Reclaiming American Art 18th Annual American Art Conference
Friday – Saturday, May 17 – 18, 2013
In this conference focusing on the period from 1700 to the 1930s and beyond, we explore American artists once well-known but now obscure. We consider too the work of well-known artists that have, since their creation, been eclipsed by cycles of taste, or aspects of an artist’s oeuvre that have fallen out of favor. Why do artistic stars dim? What causes tastes to change and works to be consigned to museum basements? In confronting these questions, we will look at the vagaries of the marketplace, the effects of Alfred H. Maurer, Le Bal au Moulin Rouge, 1902 – 1904, oil on canvas, 36½ x 32½ in. Curtis choices made by museums in Galleries, Minneapolis, MN. exhibiting and acquiring, and the roles of individual collectors, dealers, and the critical establishment in defining and redefining the cannon over time. We look as well at how the specifics of artists’ careers—the company they kept, the diversity of their output, and how much they left behind—affect their fates and that of their works. In the end, this process of rediscovery is made possible by new generations of dealers, scholars, and collectors, whose professional and personal efforts make once-forgotten works resonate in new ways, bringing them in tune with our time and place.
Leadership funding has been provided by The Louis and Lena Minkoff Foundation.
Funding at the Partner Level has been provided by Jonathan Boos, Debra Force Fine Art, and by Julius Lowy Frame & Restoring Company.
We gratefully acknowledge funding received from The American Art Fair, Philip and Lorraine Brewer, Collisart, LLC, Conner • Rosenkranz, LLC, James Dicke, II, Driscoll Babcock Galleries, Jerald A. Fessenden, George Jeffords, Menconi & Schoelkopf Fine Art, LLC, Susan and Burn Oberwager, James Reinish & Associates and anonymous donors, as well as support received from Christie’s, Sotheby’s, Shannon’s, and Meredith Ward Fine Art (as of March 20, 2013).
This conference honors William H. Gerdts and his life-long commitment to exploring and revealing byways and highways of American art.
This conference is dedicated to Harry L. Koenigsberg (1921 - 2002). Friday, May 17, 2013
Formal sessions take place at The Graduate Center, City University of New York, 365 Fifth Avenue (between 34th and 35th Streets).
8:45 – 9:15 a.m. Registration and continental breakfast
9:15 – 9:30 a.m. Introduction. Lisa Koenigsberg.
9:30 – 10:30 a.m. From Buffalo to Beecher to Blavatsky: An Artist's (or Artistic) Journey to Fame (Then) and Fortune. William H. Gerdts.
10:35 – 11:15 a.m. Back on Radar: Copley, West, and the American Revolution in London. John Singleton Copley, Henry Laurens, 1782, oil Paul Staiti. on canvas, 54.13 in x 40.55 in. National Portrait Gallery, Smithsonian Institution, Washington DC. 11:15 a.m. – 12:00 p.m. In the Cause of Unification: The Art Gallery of the Metropolitan Fair, New York City, 1864 Elizabeth Mankin Kornhauser.
12:00 – 12:45 p.m. Reclaiming American Art: The Lost, Overlooked, and the Workings of Change in Taste, a Panel Discussion. Lily Downing Burke, Linda S. Ferber, Liza Kirwin, Andrew Schoelkopf, and James W. Tottis, moderator.
12:45 – 2:00 p.m. Lunch (on your own)
2:00 – 2:40 p.m. Preserved in Bronze: Vanishing Wildlife in American Sculpture, 1850 – 1925. Thayer Tolles.
2:45 – 3:25 p.m Currier & Ives Artists: Who? Steven Miller.
3:25 – 3:45 p.m. Break
3:45 – 4:25 p.m. In a Perfect World: Severin Roesen and the Art of American Still Life During the Mid-Nineteenth Century. Mark D. Mitchell.
4:30 – 5:15 p.m. California Stories, Genre Paintings from the Golden State. Alfred C. Harrison, Jr.
