Colin Greenly
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| Colin Greenly | |
|---|---|
| Born | Bernard Colin Greenly January 21, 1928 London, England |
| 💀Died | 2014, age 86 Campbell Hall, NY2014, age 86 |
| 🏳️ Nationality | American |
| 🏫 Education | Columbia University School of Painting and Sculpture |
| 🎓 Alma mater | Harvard College |
| 💼 Occupation | |
| Known for | Drawing, Painting, Sculpture |
| Notable work | Primary Transitional Symbol; Intangibles; Wishbone House |
| 🌐 Website | ColinGreenly.com |
Search Colin Greenly on Amazon.
Bernard Colin Greenly (1928–2014) was a visual artist active in the United States during the late 20th century and early 21st century.[1]
Biography[edit]
(Bernard) Colin Greenly was born in London, England on January 21,1928[2]. He received his B.A. in 1948 from Harvard College. He studied at Columbia University School of Painting and Sculpture from 1951 to 1953. He also studied at the American University Graduate School of Fine Arts in 1956.[3][2] Greenly lived and worked mostly in the areas around New York and Washington, DC. Greenly died on October 14, 2014. [4]
Early Education and Teaching[edit]
In 1947, while a student at Harvard University, Greenly's first exhibit was an ink drawing at the Fogg Museum of Art. Upon graduation and after a three-year foray working in the field of advertising, he quit his job to attend Columbia University School of Painting and Sculpture from 1951-53, studying painting and sculpture under Professors Peppino Mangravite, Oronzio Maldarelli, and others[2]. From 1951-53, while in NYC, Greenly worked to establish art programs for employees at Standard Oil, Metropolitan Life Insurance Co., Union Carbide Corp., New York Life Insurance.[5] In 1953, Greenly moved to the Washington DC area to take a part-time teaching position at the Potomac School in McLean, VA. From 1954-1956, Greenly taught at the US. Department of Agriculture Graduate School.[5] In 1955 he was appointed as Art Director at the Madeira School, in Virginia[6], lasting through 1968.[5] In 1956, Greenly studied at American University, with Robert Gates.[5]
Career[edit]
Early Recognition[edit]
His first major show was the "Young American Printmakers" exhibition at the Museum of Modern Art in NYC in 1953.[6] He also took part in a three-man show of woodcuts at the Bader Gallery in Washington DC and won a Purchase Prize in 1956 from the Corcoran Gallery of Art.[6][5]
In 1958 he was invited to become a charter member of the Jefferson Place Gallery in Washington DC with Ken Noland and others, where he had solo shows in 1958, 1960, 1963 and 1965.[5]
Drawings, Reliefs, and Sculpture[edit]
Around 1960, Greenly began to feel painting was too static. While making small models for a sculpture commission with white clay-faced cardboard, he began to discover the subtle color changes that occur when reflected light is caught between two separated planes. This discovery would become the basis for his later work involving universality and actual physical change. That path of inquiry inspired his first series of white, hand embossed, relief drawings.
In a Corcoran Gallery of Art exhibition catalog, James Harithas, then Assistant Director (and organizer of Greenly's 1968 exhibit), explains "[t]he white embossed drawings are a reflection of Greenly's sensitivity to the essential quality of materials. No two-dimensional format could more clearly parallel his sculpture since, in effect, it is the subtle changes of light acting on the raised edges which activate these drawings".[3]
By 1963, Greenly became increasingly disturbed by the multi-directional forces of the polygonal shapes in his relief sculptures. As he was refining the shapes, he intuitively invented a transitional shape derived from expanding the periphery of a square towards a circular form. This shape paralleled and reinforced the time/change aspect of light in the earlier constructions and was incorporated in a new sculpture series shown at the Bertha Schaefer Gallery in 1964, 1966 and 1968. In May 1966, Colta Feller reviewed Greenly's Schaefer Gallery show in Arts Magazine, as follows: "Greenly's works reveal infinite variations in patterns of form, shadow and light [...] Like his sculptures, the artist's geometrical embossed drawings on white paper also rely upon the spectator's response to subtle visual phenomena for their effectiveness."[7]
Greenly's "Primary Transitional Symbol" proved to be an extremely rare visual and mathematical discovery. James Harithas cites a parallel (and completely independent) scientific development occurring in the same period by Danish mathematician Piet Hein in 1965.[3] In the 1970s, Greenly revisited the shape and created a series of paintings. In 1971 he received a commission to paint a large-scale Transitional Symbol directly on the wall of the Everson Museum of Art.
