2024-03-28T15:00:31Zhttp://harvester-bl.britishart.yale.edu/oaicatmuseum/OAIHandleroai:tms.ycba.yale.edu:48142024-03-27ycba:pd
YCBA/lido-TMS-4814
http://www.cidoc-crm.org/cidoc-crm/E22_Human-Made_Object
Human-Made Object
300178376
planographic print
300108127
abstract art
300015571
cityscape
300041273
Print
Wittgenstein in New York
As Is When
Inscribed in graphite, lower left: "36/65"
Blind embossed chop mark: "ea"
Lettered inside image: "I went to New York | to meet Wittgenstein | at the ship. When I fitst saw him I was | surprised at his | apparent physical | vigour. He was | striding down the | ramp with a pack | on his back, a | heavy suitcse in one | hand, cmae in the | other." | "AUGUST 1964"
Signed and dated in graphite, lower right: "Eduardo Paolozzi 1965"
500303557
Yale Center for British Art
http://britishart.yale.edu
B1995.3.3
Not on view
Yale Center for British Art
41.3080060, -72.9306282
No 36 of edition of 65
38 × 26 inches (96.5 × 66 cm)
width
cm
66.0
height
cm
96.5
Sheet
30 × 21 1/4 inches (76.2 × 54 cm)
height
cm
76.2
width
cm
54.0
Image
4814
300054713
production
Sir Eduardo Paolozzi, 1924–2005, British
ycba_actor_648
http://id.loc.gov/authorities/names/n50050217
http://www.oxforddnb.com/view/article/95757?docPos=1
https://viaf.org/viaf/14809834
http://vocab.getty.edu/ulan/500027981
https://www.wikidata.org/wiki/Q165397
https://n2t.net/ark:/99166/w6tx4xkw
Sir Eduardo Paolozzi
Estate of the Artist
Paolozzi, Eduardo, Sir, 1924–2005
Paolozzi Eduardo Sir, 1924–2005
Sir Eduardo Paolozzi, 1924–2005
Sir Eduardo Paolozzi, 1924–2005
British
1924
2005
male
300025103
Artist
Published by Editions Alecto Ltd.
ycba_actor_11980
Editions Alecto Ltd.
Editions Alecto Ltd.
Editions Alecto Ltd.
Published by Editions Alecto Ltd.
0
0
300025103
Artist
Published by
300111159
British
1965
1965
1965
26
20th century
Screen print on H.P. J. Green 133 lbs. white wove paper
300053281
screen printing
300014187
wove paper
James Stirling (Yale Center for British Art, 2010-10-14 - 2011-01-02)
499
https://britishart.yale.edu/node/628
300054766
exhibition
James Stirling
Yale Center for British Art
Yale Center for British Art
ycba_actor_1281
https://viaf.org/viaf/155449049
http://id.loc.gov/authorities/names/n77005277
http://vocab.getty.edu/ulan/500303557
https://www.wikidata.org/wiki/Q6352575
Yale Center for British Art
YCBA
BAC
British Art Center
1977
0
63
Organizer
2010-10-14 - 2011-01-02
2010-10-14
2011-01-02
Yale Center for British Art
ycba_actor_1281
http://id.loc.gov/authorities/names/n77005277
http://vocab.getty.edu/ulan/500303557
https://viaf.org/viaf/155449049
https://www.wikidata.org/wiki/Q6352575
Yale Center for British Art
New Haven
7014210
New Haven
300435424
Notes from the Archive: James Frazer Stirling, Architect and Teacher explored the career of James Frazer Stirling (1924–1992) as revealed through the James Stirling/Michael Wilford fonds of the Canadian Centre for Architecture (CCA), Montréal. A Pritzker Prize laureate and the William B. and Charlotte Shepherd Davenport Visiting Professor of Design at the Yale School of Architecture from 1966 to 1984, Stirling earned international renown through such prominent, innovative—and frequently controversial—projects as the University of Leicester Engineering Building (1959–63); the History Faculty Building at the University of Cambridge (1964–67); the Neue Staatsgalerie Stuttgart (1977–84); the Clore Gallery at Tate Britain (1984); and the Arthur M. Sackler Museum at Harvard University (1979–84). — —
