museumVIEWS A quarterly newsletter for small and mid-sized art museums Summer 2006

NEUROSCIENCE WHAT ART CAN TELL when light hits the surrounding field, causes AND THE ARTS the system to detect discontinuities, or US ABOUT THE BRAIN edges. “Essentially, center-surround cells convert an image into a line drawing,” In a day-long symposium with the title In her discussion on the biology of vision, says Livingstone. “Visual Art and the Brain,” sponsored by the City Margaret Livingstone began with a definition: University of New York Science & the Arts vision is information processing, not just image Luminance program in concert with the New York Academy transmission. Some of the most basic and evolu- Through the ages, artists of Sciences, neuroscientists, science communica- tionarily old parts of our vision are color blind. have developed the under- tors, and artists dealt with the ever intriguing rela- Artists, in their normal workday world, have dis- standing that the eye per- tionship between art and the sciences. Catherine covered how to create visual effects that take ceives three dimensions Zandonella, a science writer based in New York advantage of how the visual system works—how not only through City, in her review of the day, stated the premise the eyes see and how the brain perceives images. shading but also DIRECTOR of the day’s discussions: “A painting or sculpture Cavemen, for example, made simple line draw- through con- has the power to evoke strong feelings, and it is ings; our brains, and theirs, fill in the details. trast—the NEURONS common to say these feelings reside in the gut, Surprisingly, the visual system does not “value” in IN ACTION the bones, or the heart. In truth, however, the capture a fully formed image to transmit to the colors. most important body part involved in our response brain in the way that a camera does. Instead light continued to art is the brain. Our eyes might act as conduits to from an image travels into the eye, strikes the on page Visual Appeal, relay information to our neural circuitry, but it is retina, activates photoreceptors that convert light 2 Tension, the brain that controls the experience of what we into a signal to be sent via retinal neurons to see. Beauty is said to be in the eye of the beholder, the brain—“information processing, not image Density but what is it about the brain that makes us respond transmission.” by Susan H. Edwards to art?” Key to the understanding of how we see The symposium began with three discussions works of art was the discovery that the visual In selecting a work of art for exhibition or on “How Does the Brain See Art”Ð the neurobio- system perceives sharp contrasts in the purchase my criteria begin with visual appeal. This is logical aspects of how we perceive and under- amount of light coming from an image and not to say that every work of art that I am drawn to is stand visual art. “Artists, through trial and error ignores more subtle changes in light. The considered beautiful. On the contrary, I am, from time to over the centuries, have hit upon techniques that “center-surround organization,” opti- time, attracted to something grotesque or disconcerting. stimulate parts of the visual system to produce mizing vision in the center field while If the broad choices that I have made in my career certain perceptions in the brain. For example, inhibiting it have a commonality, then it would be that they all have the power cave painters discovered early that the human to communicate by means of an internal tension. There must be some brain does not need a full-color representation of quality that intrigues me enough to be rewarded by looking at a work of an object; a contour line will do. The art over and over again. Interesting art has density. By this I mean layers Impressionists developed painting techniques of meaning that are revealed to us as we approach it from different that convey a sense of movement, as in vantage points over time. For me this enigmatic quality, which gives Monet’s paintings of shimmering water. art texture and enduring appeal, is comparable to reading poetry or a And, although art appreciation is culture great novel, where I feel a connection. That connection may be to bound, there may be a number of universal the creator or to the emotion or to the situation. Just as I often return to passages in literature that resonate for me, there are also principles that make art appealing.” works of art that are unforgettable in my mind’s eye. Margaret Livingstone, a neurobiologist Having a good eye and an ear to the ground are career advan- at Harvard University, explained the biolo- tages, especially in the case of contemporary art which does not gy of vision that artists have used for cen- have the imprimatur of established acceptance. Following the scent turies but that are only now being explored of collectors, curators, dealers, and critics can be reassuring, but for by scientists. David Freedberg, an art histori- me the spark has to be personal. Two years ago I saw a memorable an at Columbia University, applied what we gallery show of the work of Hiraki Sawa, a young Japanese film and know about the neuroscience of responses to art video artist. I was drawn to his unpretentious black-and-white videos to explain how viewing a picture can incite urges where the incongruous digital animations of Eadward Muybridge’s motion to replicate the action we are seeing. V. S. studies and toy airplanes turned melancholic interiors into playgrounds of delight. Ramachandran, a neuroscientist at the Not long afterwards I sat on a panel of jurors that included three curators and two artists. We decided to give University of California at San Diego, Hiraki Sawa an exhibition in our contemporary project gallery. The next step was to make a studio visit to learn described his research on synesthesia, a more about the art, the process, and the artist. blending of the senses experienced by Sitting in Sawa’s apartment, the mise-en-scene of the artist’s early work, I was immediately aware of the interior about one out of every 200 people, life of the artist. I recalled the work of Xavier de Maistre (1763-1852), who learned after a period of confinement in his and his theories on why we enjoy room that “the perceptions of the mind, the sensations of the heart, the very memories of the senses, are inexhaustible creating and looking at art. sources of pleasure and happiness for man.” Sawa is part cosmopolite and part gamin. He literally toys with Anglo-Asian norms of time and space to defy visual logic in the same way that Plunderphonic musicians splice together parts of familiar sounds to form a new and fresh composition. After two days of seeing as much of the artist’s work as possible, I was convinced that Sawa, who was receiving international recognition even before his graduation from the Slade School of Art, had depth and potential. At the time of my 2004 visit, Hiraki Sawa was working on Going Places Sitting Down, a three-channel digital animation set in an English bourgeois domestic interior. Here a rocking horse found in one of the rooms is digitally animated and transported to appear and reappear in varying sizes throughout the film as a metaphor for the absence of narrative. The rocking horse moves, but only in a child’s imagination does a rocking horse go anywhere. Similarly the soundtrack’s repetitive tinkling is disrupted at regular intervals to thwart its potential for saccharine melody. Sawa is a modern-day Jonathan Swift who aims for and finds a fit in a world that although still lumpy is increasingly flat. In the past two years, Sawa has had numerous gallery and museum exhibitions. Validation seems to be raining in all fronts. Recently his gallery show at the James Cohan Gallery in New York City was favorably reviewed in The New York Times. Is Sawa too hot not to cool down? In my estimation he has the talent, intellect, and commitment for a long career. We look forward to his exhibition in Tennessee and are delighted to introduce this promising and complex artist to our community. [Susan H. Edwards, Ph.D. is Executive Director and CEO of Frist Center for the Visual Arts (TN) and Adjunct Associate Professor of Art History at Vanderbilt University (TN)] continued on page 3

Top: Albert de Balleroy, French Hounds, c. 1860. Oil on canvas. In “Best in Show,” Bruce Museum, CT Center: Unknown photographer, Colors of the 16th Regiment of New York Volunteers, St. Lawrence County, 1863-64. In “Civil War Photographs,” Chrysler Museum of Art, VA NEUROSCIENCE continued from page 1 Before the Renaissance, artists were barely aware reacts to images—how pictures look and how we Art has little to do with realism, said of this phenomenon. Da Vinci and his contempo- respond to them. “Thanks to the contribution of Ramachandran. “It is about producing pleasing raries soon realized that they could produce depth neuroscience,” said Freedberg, “we now know effects in the brain.” Distorting a figure randomly by placing dark colors (with low value, or lumi- much more about what goes on in the brain when does not produce a pleasing effect. Rather, the nance) next to light (with high value, or lumi- we respond in emotional terms to a picture.” principal of “peak shift” suggests that exaggerat- nance). The contrast, they found, high luminance Reactions are not only emotional but also ed forms of reality invoke a greater response than colors such as yellow adjacent to low luminance physical. Neuronal impulses give rise to the feel- the natural form. In a study of animal behavior, colors such as blue, created the illusion of depth. ing of wanting to move when one looks at a pic- rats that were trained to recognize a rectangular Moreover, colors and luminance can be treated ture showing action. And when viewing an image form as a source of food would react even more independently: colors with the same degree of that depicts an emotion such as fear, the visual strongly to shapes that were exaggerated rectan- luminance cause a shimmering effect (see paint- information travels rapidly to the fear center of gles—longer and thinner. The same principle ings by Monet). the brain, the amygdale. At the same time, the applies to caricatures, which exaggerate facial The visual system is divided into two areas: same visual information about fear goes another, characteristics with the result that the creation the “What” area for face and object recognition slower route that results in the realization that the looks more like the original than the original. (relatively recent in terms of evolution and com- object is only a picture and not a threat. Other animal studies reveal similar reactions to mon to primates only), and the “Where” area (the Artists, for centuries, have been able to arouse exaggerated forms: a herring gull chick is born to older part of the system that we share with other physical empathy in their viewers; the body peck at its mother’s red beak for food; given a mammals), which is color blind. To the color wants to move when viewing a painting in which stick with red stripes as a substitute, the chick blind portion of the system, luminance (value) is people are fleeing from a dangerous object. will peck harder and faster. The chick’s neurons critical. For this portion of the visual system, Nicolas Poussin did it in Landscape with a Man are hyperactivated. depth is created with shading, perspective, segre- Killed by a Snake. In the tradition of Leonardo, It is Ramachandran’s belief that the same gation, and luminance. In fact, color resolution is the physical activity of the figures in his painting thing happens with abstract art, which carries low in this portion of the visual system; here con- shed light on their inner emotions. Poussin clues that activate subconscious emotions. tours are defined by borders—the color spreads altered the axis of a fleeing figure, the figure’s “Human artists, through trial and error, intuition until it comes to a border. “Artists figured this out center of gravity, and the distribution of his body and genius, have discovered the figural primitives long before neurophysiologists—you do not have parts to create a sense of movement. “We almost of human vision. They are producing for your to color inside the lines.” have…an ‘imitative feel’ as our own legs seem to brain the equivalent of a stick with red stripes.” want to move as the running man’s legs move. Another principal in viewing art is that of Focus “We say these feelings are in our bones, though “isolation”—the “less is more” principle. A Although our central vision is sharply in they are really in our brains,” said Freedberg. Picasso three-line drawing of a naked woman focus, our peripheral vision is not. It is slightly “Mirror neurons” in our brain fire when an action carries more sensual implications that a Playboy out of focus. This, says Livingstone, may explain, is performed and also when an action is observed pin-up. Why? The visual system reacts to a sim- for example, the enigma of Mona Lisa’s smile, being performed. They fire chiefly when we ple representation more easily; a detailed picture which seems to broaden as the eyes look away observe someone performing a goal-directed requires the brain to do more processing. Artists from her mouth, and becomes less broad when action—reaching for food, for example. “I feel have known this instinctively for centuries and the eyes center directly upon it. fairly sure that when we see action in a picture, may have utilized this principle unconsciously. In This same phenomenon applies to artists such exactly the same neurons fire in the…parietal