By 1964, Greenly began to look for a way to eliminate the support bases of his acrylic sculptures and turned to creating rectangular progressions on a somewhat larger scale. He created 14 small-scale edition pieces as models with the eventual goal of making large-scale sculptures. Thickness limitations of the acrylic sheet material led him toward the use of painted polystyrene as a lighter weight, scalable solution.
Selected works[edit]
Wishbone House[edit]
Wishbone House is a "six-foot high precast concrete A-shaped frame that encouraged both active climbing and quiet play in the shaded bench within."[8] Greenly's design for Wishbone House won the Corcoran Gallery School of Art's National Playground Sculpture Competition in 1967, with subsequent installation in a Washington, D.C. playground. The competition featured submissions from 371 entries[9], including artist Mark di Suvero, among others, and was partially funded by the National Endowment for the Arts. [10]
This work was featured in the book "Century of the Child: Growing by Design, 1900-2000"[8], published by the Museum of Modern Art, that accompanied an exhibit of the same name. In discussing Wishbone House, the authors state "[Greenly] objected to the placement of the original cast in a wealthy section of Washington, D.C., and Lady Bird Johnson arranged for a second installation in an underserved neighborhood. Others followed, and multiple Wishbone Houses still exist today, including at the Potomac School in McLean, Virginia." [8]
This design was featured in the cover story of Art in America, 55, no. 6 (November-December 1967), in which Greenly states "I considered the problem in this order: playground; sculpture; climb on, climb in, sit on; shade essential; minimum upkeep, maximum shape, minimum cost; reproducibility."[11]
Glass Sculpture[edit]
In 1967, Greenly discovered the reflective qualities of aluminum-edged clear glass. These works are described as "angular constructions of metal-framed plate glass in which reflected images play a salient role" in Encyclopedia of World Art.[12] The combination of a subtle ambiguity of reflections (or extensions) of the aluminum edges into the surrounding space, formed both a real and illusory experience. Greenly wrote, "The glass became not only a volume-space study, but also a study of the question of observed reality versus known reality. The spatial extensions of the pieces are carried both into the piece and beyond the physical limits of the piece through echoes of the aluminum edges."[1]
Intangibles[edit]
Concerned, as always, with the energy exchanges in nature, Greenly began making drawings of huge geometric shapes rising from or suspended over natural landscape. They would lead to the pure spirit of the "Intangible Sculpture," devoid of tangible materials, but sited in and acting on and with actual landscapes. His "Intangibles" were first exhibited in a solo show in 1971 at the Everson Museum of Art. Subsequent solo exhibits included a 1972 show at the Andrew Dickson White Museum at Cornell University (and traveled under the auspices of the Gallery Association of New York) and The Finch College Museum in NYC in 1974.
