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Reclaiming American Art 18Th Annual American Art Conference

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Reclaiming American Art 18Th Annual American Art Conference 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.
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