fact, it may be that certain parts of the brain are as Chuck Close whose mosaic-like works depend lobe that would fire if we performed the same more active when various artistic techniques are on low-resolution peripheral vision actions ourselves, at play. For example, the part of the brain that which helps bring the pieces into a even if we don’t allows the drawing of proportion becomes domi- comprehensible whole—as a viewer actually execute nant and enables the drawer to isolate and focus looks around the canvas, different the action.” Yet, on details. He cited an autistic child who drew a parts pop in and out of high resolution. another mecha- lifelike representation of a horse comparable to a nism in the spinal master’s drawing. In this case, the master’s and Stereopsis cord prevents the the autistic child’s brain functioned in similar Artists are able to create realistic acting out of ways—they both focused only on proportions images because of the perception of observed Yet another universal principle, “grouping,” depth caused by the horizontal posi- actions—evi- figures in a viewer’s reaction to a work of art. tion of the two eyes. The visual sys- dence that the Just as people have innate preferences for group- tem uses this eye position—stereop- brain can reenact ing colors together (matching ties to jackets, sis—together with other cues (per- an action without shoes to purses and dresses, drapes to sofas), so spective, shading, etc.) to calculate causing the body they seem to prefer to assemble parts into a depth. Many well known artists— to actually move. whole. The brain tends to glue together discon- among them Wyeth, Hopper, “As we learn nected elements of an image to make it more Chagall, Rauschenberg, Calder, Man more about the understandable. The human penchant for group- Ray, Rembrandt—had misaligned eyes (accord- biological basis of empathy and emotion,” said ing together colors and shapes shows that “our ing to Livingstone’s reading of their portraits) Freedberg, “we can stop talking as vaguely as we visual system evolved to read camouflage and to and thus were limited in their ability to see depth. art historians habitually do of corporeal involve- segregate and find objects. If you see some patch- This, she opines, is a trait that could be an aid in ment with paintings and sculpture. Instead, we es of yellow behind green foliage, and the brain the elusive effort to capture the world on a flat can speak quite precisely about the neuronal basis glues the patches together and discovers a lion, canvas. Ë of the empathetic feelings in our bones, or in our there is a jolt to the limbic system saying, ‘Pay veins, when we see a particularly striking move- attention!’ “Art, he concludes, involves producing ment in a picture.” Ë multiple visual discoveries of “groupings,” and in ACTION, EMPATHY, the case of abstract art, the “Aha” reaction. Ë EMOTION THE UNIVERSAL PRINCIPLES OF ART museum David Freedberg, an art historian at VIEWS Columbia University, calls on neuroscience to Editor: Lila Sherman reveal why and how art inspires emotions, how V.S. Ramachandran, a neuroscientist at the Publisher: Museum Views, Ltd. pictures showing motion often convey a sense of University of California, San Diego, remarked on physical empathy (to move ourselves in the same the universal principles, or “laws of aesthetics” 2 Peter Cooper Road New York, NY 10010 way the movement is taking place in a painting), that he contends define art. They are: peak shift, 212-677-3415 and how pictures can cause a sense of emotional grouping, contrast, isolation, perceptual problem empathy (sadness from sad faces in paintings, solving, symmetry, visual rhythm/repetition, museum views happiness from happy ones). balance and harmony, and metaphor. These prin- is supported by grants from the An understanding of the effect that art has on ciples, he believes, tap into behavioral tendencies Horace W. Goldsmith Foundation us can be enhanced by knowing how the brain that are rooted in human evolution. and Bloomberg. 2 Above: Harry Leith-Ross, Tenant’s House and Tracks, n.d. Oil on canvas. In “Poetry in Design,” Michener Art Museum, PA ment the discussion that operates between them. museum’s permanent DIRECTORS continued from page 1 In order to purchase the “right” works for the collection. The collection, I must remain informed about what is Hockaday does collect Collecting happening in my field; keep my finger on the work outside its Glacier pulse of what is going on in the art world locally, National Park theme, Contemporary Art for nationally, and internationally. My sources of usually because the the New Millennium information are wide ranging: art events such as artist is a local, work- by Julien Robson exhibitions, biennials, and art fairs; periodicals ing, professional whose and catalogues; and discussions with colleagues works deserves recog- The Speed Art Museum is a medium-sized and artists. While this constant search renders a nition in the museum’s general museum in which collections of American large number of works candidates for purchase, permanent collection. and European art as well as holdings from Africa, the collection development plan gives me a John Rawlings, for example, a current art instruc- Asia, and Native America span the centuries, framework within which to make decisions. tor at Flathead Valley Community College, merits from the ancient world to the present. It is the In order to make a personal judgment about an recognition by the museum. His work in ceramics major museum in Kentucky, and its broad base in individual piece, I consider the intensity of it, the and other mediums is based more on the process collecting is perceived as one of its strengths. In consistency and rigor of the artist’s work, what and the steps an artist goes through to create a fact, in 1997, the first collection development has been written about it, and, of course, the work of art. plan was given priority as the heart of the muse- price. Finally, it is important to be clear about As the museum grows and expands in space, it um’s activities and its greatest legacy for the how a particular work relates to other works in is the vision of the current board of directors to future. the collection and how it expands upon the vision showcase more of the permanent collection and In January 2000, as part of a general expan- we have for the collection. increase the collection’s prominence by dedicated sion of curatorial staff, I was appointed the first As a result of that vision and the personal galleries with specific focuses. With this in mind, curator of contemporary art. Among my responsi- judgment of those who are involved in acquisi- we will continue to acquire works through gifts bilities was to create a plan that would take the tions, the Speed has acquired works from more and purchases to further the educational value of museum’s contemporary collection forward into than 35 internationally recognized and lesser- the collection. the new millennium, thereby fulfilling the Speed’s known artists. No doubt the market will decide I keep in mind the vision of the board when ambition to make contemporary art a central plat- who will be the “stars” among them. evaluating paintings and other works for acquisi- form of its future growth. Nevertheless, the Speed’s ambition, broader tion. Many times, a painting may be amateur in For any plan to be effective two important than the shifting fortunes of the marketplace, is to quality: it could be a poor example of an artistic questions had to be answered: “How can a muse- create a collection that embodies the ideas at the style (garish or washed out colors), the mountains um with limited resources create a collection of center of contemporary art and to present it in may be too surreal, and/or the painting could contemporary art that is significant?” and “How ways that are relevant to our communities. At the have a flat feeling rather than a three dimensional can we productively differentiate ourselves from end of the decade, whatever the reputations of the quality. Sometimes, we come across a poor repre- what surrounds us?” individual artists, all the works in the collection sentation of a proven artist’s work. For example, The nature of the marketplace and the level of will retain the thematic relevance with which they although early Glacier Park artist John Fery’s resources to which the Speed had access made it were brought together. (1859-1934) works are sought after today, some impossible to think in conventional terms. Given [Julien Robson is Curator of Contemporary Art of them should not be on display—especially the escalating prices commanded by market at the Speed Art Museum (KY)] those in which the animals are not to scale with “stars,” there was no way that our available the landscape or the landscape is washed out and resources could fill the gaps in the collection and lacks significant detail. They bear no comparison at the same time help us develop it along conven- Focus: Location, with his accomplished works. tional lines. Works are more desirable when they are creat- Location, Location ed during an artist’s so-called high period. This is Then there was the question of the proximity by Linda Engh-Grady of the Speed to other major museums in the another factor that we consider when we are acquiring a painting. When applied to a living region. For instance, Indianapolis and Cincinnati, he Hockaday Museum of Art locat- two big cities within an approximate 100-mile T artist, the process is more difficult because we ed in Flathead Valley and 30 miles from the west have not seen the entire life span of work. We can radius of Louisville, are both home to major art entrance of Glacier National Park has only recent- museums with much greater resources than the evaluate what has been produced so far and com- ly found a focus for its permanent collection and pare the work to the rest of the artist’s oeuvre to Speed. To follow the approaches of these encyclo- exhibit programs. In the past, much of the pedic institutions using the Speed’s limited determine if it is a good example of his output. Of exhibits were based on contemporary art and course, all artists grow and develop through their resources would simply duplicate an already artists that did not necessarily live and work in existing model in a watered down form. Rather careers and their work will inevitably change. this area. Due to the proximity to Glacier National Whatever the criteria used to decide whether a than emulate these collections, it was decided to Park and the lack of public exposure to the art his- look for a complementary approach that would, painting is “good” or “bad,” it is my belief that tory of the park and the legacy of artists that were artists should consider throwing out their “bads.” instead, make the Speed’s collection unique. and still are attracted to this area, it was a natural In response to these issues, I developed a It would make the choices made by museums for the museum to make this its major focus. much easier, and possibly more accurate. vision with a set of principles and guidelines as a Through the museum’s long range planning, means of evaluating artworks for the collection. [Linda Engh-Grady is Executive Director/Curator the exhibits and permanent collection committee at the Hockaday Museum of Art (MT)] The vision would define the collection over a have now been able to select works for purchase period of ten years. Rather than being encyclope- and court major works of art to be acquired dic, it would be conceptually rigorous, addressing through gifts with the idea of showcasing this A Collecting Conundrum: some of the key artistic issues of the new decade. truly local art history. This focus includes both Museum or Focusing upon younger contemporary artists, it historical and present-day artists, photographers, would create a forward-looking collection that and authors. The historical works of art must have Traditional would embrace new media. It would also be prin- a Glacier Park connection in order to be consid- cipled upon contextualizing regional artists within ered for acquisition; the same connection is pre- Contemporary a global framework. ferred in the contemporary works we consider. by Todd D. Smith I began by assessing works already in the The museum has mounted several exhibitions, museum’s holdings. Accounting for those of both single artists and group shows, that center on For museums, collecting contemporary art is significance, it was possible to construct a frame- the park. From these exhibits, the collections a messy enterprise. We trod on unfamiliar turf and work for considering emerging artists. This committee has selected works to be purchased for risk making significant mistakes as we operate helped form a set of categories by which the the museum’s permanent collection. The criteria without a coherent cultural narrative in which to collection could be steered. Loosely, the cate- involved in this selection process are: first, the safely place our acquisitions. The value of the gories deal with the body, its spiritual and psy- artistic merit of the painting, whether or not the acquisition of historical work can be documented chological space; politics, race, and identity; and artist has rendered the chosen scene in an aesthet- and “proven” by the curator and director with a questioning representation, or art, its systems and variety of sources marshaled for different con- ically pleasing way and has done justice to the stituencies. For purists, issues of aesthetic quality history. For a work to be considered for the