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Vija Celmins

January 06, 2023

Vija Celmins (pronounced VEE-ya SELL-muns;[1] Latvian: Vija Celmiņa, pronounced TSEL-meen-ya) is a Latvian American visual artist best known for photo-realistic paintings and drawings of natural environments and phenomena such as the ocean, spider webs, star fields, and rocks.[2][3][4] Her earlier work included pop sculptures and monochromatic representational paintings. Based in New York City, she has been the subject of over forty solo exhibitions since 1965, and major retrospectives at the Museum of Modern Art, Whitney Museum of American Art, Los Angeles County Museum of Art, San Francisco Museum of Modern Art, Institute of Contemporary Arts, London and the Centre Pompidou, Paris.

Vija Celmins
Born
Vija Celmiņa

(1938-10-25) October 25, 1938 (age 84)
Riga, Latvia
NationalityAmerican
EducationJohn Herron School of Art
UCLA
Known forPainting, Graphic art, Printmaking
MovementAbstract, Minimalism, Photorealism
AwardsGuggenheim Fellowship, National Endowment for the Arts, American Academy of Arts and Letters, Carnegie Prize, MacArthur Fellowship

Biography

Vija Celmiņa was born on October 25, 1938, in Riga, Latvia.[5] Upon the Soviet occupation of Latvia in 1940, during World War II, her parents fled with her and her older sister Inta[6] to Germany, then under the Nazi regime; after the end of the war, the family lived in a United Nations supported Latvian refugee camp in Esslingen am Neckar, Baden-Württemberg. In 1948, the Church World Service relocated the family to the United States, briefly in New York City, then in Indianapolis, Indiana. Sponsored by a local Lutheran church,[6] her father found work as a carpenter, and her mother in a hospital laundry.[7] Vija was ten, and spoke no English, which caused her to focus on drawing, leading her teachers to encourage further creativity and painting.[8]

In 1955, she entered the John Herron School of Art in Indianapolis, where she has said that for the first time in her life, she did not feel like an outsider.[7] In 1961 she won a Fellowship to attend a Summer session at Yale University, where she met Chuck Close and Brice Marden, who would remain close friends.[7] It was during this time she began to study Italian monotone still life painter Giorgio Morandi, and painted abstract works. In 1962 she graduated from Herron with a BFA, and moved to Venice, Los Angeles, to pursue an MFA at the University of California at Los Angeles, graduating in 1965. At UCLA, she enjoyed freedom, being far from her parents, leading to further artistic exploration.[7] In 1978, she was an artist-in-residence, funded by the Comprehensive Employment and Training Act (CETA), at the Los Angeles Institute of Contemporary Art.[9] She lived in Venice until 1980, painting and sculpting, and working as an instructor at the California State University, Los Angeles, the University of California, Irvine and California Institute of the Arts, in Valencia.

In 1981, following an invitation to teach at the Skowhegan School of Painting and Sculpture, she moved permanently to New York City, wanting to be closer to the artists and art that she liked. She also returned to painting, which she had abandoned for twelve years, working during that time mainly in pencil. She later used woodcuts, and eraser and charcoal. Since that time, she has worked out of a cottage in Sag Harbor, New York, and a studio loft on Crosby Street in Soho, Manhattan. During the 1980s, she also taught at the Cooper Union and the Yale University School of Art.[10]

Work

 
Tulip Car #1 (1966) at the National Gallery of Art in 2022

Working in California in the 1960s, Vija Celmins' early work, generally in photorealistic painting and pop-inspired sculpture, was representational. She recreated commonplace objects such as TVs, lamps, pencils, erasers and the painted monochrome reproductions of photographs.[11] A common underlying theme in the paintings was violence or conflict, such as war planes, handguns and riot imagery. A retrospective of the 1964–1966 work was organized by the Menil Collection in cooperation with the Los Angeles County Museum of Art in 2010.[12] She has cited Malcolm Morley and Jasper Johns as influences in this period.[13][14]

In the late 1960s through the 1970s, she abandoned painting, and focused on working in graphite pencil,[15] creating highly detailed photorealistic drawings, based on photographs of natural elements such as the ocean's or moon's surface, the insides of shells, and closeups of rocks.[16] Critics frequently compare her laborious approach to contemporaries Chuck Close and Gerhard Richter,[17] and she has cited Giorgio Morandi, a master of the pale grey still life, as a major influence.[15] These works also share with Richter's an apparent randomness and thus apparently dispassionate attitude. It is as if any photograph would do as a source for a painting, and the choice is apparently unimportant. This is of course not the case, but the work contains within it the impression that the image is chosen at random from an endless selection of possible alternative images of similar nature.[citation needed]

