We were visiting Andy and Chiharu at their house.]]> Pictured in Cathy's (Catherine Murphy) studio. They came over for dinner with Carole Maso, Helen lang and Rose Lang Maso. See next entry.]]> Ann Bogart had arranged an event at the Whitney Museum in conjunction with Siti's (her theater company) upcoming production of Hotel Cassiopeia at the Brooklyn Academy of Music. Ann (who directed and produced the play) spoke as did Chuck Mee (who wrote the play). There were some scenes performed form the play and a screening of one of Cornell's films. Ann had asked me to show some of my Joseph Cornell photographs and give a talk (which I did). See next entry,]]> Gathering for an event at the Whitney Museum in conjunction with Siti's upcoming production of Hotel Cassiopeia at the Brooklyn Academy of Music. See previous entry.]]> TheWindow]]> Dinner at the Would Bar.]]> At graduation, Vassar College, Poughkeepsie, New York.]]> the-wealth-of-nations,-2008,jpg]]> 1997-04-16 (roll date, image #2)]]> 2005. There is no In-between, 2005, 38.8 x 29.7 cm]]> 2007. They do things, 2007, 17.9 x 14.8 cm]]> This Is What We Do]]> Eugene-Mom2000This picture was taken by Ronald Flauaus, a recently discovered Aufmuth cousin, at our house on September 26, 2000 around 5:30. Eugene A.Carroll, December 31, 2007]]> 2015-4-23, Thursday Brisson, a student at SUNY New Paltz came to interview me for a class he was taking.]]> We had arranged to meet Dan Peck, Joyce Robins and Judy Linn at the Thomas Cole House in Catskill, NY]]> I left for NYC this morning at about 10:30 and headed to the Lower East Side. I got there at about 12:40 pm. I was going to see "Zentrified!" a group show at Thomas Park Gallery. Christina Tenaglia was in the show. The gallery opened at 1:00 pm. I got a parking spot opposite the front door. I arrived too early. So the gallery was not open yet. I went off to find someplace to eat lunch. I went to the Gentleman Farmer, a restaurant I had never been to before. I had Wagyu Beef Tongue, gnocchi, celery green, truffle reduction. It was quite tasty. I got back to Thomas Park at 1:20 pm. The show was very good. I got back in the car and headed uptown. I realized I was already more North than the two-person show Gary Stephan was having, and I didn't think I had enough time to get to Rizzoli's for the conversation and book signing. I got a parking space, practically opposite Rizzoli's. Getting two spots right where you need them in one day in NYC is an event in itself. I had invited Thomas Demand to speak at Vassar, which he couldn't do this spring semester because his wife was due to give birth with a couple of weeks. One of his dealers, Karina Daskalov, suggested he might be able to come next fall. She told me about the book signing and suggested that I come to the event and could meet her and Thomas Demand there. I introduced myself to Thomas, and he told me that Karina probably had to leave to catch a plane. So, I planned to call her the following week. I got food in NY to bring home for dinner. Catherine (Murphy) stayed home to paint. The light was right, and she had wet paint makes (which made the next transition in her painting easier to do). See the following entry.]]> I left for NYC this morning at about 10:30 and headed to the Lower East Side. I got there at about 12:40 pm. I was going to see "Zentrified!", a group show at Thomas Park Gallery. Christina Tenaglia was in the show. The gallery opened at 1:00 pm. I got a parking spot opposite the front door. I arrived too early. So the gallery was not open yet. I went off to find someplace to eat lunch. I went to the Gentleman Farmer, a restaurant I had never been to before. I had Wagyu Beef Tongue, gnocchi, celery green, truffle reduction. It was quite tasty. I got back to Thomas Park at 1:20 pm. The show was very good. I got back in the car and headed uptown. I realized I was already more North than the two-person show Gary Stephan was having, and I didn't think I had enough time to get to Rizzoli's for the conversation and book signing. I got a parking space, practically opposite Rizzoli's. Getting two spots right where you need them in one day in NYC is an event in itself. I had invited Thomas Demand to speak at Vassar, which he couldn't do this spring semester because his wife was due to give birth with a couple of weeks. One of his dealers, Karina Daskalov, suggested he might be able to come next fall. She told me about the book signing and suggested that I come to the event and could meet her and Thomas Demand there. I introduced myself to Thomas, and he told me that Karina probably had to leave to catch a plane. So, I planned to call her the following week. I got food in NY to bring home for dinner. Catherine (Murphy) stayed home to paint. The light was right, and she had wet paint makes (which made the next transition in her painting easier to do). See the previous entry.]]> 2015-9-11, Tomas Guanzino came to help us with some things.]]> Tomas Nozkowski. 