museumVIEWS October 2017

David Hockney, Self Portrait with Red Braces, 2003. Watercolor on paper. In “Happy Birthday, Mr. Hockney,” J. Paul Getty Museum, CA

A quarterly newsletter for small and mid-sized art museums

 1  Fakes!

[In August The Art Newspaper reported on fakes.]

A forgery scam that poses a “significant threat” to unsuspecting poorly written German” the IFAR Journal notes, but none written art buyers has been uncovered by the International Foundation for to him—the collector eventually went mad, saying he would be Art Research (IFAR), which has identified four fakes purportedly “transported to another planet over which I will rule. I am destined by Jackson Pollock that were brought to it for authentication by to become a god.” three different owners. All the works surfaced starting in 2013, and IFAR suggests that Brennerman was characterized as an insane are said to have come from the collection of James Brennerman recluse to explain why the works were never exhibited and why he who, as far as IFAR can determine, is a fictitious identity. left all his art to his servants Bert and Ethel Ramsey when he died The organization, which has helped authenticate works by the in 1974. The collection’s provenance most recently includes a strip artist since the Pollock-Krasner Authentication Board was dis- club owner in Roanoke, Virginia, who claims to have bought the banded in 1995, outlined its investigation into the forgeries in the works from the Ramseys. most recent issue of its IFAR Journal. It has seen photographs of As was the case with Brennerman, IFAR was unable to find any ten other fake Pollocks and spotted another one online, all appar- reliable official record of Farmer or the Ramseys. The dossier also ently from the same cache. To date, IFAR is aware of less than two included photographs that are meant to show Brennerman’s estate dozen possible fakes, but it fears there may be many more, since but are actually pictures of the Sforza Castle in Milan, the Neptune the paintings submitted to it were accompanied by a hefty dossier statue in Madrid, and an 18th-century Bavarian church. of documents referring to Brennerman’s collection of more than During its research, IFAR found the paintings unconvincing and 700 works by Pollock. Those documents also refer to paintings the provenance sometimes laughable, but had them tested anyway by artists including Kline, de Kooning, Renoir, Monet, Hassam, “to hammer the nail into the coffin,” Flescher says. The results

Robert Goodnough, Adventure (Comic), 1963-64. Synthetic polymer paint, oil, and charcoal Rothko, Manet, Hopper, Motherwell, and Gorky, which Brennerian on canvas. In “Big Deal,” Palmer Museum of Art, PA envisioned would “eventually form the core of his own art museum,” the IFAR Journal reports. showed anomalous materials used to make the works, including Unlike the high-profile Old Master fakes scandal in Europe and acrylic paint, which Pollock never used in any of his accepted the forgeries sold by Knoedler, this scam is not aimed at the super- works and which was not widely available until the 1980s. rich in major art centers. It targets modest collectors, and so far is If taken to established galleries in major art centers, the fakes unfolding in the mountain states and along the East Coast, among likely would have been immediately spotted as unsophisticated “a whole network of people who are not professional dealers, a pastiches, Flescher says, particularly because dealers would have different world from what we’re used to,” says Dr. Sharon Flescher, raised an eyebrow at the absurdly low prices. That these works are IFAR’s executive director. While millions were spent on a single being offered outside the established system to less experienced forgery sold through Knoedler, many more fakes are offered to this buyers, only adds to Flescher’s concerns. At least one painting less sophisticated community at far lower prices, with sales in the IFAR rejected was resold, and its new owner contacted the organi- five-figure range. As a result, “they circulate more easily,” zation for authentication. And the person behind the scam seems Flescher says, adding that those figures can add up because of to be learning from his or her mistakes. When IFAR received the the potentially large number of victims. fourth Brennerman fake in 2015, the dossier no longer included The details laid out in the dossier about the collection are photos and documents that had been called out as suspicious in sometimes bizarre. The buyers were told Brennerman was a previous reports. German immigrant who settled in Chicago in the 1940s. Around “We do not know at this stage who created the works or is 1968, he and an art collector friend named Charles Farmer paid the mastermind behind the apparent scam. Perhaps a government cash for 748 Pollocks, “two truckloads” of art. The seller was investigation is in order,” the IFAR Journal reports. Asked whether said to be Pollock’s widow Lee Krasner. In 1970, Brennerman the organization has informed law enforcement, Flescher said: purchased Farmer’s share. As described through decades of “I am not at liberty to comment.” ❒ correspondence—all oddly written by Brennerman, “often in