col- chosen artistic style; second, the artist’s back- lection it must fall into one or more of these cate- are center-stage; for historians, the importance of ground, how has the artist portrayed him-or her- the work’s provenance and broad cultural and gories. Having done so, it is then considered criti- self, is he/she a professional, full time artist, is the cally in relation to other works in the collection, social contexts might be paramount. We are more work an excellent example of his/her work; and at ease to have the weight of how it interacts with them, and how it might aug- last, is this artist worthy of recognition in the continued on last page Top right: Louis Comfort Tiffany, The Reader, 1897. Leaded glass window panel. In “Louis Comfort Tiffany,” Dallas Museum of Art, TX 3 VIEWS NEWSBRIEFS A museum in Holland (the Singer Laren vandals and it took some 90 days for the cleanup. Center as well as viewing the thousands of works Museum in Laren), and one in the United States The New Orleans Museum of Art reopened that represent the world’s largest collection of (the Washington County Museum of Fine Arts, at the beginning of March. The building, situated American art. MD) share on high ground in City Park, formed founders and birth- a virtual island in the flooded park- The United States Congress has formally rec- days—the land surrounding it. While some out- ognized 2006 as the “Year of the Museum.” Washington door sculptures were damaged, the Senate Resolution 437, adopted in April, cele- County Museum museum itself sustained little dam- brates “the contributions museums have made to turns 75 this year, age. In all, some $6 million was American culture and life over the past 100 the Singer Laren, needed to bring sculpture garden and years.” House Resolution 389, also recognizing 50. The museums building back to normal. It began by the “Year of the Museum,” was adopted a month will collaborate on reopening three days a week, work- earlier. joint anniversary ing up to five days a week in June More than 100 museums, American projects, including with the opening of an Ansel Adams Association of Museums members and non-mem- loans of major art- exhibition. bers alike, have registered with the AAM to partic- works and are The Ogden Museum of ipate in activities connected with the celebration. Ë committed to car- Southern Art reopened in late rying their collabo- October, five weeks after the storm. ration into the The Contemporary Art future with exhibi- Center suffered extensive damage tions, co-published to the roof and windows and offices books, CD-ROMS of its 1905 four-story warehouse. and web sites. Elanor Colburn, Bathing Baby, n.d. But it reopened in January, grateful A Festival for In “Winds of Change,” Irvine Museum, CA that no artworks or spaces were destroyed. the Arts will kick The Historic New Orleans Collection sus- off a year-long celebration with a full day of tained no storm damage and was the first museum artists offering their wares, activities for children, to reopen in October. music, food, a recital and special exhibitions. Other museum stories are less sanguine. For Singer Laren will organize an exhibition of the art example, the Louisiana State Museum, located collecting activities of the mutual founders—a in the French Quarter, sustained damage to 3 show that will be on view at the Washington percent of its collection (mostly jazz instruments). County Museum in January 2007. Although there are hopes of restoring the dam- aged instruments, the museum will not reopen The Museum of Photographic Arts (CA) has until late 2007. published Breaking the Frame: Pioneering Women About 80 percent of visitors to the D-Day in Photojournalism, an exhibition catalogue Museum were tourists and conventioneers—nei- focusing on six women who worked from the ther of whom has reappeared in the city as yet. 1930’s to the mid-1950’s. Thérèse Bonney, But hopeful staffers, their numbers severely cut, Margaret Bourke-White, Esther Bubley, Olga feel optimistic: there have been about half as Lander, Hansel Mieth, and Grace Robertson are many conventions in 2006 as in normal times. Julie Herffernon, Self Portrait as Great Scout Leader, 1998. Oil the photographers whose images are included “Normal” levels are expected by 2008. on canvas. In “Julie Heffernon,” Columbia Museum of Art, SC together with critical essays by well known writers At the Ogden, attendance has been bolstered and professors. In addition, the book contains dis- by local visitors crowding in for the newly insti- cussions on whether women have contributed any- tuted Thursday night After Hours music programs. thing unique to photojournalism. “I believe they Another nighttime music series is being held at BE PROACTIVE: Take Part do,” says one of the writers, “through access to the Contemporary Arts Center with the same subject matter often closed to male photogra- results. Says Jay Weigle, executive and artistic in the Year of the Museum phers.” director, “It’s hard during the day to live a normal ¥ Designate some of your 2006 exhibitions and life here right now. At nighttime and weekends activities “Year of the Museum” programs, then A “Contemporary Collectors” program, one of people are really looking to be engaged again.” register as a “Participating Museum.” the first of its kind nationwide, was launched by the Contemporary Art Museum, St. Louis (MO) [The state of museums in New Orleans was ¥ Work with your Governor, Mayor, City to help strengthen the museum’s base of serious reported by John Schwartz in a special museum Council, or Board of Supervisors to designate art collectors. A year-long program of events was section of The New York Times.] the “Year of the Museum” in your locality. designed for individuals who are interested in ¥ Incorporate the “Year of the Museum" logo on learning about the process of collecting contempo- In a partnership with the Baltimore City and your brochures, mailings, media kits, your web- rary art while enjoying a series of special events Baltimore County, the Baltimore Museum of Art site, you name it. Display “Year of the planned by the museum. Participants develop con- and the Walters Art Museum will institute free Museum” banners inside and outside your nections with national and international art experts admission beginning October 1. The initiative is museum. as well as with artists working today. made in conjunction with the launching of “Free ¥ Ask your local PBS station if it is showing the Fall Baltimore,” a citywide program under the one hour TV special, “Riches, Rivals and Events for the inaugural program included a direction of the Baltimore Office of Promotion & private reception at the summer home of Emily the Arts designed to make the arts available to Radicals: 100 Years of Museums in America.” Pulitzer, a lecture on the investment side of art, a everyone. A lead gift of $800,000 from the city See if you can put a tag at the end about your private tour of a corporate collection, a day of and county will make free admission possible at museum. Screen the program at your museum gallery visits, and a trip to Art Basel Miami Beach both museums; additional support will come from as a VIP event. with VIP embellishments. Anne Arundel County; future support is sought ¥ Stock your museum gift shop with AAM's from the remaining counties in the Baltimore new centennial book, Riches, Rivals and The post-Katrina story of New Orleans could metro region. Radicals: 100 Years of Museums in America, by be called a “tale of two cities.” On the one hand, Marjorie Schwarzer. in many of the city’s neighborhoods, there is still July 1st saw the completion of the $300 mil- ¥ Encourage media in your area to do “Year of total devastation; on the other, the city remains the Museum” stories about your own museum, intact. Gradually, museums have reopened and by lion renovation of the former Patent Office doing so, have begun to bring back the soul of the Building (DC), which houses two important or submit “Year of the Museum” op eds. city. repositories of American Art: the National ¥ Stock your gift shop with A Masterpiece: The At the National D-Day Museum vandalism Portrait Gallery and the Smithsonian American Museum Cartoon Collection, a special “Year of created more damage than the storm, which only Art Museum. The restoration of the 1836 build- the Museum” book that compiles the New succeeded in opening a small leak in a skylight. ing, one of the oldest in the city, was begun in Yorker’s most hilarious museum-themed panel 2000. Viewers can now enjoy watching staff cartoons created since the 1930’s. Ë But the gift and coffee shops were torn up by members working in the Lunder Conservation 4 summerVIEWS California Contemporary artists from Colorado, I to Charles II. Ë “Searching for (swords) in gold, silver, ivory, bone, and Berkeley Art Museum, University of presented in collaboration with the Shakespeare” (Sept. 17) Visual representa- wood, created by priests/craftsmen, and California, Berkeley Ë “Edge of Desire: Museum of Contemporary Art in Denver. tions of the playwright, and other objects thought to have spiritual powers. Recent Art in India” (Sept. 17) Work by both related to his life, including first editions of new and established Indian artists. Ë Mizel Museum, Denver Ë “Building plays, poetry, costumes, and a scale model of Contemporary Art Museum, University of “Centers of Artistry: Indian Paintings from Cultural Bridges: Art from the Former the Globe Theatre. South Florida, Tampa Ë “Vik Muniz: the Collection” (Oct. 22) Deities and cosmic Soviet Union to America” (Sept. 29) Reflex” (Oct. 8) Photos of images created battles, courts and courtship: 17th-20th Artwork that shows the freedom of style Lyman Allyn Art Museum, New London Ë from non-art materials—dirt, string, and centuries. and expression that was denied artists “Subject” (Aug. 15) Contemporary approach chocolate, for example. during the Communist era. to portraiture: Basquiat, Crumb, Hammons, Irvine Museum Ë “Winds of Change: Ligon, and Waters. Vero Beach Museum of Art Ë “Studio Progressive Artists, 1915-1935” (Sept. 2) Sangre de Cristo Arts Center, Pueblo Ë Glass: Then and Now” (Sept. 24) Work by The Modernists that followed the plein-air “Falling Without Fear: Exploring the Benton Museum of Art, University of Littleton, father of the studio glass move- painters. Otherworld” (Aug. 26) Technology based Connecticut, Storrs ËAt the East Gallery: ment, and contemporaries such as Chihuly, artists: otherworldly videos of sculpture in “Metamorphosis: The Director’s Choices Moore, Kuhn, and Marioni. University Art Museum, California State space, the birth of a star, the cosmos. Ë from the Benton Collection” (Aug. 6) A University, Long Beach Ë “Fantasy Islands: “Robata” (Aug. 12) Paintings, sculptures look back at acquisitions over the past nine Cornell Fine Arts Museum, Rollins Landscaping Long Beach’s Oil Platforms” based on the book Robata, written by years finds an increase in cultural diversity College, Winter Park Ë “Winslow Homer: (Aug. 29-Oct. 15) Architectural elements and artist/film designer Chiang. Ë “By the Way” and a dedication to human rights. Ë At the Illustrating War” (Aug. 25) The Civil War plantings camouflage oil rigs. Ë Through Science fiction paintings by Pueblo artist. Ë Gilman Gallery: “Seeing the Unseen: through Homer’s wood engravings as com- Aug. 6: “Implacable Witness: Kathe “Art Nuero” (Aug. 5) Digital art from the Photographs by Harold E. Edgerton” Time pared to period photos from the Library of Kollwitz Graphic Works” Etchings, litho- Braid group—group-taught artists who learn and motion studies and other classic works Congress. Ë “Four Decades of graphs, and woodblock prints about social by collaborating. Ë Through Aug. 19: by the inventor of the stroboscope. Contemporary Prints” (Sept. 10) Dine, injustice, rebellion, poverty, parents and chil- “Morphology” 1930’s objects made into Hockney, Christo, Ruscha, among others. Ë dren, and scrutiny of her own vision; rocket ships and abstract celestial works on District of Columbia “Director’s Choice” (Aug. 13) Recently “Multiple Exposures: Highlights from canvas; “Dreams of Space” Pueblo painter National Museum of Women in the Arts Ë acquired works, some rarely shown before, CSULB Special Collections” B&W and contemplates the possibility of other worlds. “Forefront: Chakaia Booker” (Sept 4) and recently restored works, Italian color photographs from the 1930’s-1970’s, Installation about the African American Renaissance to French Realism. including work by Lange, Evans, Wolcott, Connecticut experience, feminism, and the American Adams, Weston, Sternfeld, and Connor. Bruce Museum, Greenwich Ë “Best in work ethic. Ë “Dreaming Their Way: Georgia Show: Dogs in Art from the Renaissance to Australian Aboriginal Women Painters” Morris Museum of Art, Augusta Ë Palo Alto Art Center Ë Through Sept 10: the Present” (Aug. 17) Paintings, sculptures, (Sept 24) First showing in the U.S.: “Realization: The Art of Hubert Shuptrine” “IDEO Prototypes the Future” Contemporary and photographs by famous artists from the paintings on bark by women inspired by (Aug. 13) Realistic snapshots of Southern land- concepts created by a Palo Alto-based design Renaissance and Baroque, Rococo, Aboriginal stories, called “Dreamings.” scapes and people; he called them “realizations.” firm; “Creative Commerce: German Victorian, Impressionist, to Pop and Post- Lithographic Labels, 1920-1938” Stone Modern. Ë “Caves: A Fragile Wilderness” Textile Museum Ë “Harpies, Mermaids, Georgia Museum of Art, University of lithographs produced near Manheim, (Aug. 13) Photographs, specimens, and