At the end of this period, from 1976 to 1983, Celmins also returned to sculpture in a way that incorporated her interest in photorealism. She produced a series of bronze cast, acrylic painted stones, exact replicas of individual stones she found along the Rio Grande in Northern New Mexico,[18] with eleven examples held at MoMA.[19] By 1981, she returned to painting, from this point forward working also with woodcuts and printing, and substantially in charcoal with a wide variety of erasers - often exploring negative space, selectively removing darkness from images,[13] and achieving subtle control of grey tones.[10]

From the early 1980s forward, Celmins focused on the constellations, moon and oceans using these various techniques, a balance between the abstract and photorealism.[20] By 2000, she had begun to produce haunting and distinctive spider webs, again negative images in oil or charcoal, to much critical acclaim,[21][22] with particular note of her meticulous surface development and luminosity.[23] She has said that all these works are based on photographs, and she imparts substantial effort on the built-up surfaces of the images.[15] In a 1996 review of her 30-year retrospective at London's Institute of Contemporary Art, The Independent cited her as "American art's best-kept secret."[24]

Critics have often noted that Celmins' works since the late 1960s - the moon scapes, ocean surfaces, star fields, shells, and spider webs, often share the characteristic of not having a reference point: no horizon, depth of field, edge or landmarks to put them into context. The location, constellation, or scientific name are all unknown - there is no information imparted.[25][26][27]

 
Blackboard Tableau #14 (2011-2015) at the National Gallery of Art in 2022

From 2008, Celmins returned to objects and representative work, with paintings of maps and books, as well as many uses of small graphite tablets - hand held black boards.[10] She also produced series prints of her now well-known waves, spiderwebs, shells and desert floors, many of which were exhibited at the McKee Gallery in June 2010.[20][28][29] She recently released a new series of prints that includes both night sky and waves mezzotints. These prints were exhibited at the Matthew Marks Gallery in January, February, and March 2018[30] and the Senior & Shopmaker Gallery in February and March 2018.[31]

Her woodcuts of water can take a year to cut; she has commented that they "remind us of 'the complexity of the simplest things'".[32]

Exhibitions

Celmins's works have been the subject of over forty solo exhibitions around the world since 1965, hundreds of group exhibitions. After her longtime dealer, McKee Gallery in New York, announced its closing in 2015, Celmins is currently represented by Matthew Marks Gallery.[1]

Notable works in public collections

In 2005, a major collector of her work, real estate developer Edward R. Broida, donated 17 pieces, covering 40 years of her career, to the Museum of Modern Art, as part of an overall contribution valued at $50 million ($50,000,000). Especially noteworthy were the early and late paintings.[58]