 2  Fake heritage for the fake news era

By John Darlington 1869 in Cardiff, New York, was actually carved from a single [This article, also about Fakes, seemed so relevant to our times here block of gypsum, given “pores” and aged using acid. A giant in the U.S. that we have passed it on in almost its entirety. fake giant, it prompted Barnum to create a replica when his Only a few fake examples are missing.] offer to purchase the original from its owner, David Hannum, was rejected—a fake, fake giant. Inevitably, the two were soon at loggerheads over authenticity and took their dispute to court. amien Hirst’s exhibition in Venice this past summer is part of D The judge promised a favorable outcome for Hannum, but only a long tradition of counterfeiting history—but Hirst has added a if his giant attended the injunction personally and swore to its contemporary twist. [His] monumental show, “Treasures “own genuineness.” It failed to turn up. You couldn’t make it from the Wreck of the Unbelievable,” looks and feels utterly up—but then again, perhaps you could. After all, they did. gorgeous. It is an extraordinary assemblage of more than 2,000 objects, carefully raised from the seabed from the wreck of the So, what’s new? Is there a difference between Hirst’s trea- Apistos and convincingly displayed in the Punta della Dogana sures and the missing links of the antiquarians? Many from the and Palazzo Grassi, two of Venice’s heavyweight museums. past set out to deceive, to hoodwink, each desperate to prove an academic first or generate a profitable sale. Contrarily, Hirst Here is a statue of Laocoön writhing in agony, there a coral- doesn’t really want to fool us: part of the point of the show is encrusted sphinx. There are shields from ancient Greece, swords our realizing its untruth. He is playing a game. and scabbards, a cabinet filled with ancient artefacts that would not be out of place in the Pitt Rivers Museum in Oxford. But The clue is in the title of both the exhibition and the ship, none of it is real. It is all an illusion. In a world growing used to Apistos being ancient Greek for “incredible” or “incredulous,” fake news, we now have fake heritage. “unbelievable.” The sunken treasure supposedly belonged to Cif Amotan II, an anagram of “I am a fiction.” Look closer at the This is nothing new. History is littered with examples of Venice exhibition. Isn’t that Hirst’s own head, and Kate Moss counterfeit history…. as a winged Egyptian goddess, and a barnacle encrusted Goofy? The circus showman P.T. Barnum famously exhibited [a Knowing nods and clues litter the galleries. But, like Barnum, merman] in 1842 named the FeeJee Merman, which sparked yet no one could excuse Hirst of being commercially naïve. Money more “discoveries.” All fake, and part of a long trend that can be does come into it. traced back to a centuries-old Shinto tradition in Japan. There are almost 200 separate works of art for sale, each in In 1912, the amateur archaeologist Charles Dawson and an edition of five. The highest is reportedly priced at $14m, but British Museum geologist Arthur Woodward announced the dis- you may purchase a signed book documenting the recovery of covery of Piltdown Man—the missing evolutionary connection the treasure, part of a limited edition of 1,000, for $320. between humans and apes. It was not until 40 years later that the There’s been a lot invested across the two galleries. The hoax was revealed—the jawbone came from an orangutan and alchemy of the commercial art world aside, ultimately this is the skull from a human. heritage that reflects the 21st century rather than the distant The list goes on: the Calaveras Skull from California found past. It speaks of fake news, bling, and reality TV, of the over- in 1866, the Tiara of Saitaferne (acquired by the Louvre in saturated colors of Instagram, or the exaggerated fantasy world 1896), the Shapira Strips (presented as an ancient scroll in 1883) of CGI and video-gaming. It is heritage extreme. and, my favorite, the Cardiff Giant. Welcome to the Paleo-ironic Era. ❒ This three-meter-tall “petrified” man, allegedly found in

