.

The San Jose Museum of Art is pleased to offer this audio tour to compliment your visit to the exhibition De-Natured: Works from the Anderson Art Collection. In it you will hear commentary by curator Heather Green, interviews with several of the artists in the exhibition, and insight into the collection provided by Harry W. Anderson himself. You can download it to your iPod or other audio device for your next visit to the museum! In this episode Harry W. Anderson speaks about the Anderson art collection, philanthropy and several of the artists in the exhibition De-Natured: Works from the Anderson Collection; on view at the San Jose Museum of Art October 13, 2007 - January 6, 2008. Broadly defined, to denature is to change the character or condition of something. In the milieu of contemporary painting, sculpture, and work on paper seen in this exhibition, it is the connection between artist and nature that has changed. Gone are the romantic vistas and picturesque scenes of traditional landscape painting. Instead we find images of pollution and alienation that mirror the post-war urban-industrial landscape, depictions in which artistic media have been pressed into embodiments of natural elements (and vice versa), and abstractions that highlight a distance between the world perceived and the world represented. Featuring works by artists such as Wayne Thiebaud, Roy DeForest, David Hockney, Vija Celmins, Ed Ruscha, Frank Stella, Louise Nevelson, and Richard Diebenkorn, the art of De-Natured presents a sampling of the many ways that artists have engaged with their changing environs. At a time when we are increasingly “growing up denatured,” as one New York Times writer recently described the divide between urban and pastoral life, these artistic collisions with nature (or its absence) have much to tell us about our own relationships with the environment, both natural and urban. This exhibition was curated by Heather Pamela Green, a doctoral candidate in Art History at Stanford University, and features work drawn from the Collection of Harry W. and Mary Margaret Anderson, as well as the Fine Arts Museums of San Francisco's Anderson Graphic Arts Collection.

The San Jose Museum of Art is pleased to offer this audio tour to compliment your visit to the exhibition De-Natured: Works from the Anderson Art Collection. In it you will hear commentary by curator Heather Green, interviews with several of the artists in the exhibition, and insight into the collection provided by Harry W. Anderson himself. You can download it to your iPod or other audio device for your next visit to the museum! In this episode William T. Wiley talks about his marker and watercolor work on paper in the exhibition De-Natured: Works from the Anderson Collection; on view at the San Jose Museum of Art October 13, 2007 - January 6, 2008. He also sung an original song, that accompanies the episode, to us. Broadly defined, to denature is to change the character or condition of something. In the milieu of contemporary painting, sculpture, and work on paper seen in this exhibition, it is the connection between artist and nature that has changed. Gone are the romantic vistas and picturesque scenes of traditional landscape painting. Instead we find images of pollution and alienation that mirror the post-war urban-industrial landscape, depictions in which artistic media have been pressed into embodiments of natural elements (and vice versa), and abstractions that highlight a distance between the world perceived and the world represented. Featuring works by artists such as Wayne Thiebaud, Roy DeForest, David Hockney, Vija Celmins, Ed Ruscha, Frank Stella, Louise Nevelson, and Richard Diebenkorn, the art of De-Natured presents a sampling of the many ways that artists have engaged with their changing environs. At a time when we are increasingly “growing up denatured,” as one New York Times writer recently described the divide between urban and pastoral life, these artistic collisions with nature (or its absence) have much to tell us about our own relationships with the environment, both natural and urban. This exhibition was curated by Heather Pamela Green, a doctoral candidate in Art History at Stanford University, and features work drawn from the Collection of Harry W. and Mary Margaret Anderson, as well as the Fine Arts Museums of San Francisco's Anderson Graphic Arts Collection.