Recognition

References

  1. ^ a b Hilarie M. Sheets and Randy Kennedy (September 24, 2015); Changing Galleries New York Times.
  2. ^ . Archived from the original on 2009-07-03. Retrieved 2013-01-26.
  3. ^ "National Gallery".
  4. ^ Phaidon Editors (2019). Great women artists. Phaidon Press. p. 94. ISBN 978-0714878775. {{cite book}}: |last1= has generic name (help)
  5. ^ Dictionary of Women Artists Volume 1, p.377, By Delia Gaze, 1997.
  6. ^ a b "Indianapolis Star, Oct. 11, 2012 - Inta A. Celmins Obituary". Legacy.com.
  7. ^ a b c d "THE MUSEUM OF MODERN ART ORAL HISTORY PROGRAM, INTERVIEW WITH: VIJA CELMINS, BY: BETSY SUSSLER, EDITOR-IN-CHIEF, BOMB MAGAZINE, Oct. 18, 2011" (PDF).
  8. ^ "Art21, Sep. 16, 2003 - Vija Celmins: Earliest Influences, Early Works, Interview".
  9. ^ Archives of American Art, Smithsonian Institution, https://www.aaa.si.edu/collections/los-angeles-institute-contemporary-art-records-5495/subseries-5-3
  10. ^ a b c "The Brooklyn Rail, June 2010 - In Conversation: Vija Celmins with Phong Bui". 3 June 2010.
  11. ^ Knight, Christopher (December 21, 1993). "Los Angeles Times, Dec. 21, 1993 - ART REVIEW: The Profound Silence of Vija Celmins : MOCA retrospective, by CHRISTOPHER KNIGHT".
  12. ^ Sirmans, Franklin; White, Michelle (2010). Vija Celmins: Television and Disaster, 1964–1966. Houston: The Menil Collection. p. 64. ISBN 978-0-300-16612-5.
  13. ^ a b . Archived from the original on 2011-02-13. Retrieved 2013-01-26.
  14. ^ McKenna, Kristine (July 27, 1990). "Los Angeles Times, Jul. 27, 1990 - ART REVIEWS : A Rare Show by Reclusive Vija Celmins, by KRISTINE McKENNA".
  15. ^ a b c . Archived from the original on 2012-08-05. Retrieved 2013-01-26.
  16. ^ "Tate Modern - Bio of Vija Celmins".
  17. ^ MoMA: Highlights Since 1980, by Rebecca Roberts, published in 2007, pp161.
  18. ^ Morgan, Susan, Los Angeles Times, 12 December 1993 http://articles.latimes.com/1993-12-12/entertainment/ca-1174_1_artist-vija-celmins
  19. ^ "MoMA Collection - To Fix the Image in Memory by Vija Celmins".
  20. ^ a b Smith, Roberta (June 10, 2010). "New York Times, June 10, 2010 - Vija Celmins: 'New Paintings, Objects and Prints', By ROBERTA SMITH". The New York Times.
  21. ^ Glueck, Grace (November 1, 2002). "New York Times, Nov. 1, 2002 - ART REVIEW; With No Hidden Agenda, The Process Is the Point, By GRACE GLUECK". The New York Times.
  22. ^ "New Yorker, June 4, 2001 - DARK STAR: The intimate grandeur of Vija Celmins, BY PETER SCHJELDAHL". The New Yorker. 28 May 2001.
  23. ^ Johnson, Ken (June 1, 2001). "New York Times, June 1, 2001 - ART IN REVIEW; Vija Celmins, By KEN JOHNSON". The New York Times.
  24. ^ Ingleby, Richard (December 13, 1996). "The Independent, Dec. 13, 1996 - VISUAL ARTS: Vija Celmins ICA, London, by RICHARD INGLEBY". Archived from the original on 2022-08-17.
  25. ^ "Roswitha Haftmann Stiftung Foundation, Laudatio of Vija Celmins, 2009, by Hans-Joachim Müller".
  26. ^ "Whitney for Teachers, Discussion of Vija Celmins".[permanent dead link]
  27. ^ "PBS, ART21 - About Vija Celmins, from Art in the Twenty-First Century, 2003". PBS.
  28. ^ "McKee Gallery, 2010 Announcement of Vija Celmins Exhibit".
  29. ^ "ArtPremium – Vija Celmins, Entropic Void". ArtPremium. 2017-04-19. Retrieved 2018-05-03.
  30. ^ "Vija Celmins". Matthew Marks Gallery. 2018.
  31. ^ . www.seniorandshopmaker.com. Archived from the original on February 28, 2018.
  32. ^ Bunting, Madeleine (2016). Love of Country: A Hebridean Journey. Granta. ISBN 9781847085184.
  33. ^ "Heater". Whitney. Whitney Museum. from the original on 3 July 2021. Retrieved 12 August 2022.