Severin Roesen, Flower Still Life With Bird's Nest, 1853, oil on canvas, 40 x 32 in. Philadelphia Museum of Art, purchased with support from The Henry P. McIlhenny Fund in memory of Frances P. McIlhenny; Mr. and Mrs. Robert L. McNeil, Jr.; The Edith H. Bell Fund; Mrs. J. Maxwell Moran; Marguerite and Gerry Lenfest; The Center for American Art Acquisition Fund; Donna C. and Morris W. Stroud II; Dr. and Mrs. Robert E. Booth, Jr.; Frederick LaValley and John Whitenight; Mr. and Mrs. John A. Nyheim; Charlene Sussel; Penelope P. Wilson; and the American Art Committee, 2010.
6:00 – 8:00 p.m. Reception and tour of atelier and showroom Julius Lowy Frame & Restoring Company 223 East 80th Street (between Second and Third Avenues)
Tour one of the most distinguished collections of antique and custom frames, over 5,000 in inventory, ranging in style from 15th-century Renaissance to 20th-century modern. See how frames are carved, gilded, and restored and view state-of-the-art painting conservation techniques. Founded in 1907, Lowy has worked with collectors, galleries, fine art dealers, museums, and artists alike. Saturday, May 18, 2013
Formal sessions take place at The Graduate Center, City University of New York, 365 Fifth Avenue (between 34th and 35th Streets).
9:00 – 9:30 a.m. Coffee
9:30 – 10:15 a.m. Who’s In, Who’s Out: Stamos, Simonds, Stella. David Anfam.
10:20 – 11:05 a.m. Minor Characters in Major Roles: Telling the Stories of Technical Art History From 1860 – 1945 Lance Mayer and Gay Myers.
11:05 – 11:20 a.m. Break
11:20 a.m. – 12:00 p.m. Blum’s Japan: Cultural Tourism and
Responsible Romanticism in the Theodoros Stamos, Dark Field, 1961, oil on canvas, 57 x 35 in. Gilded Age. David Park Curry. Private collection, New York; photo courtesy of Jonathan Boos.
12:05 – 12:45 p.m. Alfred Maurer's Early Figurative Imagery: Portal to the Modern. Stacey Epstein.
12:45 – 2:00 p.m. Lunch (on your own)
2:00 – 2:40 p.m. George Bellows and Company: Painting Outdoors. Charles Brock.
2:45 – 3:25 p.m. Precisionism and Beyond: Rediscovering the Art and Career of Edmund Lewandowski (1914 – 1998). Valerie Ann Leeds.
Robert Frederick Blum, The Ameya, by 1893, oil on canvas, 25 1/16 x 311/16 in. The Metropolitan Museum of Art, Gift of Estate of Alfred Corning Clark, 1904; 04.31.
3:30 – 4:15 p.m. Reclaiming a Legacy: Forgotten Chapters in American Modernism, 1914 – 1930s and Beyond. William Agee.
4:30 – 6:00 p.m. Closing reception and viewing Meredith Ward Fine Art 44 East 74th Street (between Madison and Park Avenues)
James Daugherty, Simultaneous Color Planes, 1969. Private collection; photo courtesy of William Agee. Presenters
Lisa Koenigsberg, conference director, president, Initiatives (1995), “The Victorians: British Painting, 1837 – 1901” (1997), in Art and Culture; she launched the series of annual and “Modern Art and America: Alfred Stieglitz and His New conferences on American art in 1996. Formerly director, York Galleries (2001).” His publications include Charles Programs in the Arts and adjunct professor of arts, NYU/ Sheeler: Across Media (2006) and American Modernism: The SCPS; assistant director for project funding, Museum of the Shein Collection (2010). Brock most recently served as the City of New York; executive assistant, Office of the President, volume editor of the catalogue for the critically acclaimed American Museum of Natural History; architectural historian, retrospective exhibition “George Bellows” currently on view New York City Landmarks Preservation Commission; and in London at the Royal Academy of Arts. guest curator, Worcester Art Museum and Yale University Art Lily Downing Burke, Director and Vice President, Gerald Gallery. Her writings have appeared in books and journals, Peters Gallery-New York; she has served in that among them The Gilded Edge: The Art of the Frame (2000), capacity for over 20 years. During that time she has Architecture: A Place for Women (1990), The Architectural focused on artists such as Max Weber, Georgia O'Keeffe, Historian in America (1991), the Archives of American Art and Robert Henri. In addition to developing collections, Journal, the Journal of the Society