“Treasures from the Wreck of the Unbelievable,” Palazzo Grassi, Venice

Above: The Cardiff Giant

Replica of Piltdown Man skull

Damien Hirst, Demon with Bowl

 3  Museums for All

“Museums for All,” a program that offers low/no entrance fees to see a sense of relief low-income families, was initiated by the Institute of Museum and and a smile. It brings Library Services and is administered by the Association of Chil- me great joy to be able dren’s Museums. As reported late this past summer, the program to share with them that facilitated more than 514,000 museum visits for low-income com- we’re not the only mu- munity members since its inception in 2014. Currently, there are seum that is part of the 190 museums participating, encouraging families to visit museums program.”—Staff mem- regularly, develop new interests and skills, enrich social connec- ber, Southern Califor- tions, and build lifelong museum habits. Museums for All helps nia Children’s Museum, expand access to museums and also raise public awareness about Pasadena, CA. how museums are reaching their communities. To participate, A wide range of institutions are participating in the program: art museums can learn museums, children’s museums, Science centers, botanical gardens, more at: http:// zoos, history museums, and more. Nationwide, they represent 37 childrensmuseums.org/ states and the District of Columbia. California and Illinois have museums-for-all-faqs. the most museums that are active in the program. Consumers can find Admission for individuals and families is anywhere from free participating museums at: to $3.00 with the presenting of an Electronic Benefits Transfer http://childrensmuseums. card and a valid photo ID. The special rates are offered during all org/participating- normal operating hours. “Many families enter our museum with a sense of hesitation, museums. ❒ assuming they won’t be able to stay for a visit, unaware that we Fairfield Porter, Jane and Elizabeth. 1967. Oil on canvas. are a Museums for All institution. As soon as I let them know, I In “Fairfield Porter,” Parrish Art Museum, NY The American Alliance of Museums September Report: House Approves FY 2018 Spending Measure Conflicts with President’s Budget Request; Action Now Moves to Senate On September 14, the U.S. House of Representatives passed leg- • Planning to join the 10th annual Museums Advocacy Day, islation (H.R. 3354) by a vote of 211-198 to provide $1.23 trillion February 26-27, in Washington, DC. for an omnibus Fiscal Year 2018 spending package. The initial news Although the Senate has not completed action on any spending is relatively good for museums (see chart below), but now the bill proposals, it has begun the process. Earlier this month, the Senate moves to the U.S. Senate, where the path forward is unclear. Appropriations Committee passed legislation that would increase Will the Senate follow the lead of the House of Representatives, funding for the Institute of Museum and Library Services to $235 or go along with President Trump’s budget proposal? Museum million, including level funding for the Office of Museum Services. advocates make a difference by: The 2018 fiscal year begins on October 1, 2017, but Congress • Reviewing the information below and let your Senators know that gave itself additional time to complete its work by passing a tempo- you support federal funding for museums. rary spending measure to fund the government (and avert a govern- • Contributing $20 or more to support AAM’s fieldwide efforts. ment shutdown) until at least December 8. ❒

Current Funding FY 2018 Trump FY 2018 FY 2018 Agency/Program (FY 2017) Proposal House-passed Senate action (approved 9/14/17) and final results

Institute of Museum and Library Services $231 million Elimination* $231 million TBD National Endowment for the Humanities $149.8 million Elimination* $145 million TBD National Endowment for the Arts $149.8 million Elimination* $145 million TBD Smithsonian Institution $863 million $947 million $885 million TBD Historic Preservation Fund $80.9 million $51.1 million $80.9 million** TBD National Park Service Operations $2.425 billion $2.225 billion $2.41 billion TBD National Science Foundation– $880 million $760.5 million $880 million TBD Education and Human Resources NOAA Bay Watershed Education & Training $7.5 million $0 $3.7 million TBD

*A minimal amount of funding would be provided to begin closing the agency. No new grants would be awarded. **The Historic Preservation Fund (HPF) includes funding for State and Tribal Historic Preservation Offices, Civil Rights Movement sites, Save America’s Treasures, and other activities. An amendment was approved by the House to restore HPF funding to FY 2017 levels, but at press time it was unclear how those funds would be allocated.