  34. ^ "Torso". Menil. Menil Collection. from the original on 18 September 2021. Retrieved 12 August 2022.
  35. ^ "House #1". MoMA. Museum of Modern Art. from the original on 31 January 2022. Retrieved 12 August 2022.
  36. ^ a b "Vija Celmins". Glenstone. Glenstone. from the original on 20 April 2022. Retrieved 12 August 2022.
  37. ^ "Explosion at Sea". ArtIC. Art Institute of Chicago. 1966. from the original on 25 June 2022. Retrieved 12 August 2022.
  38. ^ "Flying Fortress". MoMA. Museum of Modern Art. from the original on 31 January 2022. Retrieved 12 August 2022.
  39. ^ "German Plane". The Modern. Modern Art Museum of Fort Worth. from the original on 12 August 2022. Retrieved 12 August 2022.
  40. ^ "Pencil". NGA. National Gallery of Art. from the original on 12 August 2022. Retrieved 12 August 2022.
  41. ^ "Suspended Plane". SFMoMA. San Francisco Museum of Modern Art. from the original on 27 February 2021. Retrieved 12 August 2022.
  42. ^ "Tulip Car #1". NGA. National Gallery of Art. from the original on 12 August 2022. Retrieved 12 August 2022.
  43. ^ "Untitled (Double Moon Surface)". Hirshhorn. Smithsonian Institution. Retrieved 12 August 2022.
  44. ^ "Untitled (Ocean)". PhilaMuseum. Philadelphia Museum of Art. from the original on 23 May 2021. Retrieved 12 August 2022.
  45. ^ "Untitled (Cassiopeia)". ArtBMA. Baltimore Museum of Art. from the original on 12 August 2022. Retrieved 12 August 2022.
  46. ^ "Untitled (Medium Desert)". Menil. Menil Collection. from the original on 27 July 2021. Retrieved 12 August 2022.
  47. ^ "Untitled (Comb)". LACMA. Los Angeles County Museum of Art. from the original on 21 January 2022. Retrieved 12 August 2022.
  48. ^ "To Fix the Image in Memory". MoMA. Museum of Modern Art. from the original on 22 March 2022. Retrieved 12 August 2022.
  49. ^ "Alliance". High. High Museum of Art. Retrieved 12 August 2022.
  50. ^ "Strata". MetMuseum. Metropolitan Museum of Art. from the original on 25 January 2021. Retrieved 12 August 2022.
  51. ^ "Untitled (Comet)". NGA. National Gallery of Art. from the original on 12 August 2022. Retrieved 12 August 2022.
  52. ^ "Night Sky #12". CMoA. Carnegie Museum of Art. from the original on 21 December 2020. Retrieved 12 August 2022.
  53. ^ "Night Sky #19". Tate. Tate. from the original on 19 July 2022. Retrieved 12 August 2022.
  54. ^ "Untitled #17". Centre Pompidou. Centre Pompidou. from the original on 12 August 2022. Retrieved 12 August 2022.
  55. ^ "Night Sky #20". KMW. Kunstmuseum Winterthur. from the original on 12 August 2020. Retrieved 12 August 2022.
  56. ^ "Night Sky #17". The Modern. Modern Art Museum of Fort Worth. from the original on 12 August 2022. Retrieved 12 August 2022.
  57. ^ "Blackboard Tableau #1". SFMoMA. San Francisco Museum of Modern Art. from the original on 27 February 2021. Retrieved 12 August 2022.
  58. ^ Vogel, Carol (October 12, 2005). "New York Times, Oct. 12, 2005 - The Modern Gets a Sizable Gift of Contemporary Art, By CAROL VOGEL". The New York Times.
  59. ^ a b c "McKee Gallery, Biography of Vija Celmins".
  60. ^ a b c d "Carnegie Museum of Art - Biography of Vija Celmins".
  61. ^ . Archived from the original on 2014-04-13.
  62. ^ Coutts Contemporary Art Foundation Awards 2000 : Eija-Liisa Ahtila, Vija Celmins, Luc Tuymans, Switzerland. OCLC 71341637.
  63. ^ "Pittsburgh Post-Gazette, May 7, 2008 - Carnegie International a magnet for planners, art lovers, By Mary Thomas". May 7, 2008.
  64. ^ "Roswitha Haftmann Prizewinners".
  65. ^ "USA Projects, Board Fellow Vija Celmins, 2009".