arti- and Tulips” (Sept. 3) Greek Island embroi- Georgia, Athens Ë Through July 30: Germany, for industrial labels. facts from a special ecology. Ë “Jazz dery: early 17th-19th centuries. “Arcadia Revisited: The Architecture of Photographs from the Bruce Museum Landscape” The 18th century’s ideal of rural Palos Verdes Art Center Ë Through Aug. Collection” (Oct. 22) Highlights of a recent Smithsonian Institution Ë At the Arthur contentment on canvas; “Woven Jewels from 6: “Small Treasures” Diminutive works by gift: portraits of Louis, Ella, Dizzy, and M. Sackler Gallery “Facing East: Portraits the Black Tents: Baluchi, Aimaq, and local artists; “All Media Juried Exhibition.” more. from Asia” (Sept. 4) Egyptian pharaohs, Related Tribal Weavings of Iran, Chinese empresses, Japanese actors, and Afghanistan, and Pakistan”; “Let Loose Crocker Art Museum, Sacramento Ë “M. Wadsworth Atheneum Museum of Art, more; how the self was understood and rep- Upon Innocence: George Bellows and World C. Escher: Rhythm of Illusion” (Sept. 3) Hartford Ë “Eloquent Vistas: The Art of resented in Asian art. Ë “Hiroshi Sugimoto: War” From his WWI series and other works. Meditations on perspective, light and dark, Nineteenth-Century American Landscape History of History” (July 30) Contemporary Ë Through Oct. 8: “Modern Indian Works change, and the infinite. Ë “Craters from Photography from the George Eastman photographs juxtaposed with ancient and on Paper” Watercolors, acrylics, drawings, Fire: Ceramics by James Lovera” (Oct. 8) medieval Japanese artworks; and gouache by Indian artists since India’s Bottles, bowls, and other decorative vessels “Encompassing the Globe: Portugal and independence in 1947, with samplings from in stoneware and porcelain. the World in the 16th and 17th the Progressive Artists Group to second Centuries” (Sept. 9) Works of art generation modernists; “The Eternal Museum of Photographic Arts, San reflecting the “new world,” as first seen Masquerade: Prints and Paintings by Gerald Diego Ë A museum-wide look at photo- through the trade network that Portugal Leslie Brockhurst from the Jacob Burns journalism and the mass media. Through initiated between Africa, India, China, Foundation” Modernist influenced by Italian Sept. 17: “Today’s Pioneers: Women Southeast Asia, Japan, and Brazil. Ë At Renaissance painters and known for portraits Photojournalists in Iraq and the Freer Gallery of Art: “Pretty of celebrities; “American Quilts at the AfghanistanÐAndrea Bruce and Stephanie Women: Freer and the Ideal of Feminine Georgia Museum of Art” An 1847 chintz Sinclair” Images that show the personal Beauty” (Sept. 17) Freer’s early years as appliqué to mid-20th century works. Ë conflicts that take place in war-torn a collector and lifelong bachelor: paint- “Gráfica Mexicana” (Oct. 29) Mid-1940 families; “Animating the World: First ings and works on paper by Whistler, lithographs depicting Mexican farmers, Newsreels”; “Shooting in 35: The First Dewing, Handerson, and others. trades people, and laborers. 35mm Photographs” Ë “Breaking the Frame: Pioneering Women in Florida Hawaii Photojournalism” (Sept. 24) 1930’s to Harn Museum of Art, University of Honolulu Academy of Arts Ë Through July mid-1950’s: Bonney, Bourke-White, Florida, Gainesville Ë “American 30: “Artists of Hawai‘i 2006” Statewide Bubley, Lander, Mieth, and Robertson. Matrix: Contemporary Directions for the juried event. Ë “Nau Ka Wae (The Choice Harn Museum Collection” (Oct. 29) Belongs to You): Recent Work by Kaili Cantor Arts Center, Stanford University, Part II of year-long exhibit of post- Chun” Oahu-based sculptor and conceptual Stanford Ë “Conflict and Art” (Aug. 27) World War II art: Lichtenstein, Warhol, artist’s large-scale installations. Ë “Trade Representations of societal, religious, and Alexander Gardner, Lincoln and Tad, 1865. In “Civil Taste and Transformations: Jingdezheng War Photographs,” Chrysler Museum of Art, VA Vega, and many others. political struggles; sports competitions; and Porcelain for Japan, 1620-1645” (Oct. 8) inner dialogues. Ë “Chinese Painting on the House Collection” (Aug. 27) A celebration Orlando Museum of Art Ë “Divine Chinese porcelains made for Japanese use Eve of the Communist Revolution” (Oct. 29) of the reinstallation of Hudson River school Revolution: The Art of Edouard Duval shows the influences of both makers and Ink painting from Shanghai before the landscapes: photos and paintings from the Carié” (Aug. 26-Oct. 29) The cultural and receivers. Ë “Daring Moves: Actor Prints” 1940’s. Ë “Art from Life: Prints by Robert same period. Ë “Revivals: Costumes for political impact of the Haitian Revolution of (Aug. 1-Sept. 17) Japanese woodblock Rauschenberg” (Sept. 24) Rotation of works Song and Dance” (Aug. 13) Costumes from 1904 and the resilience of contemporary prints. Ë “Ansel Adams at Manzanar” from 1960’s to the present. 1971 version of flapper-era No, No, Nanette, Haitians. Ë “Brown Bear, Brown Bear, (Sept. 7-Oct. 29) Japanese Americans incar- from Diaghilev’s Ballets Russe, and from Mister Seahorse and Other Friends: The cerated during WWII at the Relocation Colorado Bakst-designed The Sleeping Princess Wonderful World of Eric Carle” (Aug. 13) Center of Manzanar in Inyo County, east of FAC (Fine Arts Center) Modern, Colorado (1921). Ë “Edward Weston: A Original collages created for the author/ the Sierra Nevada in California. Ë “Ukiyo- Springs Ë “James McNeill Whistler: Photographer’s Love of Life” (Sep. 17) illustrator’s picture books. E Exhibition” (Aug. 24-Oct. 15) Japanese Selected Works from the Hunterian Art Retrospective of vintage gelatin silver prints. woodblocks from the James A. Michener Gallery” (Aug. 20) Paintings, etchings, and Museum of Fine Arts, St. Petersburg Ë Collection. Ë “For the Joy of It: Applied personal items in the artist’s possession at Yale Center for British Art, Yale “A Complex Eden: Photographs of the Appliqued Quilts from the Judy Roche the time of his death; a glimpse into his life University, New Haven Ë “Britannia & American West” (Aug. 6) Examples from the Collection” (Aug. 27) Whimsical work from and work. Muscovy: English Silver at the Court of the 19th century (Watkins, O’Sullivan, et al), the the 19th and early 20th centuries. Tsars” (Sept. 10) 16th- and 17th-century 20th (Adams, Bullock, Weston, and others), Center for Visual Art, Metropolitan State objects from the Armory Museum of the and a group of contemporaries. Ë “Keris Idaho College of Denver Ë “Decades of Kremlin showing the development of ties Invincible: Sword Handles from Indonesia” Boise Art Museum Ë Through Sept. 17: Influence: Colorado 1985-Present” (Aug. 27) between England and Russia from Elizabeth (Sept. 10) Intricately carved handles of keris “Sculpture Selections from the Permanent

56 summerVIEWS continued Collection”; “Japanese Woodblock Prints (Aug. 26) Bourgeios, Cunningham, Cahoon Museum of American Art, Cotuit Missouri from the Permanent Collection.” Frankenthaler, Smith, and many more. Ë “Heavy Machinery, Weber Grills, and Hockaday Museum of Art, Kalispell Ë Dainty Things: New Works by Edith Through Oct. 1: “Works by Frances Senska” Illinois Maine Vonnegut” (Aug. 6) Female figures and Retrospective of ceramic art by African-born Krannert Art Museum, University of Ogunquit Museum of American Art Ë angels in toile-like designs. Ë “Consider the potter; “Works by David Secrest” Large Illinois, Champaign-Urbana Ë Through July Through Aug. 21: Source: Influences on Ralph and metal works; “The Lens of Ed Gilliland” 30: “Pour la Victoire: French Posters and “The 139th Martha Cahoon’s Early Paintings” Northwest Montana, Arizona, Utah, and Photographs of the Great War” Lithographic American (Aug. 8-Oct. 1) Furniture decora- California landscapes. posters from WWI; “Designing Experiences: Watercolor tion and whimsical canvases How Graphic and Industrial Design Shape Society’s inspired by 19th-century Contemporary Museum, St. Louis Ë Daily Life” Everyday products and solutions International American folk art. Through Aug. 20: “Centering on the Grand” to visual communication problems. Juried Works that focus on Grand Center, the cultur- Exhibition” Historic Deerfield Ë al district of St. Louis; “Selections from the Museum of Contemporary Art, Chicago Ë Paintings chosen “Embroidered History—Stitched Contemporary’s Flat Files” The start of a Through Aug. 13: “Patty Chang: Shangri-La” by the 2006 jury Lives: Samplers and Needlework new program, Flat Files, that will extend Installation: video of the town and sculpture selection, from from the Historic Deerfield invitations to area artists to submit small of a mountain; “Wolfgang Tillmans” representational Collection 1677-1850” (Sept.) works on paper, a selection of which will be Retrospective: 1990’s photographs that reflect to abstract; A rare example from the 17th- exhibited and kept on file. contemporary life. Ë “Catherine Opie: “Britain in Black & White: Photographs by century and more. Chicago (American Cities)” (Oct. 15) Conrad Marvin” Landscape and architecture Saint Louis Art Museum Ë “Louis Photographs; part of her “American Cities” of the UK. Ë Through Oct. 31: “The Figure Cape Cod Museum of Art, Dennis Ë Comfort Tiffany” (Oct. 29) Glass, pottery, project. Ë “Chris Ware” (Aug. 27) Comic in American Painting and Drawing, 1985- “William H. Littlefield (1902-1969): A lighting, bronzes, silver, and jewelry created strips “Jimmy Corrigan: The Smartest Kid on 2005” Diverse styles and perspectives over Retrospective” (Aug. 27) Early traditional, by Louis. Earth” and “Building Stories.” Ë “Alexander the last two decades; “The Prints of Peggy figurative work, later Abstract Expressionist Calder in Focus” (Aug. 27) Annual exhibition Beacon” A selection of work provided son explorations in a wide range of mediums. Springfield Art Museum Ë “Watercolor including mobiles, stabiles, drawings, and Alexander Bacon Brook. U.S.A. 2005” (Aug. 6) Competitive annual paintings, 1927-1968. Ë “Jim Isermann” DeCordova Museum, Lincoln Ë “Annual exhibition. (July 30) Wall installation combines a mass- Portland Museum of Art Ë “Paris and the Exhibition” (Aug. 20) Round-up of region- production idiom and the aesthetics of Countryside: Modern Life in Late 19th- al—New England—talent in the visual arts. Montana abstract painting and minimalist sculpture. Century France” (Oct. 15) Traditionals Tissot, Ë “Great Buys: Museum Purchases” (Sept.) Montana Museum of Art & Culture, Stevens, and Béraud; Impressionists Monet, Acquisitions from the last decade of work by University of Montana, Missoula Ë Museum of Contemporary Photography, Degas, Renoir, and others; Post- New England artists including paintings, “Landscapes along the Lewis and Clark Trail: Columbia College, Chicago Ë Through Aug. Impressionists Toulouse-Lautrec, Bonnard, works on paper, sculptures, and photography. Works from the Permanent Collection” (Aug. 12: “André Kertész: On Reading” Street pho- Seurat, and many others. 19) Paxson, Fery, Sharp, and Waddell, among tography that celebrates the power of reading; Revolving Museum, Lowell Ë “Pulling others. “In Sight” Recent additions to the permanent Maryland Strings: Traditional and Contemporary collection. Baltimore Museum of Art Ë “Matisse: Puppetry” (Sept. 30) Puppets by a bevy of New Jersey Jazz” (Aug. 27) The artist’s book Jazz (1947) puppet makers showing the roots of puppetry Hunterdon Museum of Art, Clinton Ë Smart Museum of Art, University of in its entiretyÐcolored stencil prints based on and its ability to raise awareness. “Toshiko Takaezu” (Aug. 20) Closed ceramic Chicago Ë “The Colors of Identity: Polish collagesÐaccompanied by related works of forms—minimal sculptural works. Art at Home” (Sept. 17) Representations Matisse’s contemporaries including Picasso, Peabody Essex Museum, Salem Ë expressing the complex national identity in Rouault, and Léger. Ë Through July 30: “Painting Summer in New England” (Sept. 4) American Labor Museum, Haledon Ë the late 19th-century Mloda Polska (Young “Robert Motherwell: Meanings of From 1850’s to the present including the likes “The Wobbly Show: Posters and Comics” Poland) movement. Ë “Mark Turbyfill, Abstraction” The large scale Elegy to the of Homer, Sargent, Hassam, Wyeth, Davis, (Aug. 26) Prints and posters from Wobblies, Works on Paper” (Sept. 10) ’50’s and ’60’s Spanish Republic and other works by the Bellows, and Hopper. A Graphic History (Verso Books). works by an avant-garde poet and dancer. artist and his peers; “Select Views: Drawings from the Benesch Collection” 1960’s and Michigan Monmouth Museum, Lincroft Ë “How Indiana 1970’s works by the likes of Johns, Kelly, University of Michigan Museum of Art, American Women Artists Invented Post- Indiana University Art Museum, and Rauschenberg. Ann Arbor Ë “Gregory Barsamian: Time Modernism: 1970-1975” (Sept. 8) The inau- Bloomington Ë Through July 30: “Visual and Transformation” (Oct. 1) Three-dimen- gural exhibition in the series “Indelible Improvisation: James McGarrell and the Art Walters Art Museum, Baltimore Ë sional animated sculptures. Marks: Framing Art and Feminism,” which of Jazz” Paintings and prints that use musi- “Mightier Than the Sword: The Satirical Pen continues nationally through 2008. Ë “New cians as a motif and that incorporate the lan- of KAL” (Sept. 3) Political cartoonist Kevin Kresge Art Museum, Michigan State Jersey Watercolor Society” (Oct. 29) Annual guage of musicÐa suite of prints is called Two Kallaugher’s caricatures, sculptures, and ani- University, East Lansing Ë “Cat Chow: juried exhibition: watercolors. Part Inventions; “Horses in Classical Art” mations. Ë “Schatzkammer: Henry Walters’ Second Skin—Ingenuity Transforms Fashion Horses and horse-related images from early German Manuscripts” (Oct. 29) 9th- through into Art” (July 28) Clothing-like sculptures New Mexico Greek art to the end of antiquity. 