3/23/44 - 5/9/19 Obituary from the New York Times, May 17, 2019 by Roberta Smith Thomas Nozkowski, whose small, insistent, richly hued abstractions upended the heroic scale of postwar New York art and helped push painting in a more accessible, personal and wryly self-aware direction, died on May 9 in Rhinebeck, N.Y. He was 75. Pace Gallery, his representative since 2008, said the cause was pancreatic cancer. Kind and soft-spoken, displaying little in the way of overt artistic ego, Mr. Nozkowski was nonetheless a man of ambition, intelligence and firmly held opinions. In the early 1970s, after several years of making large abstract paintings and then more modest Post-Minimal sculpture, Mr. Nozkowski found himself put off by the macho scale of both Abstract Expressionism and Minimalism, and by what he considered their “imperialist” implications. He decided to work small, and on the easel — initially painting on 16-by-22-inch pieces of art-store canvas board and later on somewhat larger rectangles of linen stretched over wood panels. He wanted, he told one interviewer, “a size that was scaled to my friends’ apartments, that could hang in a three-room walk-up tenement on Seventh Street.” Mr. Nozkowski had studied at the Cooper Union with Abstract Expressionists as well as with refugees from the Bauhaus; he adapted the improvisatory working method of the Abstract Expressionists but used a small brush, scraping down and rubbing off paint in ways that often registered in his finished works. He developed a wide-ranging vocabulary that fused the biomorphic and the geometric into abstract forms noted for their varied colors, their paint handling, and associations ranging from tiled floors or cell clusters to architecture or outer space. He said his untitled abstractions had been distilled from his own experiences of just about anything: memories, relationships, movies, books, other art, and the environment as he encountered it on his daily walks in either upstate New York or New York City, where he and his family lived for years in a nominally refurbished synagogue on the Lower East Side. Mr. Nozkowski’s approach gave him an unlimited supply of source material, which he resolved into orbs, dots, ellipses, bulges, partial grids or arcs. This strategy also protected him, he said, from the predictability of a signature style — although not quite. A Nozkowski is recognizable by its modest size and richness of color and surface, and also by a kind of dissonance both within the compositions of the individual paintings and among groups of them. This means, perhaps paradoxically, that each of his paintings functions as a peculiarly single entity, a world unto itself; whatever you experience with one Nozkowski doesn’t necessarily translate to the next. Mr. Nozkowski emerged relatively late. He did not have his first solo gallery show of paintings until 1979, when he was 35, at the 55 Mercer Street Gallery in SoHo, a respected artist cooperative. For some four decades he arranged his schedule so that he could paint for four hours a day while otherwise working — as a designer for Warner Books and then Mad magazine, as a production director at Mad and, finally, as a painting teacher at Rutgers University. The Museum of Modern Art acquired one of his paintings in 1983, and by the late 1980s he had had the first of several surveys in small museums in the United States and abroad. He exhibited regularly (soon enough in commercial galleries), and almost from the start saw his work analyzed by a widening circle of admiring writers, including Joseph Masheck, Peter Schjeldahl, Marjorie Welish, John Yau and Robert Storr. In 2008, when he joined Pace Gallery, Mr. Nozkowski achieved both a new prominence and elder-statesman status. Thomas Edward Nozkowski was born on March 23, 1944, in Teaneck, N.J., to Edward and Edna (Angevine) Nozkowski and grew up in Dumont, N.J. His father worked in an Alcoa Aluminum factory and then as a postman. His mother worked in factories and as a bookkeeper. One of his aunts was a schoolteacher who provided art supplies for him and his younger sister to use on weekends. His parents loved to travel, and the family took frequent camping trips, partly to save money and partly to be close to nature. The family put an emphasis on learning. Mr. Nozkowski’s mother often arranged visits to major corporations, a high point being a tour of a U.S. Steel plant in Pittsburgh. Mr. Nozkowski acquired his lifelong habit of long daily walks from his father. He was reading at an adult level by age 10 and often read through all the books by an author who interested him. He also began keeping track of all the movies he saw and became a knowledgeable film buff. He traveled to Manhattan on his own for the first time when he was 13, and his school nominated him to take an astronomy class at the Hayden Planetarium at the American Museum of Natural History. When he was a senior in high school he won a scholarship to attend a painting class at New York University’s School of Education, where he studied with Robert Kaupelis (1928-2009) and Hale Woodruff (1900-80). Mr. Nozkowski studied at the Cooper Union and, after taking a year off — mostly to watch films — graduated in 1967. That year he married a fellow Cooper student, the ceramic painter and sculptor Joyce Robins. She survives him, as do their son, Casimir Nozkowski, a filmmaker; his sister, Mary Dana Greenwood; and a grandson. He lived in High Falls, in Ulster County, N.Y. When James Kalm, a peripatetic videographer who records many New York gallery openings, buttonholed Mr. Nozkowski at one of his and asked what advice he would give to young painters, Mr. Nozkowski looked into the camera. “The trick,” he replied, “is to do what you love and to be content alone in the studio. And if you have that, you have everything you need.”]]