External links

  • Biography, interviews, essays, artwork images and video clips from PBS series Art:21 -- Art in the Twenty-First Century - Season 2 (2003)
  • Artcyclopedia page
  • Vija Celmins at Matthew Marks Gallery, New York 2020-09-24 at the Wayback Machine
  • Vija Celmins at the National Gallery of Art
  • Celmins at the San Francisco Museum of Modern Art

January 06, 2023
vija, celmins, pronounced, sell, muns, latvian, vija, celmiņa, pronounced, tsel, meen, latvian, american, visual, artist, best, known, photo, realistic, paintings, drawings, natural, environments, phenomena, such, ocean, spider, webs, star, fields, rocks, earl. Vija Celmins pronounced VEE ya SELL muns 1 Latvian Vija Celmina pronounced TSEL meen ya is a Latvian American visual artist best known for photo realistic paintings and drawings of natural environments and phenomena such as the ocean spider webs star fields and rocks 2 3 4 Her earlier work included pop sculptures and monochromatic representational paintings Based in New York City she has been the subject of over forty solo exhibitions since 1965 and major retrospectives at the Museum of Modern Art Whitney Museum of American Art Los Angeles County Museum of Art San Francisco Museum of Modern Art Institute of Contemporary Arts London and the Centre Pompidou Paris Vija CelminsBornVija Celmina 1938 10 25 October 25 1938 age 84 Riga LatviaNationalityAmericanEducationJohn Herron School of ArtUCLAKnown forPainting Graphic art PrintmakingMovementAbstract Minimalism PhotorealismAwardsGuggenheim Fellowship National Endowment for the Arts American Academy of Arts and Letters Carnegie Prize MacArthur Fellowship Contents 1 Biography 2 Work 3 Exhibitions 4 Notable works in public collections 5 Recognition 6 References 7 External linksBiography EditVija Celmina was born on October 25 1938 in Riga Latvia 5 Upon the Soviet occupation of Latvia in 1940 during World War II her parents fled with her and her older sister Inta 6 to Germany then under the Nazi regime after the end of the war the family lived in a United Nations supported Latvian refugee camp in Esslingen am Neckar Baden Wurttemberg In 1948 the Church World Service relocated the family to the United States briefly in New York City then in Indianapolis Indiana Sponsored by a local Lutheran church 6 her father found work as a carpenter and her mother in a hospital laundry 7 Vija was ten and spoke no English which caused her to focus on drawing leading her teachers to encourage further creativity and painting 8 In 1955 she entered the John Herron School of Art in Indianapolis where she has said that for the first time in her life she did not feel like an outsider 7 In 1961 she won a Fellowship to attend a Summer session at Yale University where she met Chuck Close and Brice Marden who would remain close friends 7 It was during this time she began to study Italian monotone still life painter Giorgio Morandi and painted abstract works In 1962 she graduated from Herron with a BFA and moved to Venice Los Angeles to pursue an MFA at the University of California at Los Angeles graduating in 1965 At UCLA she enjoyed freedom being far from her parents leading to further artistic exploration 7 In 1978 she was an artist in residence funded by the Comprehensive Employment and Training Act CETA at the Los Angeles Institute of Contemporary Art 9 She lived in Venice until 1980 painting and sculpting and working as an instructor at the California State University Los Angeles the University of California Irvine and California Institute of the Arts in Valencia In 1981 following an invitation to teach at the Skowhegan School of Painting and Sculpture she moved permanently to New York City wanting to be closer to the artists and art that she liked She also returned to painting which she had abandoned for twelve years working during that time mainly in pencil She later used woodcuts and eraser and charcoal Since that time she has worked out of a cottage in Sag Harbor New York and a studio loft on Crosby Street in Soho Manhattan During the 1980s she also taught at the Cooper Union and the Yale University School of Art 10 Work Edit Tulip Car 1 1966 at the National Gallery of Art in 2022 Working in California in the 1960s Vija Celmins early work generally in photorealistic painting and pop inspired sculpture was representational She recreated commonplace objects such as TVs lamps pencils erasers and the painted monochrome reproductions of photographs 11 A common underlying theme in the paintings