This exhibition brought together architectural drawings, models, and photographs from the archives of the CCA, revealing both the range of Stirling’s approach to architectural languages and the fundamental importance of British architectural antecedents to his work. Through the extensive evidence of his design process, the exhibition demonstrated Stirling’s understanding of architecture in a formal and volumetric sense rather than as stylistic formulae. The final section of the exhibition focused on key aspects of Stirling as teacher, using audio recordings and lecture notes to evoke Stirling’s consistent explanation of a project as a tight formal response to the client’s brief; the continuous exploration of themes from the critique of modernist rationalism; and the acknowledgement of a crisis following the death of the heroes of the Modern movement. — —
Venues — —
Yale Center for British Art: October 14, 2010–January 2, 2011 — —
Tate Britain, London: April 5–August 31, 2011 — —
Staatsgalerie Stuttgart: October 1, 2011–January 15, 2012 — —
Canadian Centre for Architecture, Montréal: May 16–October 14, 2012 — —
Credits — —
The exhibition was jointly organized by the Center and the Canadian Centre for Architecture, Montréal, and curated by Anthony Vidler, Dean and Professor of The Irwin S. Chanin School of Architecture at The Cooper Union. The organizing curator at the Center was Eleanor Hughes, Associate Curator and Head of Exhibitions and Publications. — —
An associated exhibition, An Architect’s Legacy: James Frazer Stirling’s Students at Yale, 1959–1983, was on view from October 13, 2010, through January 28, 2011, at the Yale School of Architecture. It was organized by the Yale School of Architecture and curated by Emmanuel Petit, Associate Professor, Yale School of Architecture.
Yale Center for British Art
Just what was it that made British Pop so different, so appealing? (Yale Center for British Art, 2004-01-26 - 2004-05-09)
210
https://britishart.yale.edu/node/674
300054766
exhibition
Just what was it that made British Pop so different, so appealing?
Yale Center for British Art
Yale Center for British Art
ycba_actor_1281
https://www.wikidata.org/wiki/Q6352575
http://vocab.getty.edu/ulan/500303557
https://viaf.org/viaf/155449049
http://id.loc.gov/authorities/names/n77005277
Yale Center for British Art
YCBA
BAC
British Art Center
1977
0
63
Organizer
2004-01-26 - 2004-05-09
2004-01-26
2004-05-09
Yale Center for British Art
ycba_actor_1281
http://id.loc.gov/authorities/names/n77005277
http://vocab.getty.edu/ulan/500303557
https://viaf.org/viaf/155449049
https://www.wikidata.org/wiki/Q6352575
Yale Center for British Art
New Haven
7014210
New Haven
300435424
The exhibition Richard Hamilton: Prints and Multiples, 1939–2002 was accompanied by Just what was it that made British Pop so different, so appealing?—an exhibition selected from the Center’s permanent collection of prints, drawings, rare books, and manuscripts. Tracing the development of British Pop from its original formulation by the Independent Group in the mid-1950s to its exuberant flowering in the sixties, Just what was it that made British Pop so different, so appealing? featured works by Hamilton’s contemporaries, including Peter Blake, David Hockney, John McHale, R. B. Kitaj, and Eduardo Paolozzi. The exhibition featured two of the most celebrated portfolios of the Pop era, Paolozzi’s As is When and Hockney’s Rake’s Progress, and also included rare material documenting the activities of the Independent Group, selected from the archive of John McHale, one of its founding members. — —
Two documentary films were screened in the exhibition. Fathers of Pop (1979, directed by Reyner Banham and Julian Cooper) charted the creation and activities of the Independent Group. James Scott collaborated closely with Richard Hamilton on the making of the seminal documentary Richard Hamilton (1969, directed by James Scott), and the artist even created the commentary; as Scott noted, “Hamilton was so involved in making the film, you could say it is as much by him as about him.” — —