of Architectural she has also directed exhibitions Historians, and the Proceedings of the including “Robert Henri, The Painted American Antiquarian Society. She Spirit”; “Max Weber, Paintings from collaborated with Suzanne Smeaton the 1930's, 1940's and 1950's”;“Max on an essay for the catalog for Weber, Music Art and Dance and Auspicious Vision: Edwin Wales Root Leon Kroll: Revisited.” She has and American Modernism, an mounted other important exhibition celebrating the 50th exhibitions on Albert Bierstadt, anniversary of the Edwin Root Alfred Jacob Miller, as well as group Bequest to the Munson–Williams exhibitions, among them “The Proctor Art Institute. Modern Figure” and “American William Agee, Evelyn Kranes Kossak Modernism: The Francoise and Professor of Art History, Hunter Harvey Rambach Collection.” College, City University of New York; Educated as a fine arts major, he is founding editor, contributing Downing Burke’s first exposure to editor, and co-author of the essays in the art world was as an intern at the Stuart Davis: A Catalogue Raisonné (3 Whitney Museum of American Art volumes, 2007); formerly director, The and from there she went to Andre Museum of Fine Arts, Houston and Emmerich Gallery. Downing Burke Pasadena Art Museum. Among his learned the art business from a less publications are works on academic and more hands-on Synchromism, Duchamp–Villon, perspective. Prior to beginning her painting and sculpture of the 1930s, tenure at Gerald Peters, she was Bruce, Daugherty, Schamberg, employed at the Cooley Gallery in Crawford, Diller, Davis, Dove, Francis, Old Lyme, CT where she augmented Judd, Marin, Noland, Porter, and her knowledge of the better known Arnold Friedman. He is at present Augustus Tack, Night, Amargosa Desert, 1935. The Phillips Hudson River School with an working on a book, Modern Art in Collection, Washington DC, acquired 1937. immersion into the 19th-century America, 1908 – 1968: A Critical and painters of the Connecticut River. Thematic History. In the Spring of 2011, he was a fellow at Downing Burke believes that it is better to acquire an the Georgia O'Keeffe Museum Research Center in Santa Fe, excellent painting by a lesser known artist than a lesser New Mexico. painting by a well known artist. In her view,the essence of art collecting is the acquisition of objects we wish to David Anfam, Commissioning Editor for Fine Art, Phaidon have enmeshed in our daily lives. Press, London; he was the 2003 Henry Luce Visiting Professor in American Art at Brandeis University. Educated at the David Park Curry, Senior Curator, Decorative Art, Courtauld Institute of Art (BA, PhD), Anfam is a regular American Painting and Sculpture, Baltimore Museum contributor to The Burlington Magazine and has curated of Art (BMA); at the BMA, he is directing a several exhibitions, including “Mark Rothko: A Retrospective” reinstallation of the American collections from the (Museum of Contemporary Art, Tokyo, 1996) and the late 18th to the mid 20th centuries; formerly Curator inaugural show of Haunch of Venison New York, “Abstract of American Arts, Virginia Museum of Fine Arts; Gates Expressionism: A World Elsewhere” (2008). Among his Foundation Curator of American Art, Curator of numerous writings, Mark Rothko: The Works on Canvas – A Painting and Sculpture, Denver Art Museum; and Catalogue Raisonné (1998) received the 1998 George Curator of American Art, Freer Gallery of Art, Wittenborn Memorial Award, the 2000 Mitchell Prize, and Smithsonian Institution. His research explores aspects was named among the art books of the year by The New of late 19th- and early 20th-century American art York Times, The Boston Globe, and the San Francisco including Impressionism and Realism, folk art, Chronicle. Anfam is adjunct curator, Clyfford Still Museum, patronage patterns, framing history, and public Denver and, in 2009, received the Umhoeffer Prize for presentation. Among his publications are works on Achievement in Humanities. His most recent project is an Bunker, Hassam, Homer, Sargent, and Whistler. His international touring exhibition focused around Pollock’s recent publications include