The San Jose Museum of Art is pleased to offer this audio tour to compliment your visit to the exhibition De-Natured: Works from the Anderson Art Collection. In it you will hear commentary by curator Heather Green, interviews with several of the artists in the exhibition, and insight into the collection provided by Harry W. Anderson himself. You can download it to your iPod or other audio device for your next visit to the museum! In this episode Charles Arnoldi speaks about his stick sculpture in the exhibition De-Natured: Works from the Anderson Collection; on view at the San Jose Museum of Art October 13, 2007 - January 6, 2008. Broadly defined, to denature is to change the character or condition of something. In the milieu of contemporary painting, sculpture, and work on paper seen in this exhibition, it is the connection between artist and nature that has changed. Gone are the romantic vistas and picturesque scenes of traditional landscape painting. Instead we find images of pollution and alienation that mirror the post-war urban-industrial landscape, depictions in which artistic media have been pressed into embodiments of natural elements (and vice versa), and abstractions that highlight a distance between the world perceived and the world represented. Featuring works by artists such as Wayne Thiebaud, Roy DeForest, David Hockney, Vija Celmins, Ed Ruscha, Frank Stella, Louise Nevelson, and Richard Diebenkorn, the art of De-Natured presents a sampling of the many ways that artists have engaged with their changing environs. At a time when we are increasingly “growing up denatured,” as one New York Times writer recently described the divide between urban and pastoral life, these artistic collisions with nature (or its absence) have much to tell us about our own relationships with the environment, both natural and urban. This exhibition was curated by Heather Pamela Green, a doctoral candidate in Art History at Stanford University, and features work drawn from the Collection of Harry W. and Mary Margaret Anderson, as well as the Fine Arts Museums of San Francisco's Anderson Graphic Arts Collection.

The San Jose Museum of Art is pleased to offer this audio tour to compliment your visit to the exhibition De-Natured: Works from the Anderson Art Collection. In it you will hear commentary by curator Heather Green, interviews with several of the artists in the exhibition, and insight into the collection provided by Harry W. Anderson himself. You can download it to your iPod or other audio device for your next visit to the museum! In this episode Carole Seborovski talks about two drawings she has in the exhibition De-Natured: Works from the Anderson Collection; on view at the San Jose Museum of Art October 13, 2007 - January 6, 2008. Broadly defined, to denature is to change the character or condition of something. In the milieu of contemporary painting, sculpture, and work on paper seen in this exhibition, it is the connection between artist and nature that has changed. Gone are the romantic vistas and picturesque scenes of traditional landscape painting. Instead we find images of pollution and alienation that mirror the post-war urban-industrial landscape, depictions in which artistic media have been pressed into embodiments of natural elements (and vice versa), and abstractions that highlight a distance between the world perceived and the world represented. Featuring works by artists such as Wayne Thiebaud, Roy DeForest, David Hockney, Vija Celmins, Ed Ruscha, Frank Stella, Louise Nevelson, and Richard Diebenkorn, the art of De-Natured presents a sampling of the many ways that artists have engaged with their changing environs. At a time when we are increasingly “growing up denatured,” as one New York Times writer recently described the divide between urban and pastoral life, these artistic collisions with nature (or its absence) have much to tell us about our own relationships with the environment, both natural and urban. This exhibition was curated by Heather Pamela Green, a doctoral candidate in Art History at Stanford University, and features work drawn from the Collection of Harry W. and Mary Margaret Anderson, as well as the Fine Arts Museums of San Francisco's Anderson Graphic Arts Collection.

The San Jose Museum of Art is pleased to offer this audio tour to compliment your visit to the exhibition De-Natured: Works from the Anderson Art Collection. In it you will hear commentary by curator Heather Green, interviews with several of the artists in the exhibition, and insight into the collection provided by Harry W. Anderson himself. You can download it to your iPod or other audio device for your next visit to the museum! In this episode Sam Richardson talks about his cast resin sculptures in the exhibition De-Natured: Works from the Anderson Collection; on view at the San Jose Museum of Art October 13, 2007 - January 6, 2008. Broadly defined, to denature is to change the character or condition of something. In the milieu of contemporary painting, sculpture, and work on paper seen in this exhibition, it is the connection between artist and nature that has changed. Gone are the romantic vistas and picturesque scenes of traditional landscape painting. Instead we find images of pollution and alienation that mirror the post-war urban-industrial landscape, depictions in which artistic media have been pressed into embodiments of natural elements (and vice versa), and abstractions that highlight a distance between the world perceived and the world represented. Featuring works by artists such as Wayne Thiebaud, Roy DeForest, David Hockney, Vija Celmins, Ed Ruscha, Frank Stella, Louise Nevelson, and Richard Diebenkorn, the art of De-Natured presents a sampling of the many ways that artists have engaged with their changing environs. At a time when we are increasingly “growing up denatured,” as one New York Times writer recently described the divide between urban and pastoral life, these artistic collisions with nature (or its absence) have much to tell us about our own relationships with the environment, both natural and urban. This exhibition was curated by Heather Pamela Green, a doctoral candidate in Art History at Stanford University, and features work drawn from the Collection of Harry W. and Mary Margaret Anderson, as well as the Fine Arts Museums of San Francisco's Anderson Graphic Arts Collection.