16th-century gospel and prayer books, liturgi- out of unconventional materials—steel wash- University of New Mexico Art Museum, cal manuscripts, theological texts from the ers, measuring tapes, trading cards, Kleenex, Albuquerque Ë “Clinton Adams: Oil, Eiteljorg Museum of American Indians treasury (schatzkammer). Ë “Alfred Jacob buttons, and zippers. Tempera & Acrylic” (Aug. 13) Early cubist to and Western Art, Indianapolis Ë “Changing Miller and the People of the Plains” (Sept. non-objective paintings. Ë Through Sept. 24: Hands: Art Without Reservation 2: 10) Watercolors commissioned by Walters to Grand Rapids Art Museum Ë “Ansel “Josef Albers Suites” Lithographs; Contemporary Native North American Art document trade between Rocky Mountain Adams and Edwin Land: Art, Science and “Painting–Alive and Well! Eight Master from the West, Northwest and Pacific” (Aug. trappers, local Indians, Eastern agents, and Invention—Photographs from the Polaroid Artists” Recent work by Hogan, Martin, 20) Three-dimensional objects in classic the fur trade. Ë “Untamed: The Art of Collection” (Aug. 27) Enlargements of Moses, Newmann, Rieke, Rothenberg, Scott, indigenous forms that challenge stereotypical Antoine-Louis Barye” (Sept. 3) Bronze ani- famous images, Polaroid b&w prints, photo- and Waid. Ë At the Harwood Museum: notions of Native American art. mal sculptures, paintings, and sketches. murals showing Adams’ involvement with the “The Tibetan Ga’u: Portable Shrines from the development of Polaroid film, invented by Collection of Jacqueline Dunnington” (Aug. Kansas Washington County Museum of Fine Art, Land. 13) Ë Through Sept 10: “Fritz Scholder: Salina Art Center Ë “Tools as Art: The Hagerstown Ë “Baltimore Painted Furniture Works from the Harwood Museum Hechinger Collection” (Aug. 26) Works that Revisited: The Art of David Wiesand” (Aug. Minnesota Collection” Paintings and lithographs from are based on, made from, focused on, or 30) 21st-century artisan working in the tradi- Weisman Art Museum, Minneapolis Ë the Indian, Taos, Mystery, and other series; depict common tools from a pioneer of the tion of the Renaissance. Ë “Prints and “WARM: 12 Artists of the Women’s Art “Mike Vargas: Santos on Paper” hardware industry. Ceramics by Gretchen Wachs” (Sept. 6) Registry of Minnesota” (Sept. 17) Reinterpreted 19th-century Santeros in mixed Maryland native working in Santa Fe. Ë Photography, paintings, textiles, graphic media; “John Suazo Thirty Year Retrospective” Kentucky “Arrested Motion: 1950s Railroad design, installation art, and prints from a Sculpture. Ë At the Jonson Gallery: “One Speed Art Museum, Louisville Ë “Sam Photographs by O. Winston Link” (Sept. 24) Twin Cities-based women’s art collective. Wall One Work” (Aug. 18) Jonson’s major Gilliam: a retrospective” (Sept. 3) Louisville Trains and the communities and people paintings, one on each of the gallery’s walls. native African-American’s first retrospective. around them. Goldstein Museum of Design, University of Minnesota, St. Paul Ë “The Chair: 125 Years New York Louisiana Massachusetts of Sitting” (Sept. 2) 19th- and 20th-century Albany Institute of History & Art Ë Hilliard University Art Museum, University Fuller Craft Museum, Brockton Ë Through seating in a variety of materials, balance, and Through Sept. 3: “The Autobiography of Bill of Louisiana, Lafayette Ë “Dodge a Bullet: Sept. 10: “Daniel Clayman: Line, Form and comfort: van der Rohe, Wright, and Stickley Sullivan” Retrospective: landscapes from 40 Margaret Evangeline” (Aug. 26) Post-Katrina Shadow” Installation crafted from paper, included. years by this contemporary American painter and installation dedicated to New Orleans. wire, and light; “basket [r]evolution” printmaker; “Picture Perfect: Photographs of Ë “Landscapes: Selections from the Reinventing the fiber medium with new Mississippi Washington Park” Images of Albany’s famous park. Corporate Collection of A.G. Edwards & materials and forms. Ë Through Oct. 22: Lauren Rogers Museum of Art, Laurel Ë Sons, Inc.” (Sept. 2) Jean-Claude Christo, “Linda Behar: The Elementary Stitch” “The Most Difficult Journey: The Poindexter Islip Art Museum, East Islip Ë “Stilled Dine, Lishtenstein, and others. Ë “Women Photorealism in thread; “Randall Thurston: Collections of American Modernist Painting” Life” (Sept 10) From an open call: contempo- Artists” Selections from the Corporate Wunderkammern” Cabinets of wonder. (Aug. 11) de Kooning, Diebenkorn, Kline, rary takes on the still-life tradition. Ë “Site Collection of A.G. Edwards & Sons, Inc.” and others. Specifics ’06” (July 30) Installations and

6 Top : Edward Weston, Nude on Sand, Oceano, 1936. Gelatin silver print. In “Edward Weston Life Work,” Hyde Collection, NY mixed media work created for the museum’s 29) Pollock as a draftsman from figuration to Modern Design” Its design, production, social Nasher Museum, Duke University, Durham Carriage House. non-figurative expression. history and cultural impact; “Nature Ë Through Sept. 25: “The Rape of the Sabine Transformed: Wood Art from the Bohlen Women” Video installation commenting on Guild Hall, East Hampton Ë Through July Jewish Museum, New York City Ë “Eva Collection” The rediscovery of wood, turned, war and gender; “Memorials of Identity” 30: “The Barrymores: Hollywood’s First Hesse: Sculpture” (Sept. 17) Latex & fiber carved, incised, and painted. DVD video projections examining the impact Family Photo Exhibit” B&W photos tracing glass in large scale. Ë “Saphyr by Tobi of historical change on individual, cultural, the family’s 250-year theatrical history; Kahn” (Oct. 22) Multi-part installation—an Museum of Modern Art, New York City Ë and national identity. “Guild Hall Collects: In Celebration of our interactive calendar counting the days between “Dada” (Sept. 11) Arp, Duchamp, Ernst, 75th Anniversary” Recent donations to the the offering of a measure of barley to the Grosz, and more than 40 others. Ë “Douglas Greenville County Museum of Art Ë museum. wheat harvest. Ë “Max Liebermann: From Gordon: Timeline” (Sept 4) The moving “Impressionism and the South” (Oct. 1) Realism to Impressionism” (July 30) One of image, altered. Ë “Since 2000: Printmaking Artists with ties to the South. Ë “GMA Hyde Collection, Glens Falls Ë “Edward Germany’s foremost cultural figures before Now” (Sept 18) The new digital techniques, Artist Association Juried Art Exhibition” Weston: Life Work” (Aug. 13) Retrospective the war. renewed age-old methods, and the use of (Aug. 25) Regional artists. that goes from vintage family album shots to alternative materials and tools. Ë hard-edged modernism. Ë “Study of the Katonah Museum of Art Ë Through Sept. “Transforming Chronologies: An Atlas of Ohio Mona Lisa” (Aug. 27) Focusing on a drawing 17: “Andromeda Hotel: The Work of Joseph Drawings, Part Two” (Oct. 2) Late 19th cen- Kennedy Museum of Art, Ohio University, in charcoal and graphite, attributed to Da Cornell” Assemblages created between the tury to the present: drawings from the collec- College of Fine Arts, Athens Ë “James Vinci, of the same woman famously por- 1930’s and ’60’s; “Case Studies: Art in a tion that bear visual relationships to one Karales: Photojournalist” (July 30) Images in trayed as the Mona Lisa. Valise” Beuys, Davis, Duchamp, Ourtsler, another. Ë “Artist’s Choice: Herzog & de the post World War II tradition. and others—in suitcases. Meuron” (Sept. 25) Two architects continue Heckscher Museum of Art, Huntington Ë the “Artist’s Choice” series in which artists Taft Museum of Art, Cincinnati Ë “Dark “Man Ray in the Age of Electricity” (Aug. International Center of Photography, New are invited by the museum to select and com- Jewels: Chinese Black and Brown Ceramics 13) Solarized images and rayographs. ment on works from the collection. from the Shatzman Collection” (Sept. 10) Tea York City Ë Through Aug. 27: “Atta Kim: On-Air” South Korean artist’s large-scale bowls, jars, bottles, and other ceramic forms, Hofstra Museum, Hofstra Loeb Art Center, Vassar College, color works from 11th-14th centuries. University, Hempstead “Baile Poughkeepsie “Forms of Exchange: Art of Ë some 24-hour- Ë y Música: Preserving Hispanic Native Peoples from the Edward J. Guarino long exposures Dayton Art Institute Ë “CATS” (Sept.) Culture on Long Island” (Aug. 18) Collection” (Sept. 3) The transformation of evoking questions 1978 lithographs by Dutch abstract painter indigenous art forms under the influence of of time and per- Appel. Ë “Aperture at Fifty” (July 30) American Folk Art Museum, trade with non-native buyers. ception, presence Ë Lange, Adams, Arbus, Close, Rauschenberg, New York City “White on “Subterranean Monuments: Burckhardt, Ë and absence; and others. White (and a little gray): Female Johnson, Hujar and the Changing Life of “Unknown Responses to the Classical Ideal Bohemia in Post-War Manhattan” (Sept. 17) Weegee” Lesser- Toledo Museum of Art Ë “88th Annual in American Decorative Arts” The mid-20th-century New York School in known images Toledo Area Artists Exhibition” (Sept. 3) (Sept. 17) Whitework coverlets, photographs, paintings, and mixed media from the ICP Juried; includes artists from northwest Ohio black & white needlework (“print constructions by virtually unknown artists— Weegee Archive; and southeast Michigan. Ë “Ansel Adams” work”), and drawings of chalk subterranean monuments. “Jim Dine “Tempo, Tempo! Ë (Sept. 24) Iconic images of the American and lampblack all showing the Prints: 1985-2002” (Sept. 11) Recent work The Bauhaus West. Ë “Pop Prints from TMA” (Oct. 8) impulse toward neo-Classicism including large scale etchings, lithographs, Photomontages of Johns, Lichtenstein, Warhol, and the others. in 17th-18th century America and woodcuts. Marianne Brandt” that trickled down to homemak- First-time shown Oregon ers, embroiderers, and amateur George Eastman House, Rochester 1920’s and ’30’s Ë Contemporary Crafts Museum & Gallery, artists. “Seeing Ourselves: American Faces” (Oct. 1) works inspired by Portland Ë “An Artist Collects” (Sept. 10) A preliminary peek at a larger exhibition that teacher Moholy- Artist-made books. Ë Through July 30: AXA Gallery, New York City will tour the USA for 3 years starting in Ë Nagy; “Paris: “David Schwartz” Mid-career retrospective; “Drawn from Nature: The Plant 2007: Likenesses of Ruth, Lincoln, Monroe, Eugéne Atget and “Alana Clearlake” New enamel work. Lithographs of Ellsworth Kelly” Cindy Sherman, Untitled #130, 1983. T. Roosevelt, and O’Keeffe (among others) C-Print. In “Guild Hall Collects,” Christopher (Aug. 14) Line drawings: the com- Guild Hall. NY by the likes of Brady, Avedon, Stieglitz, Rauschenberg” Pennsylvania plete set created from the 1960’s to Lange, Steichen, Mark, and Parks. “I was walking around Paris in Atget’s shoes, Ë Allentown Art Museum Ë Through Sept. the present. “Picturing Eden” (Sept. 4) “Where Did and this is where they took me.”— Ë 10: “Andy Warhol” Prints and paintings Cameras Come From?” (Oct. 22) Rauschenberg. (1964-1987) from the Warhol Museum in Bard Graduate Center, New York City Ë Pittsburgh; first time at the Allentown; “Pop “Lions, Dragons, and Other Beasts: Metropolitan Museum of Art, New York Memorial Art Gallery, University of Goes the Press: Prints from the Permanent Aquamanilia of the Middle Ages, Vessels for City Through July 30: “The Art of Betty Rochester Ë “The Rochester Biennial” Collection, 1960-1990” Haring, Johns, Church and Table” (Oct. 15) The Ë (Sept. 10) Photographs, paintings, glass and Woodman” Painted ceramics, all sizes, all Lichtenstein, and others. Metropolitan Museum’s collection of whimsi- shapes: “Kara Walker at the Met: After the fiber objects, sculpture, and prints by regional cal hollow-cast vessels used by priests for Deluge” Black figures in art and the meaning artists. Ursinus College, Collegeville Ë “To Follow cleansing ritual and by lay people at meal- of the sea. “Cai Guo-Qiang on the Roof: Nature in Her Walks: The Art and time, brought together in collaboration with Ë Transparent Monument” (Oct. 29) Four Snug Harbor Cultural Center, Staten Island Environmentalism of John James Audubon” the museum from its various departments and Through Sept. 17: “Exploring Tibet: The works including the gunpowder project Clear Ë (Aug. 13) Framed images and original copper locations. Salween and Beyond” Photographs and Sky Black Cloud. “AngloMania: Tradition plates, on view in collaboration with the John Ë objects from the and Transgression in British Fashion” (Sept Jacques Marchais Museum James Audubon Center at Mill Grove. Cooper-Hewitt National Design Museum, 4) Tableaux showing postmodern trends that of Tibetan Art (NY) that document a 1930’s New York City Ë “Frederic Church, are based on artistic traditions. “Girodet: British expedition; “Journey to China’s Westmoreland Museum of American Art, Winslow Homer and Thomas Moran: Ë Southwest” Photographs, costumes, and folk Romantic Rebel” (Aug. 27) First American Greensburg Ë “Born of Fire: The Valley of Tourism and the American Landscape” (Oct. art objects from Sichuan, Guizhou, and retrospective of Jacques-Louis David’s rebel- Work” (Aug. 27) Paintings and works on 22) Unspoiled landscapes selling America to Yunnan. lious pupil. “Image-World: A Ë “Gudjon Bjarnason: EXploding paper documenting the era of Pittsburgh’s Americans—the “progress” from primeval Ë Photographic Tribute to Susan Sontag” MEaning” Icelandic sculptor whose works steel