the monograph James epochal Mural (1943), planned to be shown at the Peggy McNeill Whistler: Uneasy Pieces (2004); an essay on Guggeneheim Collection, Venice in 2015. world fairs for Americans in Paris (2006); articles on painted furniture and reverse glass painting for The Charles Brock, Associate Curator of American and British Sienese Shredder (2009, 2010), and a 2011 essay on Paintings, National Gallery of Art where he has worked since Whistler’s exhibition designs, “Much in Little Space,” 1990. Among the major exhibitions Brock has contributed to published in the V & A’s catalogue for the exhibition are: “Winslow Homer” (1995), “James McNeill Whistler” “The Cult of Beauty: The Aesthetic Movement 1860 – 1900.” His recent essay on “George Bellows’ Images March. In 2011, her exhibition “Nature and the of Polo, Parks, and Tennis” was published by the American Vision: The Hudson River School” began a National Gallery of Art in their current retrospective national tour at the Amon Carter Museum of American catalogue. He is working on the fish paintings by Art. She collaborated (with B.D. Gallatti, 2011) on the William Merritt Chase and on the State china service traveling exhibition and publication “Making American designed for President Rutherford B. Hayes. Taste: Narrative Art for a New Democracy.” Stacey Epstein, Director of Modernism and Director of William H. Gerdts, Professor Emeritus of Art History, Research, Hollis Taggart Galleries in New York, and an Graduate School of the City University of New York; he was independent curator and scholar. Co-curator of the senior advisor in American Art, Pennsylvania Academy of the forthcoming Alfred H. Maurer museum retrospective Fine Arts (2008). Among his most recent publications are: organized by the Addison Gallery of American Art and Once Upon an Island: Stephen Scott Young in the Bahamas author of the accompanying catalogue, Alfred H. Maurer (2012), The Pastels of Leon Dabo (2012), and “A New Look at at the Vanguard, Epstein holds master’s and doctoral Andrew Wyeth,” in Andrew Wyeth in China (2012). Among degrees from the Graduate School of the City University his other numerous books and articles are: The Golden Age of New York, where she wrote her doctoral thesis on of American Impressionism (with C. Lowrey, 2003); Joseph Alfred Maurer. She has since written extensively on Raphael (1869 – 1950): An Artistic Journey (2003); Maurer, including Alfred H. Maurer: Aestheticism to California Impressionism (with W. South, 1998); Modernism 1897 – 1932 (1999), Alfred H. Maurer: Impressionist New York (1994); William Glackens (with J. H. Modernist Expressions (2004), “Alfred H. Maurer: Santis, 1996); Monet’s Giverny: An Impressionist Colony Reconsidered” in American Art Review (2004), and Alfred (1993); Art Across America (1990); American Impressionism, H. Maurer: Fauve in Focus (2006). Epstein has also curated (1984; new, expanded edition, 2001); Painters of the Humble and written for a range of other American modernist Truth: Masterpieces of American Still-Life, 1801 – 1939 exhibitions and publications, including Concerning (1981); Grand Illusions: History Painting in America (with M. Expressionism: American Modernism and the German Thistlewaite, 1988); and Down Garden Paths: The Floral Avant-Garde (1998), Inheriting Cubism: The Impact of Environment in American Art (1983). Cubism on American Art 1909 –1936 (2001), and Pathways and Parallels: Roads to Abstract Expressionism (2007). She recently contributed essays to Cézanne and American Modernism (Baltimore Museum of Art, 2010) and Celebrating the American Spirit: Masterworks from the Crystal Bridges Museum of American Art (2011). Epstein was featured in “Shattering Boundaries: Grace Hartigan,” the documentary film on the American Abstract Expressionist painter Grace Hartigan. Linda S. Ferber, Vice President and Senior Art Historian, The New-York Historical Society (N-YHS); previously she served as Andrew W. Mellon Curator of American Art and chair of the Department of American Art, Brooklyn Museum, where she is curator emerita. Ferber has organized numerous exhibitions and written accompanying publications about William Trost Richards beginning with “Tokens of a Friendship:
5 1 Miniature Watercolors by William T. Richards” Isabel Bishop, Artist’s Table, 1931, oil on canvas, 14 /8 x 17 /2 in. Smithsonian American Art Museum, (1982), followed by “Never at Fault: The Washington, DC, Gift of the Sara Roby Foundation, 1986.6.6. Drawings of William T. Richards” (1986) for the Hudson River Museum and in 2001 and 2002, Alfred C. Harrison, Jr., owner of North Point Gallery; “Pastoral Interlude: William T. Richards in Chester he started as a private collector of 19th-century County” and “In Search of a National Landscape: American paintings whose hobby turned into his William Trost Richards and the Artists’ Adirondacks” for profession when he assumed. ownership of the gallery the Brandywine River Museum and the Adirondack in 1985. In addition to holding exhibitions of early Museum, respectively.” She organized “The New Path: California art, Harrison has assembled a research Ruskin and the American Pre-Raphaelites” at The archive relevant to early California painters from Brooklyn Museum (with W. H. Gerdts, 1985). For the contemporary newspaper sources. He is a frequent Brooklyn Museum and the National Gallery of Art, she lecturer and writer on the subject. Recent projects co-authored and co-curated (with N. K. Anderson, include essays in the exhibition catalogue California 1991) Albert Bierstadt: Art & Enterprise. In 1998, Impressions published by the Fine Arts Museums of San co-curated and co-authored the accompanying Francisco in 2006, “The Art of William Keith” in The publication, “Masters of Color and Light: Homer, Comprehensive Keith (St. Mary’s College of California, Sargent and the American Watercolor Movement” (with 2011) and “Radical Revival: California Plein Air B.D. Gallati). In 2007, she organized: “Kindred Spirits: Landscapes, Past and Present” in the May / June 2012 Asher B. Durand and the American Landscape,” for the issue of The Magazine Antiques. Brooklyn Museum while overseeing at the N-YHS, “The Liza Kirwin, Interim Director, Smithsonian Institution’s World of Asher B. Durand; The Artist in Antebellum Archives of American Art; she holds a PhD in American New York,” followed in 2010 by “The American Studies from the University of Maryland at College Park. Landscapes of Asher B. Durand,” also drawn from Her publications include More Than Words: Illustrated N-YHS collections, organized for the Fundacion Juan To Register Fee: The conference fee is $350. Registration confirmations are sent via email. A discounted rate of $160 is available for museum and university professionals with ID; a discounted To register on-line: rate of $100 is available for full-time students with ID. To receive the discounted rates you must provide Go to: www.acteva.com/go/americanart appropriate ID.
By e-mail: Fill in the registration form and send to: Withdrawal and refunds: Notice of withdrawal must [email protected]. be made in writing to: Initiatives in Art and Culture, 333 East 57th Street, 13B, New York, NY 10022 or to By mail: Return form at least 10 days before the the Program Office via email at lisa.koenigsberg@ conference start date with a check or money order artinitiatives.com. No refunds will be made after May payable to Initiatives in Art and Culture or complete 10, 2013. the credit card information on the form, and mail to Initiatives in Art and Culture, 333 East 57th Street, Suite Conference location: Formal sessions take place at The 13B, New York, NY 10022 Graduate Center, City University of New York, 365 Fifth Avenue (between 34th and 35th Streets). By phone: Using American Express®, Visa® Card, Discover®, or MasterCard®, call (646) 485-1952. Program subject to change.
Single-day registration options available; please send inquiries to: [email protected] or call (646) 485-1952.
3 1 Currier & Ives, The Life of a Hunter: “A Tight Fix,” 1861, hand-colored lithograph, 18 /4 x 27 /16 in. Based on a painting by Arthur FitzWilliam Tait.
Please register me for Reclaiming American Art. The conference fee is $350. Educators and Museum professionals $160 (with ID). Student rate $100 (with ID).