Dore Ashton, wrote about 'Intangible Sculpture' in Coloquio Artes after visiting Finch College Museum in 1974. She describes them as 'huge landscape photographs modified in printing, and reading more like paintings than like sculptures. Yet Greenly's wizardry did transform his objects into images that are not easily categorized."[13] Ashton quotes Greenly in Coloquio Artes, stating "[a]ll existence is a manifestation of energy which is the basis of art. In this work all the evidence presented and implied (without time limit) is the sculpture. Intangible sculpture neither inserts an object into a site, be it landscape or other physical source, nor is it represented by physical action taken on the site. Instead. the site becomes a part of the total sculpture and the sculpture's energy manifestation."[13]
Exhibitions[edit]
Solo Exhibitions[1][2][5][edit]
- 2014, Colin Greenly, 60 Years of Seeing, Mindy Ross Gallery, SUNY, Newburgh, NY
- 1975, Creative Arts Workshop, New Haven, CT
- 1975, Fosdick Nelson Gallery, SUNY, Alfred, NY
- 1974, Finch College Museum, NYC
- 1973, Picker Gallery, Colgate University, NY
- 1972, Andrew Dickson White Museum, Cornell University, NY, "Photosilks"[14]
- 1971, Everson Museum of Art, Syracuse, NY
- 1968,1970, Royal Marks Gallery, NYC
- 1968, Corcoran Gallery of Art, Washington DC[15]
- 1968,1966,1964, Bertha Schaefer Gallery, NYC
- 1965, 1963, 1960, 1958 Jefferson Place Gallery, Washington DC[6]
Group Exhibitions[1][edit]
- 2017, American University Museum, Washington D.C. "Making a Scene: The Jefferson Place Gallery"[16]
- 2013, Ventana 244 Gallery, NYC
- 2012, Museum of Modern Art, NYC
- 1981, NY State Museum, Albany, NY
- 1978, Whitney Museum of American Art, NYC
- 1976, 112 Green Street, NYC
- 1975, John Weber Gallery, NYC
- 1974, Krannert Art Museum, Champaign, IL, "Contemporary American Painting and Sculpture"
- 1973, New York Cultural Center, NYC, "Megalopolis"
- 1973, Decorative Arts Center, NYC, "Painting in America: Yesterday and Tomorrow"
- 1973, Museum of Modern Art, NYC
- 1972, Emmerich Gallery, NYC
- 1972, New York State Museum, "Enviro-Vision"
- 1971, Jacksonville Art Museum, FL, "Transparent and Translucent Art"
- 1970, Baltimore Museum of Art, MD, "Washington, Twenty Years"
- 1969, Grand Rapids Art Museum, Grand Rapids, MI, "American Sculpture of the Sixties"
- 1968, Witte Memorial Museum, San Antonio, TX, "Award-Winning Artists, Southeast and Southwest"
- 1968, Flint Institute of Art, MI, "Made of Plastic"
- 1968, Smithsonian American Art Museum, Washington DC
- 1968, Washington Gallery of Modern Art, Washington DC, "Art in Washington"
- 1967, Des Moines Art Center, Des Moines, IA, "Selected Artists"
- 1966, Westmoreland County Museum, Pennsylvania, "Current Trends in American Art"
- 1965, DeCordova Museum, Lincoln, MA, "White on White"
- 1965, Institute of Contemporary Arts, Washington DC, "Art in Washington"
- 1965, Eleanor Rigelhaupt Gallery, Boston MA, "Black and White"
- 1953, Museum of Modern Art, NYC[17]
Awards, Prizes and Commissions[edit]
Awards and Prizes[1] [2][edit]
- 2014, State of New York Legislative Resolution Celebrating the 60 Year Career of Colin Greenly
- 1993, NY State Decentralization Grant administered by the Arts Council of Orange County
- 1977/1978, Fellowship recipient in photography, Creative Arts Public Service Program[18]
- 1974, Artist in Residence, Finch College Museum, NYC, Supported by The National Endowment for the Arts and Humanities
- 1974, Grant from the Committee for the Visual Arts
- 1972, Grant for Intangible Sculpture, Creative Artists Public Service Program, NYC
- 1972, Artist in Residence, Cazenovia College, Interaction in Arts Festival, Cazenovia, NY
- 1972, Visiting Artist, Central Michigan University
- 1967, National Endowment for the Arts and Humanities
- 1967, Winning design for 'Wishbone House', National Playground Sculpture Competition, sponsored by the Corcoran School of Art and Art in America Magazine
Commissions[1][edit]
- 2009, 1964, "Cloudlines" Aluminum sculpture, Jeffery J. Sherman Arts Center, Langley School, McLean, VA
- 1975, Participatory murals: Melrose Mott Haven Senior Center, Bronx, NY and the Rockaway Park Senior Center, Rockaway Pk, NY, Funded by CAPS and the Fund for the City of New York
- 1973, Twelve Color Panels, New York State Office Building, Utica, NY, executed under the artist's direction by students at Colgate University, Hamilton, NY
- 1972, Eight Color Panels, County Executive Office Building, Onondaga County, NY, executed under the artist's direction, Public Service Teaching Program, Everson Museum, Syracuse, NY
- 1971, Wall painting, Primary Transitional Symbol, Everson Museum, Syracuse, NY
- 1971, "Colorline", and event in cooperation with the Syracuse University School of Architecture
- 1970, "Colorline" event for the Corcoran School of Art in a one-acre city park in Washington DC
- 1967, "Wishbone House", Playground sculpture, Washington DC, Potomac School, VA, Toronto, Canada, Syracuse, NY, and other sites.