Credits — —
Just what was it that made British Pop so different, so appealing? was organized by the Yale Center for British Art and curated by Gillian Forrester, Associate Curator of Prints and Drawings; with Sarah Cree and Eric Stryker, PhD candidates in the Department of the History of Art, Yale University. — —
Yale Center for British Art
Pop Art : US / UK Connections 1956-66 (The Menil Collection, 2001-01-26 - 2001-05-13)
89
300054766
exhibition
Pop Art : US / UK Connections 1956-66
Yale Center for British Art
The Menil Collection
ycba_actor_6111
http://www.wikidata.org/entity/Q1888308
https://viaf.org/viaf/137205440
http://vocab.getty.edu/ulan/500232240
http://id.loc.gov/authorities/names/n85186021
Julia Bakke Registrar
Ned Rifkin Director
The Menil Collection
0
0
300311675
Borrower
2001-01-26 - 2001-05-13
2001-01-26
2001-05-13
The Menil Collection
ycba_actor_6111
http://id.loc.gov/authorities/names/n85186021
http://vocab.getty.edu/ulan/500232240
http://www.wikidata.org/entity/Q1888308
https://viaf.org/viaf/137205440
The Menil Collection
Houston
7013727
Houston
20th Century Works on Paper (Yale Center for British Art, 2000-01-27 - 2000-04-30)
76
300054766
exhibition
20th Century Works on Paper
Yale Center for British Art
Yale Center for British Art
ycba_actor_1281
https://viaf.org/viaf/155449049
http://id.loc.gov/authorities/names/n77005277
https://www.wikidata.org/wiki/Q6352575
http://vocab.getty.edu/ulan/500303557
British Art Center
Yale Center for British Art
YCBA
BAC
1977
0
300025633
Curator
2000-01-27 - 2000-04-30
2000-01-27
2000-04-30
Yale Center for British Art
ycba_actor_1281
http://id.loc.gov/authorities/names/n77005277
http://vocab.getty.edu/ulan/500303557
https://viaf.org/viaf/155449049
https://www.wikidata.org/wiki/Q6352575
Yale Center for British Art
New Haven
7014210
New Haven
4814
300157782
acquisition
Yale Center for British Art
ycba_actor_1281
YCBA
BAC
Yale Center for British Art
British Art Center
1977
0
300203630
Owner
1995
1995
1995
300417642
purchase
Eduardo Paolozzi experienced a deep sense of personal identification with the philosopher Ludwig Wittgenstein, whose exile from his native Vienna and cultural isolation mirrored Paolozzi’s feeling that he, a child of Italian parents raised in Scotland, was also an outsider. Paolozzi commented, “I wanted to identify myself with Wittgenstein through the prints, and make a kind of combined autobiography.” Paolozzi, who was fascinated with American popular and consumer culture from his childhood, made his first trip to America in 1958 and spent extended periods there during the 1960s. But he became disillusioned with the American dream in the era of the Vietnam War and cut short his tenure as a visiting professor of sculpture at the University of California, Berkeley, in 1968. Wittgenstein in New York relates to the philosopher’s visit in 1939 and contains elements of the apocalyptical imagery that the artist developed in other work of the period.
--- --- Gallery label for installation of YCBA collection, 2016
4814
300048722
Gallery label
2016
300055603
500303557
Yale Center for British Art
https://britishart.yale.edu
Yale Center for British Art, Paul Mellon Fund
300055598
Under Copyright
300435434
https://rightsstatements.org/vocab/InC/1.0/
4814
300133025
Volume
500303557
Yale Center for British Art
http://britishart.yale.edu
https://collections.britishart.yale.edu/catalog/tms:4814
oai:tms.ycba.yale.edu:4814
https://manifests.collections.yale.edu/v2/ycba/obj/4814
https://manifests.collections.yale.edu/ycba/obj/4814
IIIF manifest
Yale Center for British Art
500303557
Yale Center for British Art