industry. wilderness to Catskill resorts. are assembled with fragments from exploded (Aug.) A tribute to her contribution to the scrap metal and sculptures. history of photography as shown in accompa- Lancaster Museum of Art Ë Through Sept. Dahesh Museum of Art, New York City 10: “Visions of the Susquehanna River” A Ë nying text—her own prose. Ë “Treasures of “Napoleon on the Nile: Images of Sacred Maya Kings” (Sept. 10) Kingly North Carolina group invitational exhibit celebrating the Egypt from the Brier Collection” (Sept. 3) regalia: relief stone sculpture, ceramic vessels, Asheville Art Museum Ë “Black Mountain river; “Photographs by Florida artist Maggie Plate illustrations from the multi-volume College: Its Time and Place” (Aug. 6) How Taylor”; “Paintings by Maryland artist carved jade, shell, bone, and pearl. Ë Désciption de L’Égypte, begun with “Raphael at the Metropolitan: The Colonna the college’s landscape, non-competitive Chevelle Moore-Jones” Ë “Trashformations” Napoleon’s patronage and completed under Altarpiece” (Sept. 3) A scattered and frag- atmosphere, and emphasis on experimenta- (Sept. 16-Oct. 29) Artists using found objects King Charles X, that convey Europe’s images mented work reunited for the first time in 350 tion affected the artistic practices of Siskind, and recycled materials. of Egypt between Napoleon’s invasion and de Kooning, Cage, Rauschenberg, and others. years. Ë “A Taste for Opulence: Sévres 1900. Porcelain from the Collection” (Aug. 13) Michener Art Museum Ë In New Hope Diverse creations from the manufacture du Mint Museums, Charlotte Ë At the Mint “Poetry in Design: The Art of Harry Leith- Guggenheim Museum, New York City Museum of Art: “Patterns in Glass from the Ross” (Oct. 1) Pennsylvania Impressionist: Ë roi. Ë “The Fabric of Life: Ikat Textiles “Zaha Hadid” (Oct. 25) The first woman to of Indonesia” (Sept 24) Imagery, forms, and Mary and Paul Brandwein Collection” (July oils, watercolors, and drawings. Ë In be awarded the Pritzker Architecture Prize; 30) “Spanish Colonial Art from the Lilly functions of this sophisticated Indonesian textile. Ë Doylestown: “Show Business: Irving Berlin’s she won it in 2004. Ë “Sheila Hicks: and Francis Robicsek Collection” (Sept.10) Hollywood” (Sept. 3) Photographs, set and Weaving as Metaphor” (Oct. 15) Small hand- Museum of Arts & Design, New York City Paintings, sculptures, silver, and furniture costume designs, drawings and caricatures, woven works created on a portable frame Through Sept. 3: “Schmuck 2006: from Mexico, Peru, Guatemala, and other models, scrapbooks, posters, and album covers , Ë loom using cotton, wool, linen, silk, goat hair International Contemporary Jewelry” Based colonial cultures, late 17th-19th centuries. Ë associated with the composer’s work in film. At the Mint Museum of Craft + Design: alpaca, paper, leather, stainless steel, and in Munich and appearing for the first time in “No Limits, Just Edges: “Crosscurrents: Art, Craft and Design in found objects. Ë the USA, the oldest annual exhibition of its Philadelphia Museum of Art Ë “In Pursuit Jackson Pollock Paintings on Paper” (Sept. kind; “The Eames Lounge Chair: An Icon of North Carolina” (Aug. 6) of Genius: Jean-Antoine Houdon and the

7 summerVIEWS continued Sculpted Portraits of Benjamin Franklin” Texas Virginia Washington (July 30) For Franklin’s 300th birthday, a Dallas Museum of Art Ë “Modernism in Second Street Gallery, Charlottesville Ë Henry Art Gallery, University of look at his most famous likeness and others. American Silver: 20th-Century Design” “Love Letter Invitational” (Aug.) Artists and Washington, Seattle Ë “Maya Lin: Ë “Ellsworth Kelly: Paris/New York, 1949- (Sept. 16) Entire spectrum of American writers collaborate on new works on the Systematic Landscapes” (Sept. 3) Recent 59” (Aug. 13) The transformation from Paris modernist silver and silver-plate: flatware, theme of Love. sculptures, drawings, and installations that (1948-54) to New York (1954-59); from fig- compotes, cocktail shakes, and other unique explore landscapes as both form and content. uration to shaped wood canvases, mono- objects. Ë “Louis Comfort Tiffany: Artist University of Virginia Art Museum, chrome then primary colors, and abstraction. for the Ages” (Sept. 3) In-depth look at the Charlottesville Ë “An Enigmatic World: Maryhill Museum of Art, Goldendale Ë Ë Through Sept.: “Energy Yes!” Beuys, man and the development of his ideas and The Art of Honoré Sharrar” (Aug. 20) “Ron Cronin: Large Format” (Aug. 6-Sept. Warhol, and Hirschhorn; “someone’s in the style. Ë “Richard Tuttle: A Retrospective” Surrealist paintings and drawings: myth and 24) Huge prints (30” x 40”) taken with a Kitchen: Culinary Design Objects from the (Oct. 8) Sculpture. allegory as everyday events. Ë “Art/Not large format camera of scenes along the Collection” Objects for mix- Art: Made in Northwest’s Lewis & Clark Trail. ing, measuring, storage, and Oceania” (Aug. heating; “Summer Vacation: 6) 18th-century Wisconsin Photographs from the native art juxta- Kenosha Public Museum Ë “Hearts Collection” Images from the posed to 20th- Touched with Fire” (Sept. 3) Civil War beach, playground, diamond, century Western prints (military) and artifacts (musical bicycle path, and garden. Ë pieces inspired by instruments). “Dreaming in Black-and- it and contempo- White: Photography at the rary native art Milwaukee Art Museum Ë “Masters of Julien Levy Gallery” (Sept 17) made to resemble American Comics” (Aug. 13) First major Art dealer Levy’s own collec- it. Ë “Complicit! exhibition to examine the development of tion of photographs. Ë Contemporary comic strips and books from their genesis to “Kachÿ-ga: Flowers and Birds American Art and the present: McCay, Schulz, Ware, and oth- in Japanese Art” (summer) Mass Culture” ers. Ë “Géricault to Cézanne: Nineteenth- Paintings and decorative art. (Sept. 1-Oct. 29) Century French Prints” (Sept. 3) A survey of Amon Carter Museum, Fort Worth Ë Works whose makers are engaged in a stu- work from the Romantics (Géricault and Carnegie Museum of Art, Pittsburgh Ë “Reinventing America: Three ‘Modern’ dio-based dialogue with the culture beyond Delacroix) through the Barbizon artists “Fierce Friends: Artists and Animals, 1750- Views on Paper” (Sept. 23) Charting Hopper, their front doors. (Corot and Millet) to the pre-modern 1900” (Aug. 27) How art and science influ- Stella, and Marin through their journeys (Degas and Cézanne). enced attitudes toward animals in paintings, from early 19th-century subject matter to Chrysler Museum of Art, Norfolk Ë sculptures, prints, drawings, photographs, modern. Through Oct. 29: “Civil War Photographs Kohler Arts Center, Sheboygan Ë illustrated books, and decorative art objects. from the David L. Hack Collection” “Essential Terrain” (Aug. 20) Cast-iron Kimbell Art Museum, Fort Worth Ë Gardner’s Lincoln and Tad, as well as many works by Barbara Cooper inspired by land- Frick Art & Historical Center, Pittsburgh “Masterpiece: A New Look at the Kimbell works that have never been seen or published; scapes that have been preserved from devel- Ë “Walking Dreams: The Art of the Pre- Collection (East Gallery)” (Oct. 22) Pre- “Civil War Redux: Pinhole Photographs by opment. Ë “Utopia” (Sept. 24) Artists’ con- Raphaelites” (Oct. 8) Rosetti, Burne-Jones, Columbian and African Art. Willie Anne Wright” Ghosts of the past by cepts on canvas, paper, and mixed media. Ë Sandys, Brown, Hunt, Millais, and others. one who “followed the troops.” Ë “Ideas for a Better World” (Sept. 10) Rice Gallery, Rice University, Houston Ë “Masterpieces from an English Country Established and emerging artists, other South Carolina “Lisa Hoke: Light My Fire” (Aug. 31) House: The Fitzwilliam Collection” (Aug. adults, and children offer visual and literary Gibbes Museum of Art, Charleston Ë Fourth in the Summer Window series, 13)Van Dyck, Reynolds, Stubbs, Audubon, answers to the question “What makes a bet- “Wolf Kahn’s Barns” (Oct. 1) Drawings and mounted behind the glass façade while the and others for their first American visit. ter world?” Ë “Kim Stringfellow: Greetings paintings that describe the confrontation gallery is closed for the summer. from the Salton Sea” (Oct. 22) Photographs, between large, solitary structures in simple, Radford University Art Museum Ë “Two text, and collected objects documenting rural settings. Ë “Painters in Paradise: The McNay Art Museum, San Antonio Ë Worlds: New Sculpture by Charlie Brouwer” California’s largest inland body of water. Masterworks Bermuda Collection” (Aug. 7) “Show Business! Irving Berlin’s Broadway” (Aug. 21-Sept. 12) Contemplative works. Ë 18th-20th-century artists who made their (Oct. 1) Berlin’s career in photos, cartoons, “Disintegration and Renewal: Constructed Leigh Yawkey Woodson Art Museum, way to Bermuda and surrounding islands musical scores, and costume designs for Works of Shirley Thomas” (Aug. 31-Sept Wausau Ë Through Aug. 27: “Potluck from around the world. Ë “Edward Hopper Annie Get Your Gun and Call Me Madam. Ë 29) Works that comment on damage and Quilts: Art Quilts from the Piecemakers” in Charleston” (Aug. 13) Works on paper, “Off the Pedestal: New Women in the Art of repair, one yielding to the other. Ë “Cul-de- Interpretations of America’s potluck dinners; 1929. Ë “Romantic Landscapes: British Homer, Chase, and Sargent” (Oct. 15) Sac: Art from a Suburban Nation” (Sept. 14- “The Music Quilt Project” Works celebrat- Watercolors from the Gibbes Collection” Women as they emerged from the domestic Oct. 17) Contemporary artists’ take on the ing musical styles and some well-known (Sept. 24) scene onto bicycle and the hiking trails and “Burbs” in a variety of media. musicians. into the workplace. Ë “Ernesto Pujol: Walk Columbia Museum of Art Ë “Perfect #1” (Oct. 1) B&W digital photographs University of Richmond Museums Ë At Wyoming Likeness: European and American Portrait depicting the author’s walk through a mili- the Lora Robins Gallery of Design from University of Wyoming Art Museum, Miniatures from the Cincinnati Art Museum” tary cemetery and other sites relevant to Nature: “Parian Porcelain: A Nineteenth- Laramie Ë “Hung Liu and Rene Yung, The (Aug. 18-Oct. 22) Commemorative keep- American history. Ë “In the Workshop of Century Passion” (Sept. 17) The porcelain Vanished: Rediscovering the Chinese in the sakes in a range of media from watercolor Stanley William Hayter” (Aug. 20) A survey sculpture first brought into middle class American West” (Sept. 30) Paintings, an on ivory to enamelwork and housed in lock- of the printmaker’s work, as well as some homes because of its affordability; installation, and photographs that show con- ets or folding cases. Ë “Julie Heffernan: contemporaries who worked in his Atelier 17 “Traditions in Miniature: The Louise tributions of the Chinese to the development Everything that Rises” (July 30) Recent oil studio, including Miró, Fuller, Citron, and Westbrook Collection of Chinese Ceramics” of the West. Ë paintings with a sense of the surreal. Edmondson. (Sept. 10) Works less than six inches in height used for ritual, functional, and decora- Greenville County Museum of Art Ë Tyler Museum of Art Ë “Illuminating the tive purposes, dating from 3000 B.C.E. to Through Oct. 1: “’Tis of Thee” The Word: The Saint John’s Bible” (Sept. 3) The 1911 A.D. American landscape in paintings, and sculp- first of three completed volumes of a con- tures, and photographs, 1820-2004; temporary bible undertaken in the tradition Virginia Museum of Fine Arts, Richmond “Elements of Style” Color, line, shape, and of medieval manuscripts—handwritten with Ë “Artificial Light” (Sept. 15-Oct. 29) texture: the fundamentals of abstract art in quills and hand-ground paints, illuminated Work by emerging artists interested in the the late 20th century. with gold leaf on oversized vellum. Ë use of light as a material, following the “Elizabeth Akamatsu and Piero Fenci” vocabularies of 20th-century Minimalist- Tennessee (Oct.22) Sculptures (Akamatsu) and Post-Minimalists. Ë “Watercolor Paintings” Cheekwood Museum of Art, Nashville Ë ceramics (Fenci) by a Texas couple. (Aug. 25). “Contemporary Photography and the Garden—Deceits and Fantasies” (Aug. 20) Utah Muscarelle Museum of Art, College of The diverse forms and metaphorical associa- Brigham Young University Museum of William and Mary, Williamsburg Ë “Art tions of gardens by American and European Art, Provo Ë “Just Enough is More: The and the Animal” (Aug. 13) Works that por- photographers. Graphic Design of Milton Glaser” (Oct. 7) tray mammals, birds, reptiles, and aquatic Retrospective. life from an annual competition organized by Frist Center for the Visual Arts, Nashville the Society of Animal Artists. Ë “Traditions Ë “The Quest for Immortality: Treasures of Salt Lake City Art Center Ë “Material in Transition: Russian Icons in the Age of Ancient Egypt” (Oct. 8) Antiquities relating Culture: The Fine Art of Textile” (Sept. 30) the Romanovs” (Aug. 26-Oct. 8) Icons and to the afterlife from the Egyptian Museum in Contemporary artists with wide range of oklads, decorative icon covers, challenge the Cairo, the Luxor Museum, and the archaeo- styles and materials: machine stitching, belief that those produced during the logical sites of Tanis and Deir el-Bahari. Ë weaving, felt-maker/milliner, quilting, medieval period were superior; also Russian “Pulitzer Prize Photographs: Capture the embroidering, painting. Ë “Looking Back: Realist paintings. Moment” (Aug. 20) Comprehensive display 75 Years at the Salt Lake Art Center” (Oct. of photos that have won this top honor 14) Images and objects by Utah artists. since 1941.