was violence or conflict such as war planes handguns and riot imagery A retrospective of the 1964 1966 work was organized by the Menil Collection in cooperation with the Los Angeles County Museum of Art in 2010 12 She has cited Malcolm Morley and Jasper Johns as influences in this period 13 14 In the late 1960s through the 1970s she abandoned painting and focused on working in graphite pencil 15 creating highly detailed photorealistic drawings based on photographs of natural elements such as the ocean s or moon s surface the insides of shells and closeups of rocks 16 Critics frequently compare her laborious approach to contemporaries Chuck Close and Gerhard Richter 17 and she has cited Giorgio Morandi a master of the pale grey still life as a major influence 15 These works also share with Richter s an apparent randomness and thus apparently dispassionate attitude It is as if any photograph would do as a source for a painting and the choice is apparently unimportant This is of course not the case but the work contains within it the impression that the image is chosen at random from an endless selection of possible alternative images of similar nature citation needed At the end of this period from 1976 to 1983 Celmins also returned to sculpture in a way that incorporated her interest in photorealism She produced a series of bronze cast acrylic painted stones exact replicas of individual stones she found along the Rio Grande in Northern New Mexico 18 with eleven examples held at MoMA 19 By 1981 she returned to painting from this point forward working also with woodcuts and printing and substantially in charcoal with a wide variety of erasers often exploring negative space selectively removing darkness from images 13 and achieving subtle control of grey tones 10 From the early 1980s forward Celmins focused on the constellations moon and oceans using these various techniques a balance between the abstract and photorealism 20 By 2000 she had begun to produce haunting and distinctive spider webs again negative images in oil or charcoal to much critical acclaim 21 22 with particular note of her meticulous surface development and luminosity 23 She has said that all these works are based on photographs and she imparts substantial effort on the built up surfaces of the images 15 In a 1996 review of her 30 year retrospective at London s Institute of Contemporary Art The Independent cited her as American art s best kept secret 24 Critics have often noted that Celmins works since the late 1960s the moon scapes ocean surfaces star fields shells and spider webs often share the characteristic of not having a reference point no horizon depth of field edge or landmarks to put them into context The location constellation or scientific name are all unknown there is no information imparted 25 26 27 Blackboard Tableau 14 2011 2015 at the National Gallery of Art in 2022 From 2008 Celmins returned to objects and representative work with paintings of maps and books as well as many uses of small graphite tablets hand held black boards 10 She also produced series prints of her now well known waves spiderwebs shells and desert floors many of which were exhibited at the McKee Gallery in June 2010 20 28 29 She recently released a new series of prints that includes both night sky and waves mezzotints These prints were exhibited at the Matthew Marks Gallery in January February and March 2018 30 and the Senior amp Shopmaker Gallery in February and March 2018 31 Her woodcuts of water can take a year to cut she has commented that they remind us of the complexity of the simplest things 32 Exhibitions EditCelmins s works have been the subject of over forty solo exhibitions around the world since 1965 hundreds of group exhibitions After her longtime dealer McKee Gallery in New York announced its closing in 2015 Celmins is currently represented by Matthew Marks Gallery 1 Notable works in public collections EditHeater 1964 Whitney Museum New York 33 Torso 1964 Menil Collection Houston 34 House 1 1965 Museum of Modern Art New York 35 Forest Fire 1965 1966 Glenstone Potomac Maryland 36 Explosion at Sea 1966 Art Institute of Chicago 37 Flying Fortress 1966 Museum of Modern Art New York 38 German Plane 1966 Modern Art Museum of Fort Worth Texas 39 Pencil 1966 National Gallery of Art Washington D C 40 Suspended Plane 1966 San Francisco Museum of Modern Art 41 Tulip Car 1 1966 National Gallery of Art Washington D C 42 Untitled Double Moon Surface 1969 Hirshhorn Museum and Sculpture Garden