Name______Address______City ______State ______Zip______Affiliation______Day-time phone______E-mail address______
Method of Payment
Payment is enclosed (check or money order made payable to Initiatives in Art and Culture), or I authorize you to charge my credit card ______Signature Visa® American Express® Mastercard® Discover® Card number ______
Expires ______Billing zip code ______Presenters
Letters from the Smithsonian's Archives of American Art on The Eight and their circle, including an essay in the (Princeton Architectural Press, 2005); Artists in Their catalogue for the Detroit Institute of Arts traveling Studios, Images from the Smithsonian's Archives of exhibition, “Life’s Pleasures: The Ashcan Artists Brush with American Art (Collins Design, 2007); and most recently Leisure” (2007). Other publications include studies on the Lists: To-dos, Illustrated Inventories, Collected Thoughts, work of John Sloan (2009), William Glackens (2003), Ernest and Other Artists' Enumerations from the Smithsonian's Lawson (2000), Leon Kroll (1998), Charles Davis (2007), and Archives of American Art (Princeton Architectural Press, Marguerite Zorach (2007). She received a PhD from the 2010). Kirwin has organized numerous exhibitions of Graduate Center of CUNY, and has held curatorial positions archival material and manages the Archives’ acquisitions at the Flint Institute of Arts, Orlando Museum of Art, Tampa and oral history programs. Museum of Art, and the Whitney Museum of American Art. Lance Mayer and Gay Myers, conservators of paintings; they work part time at the Lyman Allyn Art Museum in New London, Connecticut, and spend the majority of their time working as independent conservators for large and small museums and private collectors. They have treated such important American paintings as Rembrandt Peale’s The Court of Death at the Detroit Institute of Arts, Samuel F. B. Morse’s The Gallery of the Louvre, owned by the Terra Foundation, and Emanuel Leutze’s Washington Crossing the Delaware at The Metropolitan Museum of Art. For many years they have been studying documentary sources that shed light on the history of painting materials, and have published on such topics as the varnishing practices of Art Gallery of the Metropolitan Fair, Union Square, New York, April 1864, engraving, Harper’s Weekly, April 16, 1864. American Impressionist painters, the experimental techniques of the British painter George Stubbs, and the Elizabeth Mankin Kornhauser, Curator of American tempera techniques used by 20th-century painters of the Paintings, The Metropolitan Museum of Art since 2010, she American scene. They were recipients of a Winterthur recently completed work on the new American Paintings Advanced Fellowship in 1999, were Museum Scholars at the and Sculpture galleries that opened in January 2012. She Getty Research Institute in 2003, and received an FAIC/ Kress served as the chief curator and Krieble Curator of American Publication Grant in 2005. Their most recent publications Painting and Sculpture at the Wadsworth Atheneum are: American Painters on Technique: The Colonial Period to Museum of Art from 1997 to 2010, having begun her tenure 1860 (Getty Publications, 2011), and American Painters on at the Museum in 1983. Her special exhibitions and Technique: 1860 – 1945 (Getty Publications, July 2013). In accompanying catalogues for the Wadsworth Atheneum 2013, they were awarded the College Art Association/ include “American Moderns on Paper: Masterworks from the Heritage Preservation Award for Distinction in Scholarship Wadsworth Atheneum Museum of Art” (2010); “Neue Welt: and Conservation. Die Erfindung der amerikanischen Malerie” (“New World: Steven Miller, museum consultant, writer, educator; recently Discovering an American Art,” 2007), an international project served as collection consultant, Museum of the City of New with the Bucerius Kunst Forum, Hamburg, Germany; York, and, in various curatorial capacities from 1971 to 1987. “Samuel Colt: Arms, Art, and Invention” (2006); “Marsden Miller is Executive Director Emeritus, Morris Museum, Hartley” (2003); “Alfred Stieglitz, Georgia O’Keeffe & Morristown, NJ, where he served as Executive Director of American Modernism” (1999); “New Worlds from Old: both the museum and its Bickford Theatre (2001 – 2010). 