8 Top: Paul Meyerheim, The Jealous Lioness (detail), c. 1880. Oil on canvas. In “Fierce Friends,” Carnegie Museum of Art, PA Above Right: German, Samson and Lion, early 15th century. Copper alloy. In “Lions, Dragons, and other Beasts,” Bard Graduate Center, NY MEASURING SUCCESS IN MUSEUMS Later, he defined success as Webster defines it: you will end up having an exciting destination In his keynote address, “to turn out well” or “to attain a desired object of with the definition of success on your own terms, delivered at the 2005 Association of end,” and secondly “the attainment of wealth, not those of pop concerts or movie theaters. Midwest Museums Conference, favor, or eminence.” He posited that museums “Most visitors want to know why we privilege Maxwell L. Anderson took the posi- must collectively define and make a case for the some objects or artifacts more than others. Instead tion that that the “two objectives of preeminence of these two definitions. of answering the question, we retreat to long- public display of permanent collection and public “Museums will have to relearn how to make a winded descriptions of what they see in front of service through education have been pushed into virtue of their necessity: the care and feeding of them, explanations of what gave rise to the object, the background by a third objective: remaking original objects and artifacts. Grandparents and or how it functioned. We should instead share the museums into profit-minded attractions.” After grandchildren are a great market for program- explanation of why one painting [or one object or decrying this trend as fruitless for every museum ming, because they permit learning through the one artifact] was groundbreaking, what it teaches except the largest institutions with the largest and eyes of a loved one: they are about customized us today, and why it matters, and resist the temp- most comprehensive collections, he went on to learning. Installations that trumpet what is impor- tation to show off how we know all of this. commend museums to their original intent. tant about their collections—that give a clear and “Any convention center can mount a block- “It’s my belief,” he said, “that you can do noth- compelling context—a spine-tingling connection buster. But only your museum has your collec- ing more important for your museums than to to the power of creativity, or even, heretically, that tion. Tell the stories that make objects compelling shine a very bright light on how you define suc- impart an understanding of why one object is to one visitor at a time. Instead of one-size fits all cess. And if your definition is somewhere in the more important than another, will stand a good labels, create digital resources that are tailored to realm of education, rather than in entertainment, it chance of attracting the notice and interest of visi- every conceivable kind of visitor. is urgent that you develop a way of measuring tors, who are today largely indifferent to muse- “…Reclaiming the intentions of those who cre- your service to the stated mission of your institu- ums. Training audiences to acquire instincts about ated objects is the best route to making objects of tion, rather than contributing to the dissolution of quality of manufacture, for example, will equip interest to visitors, and retelling these intentions in your mission in a misguided quest to measure up them to make qualitative judgments in life in gen- innovative ways holds out the promise of making to the statistical aberrations of the top 1 percent of eral, which can have a lasting impact on their museums oases in a commercial desert, and the nation’s museums. Otherwise, you face a lives. places of lasting significance in a society addicted much more real risk of irrelevance as an increas- “Tell the stories that make objects compelling, to the next three minutes….” Ë ingly taxable, profit-minded attraction that meas- rather than just the stories that explain how [Maxwell L. Anderson is director of the ures the value of its employees primarily by their objects came to be or how they functioned. Don’t Indianapolis (IN) Museum of Art. See also his contribution to driving attendance. So think of it be afraid to focus on facts that embarrass you, essay, “Metrics of Success in Art Museums,” as being in your best interest to remind your such as why one work is worth millions and the Getty Leadership Institute, Los Angeles, 2005] museum’s leaders of the things that matter—those one nearby is not. If enough visitors are embar- costly collections, those research projects that add rassed because they feel out of place in a temple to our understanding, and those Saturday sessions that refuses to be explicit about the value of what with children that may prompt them to see the rel- it owns, you will be seen as out of touch in a con- evance of your institution over the years to sumer-driven society. If you can get over your come.” embarrassment at revealing the tricks of the trade, TIPS... …on How to Improve … on Hiring New Leaders Performance in a Non-Profit Consider the institution’s needs first. uild a mission-focused team: Incentives Evaluate how the organization has changed and B Ansel Adams, Mission San Xavier del Bac, Tucson, Arzona, and bonuses are not as effective as bringing in what characteristics the next executive director 1968. Polaroid Positive/Negative. In “Ansel Adams and employees who buy into your organization’s mis- should have before getting bogged down in trying Edwin Land,” Grand Rapids Art Museum, MI sion. to identify the next leader. “Where are we going? What do we need?” are questions that should be Don’t automatically promote a deputy. Create messages that stick: The most effective asked before sending out a job description. Deputies, or associate directors, are often hired messages are simple, unexpected, concrete, cre- because their skills complement those of the exec- dentialed, and emotional. Let the board pick the successor. utive director. Executive directors often hire Departing leaders can cause problems when they deputies to keep the trains running on time, but Maximize volunteer effectiveness: Assign an designate the person to be the next executive direc- internal project manager who sets reasonable this is not necessarily the right person to lead the tor before the board has expressed its opinion. If organization. expectations, ensures deadlines are met, and serves the board disagrees with the named successor, that as the primary point of contact for volunteers and successor feels slighted, the deputy feels unloved, clients. Adopt a detailed, written plan. If it isn’t and the board feels angry at the executive who written, there is no succession plan: various people Reward innovative thinking, even if it fails: they believe has acted beyond his/her responsibili- in the organization may have different ideas of A risk positive environment encourages creative ties. what the plan should be. Succession plans should thinking. A low failure rate may mean your staff is Founders on search committees are often a be detailed in order to supply board members and hiding their mistakes or not taking risks. source of real difficulty. Often they find unsubstan- employees with the tools to carry out a smooth tial reasons to reject qualified applicants. An inter- transition to a new leader. View executive change as an opportunity: im director can be useful when a museum needs to Before you hire your next executive, get an accu- create distance between an outgoing executive (or Pair new leaders with mentors. rate picture of your organization—your strengths, founder) and its next leader. Succession-planning consultants are often helpful challenges, and priorities; your vision of success in mapping strategies and designing ways for the for the next 3-5 years. Use the gap between where Keep board members involved. There is new director to work with the board. Newly you are and where you want to go to determine the work to be done after a new director comes on appointed directors may find it useful to meet with competencies and attributes for your next execu- board. Most new directors need an orientation peri- other seasoned directors. tive. od during which he/she should set objectives with guidance and oversight from board members, who [Web sites that deal with leadership turnover in Realize your value to your corporate partners: also should regularly examine how the newcomer nonprofit organizations: http://www.transi- Companies gain from exposure among program is fitting in to the job, offering help where needed. tionguides.com/resources/resources.htm (Transition and event participants and from their brand associ- To avoid board-member burnt-out, the board Guides) and http://www4.compasspoint.org ation with your nonprofit organization. Make sure can form two committees: a search committee that (CompassPoint Non-profit Services)] you’re benefiting as well. Most nonprofits are looks for and recruits candidates, and a transition undercharging corporate sponsors by 15-25 percent. committee that works with the new leader after [Find more tips at www.ssireview.org/articles.] he/she is hired. continued on page 11 9 NOTES ON ARTISTS next decade in the United States, mostly in Los Public Benefit/Fair Angeles, and then returned to Paris where he Pierre Auguste had several retrospectives. In his eighties, he Compensation: was as unpredictable and innovative as he had Renoir been all his life. He died in 1976. Photo Repro Policy Man Ray’s use of electricity in the 1920’s Primer Every person and later in developing new types of photo- shown in Renoir’s graphs changed the medium of photography for- [The following is a synopsis of an article by Steve A. Luncheon of the ever. His “solarized” photos and “rayographs” Anderson for the Association of Midwest Museums’ Boating Party (1880- were made by turning electric lights on briefly in newsletter.] 81) was known to him; the darkroom as he developed the photographs, the painting thus becomes a chronicle of creating a halo effect around the person or object Museums own a wealth of photographic Renoir’s acquaintances and friends, how they portrayed—solarized images. He made rayo- imagery. Their collectiions, unique historic and cultur- got to the restaurant, what they were drinking, graphs by placing objects on light-sensitive al mosaics of the past, are increasingly in demand. and where they were in the course of their deje- paper and turning on the electric lights resulting But in many instances, no domain of museum opera- uner. in x-ray like images. tion is more exposed to abuse than that concerning The railroad bridge in the background photographic reproduction or the private use of spe- shows how they got there; the half-empty bottles cial collections. It is estimated that two factors play on the table suggest that some were drinking red Eva Hesse out in allowing these abuses to continue. 1) Many and some white wine; the clutter on the table The Hesses, a prominent Orthodox Jewish institutions simply lack a comprehensive photograph- implies that the meal is finished; the scene itself family living in Hamburg, had their second ic reproduction policy, and/or 2) possess one that is shows his preference for the informal in both daughter, Eva, in 1936. Two years later, Eva and out-of-step with market demand or lacks sufficient place and people. her sister were sent to the Netherlands on a guidelines and fee structures. Properly implemented, Pierre-Auguste Renoir was born in Limoges kindertransport to escape Nazi persecution. In such policies can greatly reduce exploitation and in 1841. He grew up in Paris and started his The Hague she and her sister were placed in a improper (read uncompensated) use of museum career painting porcelain in a china factory, Catholic children’s home. Their parents followed images, be immediate revenue generators, and make where he learned the light palette of a few months later, and the family proceeded to life easier for all concerned. Impressionism. At age 21 he went to work in the London, then New York where they settled in The private parties responsible for committing studio of the academician Gleyre, where he met the German Jewish refugee community of some of these abuses can arrive at your institutions as Monet, Bazille, and Sisley. He began a lifetime Washington Heights. consultants, graduate students, commercial vendors, habit of studying art at museums, which later in In the fall of 1944, their mother moved interior designers, genealogists, or hobbyist/collectors. life led to dissatisfaction with the purely visual away from the family, and months later her par- No matter the circumstance of the party asking, it is aspects of Impressionism. Under the influence of ents Ruth Marcus Hesse and Wilhelm Hesse unreasonable to demand that one be personally Courbet until about 1868, he used heavy impasto were divorced, Wilhelm retaining custody of the enriched at public expenseÐat your institution’s and dark colors. And in 1868 he met Monet, children. Ruth committed suicide in January expense. with whom he worked out-of-doors. Under his 1946 after Eva had matriculated in junior high With demand on the rise, some institutions still influence Renoir began to use lighter colors, school. cling to dated policies, not understanding the potential freer strokes, eschewing definite drawing and Subsequently, Eva attended the School of income that an up-to-date photographic reproduction resorting to patches of color and shadow. Industrial art, took a course in advertising policy can generate. Some may not grasp the concept Beginning in 1879 he traveled to North Africa, design, took a job at Seventeen magazine, had that a well written policy can also simplify the life of Guernsey, Italy, London, Holland, Spain, her artwork published for the first time in the an overworked staff. Germany—always finding time to study in magazine, and began study at the Cooper Union museums. Raphael and Valasquez became his Art School. In 1957, she enrolled at the Yale Policy Guidelines favorites. After his first journey to Italy, his School of Art and Architecture; two years later There is one guideline that everyone should use; drawing became firmer, his Impressionism less she had earned a Bachelor of Fine Arts degree. it forms the foundation of a policy regarding photo- spontaneous—a departure from the Monet model Moving back to New York, she designed graph reproduction: If a private party is requesting of direct painting before the object. textiles, while at the same time meeting a new some service beyond what is offered to the public at By 1906, he had settled in Cagnes in the world of contemporary artists, among them Tom large, it is only fair that the service, if provided, be south of France, crippled with arthritis, but still Doyle, whom she married in 1961 (civil) and compensated at fair market value. working with his friend and neighbor Matisse. again in 1962 (Jewish ceremony after Doyle’s To keep pace with what “fair market value” and He died in 1919. conversion). The two moved to a loft on the “compensation levels” mean in today’s economy, Bowery in Lower Manhattan; Eva maintained photographic reproduction policies should be updat- Man Ray this space as her home and studio for the rest of ed once every two to three years. Born in Philadelphia her short life. A comprehensive photographic reproduction pol- (1890), the son of After spending 15 months in Germany icy takes into consideration the status of the institu- Russian immigrants, working, visiting family, retrieving memories, tion’s commitment to provide public educational Emmanuel Radnitsky and exhibiting their work, they returned to New experiences by gathering, preserving, and interpret- ended his formal educa- York and in 1966 they agreed to divorce, Eva ing a collection. It is NOT to support private proj- tion after high school believing that he could meanwhile