- 1961, Sculpture Relief, Experiment in International Living, Putney, Vermont
References[edit]
- ↑ 1.0 1.1 1.2 1.3 1.4 1.5 "Colin Greenly, Artist". colingreenly.com. Retrieved 2023-11-01.
- ↑ 2.0 2.1 2.2 2.3 2.4 Optiz, Glenn (1984). Dictionary of American Sculptors: 18th Century to the Present. Poughkeepsie, N.Y.: Apollo Book. p. 157. Search this book on
- ↑ 3.0 3.1 3.2 Greenly, Colin (1968). Colin Greenly: January 27-February 25, 1968. Washington, D.C.: Corcoran Gallery of Art. Search this book on
- ↑ "Colin Greenly | Smithsonian American Art Museum". americanart.si.edu. Retrieved 2023-11-01.
- ↑ 5.0 5.1 5.2 5.3 5.4 5.5 5.6 Cummings, Paul, ed. (1994). Dictionary of Contemporary American Artists. New York: St. Martins Press. p. 293. Search this book on
- ↑ 6.0 6.1 6.2 6.3 "Colin Greenly - Jefferson Place Gallery". jeffersonplacegallery.com. Retrieved 2023-10-21.
- ↑ Feller, Colta (May 1966). "Reviews: Galleries". Arts Magazine. 40 (7): 66.
- ↑ 8.0 8.1 8.2 Kinchin, Juliet; O'Connor, Aidan; Harrod, Tanya; Hoch, Medea (2012). Century of the child: growing by design, 1900-2000. New York: Museum of Modern Art. ISBN 978-0-87070-826-8. OCLC 815717428. Search this book on
- ↑ Jones, Stacey V. (April 3, 1971). "Playground Shelter is Devised". The New York Times. pp. 39–41.
- ↑ Ragain, Melissa (Fall 2017). "Kinetics of Liberation in Mark di Suvero's Play Sculpture". American Art. 31 (3): 26–51.
- ↑ Jacobs, Jay (November–December 1967). "Projects for Playgrounds". Art in America. 55 (6): 41.
- ↑ Jacobs, Jay (1975). The encyclopedia of world art. Internet Archive. London : Octopus Books. ISBN 978-0-7064-0495-1. Search this book on
- ↑ 13.0 13.1 Ashton, Dore (October 1974). "New-York". Coloquio Artes. 19 (2): 7.
- ↑ Cummings, Frederick (Autumn 1972). "College Museum Notes". Art Journal. 32 (1): 57 – via JSTOR.
- ↑ National Gallery of Art, Washington (February 14, 2018). "Corcoran Gallery of Art: Exhibition List 1897-2014" (PDF). Retrieved October 26, 2023.
- ↑ "Making a Scene: Jefferson Place". Retrieved December 1, 2023.
- ↑ "Young American Printmakers". MoMA Exhibition Spelunker. Retrieved December 1, 2023.
- ↑ "CAPS Fellowships awarded". Afterimage. 5 (7): 3. January 1978. doi:10.1525/aft.1978.5.7.3.
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