19th-Century Australian & American Landscapes” (1998); Prior to that he was Executive Director, Bennington Museum, “Joseph Cornell: Box Constructions and Collages” (1997); Bennington, Vermont (1995-2001); Director of Museums, “Thomas Cole: Landscape Into History” (1994); and “Ralph Western Reserve Historical Society, Cleveland, Ohio (1991– Earl: The Face of the Young Repubic” (1991). The catalogue 1995); and Assistant Director, Maine State Museum, Augusta, for the Earl exhibition won the 1992 Fraunces Tavern Maine (1987–1995). A member of the boards of trustees of Museum Book Award. Kornhauser has a PhD in American ArtPride New Jersey and Historic Deerfield Inc., he also serves Studies from Boston University and an MA in American Folk on American Alliance of Museums’ Accreditation Visiting Culture from Cooperstown Graduation Programs, SUNY, Committee, and is an ongoing, writer for Museum magazine. Cooperstown, NY. A graduate of the Getty Leadership Institute, Los Angeles, Kornhauser serves as a member of the Advisory Board of the Bucerius Kunst Forum, Hamburg, Germany, and the Thomas Cole National Historic Site. Valerie Ann Leeds, independent curator and scholar specializing in the work of Robert Henri and the Ashcan painters; her current projects include: “Spanish Sojourns: Robert Henri and the Spirit of Spain,” a travelling exhibition and accompanying publication organized with the Telfair Museum of Art, Savannah. Recent projects include “Road to Corrymore: Robert Henri and Ireland,” a travelling exhibition and catalogue produced with the Mint Museum, Charlotte, North Carolina; a traveling retrospective and publication devoted to the work of Midwestern Precisionist, Edmund Lewandowski, for the Flint Institute of Arts, Michigan; and a project exploring Georgia O'Keeffe and camping, “Georgia O’Keeffe and the Faraway: Nature and Image” (2010). Past publications include My People: The Portraits of Robert Henri (1994); Robert Henri in Santa Fe: His Work and Influence (1998); Robert Henri: The Painted Spirit (2005); and studies George Bellows, My House, Woodstock, 1924, oil on panel. Michael A. Mennello, Winter Park. Miller holds a BA from Bard College, Annandale-on-Hudson, American paintings, drawings, and sculpture of the New York and an International Graduate Certificate, 18th, 19th, and early 20th centuries; they have sold Principles of Conservation Science, International Centre for works of art to the leading private collectors and the Study of the Preservation and Restoration of Cultural museums including the Museum of Fine Arts, Boston; Property, Rome, Italy. He teaches Museum Studies at Seton The Metropolitan Museum of Art; and The Art Hall University and has taught at other institutions among Institute of Chicago. The recipient of a BA from them NYU School of Continuing and Professional Studies, Denison University and an MBA from Fordham NYU’s Graduate Program in Archival Management and University Graduate School of Business, Schoelkopf is Historical Editing, Case Western Reserve University, The New a past member of the board of directors of the School for Social Research, and Columbia University’s Private Art Dealers Association of America and sits on Graduate School of Architecture and Planning. the Art Show Committee of the Art Dealers Association of America. The gallery is a member of Mark D. Mitchell, Associate Curator of American Painting both the Private Art Dealers Association of America and Sculpture and manager of the Center for American and the Art Dealers Association of America. Art, Philadelphia Museum of Art. He worked at the Princeton University Art Museum, Hood Museum of Art Paul Staiti, Alumnae Foundation Professor of Fine at Dartmouth College, and National Academy Museum in Arts, Mount Holyoke College; Staiti is the author of New York. Among other subjects, Mitchell has written books and essays on John Singleton Copley, Gilbert and lectured on American drawings and watercolors. He Stuart, Samuel F. B. Morse, William Michael Harnett, curated the first exhibition of landscape painter Francis A. and Winslow Homer. He has lectured at the Louvre and Silva (1835 – 1886) in 2002 and co-organized the first The Metropolitan Museum of Art, and has been retrospective of artist and collector James A. Suydam awarded fellowships from the National Endowment for (1819 – 1865) in 2006. He contributed an essay on the Humanities three times. He is currently writing a Charles Demuth (1883 – 1935) to the catalogue book on Copley, Stuart, Benjamin West, and John accompanying the Philadelphia Museum of Art’s Trumbull, to be titled Visions of the Republic: The blockbuster “Cézanne and Beyond,” and curated the Revolutionary Lives of American Artists in King Museum’s recent exhibition “George Inness in Italy.” His George’s London. current project is a survey of American still-life painting Thayer Tolles, Curator, The American Wing, The