Smithsonian Institution Washington D C 43 Untitled Ocean 1969 Philadelphia Museum of Art 44 Untitled Cassiopeia 1973 Baltimore Museum of Art 45 Untitled Medium Desert 1974 1975 Menil Collection Houston 46 Untitled Comb 1978 Los Angeles County Museum of Art 47 To Fix the Image in Memory 1977 1982 Museum of Modern Art New York 48 Alliance 1982 High Museum of Art Atlanta 49 Strata 1983 Metropolitan Museum of Art New York 50 Untitled Comet 1988 National Gallery of Art Washington D C 51 Night Sky 12 1995 1996 Carnegie Museum of Art Pittsburgh 52 Night Sky 19 1998 Tate London 53 Untitled 17 1998 Centre Pompidou Paris 54 Night Sky 20 1999 Kunstmuseum Winterthur Winterthur Switzerland 55 Night Sky 17 2000 2001 Modern Art Museum of Fort Worth Texas 56 Blackboard Tableau 1 2007 2010 San Francisco Museum of Modern Art 57 Blackboard Tableau 14 2011 2015 Glenstone Potomac Maryland 36 In 2005 a major collector of her work real estate developer Edward R Broida donated 17 pieces covering 40 years of her career to the Museum of Modern Art as part of an overall contribution valued at 50 million 50 000 000 Especially noteworthy were the early and late paintings 58 Recognition Edit1961 Fellowship to Yale University Summer Session 59 1968 Cassandra Foundation Award 59 1971 amp 1976 Artist s Fellowship from National Endowment for the Arts 59 1980 Guggenheim Fellowship 60 1996 American Academy of Arts and Letters Award in Art 61 1997 Skowhegan Medal for Painting 60 1997 John D and Catherine T MacArthur Fellowship 60 2000 2001 Coutts Contemporary Art Foundation Award 62 2004 Elected into the National Academy of Design 2006 RISD Athena Award for Excellence in Painting 60 2008 Awarded the 10 000 Carnegie Prize 63 2009 Roswitha Haftmann Prize 64 2009 Fellow Award in the Visual Arts from United States Artists 65 References Edit a b Hilarie M Sheets and Randy Kennedy September 24 2015 Changing Galleries New York Times UCLA Hammer Gallery Archived from the original on 2009 07 03 Retrieved 2013 01 26 National Gallery Phaidon Editors 2019 Great women artists Phaidon Press p 94 ISBN 978 0714878775 a href Template Cite book html title Template Cite book cite book a last1 has generic name help Dictionary of Women Artists Volume 1 p 377 By Delia Gaze 1997 a b Indianapolis Star Oct 11 2012 Inta A Celmins Obituary Legacy com a b c d THE MUSEUM OF MODERN ART ORAL HISTORY PROGRAM INTERVIEW WITH VIJA CELMINS BY BETSY SUSSLER EDITOR IN CHIEF BOMB MAGAZINE Oct 18 2011 PDF Art21 Sep 16 2003 Vija Celmins Earliest Influences Early Works Interview Archives of American Art Smithsonian Institution https www aaa si edu collections los angeles institute contemporary art records 5495 subseries 5 3 a b c The Brooklyn Rail June 2010 In Conversation Vija Celmins with Phong Bui 3 June 2010 Knight Christopher December 21 1993 Los Angeles Times Dec 21 1993 ART REVIEW The Profound Silence of Vija Celmins MOCA retrospective by CHRISTOPHER KNIGHT Sirmans Franklin White Michelle 2010 Vija Celmins Television and Disaster 1964 1966 Houston The Menil Collection p 64 ISBN 978 0 300 16612 5 a b Might Be Good Issue 158 Dec 3 2010 Interview Vija Celmins by Wendy Vogel Archived from the original on 2011 02 13 Retrieved 2013 01 26 McKenna Kristine July 27 1990 Los Angeles Times Jul 27 1990 ART REVIEWS A Rare Show by Reclusive Vija Celmins by KRISTINE McKENNA a b c Tate Modern Tate Papers Issue 14 Oct 2010 Dust and Doubt The Deserts and Galaxies of Vija Celmins by Stephanie Straine Archived from the original on 2012 08 05 Retrieved 2013 01 26 Tate Modern Bio of Vija Celmins MoMA Highlights Since 1980 by Rebecca Roberts published in 2007 pp161 Morgan Susan Los Angeles Times 12 December 1993 http articles latimes com 1993 12 12 entertainment ca 1174 1 artist vija celmins MoMA Collection To Fix the Image in Memory by Vija Celmins a b Smith Roberta June 10 2010 New York Times June 10 2010 Vija Celmins New Paintings Objects and Prints By ROBERTA SMITH The New York Times Glueck Grace November 1 2002 New York Times Nov 1 2002 ART REVIEW With No Hidden Agenda The Process Is the Point By GRACE GLUECK The New York Times New Yorker June 4 2001 DARK STAR The intimate grandeur of Vija Celmins BY PETER SCHJELDAHL The New Yorker 28 May 2001 Johnson Ken June 1 2001 New York Times June 1 2001 ART IN REVIEW Vija Celmins By KEN JOHNSON The New York Times Ingleby Richard December 13 1996 The Independent Dec 13 1996 VISUAL ARTS Vija Celmins ICA London by RICHARD INGLEBY Archived from the original on 2022 08 17 Roswitha Haftmann Stiftung