The San Jose Museum of Art is pleased to offer this audio tour to compliment your visit to the exhibition De-Natured: Works from the Anderson Art Collection. In it you will hear commentary by curator Heather Green, interviews with several of the artists in the exhibition, and insight into the collection provided by Harry W. Anderson himself. You can download it to your iPod or other audio device for your next visit to the museum! In this episode Harry W. Anderson speaks about the Anderson art collection, philanthropy and several of the artists in the exhibition De-Natured: Works from the Anderson Collection; on view at the San Jose Museum of Art October 13, 2007 - January 6, 2008. Broadly defined, to denature is to change the character or condition of something. In the milieu of contemporary painting, sculpture, and work on paper seen in this exhibition, it is the connection between artist and nature that has changed. Gone are the romantic vistas and picturesque scenes of traditional landscape painting. Instead we find images of pollution and alienation that mirror the post-war urban-industrial landscape, depictions in which artistic media have been pressed into embodiments of natural elements (and vice versa), and abstractions that highlight a distance between the world perceived and the world represented. Featuring works by artists such as Wayne Thiebaud, Roy DeForest, David Hockney, Vija Celmins, Ed Ruscha, Frank Stella, Louise Nevelson, and Richard Diebenkorn, the art of De-Natured presents a sampling of the many ways that artists have engaged with their changing environs. At a time when we are increasingly “growing up denatured,” as one New York Times writer recently described the divide between urban and pastoral life, these artistic collisions with nature (or its absence) have much to tell us about our own relationships with the environment, both natural and urban. This exhibition was curated by Heather Pamela Green, a doctoral candidate in Art History at Stanford University, and features work drawn from the Collection of Harry W. and Mary Margaret Anderson, as well as the Fine Arts Museums of San Francisco's Anderson Graphic Arts Collection.

The San Jose Museum of Art is pleased to offer this audio tour to compliment your visit to the exhibition De-Natured: Works from the Anderson Art Collection. In it you will hear commentary by curator Heather Green, interviews with several of the artists in the exhibition, and insight into the collection provided by Harry W. Anderson himself. You can download it to your iPod or other audio device for your next visit to the museum! In this episode William Allen speaks about his large scale painting, Half a Dam, in the exhibition De-Natured: Works from the Anderson Collection; on view at the San Jose Museum of Art October 13, 2007 - January 6, 2008. Broadly defined, to denature is to change the character or condition of something. In the milieu of contemporary painting, sculpture, and work on paper seen in this exhibition, it is the connection between artist and nature that has changed. Gone are the romantic vistas and picturesque scenes of traditional landscape painting. Instead we find images of pollution and alienation that mirror the post-war urban-industrial landscape, depictions in which artistic media have been pressed into embodiments of natural elements (and vice versa), and abstractions that highlight a distance between the world perceived and the world represented. Featuring works by artists such as Wayne Thiebaud, Roy DeForest, David Hockney, Vija Celmins, Ed Ruscha, Frank Stella, Louise Nevelson, and Richard Diebenkorn, the art of De-Natured presents a sampling of the many ways that artists have engaged with their changing environs. At a time when we are increasingly “growing up denatured,” as one New York Times writer recently described the divide between urban and pastoral life, these artistic collisions with nature (or its absence) have much to tell us about our own relationships with the environment, both natural and urban. This exhibition was curated by Heather Pamela Green, a doctoral candidate in Art History at Stanford University, and features work drawn from the Collection of Harry W. and Mary Margaret Anderson, as well as the Fine Arts Museums of San Francisco's Anderson Graphic Arts Collection.

"Hasta el 8 de marzo estará abierta en la sede de la Fundación Juan March la Exposición de 52 óleos del pintor norteamericano Richard Diebenkorn, que desde el pasado 10 de enero viene ofreciendo una selección de su obra de 1949 a 1985. La muestra está organizada conjuntamente por la Fundación Juan March, la Whitechapel Art Gallery de Londres y la Frankfurter Kunstverein, de Frankfurt, y tras su paso por Madrid la exposición se exhibirá en la citada ciudad alemana.Al acto inaugural de la exposición asistió el hijo del artista, Christoph Diebenkorn, y la directora de la Whitechapel Art Gallery de Londres, Catherine Lampert, quien pronunció una conferencia de presentación de la muestra"Más información de este acto