becoming more and more often ects through the use of assets while subsidizing any- study art better on his own. Still in his teens, he exhibited and admired in the art world and as a one who may wish to exploit the institution. It is made frequent visits to Alfred Stieglitz’s 291 teacher at the School of Visual Arts in New important to let anyone who may wish to use your Gallery in New York, all the while familiarizing York. assets for his/her own ends know up front that you himself with cutting edge techniques in both art In 1969, she underwent the are providing them with a service that they can and photography. Thus, from then until after first of three surgical proce- receive nowhere else and let them know what the World War I, he produced all manner of experi- dures for a brain tumor. charges will be up front. mental works. They did not sell; he became a Another took place four months successful commercial photographer. Because of later, and the third in March Considering Costs his friendship with Marcel Duchamp, he traveled 1970. On May 19, 1970, having The cost of maintaining a special collection of to Paris (1921) and soon found himself at the been in a coma for several photographs is high: copy negatives, temperature center of the Dadaist and Surrealist movements. days, she died. Ë and humidity control, security and monitoring, In 1922 he discovered his Rayograph process— archival supplies, and staff members’ time are all cameraless photographs. But he continued as a necessary expenses. Therefore, as a corollary, the commercial photographer with a series of photo- cost of providing photographic reproductions to pri- graphs of the Parisian haut monde at the same vate solicitors is high. In choosing to undervalue time producing paintings, constructions, abstract these associated expenses, you are choosing to lose photographs, films—strange, suggestive works income. As a rule, a 10 percent to15 percent sur- admired and valued for their shock value, but Top: Pierre August Renoir, Luncheon of the Boating Party charge should be attached to the actual photographic also for their ironic commentary on the work of (1880-81). Oil on canvas. reproduction costs to cover these overhead expens- other artists. Middle: Man Ray, Kiki with African Mask, 1926. Gelatin silver es. Payment in advance is recommended. He fled from France in 1940 and spent the photograph. Bottom: Eva Hesse, One More than One, 1967. Mixed media. Research for an outside solicitor should be charged at a flat rate of $20 to $30 continued on page 11 10 SUMMER/FALL AROUND THE WORLD Berlin, Hitler’s bunker, KGB artifacts in the KGB “American Artists and the Louvre” (Sept. 18), American Museum Tours Museum among them. $6,695, double occupancy, works by Cassatt. Hassam, Prendergast, and oth- Dozens of exceptional tours are offered airfare excluded. ers comprise the Louvre’s first exhibition ever of every year by dozens of museums. A few caught The Field Museum in Chicago, through its American art. Other locations in Paris showing our attention. “Archeology of America’s Southwest” tour (Sept. American art: at the Centre Georges Pompidou, The Textile Museum (DC) has a trip to Mali 29-Oct 2) takes interested travelers to cliff “David Smith” (Sept. 11); at the Jeu de Paume, this year, while the Metropolitan Museum of Art dwellings and farming terraces in Mesa Verde “Cindy Sherman” (Sept. 3); at the Musée d’Art (NY) and the Santa Barbara Museum of Art National park, to Chaco Canyon, and to modern Moderne de la Ville de Paris, “Dan Flavin” (Oct. 8). (CA) have scheduled some 20-25 tours for the Navajo communities, among other venues. “New York, New York: 50 Years of Art, year 2006. $5,995, double occupancy. Architecture, Photography, Film and Video” The American Museum of Natural History’s (Sept. 10) at the Grimaldi Forum in Monaco, an Discovery Tours is among the large organizations American Art Abroad ambitious exhibition exploring the eminence of in the field. “Earth Orbit 2006: Inside the U.S. “ New York in the cultural world since 1945 fea- and Russian Space Programs” (Sept. 2-17) is a Winslow Homer: Poet of the Sea” (Sept. tures works by Lichtenstein, Pollock, Haring, trip for space fanciers. Led by two astrophysicists 24), the first major solo show in Europe, on view Avedon, and Mapplethorpe, as well as some of the and a space historian, the trip goes from iconic architecture of the period since 1945. the Johnson Space Center in Houston to “Paperworks by James Rosenquist” the steppes of Kazakhstan, with stops and (Sept. 10) is on view at the National a zero-gravity flight in between. For only Gallery of Australia in Canberra and in $37,000 per person, business class air fare Melbourne, at the National Gallery of included. Victoria International, is “American The Smithsonian Institution’s Beauty: Robert Frank and Lee Friedlander” Smithsonian Journeys offers a “Rail (Oct. 15) Journey through Southern India” (Nov.2- “Edward Weston” (Aug. 27) is on view 17). Four days on the luxury liner takes at the Nagoya/Boston Museum of Fine tour members from Chennai (Madras) to Arts in Nagoya, Japan. Mumbai. Led by an Indian scholar, the “Betty Woodman” is appearing at two itinerary places emphasis on temple archi- venues: the Christchurch Art Gallery tecture, but also includes palaces, local (Sept.) in Christchurch, New Zealand, and markets, and wildlife. For $8,590, double the Musée Ariana (Oct. 1) in Geneva, occupancy, airfare not included. Switzerland. Elsewhere in Switzerland: “Ed Maya Lin, Wanas: 11 Minute Line, 2004. Earthwork. In “Maya Lin,” Ruscha: Photographer” (Aug. 13) is on view Also offered by Smithsonian Journeys Henry Art Gallery, WA is “Great Spy Capitals of the World: Berlin at the Kunsthaus Zurich and “Gregory and Moscow” (Oct. 14-22), led by a political his- at the Musée d’Art Americain in Giverney, Crewdson” (Aug. 20), staged photographs (1985- torian at the Library of Congress. The tour covers France. Also on view, “Passing through Paris: 2005) in documentary style, can be seen at many of the sites and objects created by WWII American Artists in France, 1860-1930” and Fotomuseum Winterthur, also in Zurich. Ë and the Cold War: detention facilities in East “Americans at Home” (both Oct. 31)

Photo Repro Primer continued from page 10 Tips continued from page 9 per hour, after an initial half hour that is provided It is important, however, to recognize the … on Collecting Art as part of the institution’s public service mission. times when fees can and should be reduced or In addition, research should occur during speci- waived—instances when “negotiated” or “other- Getting started. Use your eyes. Look in fied time periods, with prearranged appointments. wise compensated” settlements are appropriate. A museums and galleries. Then look some more, and Public access to the collection should be limited copy of a thesis for the library, for example, or make lists of what moves you. Then look for more to specific times on certain days of the week. publicity in the local newspaper can be satisfacto- of that. Ask questions in galleries—staff members Rush orders (less than five days for delivery) ry forms of compensation. are eager to inform and engage. should be charged at double the rate of non-rush orders. Forms are Necessary Deciding. Buy only what you love, what you Order processing is made easier with standard- respond to, what moves you. Image Use ized forms. First the “registration” or “non-exclu- Investing. Over time, art investments have What motivates the solicitor? Does his/her sive license” form for anyone requesting access to been better than bonds, worse than stocks. Art also project support a public project or similar non- the collection captures basic information: date, provides portfolio diversification. “Undiscovered” profit? Or is it strictly a personal, private venture solicitor’s name, address, phone, place of employ- artists’ work is high risk/high reward. The majority that will not see the light of day? What will the ment, and purpose of the request. It also informs is worthless; some can grow in value exponential- person do with your image? Will he/she publish it the signatory about credit line requirements, one- ly. Art of established masters earns a good return, in 10,000 copies of a book or frame it for their time use, copyright disclaimer, fee schedule, is sure to hold most of its value or increase in living room wall? These questions need to be alterations to images, and subcontracts. value. addressed. A “photographic services request form” or Limit the use of your image. Allow for a “one “photograph order form” conveys information What’s a good investment? European time use only” stipulation. Buying a single copy about assessed fees and compensation estimates, painting (1880-1940 and post-1945) has seen of a historic image does not give the buyer the the working schedule, and an estimated delivery exploding prices. A Van Gogh is now worth ten right to use it again and again. date (method of delivery included). times that of a Rembrandt. A Picasso is worth five Establish separate commercial and non-com- A fee schedule lists all the fees, costs, and time that of a Goya. A Jeff Koons is worth five mercial rates and use fees. Charge according to associated prices for everything offered by the times that of a Bernini. Therefore, now is a good application. “Use fees” are not reproduction costs. institution. time to buy Old Masters. In whatever market, They are fees in compensation for the right to use buy the best. an image, and for each use there should be a spe- Guiding Thought [Collecting tips are from the Salander-O’Reilly cific fee. Some of these uses include books, book- There is no right or wrong way to assemble a Gallery in New York ] Ë lets, brochures, catalogs, pamphlets, menus, CD- photo reproduction policy. But, a guiding princi- ROM’s, videos, internet, periodicals, postcards, ple, no matter what form the policy takes, is man- newspapers, advertising, posters, calendar, ifest: “Any request outside what is provided to brochures, commercial and public television, com- the general public requires compensation for serv- CORRECTION mercial display, book/magazine/product cover, ices rendered by a non-profit institution.” The exhibition “Westchester: The American Suburb, 1975- truck trailer, bus, billboards, package products, 2000” (through May 28) was on view at the Hudson River legal or commercial research, motion pictures. [Steve Anderson is a former museum director Museum (NY), not at the Katonah Museum of Art (NY) as currently living in St. Louis.] Ë listed in the Spring 2006 issue.

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Non-Profit Org. museumVIEWS U.S. Postage PAID 2 Peter Cooper Road Permit No. 9513 New York, NY 10010 New York, NY

Above: George Grosz, Circe, 1927. Watercolor. Right: Sketch from Disney’s Fantasia,1927. Both in “Transforming Chronologies,” Museum of Modern Art, NY

DIRECTORS continued from page 3 history at our backs as we acquire historical art, selves in the midst of this living debate. The city allows the work to be true to its larger art world as the “proof” of the work’s value is more easily has played host to visual artists and a strong artis- aspirations, but still acknowledges and attempts to agreed upon and seemingly objectively reached. tic tradition in the four centuries of American explain the gap that exists between the traditional For the collection of contemporary art, the independence (and even during the Colonial peri- contemporary and the museum contemporary. It debate is much more based on personalities—the od). The city benefits from a sustained tradition is the acknowledgement of the distinction and personalities of the individuals making the deci- of support for artists and the artistic process that separation and the increased role of education to sions and the personality of the institution itself. is rare in this country. Founded in 1858, the discuss and embrace this tension, not to shy away What one director and curator feel are appropri- Carolina Art Association (the official owner of the from it, that must be the hallmark of this muse- ate, subsequent officeholders might find com- art collection housed at the Gibbes) was one of um’s engagement with contemporary art. pletely inappropriate. Given the caution with the first organizations in the South to collect art, As a former curator of contemporary art, I still which most boards use when approaching the and contemporary art at that. Since its beginnings, retain a strong interest in the work of emerging issue of deaccession, a few missteps can have it has focused collecting efforts on art that relates artists. For an upcoming show here in Charleston, damaging consequences to the museum’s ability to the Charleston experience, specifically, and to I am curating an exhibition of work by young to raise support for contemporary art as well as to life in the South, more generally. Its earliest artists who are engaged with life in the South, the integrity of the collection as a whole. records tell of a commissioned work by either as residents, former residents, or as people There is another, and I think more interesting, Emmanuel Leutze and of several contemporary simply intrigued by the tradition of the region. I issue for museums that engage in collecting con- landscapes of Charleston and its harbor. am selecting those whose work is conceptual in temporary art. It is the tension that exists between As a tourist destination that welcomes over nature, but who still wrestle with the traditional two types of contemporary art—what I call muse- four million visitors a year, Charleston has built values of beauty. The show is meant to investigate um contemporary and traditional contemporary. its brand as an historic and artistic city of impor- the tension outlined above between traditional We find the former in the galleries of Chelsea and tant note. Since 1924, when the City Fathers first and museum contemporary art. The works chosen SoHo, while the latter occupies galleries appeal- proclaimed Charleston “America’s Historic City,” will reflect my own affinity to work that acknowl- ing to a broader section of the American populace visitors have flocked here for an historically rich edges the persistent shadow of tradition within and often is located outside the major art cities. experience. contemporary art and life. That is what I am cur- The former is featured in art world publications So where does contemporary art fit in? Of the rently seeking from contemporary art. such as ArtForum, while the latter is prominent in 130 or so galleries that specialize in contempo- more general-interest cultural publications such as rary art in Charleston, the overwhelming majority [Todd D. Smith is Executive Director, the Gibbes Southern Living. The former is slated for muse- are dedicated to traditional contemporary. But Museum of Art (SC)] Ë ums and nonprofit spaces; the latter for living then where does that leave the museum and its room walls. Admittedly, these are broad general- engagement with contemporary—whether tradi- izations and a number of artists do function in tional or museum? both worlds; however, we would be remiss not to We have walked the line gingerly between acknowledge this significant distinction and recognizing important local contemporary art and divide. Museum contemporary challenges notions championing regional and national contemporary of beauty and quality, whereas traditional con- art through our exhibition program. The challenge temporary upholds accepted standard values of that is especially germane to the Gibbes, but I feel beauty, composition, and form. has resonance in other communities, is to present Charleston and the Gibbes Museum find them- the museum contemporary work in a context that

Above: M. C. Escher, Day and Night, 1938. Woodcut, printed from two blocks. In “M. C. Escher,” Crocker Art Museum, CA