Foundation Laudatio of Vija Celmins 2009 by Hans Joachim Muller Whitney for Teachers Discussion of Vija Celmins permanent dead link PBS ART21 About Vija Celmins from Art in the Twenty First Century 2003 PBS McKee Gallery 2010 Announcement of Vija Celmins Exhibit ArtPremium Vija Celmins Entropic Void ArtPremium 2017 04 19 Retrieved 2018 05 03 Vija Celmins Matthew Marks Gallery 2018 Vija Celmins Recent Prints www seniorandshopmaker com Archived from the original on February 28 2018 Bunting Madeleine 2016 Love of Country A Hebridean Journey Granta ISBN 9781847085184 Heater Whitney Whitney Museum Archived from the original on 3 July 2021 Retrieved 12 August 2022 Torso Menil Menil Collection Archived from the original on 18 September 2021 Retrieved 12 August 2022 House 1 MoMA Museum of Modern Art Archived from the original on 31 January 2022 Retrieved 12 August 2022 a b Vija Celmins Glenstone Glenstone Archived from the original on 20 April 2022 Retrieved 12 August 2022 Explosion at Sea ArtIC Art Institute of Chicago 1966 Archived from the original on 25 June 2022 Retrieved 12 August 2022 Flying Fortress MoMA Museum of Modern Art Archived from the original on 31 January 2022 Retrieved 12 August 2022 German Plane The Modern Modern Art Museum of Fort Worth Archived from the original on 12 August 2022 Retrieved 12 August 2022 Pencil NGA National Gallery of Art Archived from the original on 12 August 2022 Retrieved 12 August 2022 Suspended Plane SFMoMA San Francisco Museum of Modern Art Archived from the original on 27 February 2021 Retrieved 12 August 2022 Tulip Car 1 NGA National Gallery of Art Archived from the original on 12 August 2022 Retrieved 12 August 2022 Untitled Double Moon Surface Hirshhorn Smithsonian Institution Retrieved 12 August 2022 Untitled Ocean PhilaMuseum Philadelphia Museum of Art Archived from the original on 23 May 2021 Retrieved 12 August 2022 Untitled Cassiopeia ArtBMA Baltimore Museum of Art Archived from the original on 12 August 2022 Retrieved 12 August 2022 Untitled Medium Desert Menil Menil Collection Archived from the original on 27 July 2021 Retrieved 12 August 2022 Untitled Comb LACMA Los Angeles County Museum of Art Archived from the original on 21 January 2022 Retrieved 12 August 2022 To Fix the Image in Memory MoMA Museum of Modern Art Archived from the original on 22 March 2022 Retrieved 12 August 2022 Alliance High High Museum of Art Retrieved 12 August 2022 Strata MetMuseum Metropolitan Museum of Art Archived from the original on 25 January 2021 Retrieved 12 August 2022 Untitled Comet NGA National Gallery of Art Archived from the original on 12 August 2022 Retrieved 12 August 2022 Night Sky 12 CMoA Carnegie Museum of Art Archived from the original on 21 December 2020 Retrieved 12 August 2022 Night Sky 19 Tate Tate Archived from the original on 19 July 2022 Retrieved 12 August 2022 Untitled 17 Centre Pompidou Centre Pompidou Archived from the original on 12 August 2022 Retrieved 12 August 2022 Night Sky 20 KMW Kunstmuseum Winterthur Archived from the original on 12 August 2020 Retrieved 12 August 2022 Night Sky 17 The Modern Modern Art Museum of Fort Worth Archived from the original on 12 August 2022 Retrieved 12 August 2022 Blackboard Tableau 1 SFMoMA San Francisco Museum of Modern Art Archived from the original on 27 February 2021 Retrieved 12 August 2022 Vogel Carol October 12 2005 New York Times Oct 12 2005 The Modern Gets a Sizable Gift of Contemporary Art By CAROL VOGEL The New York Times a b c McKee Gallery Biography of Vija Celmins a b c d Carnegie Museum of Art Biography of Vija Celmins American Academy of Arts and Letters Awards Registry Archived from the original on 2014 04 13 Coutts Contemporary Art Foundation Awards 2000 Eija Liisa Ahtila Vija Celmins Luc Tuymans Switzerland OCLC 71341637 Pittsburgh Post Gazette May 7 2008 Carnegie International a magnet for planners art lovers By Mary Thomas May 7 2008 Roswitha Haftmann Prizewinners USA Projects Board Fellow Vija Celmins 2009 External links EditBiography interviews essays artwork images and video clips from PBS series Art 21 Art in the Twenty First Century Season 2 2003 Artcyclopedia page Vija Celmins at Matthew Marks Gallery New York Archived 2020 09 24 at the Wayback Machine Vija Celmins at the National Gallery of Art Celmins at the San Francisco Museum of Modern Art Retrieved from https en wikipedia org w index php title Vija Celmins amp oldid 1131804218, wikipedia, wiki, book, books, library,

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