that opens in summer 2014. He received his doctorate in Metropolitan Museum of Art; at the Museum, she American art history from Princeton in 2002. oversees the American sculpture collection. She participated in extensive ongoing renovations to the American Wing, reinstalling the sculpture in the Charles Engelhard Court (opened May 2009) and the second-floor paintings and sculpture galleries (opened January 2012). She edited and co-authored the two-volume catalogue American Sculpture in The Metropolitan Museum of Art (1999 and 2001) and Perspectives on American Sculpture Before 1925: The Metropolitan Museum of Art Symposia (2003). Tolles curated the exhibition “Augustus Saint-Gaudens in The Metropolitan Museum of Art” (2009) with an accompanying publication of the same title. She is co-curating the exhibition “The American West in Bronze, 1850 – 1925,” which opens at the Metropolitan in December 2013 and travels to the Denver Art Museum and the Nanjing Museum, China. Charles Simonds, Wilted Towers, 1984, unfired clay. Private collection, New York; photo courtesy of Charles Simonds. James W. Tottis, Director of Collections, Museum of the City of New York; previously, he was a member of the curatorial staff in the Department of American Andrew Schoelkopf, co-founder and partner, Art, Detroit Institute of Arts (DIA) for over 24 years; Menconi & Schoelkopf Fine Art, LLC; Schoelkopf he has also served as adjunct professor in the literally grew up in an American painting gallery; his Humanities Department at Wayne State University father, Robert Schoelkopf, opened an art gallery on since 1991. His exhibition, “Life’s Pleasures: The Madison Avenue in 1958 and ran the business—which Ashcan Artists Brush with Leisure” (2008), was Andrew joined in 1989—until his passing in 1991. accompanied by a multi-author catalogue. He was the After the closing of the Robert Schoelkopf Gallery, organizing curator for “American Beauty: Paintings Schoelkopf joined Christie’s auction house as a and Sculpture from the Detroit Institute of Arts 1770 specialist in American paintings and became director – 1920,” a multi-venue exhibition in Europe and of the American Paintings Department in 1995, America; and organizing curator for “Building Detroit: leading several of the firm’s most successful auctions 150 Years of Architecture and Innovation,” which in the field, most notably that of American paintings, explored 50 of the city’s most celebrated and drawings and sculpture from the estate of Thomas influential structures and their architects, and that Mellon Evans. He subsequently held a number of was part of the DIA’s celebration of Detroit’s senior positions with Christie’s including director of tercentenary. His most recent publications are The business development for North and South America; Guardian Building: Cathedral of Finance (2008) and in his final position with the firm, he served as Life’s Pleasures: The Ashcan Artists Brush with Leisure. president of Christie’s Internet auction business. He He has contributed to Collecting American Decorative was also a member of Christie’s Business Arts 1985 – 2005; American Paintings in the Detroit Development and Operating Committees. In April Institute of Arts, vol. III; and From the Hudson River 2001, Andrew and his partner Susan Menconi opened School to Impressionism: American Paintings from the their doors and are private dealers specializing in Manoogian Collection. Initiatives in Art and Culture 333 East 57th Street, Suite 13B New York, New York 10022
Henry Alexander, The Lost Genius, 1884, oil on canvas, 213/4 by 29 7/8 in. Berkeley Art Museum, University of California Berkeley, Bequest of Hannah N. Haviland; photo courtesy of Genevieve Cottraux.
Reclaiming American Art
18th Annual American Art Conference
Friday – Saturday, May 17 – 18, 2013 Reclaiming American Art
18th Annual American Art Conference
Friday – Saturday, May 17 – 18, 2013
Alexander Phimister Proctor, Buffalo, 1912, bronze, 13½ x 19 x 9¾ in. The Metropolitan Leon Kroll, In the Country, 1916, oil on canvas. Detroit Institute of Arts, Founders Museum of Art, New York. Bequest of George D. Pratt, 1935 48.149.29. Society Purchase, Special Membership and Donations Fund with a contribution from J. J. Crowley, 19.35.
Thomas Le Clear, The Itinerants, 1862, oil on canvas, 25¼ x 40 in. Private collection; photo courtesy of Debra Force Fine Art.
Edmund Lewandowski, Wisconsin Ore Freighter, 1948, oil on canvas, 42 x 30¾ in. Collection of the Milwaukee Art Museum, gift of Gimbel Bros., Milwaukee, M1959.
The graduate center, the city university oF New York