> 2015-10-14, Wednesday Thomas Nozkowski and Joyce Robins, Catherine (Murphy) needed more input to choose the color cloth for the cover for her upcoming book. So she asked Tom and jouce to come over. Tom picked out the color that we all then agreed upon.]]> Dinner at La Luncheonette after Thomas Nozkowski's opening at Pace Gallery. NYC. See the following two entries.]]> Dinner after Thomas Nozkowski's opening at Pace Gallery. Dinner was at La luncheonette. See the previous entry and the following entry.]]> Dinner after Tom's opening at La Luncheonette, NYC. See the previous two entries.]]> Thomas Nozkowky gave a lecture at Vassar as part of the closing of the exhibition, Pictures of Nothing, at the Lehman Loeb Art Center, Vassar College. The exhibition was curated by Mary-Kay Lombino from the Art Center's permanent collection. A painting of Thomas' was included in the exhibition.]]> Thomas Nozkowki gave a lecture at Vassar as part of the closing of the exhibition, Pictures of Nothing, at the Lehman Loeb Art Center, Vassar College. The exhibition was curated by Mary-Kay Lombino from the Art Center's permanent collection. A painting of Thomas' was included in the exhibition. See the previous entry and the following two entries.]]> Thomas Nozkowski gave a lecture for the closing of the exhibition, Pictures of Nothing at the Frances Lehman Loeb Art Center, Vassar College. The exhibition was curated by Mary-Kay Lombino from the Art Center's permanent collection. A painting of Thomas' was included in the exhibition. See the previous two entries and the following entry.]]> Thomas Nozkowsky gave a lecture in the context of the closing of the exhibition, Pictures of Nothing, at the Lehman Loeb Art Center, Vassar College. The exhibition was curated by Mary-Kay Lombino from the Art Center's permanent collection. A painting of Thomas' was included in the exhibition. See the previous three entries.]]> Thomas Nozkowski gave a lecture in the context of the closing of the exhibition, Pictures of Nothing, at the Lehman Loeb Art Center, Vassar College. The exhibition was curated by Mary-Kay Lombino from the Art Center's permanent collection. A painting of Thomas' was included in the exhibition. See next five entries.]]> Cathy (Catherine Murphy) and I went to NYC to go to Tom's opening (Thomas Nozkowski). We got to Manhattan in time to drop our suitcase off at the Hampton Inn on 24th Street before heading to the opening. I just met Barry Goldensohn that night. He knew two friends of mine (that I know of, Barbara Page and Francine Prose). See the following six entries.]]> Thomas Nozkowski opening. Pace Gallery, New York. I just met Barry Goldensohn that night. He knew two friends of mine (that I know of, Barbara Page and Francine Prose). See the previous entry and the following five entries.]]> Thomas Nozkowski opening at Pace Gallery, NY. See the previous two entries and the following four entries.]]> Thomas Nozkowski opening at Pace Gallery, NY. See the previous three entries and the following three entries.]]> Thomas Nozkowski opening at Pace Gallery, NY. See the previous four entries and the following two entries.]]> Thomas Nozkowski opening at Pace Gallery, NY. See the previous five entries and the following entry.]]> Thomas Nozkowski opening at Pace Gallery, NY. See the previous six entries.]]> At Tom's opening.]]> I taught my first two classes at Vassar and then headed home, skipping computer animation, which Tom Ellman taught by himself. Cathy and I headed to NYC in time to get to the Thomas Schütte opening. After the opening, we went to a dinner. Dinner was at Lafayette, a French restaurant, Downtown Manhattan. This photograph is of the people who sat at the same table as me. See the previous two entries and the following two entries.]]> I taught my first two classes at Vassar and then headed home, skipping computer animation, which Tom Ellman taught by himself. Cathy and I headed to NYC in time to get to the Thomas Schütte opening. After the opening, we went to a dinner. Dinner was at Lafayette, a French restaurant, Downtown Manhattan. This photograph is of the people who sat at the same table as me. Anne and Thomas sat down after I took the first photograph. See the previous three entries and the following entry.]]> I taught my first two classes at Vassar and then headed home, skipping computer animation, which Tom Ellman taught by himself. Cathy and I headed to NYC in time to get to the Thomas Schütte opening. After the opening, we went to a dinner. Dinner was at Lafayette, a French restaurant, Downtown Manhattan. Catherine (Murphy) sat next to ?. To her left was Jayne Johnson. To her right was ?. See the previous four entries.]]>