 4  Max Ernst, The Gramineous Bicycle Garnished with Bells the Dappled Fire Damps and the Echinoderms Bending the Spine to Look for Caresses (La Biciclette graminée garnie de grelots les grisons grivelés et les échinodermes courbants l’échine pour quêter des caresses). c. 1921. Gouache, ink, and pencil on printed paper on paperboard. In “Max Ernst: Beyond Painting,” Museum of Modern Art, NY

Ai Weiwei Weighs in Save the Grant Givers In August the American Alliance of Museums announced that on Refugee Crisisisis nearly 950 museums and related organizations had signed on to a letter to congressional leaders asking them to save the [Reported by David D’Arcy (Aug. 4) for The Art Newspaper] key federal programs that help museums serve their com- munities—the Institute of Museum and Library Services, the Human Flow, Ai Weiwei’s first feature film is about the National Endowment for the Humanities, and the National global refugee crisis. It premiered at the Venice International Endowment for the Arts. These agencies collectively had pro- Film Festival at the end of the summer and will be distributed vided over 600 grants to museums in 2016. ❒ to American theaters in the fall by Amazon Studios, which will also stream the documentary to homes across the country. Produced ty a German-American company and filmed mostly Guess Who? on the Greek island of Lesvos, the documentary examines the global plight of migrants driven from their homelands by Q: Can you guess what the job is and where? poverty, war, and climate change. It includes interviews and footage from more than 40 refugee camps in 23 countries. • Work well with others, especially the president and board. “Human Flow is a personal journey, an attempt to under- • Be a strong and collaborative partner with the president. stand the conditions of humanity in our days,” Ai Weiwei said • Be credible as the museum’s artistic leader. when the project was announced. “The film is made with deep • Have a highly developed EQ to ensure successful beliefs in the value of human rights. In this time of uncer- relationship building, fundraising, advocacy, tainty, we need more tolerance, compassion, and trust for each communication, and team building. other since we all are one. Otherwise, humanity will face an • Be an engaged listener with the ability to build consensus even bigger crisis.” both within the museum and beyond. The global refugee crisis is a central subject of Ai Weiwei’s recent work, including the lifeboat-themed Law of the Journey • Oversee 31 departments, including 17 curatorial offices installation now on view at the National Gallery in Prague and five conservation teams; the research, education, and the digital media, publications, and design divisions; thousands of manage the collections including a number of endowed life-vests that acquisition funds; deal with gifts and bequests from patrons. he wrapped • Help shape and support the museum’s commitment to over build- Modern and Contemporary art, including plans for ing facades the Southwest wing. in Berlin and Vienna. ❒ A: Director of the Metropolitan Museum of Art, New York City ❒

 5  AboutAbout MartinMartin RRamirezamirez

A self-taught artist, Martin Ramirez first solo exhibi- Angeles, however, tion in southern California is on view at the Institute accounts for the of Contemporary Art, Los Angeles, part of the Getty’s hybrid character of Pacific Standard Time: LA/LA, a far-reaching explora- his work and his tion of Latin American and Latino art in dialogue with persona—he drew Los Angeles. from his Mexican Martin Ramirez migrated to the U.S. in 1925 to seek past and negoti- work on the railroads. Following the Great Crash of ated his American 1929, he found himself unemployed and on the streets. present. Here, this Detained by police for vagrancy, and following a hasty exhibition draws diagnosis of schizophrenia by doctors who did not speak Ramirez into the Spanish, Ramirez was interned in state psychiatric hos- orbit of art in pitals in northern California for 30 years until his death California, where in 1963. the crossover However confined, Ramirez produced a body of between Latin drawings collaged from found paper and executed with American art and matchsticks, melted crayons, and other makeshift imple- American Modern- ments. The resulting drawings range from small-scale ism has found its abstractions to monumental figures and scrolls, which full realization. ❒ demonstrate unique draftsmanship of concentric lines, undulating patterns, and surreal topography. Until now, Ramirez’s drawings have been discussed in Martín Ramírez, Untitled (Horse and Rider with Frieze), c. 1950. the context of Western art, except for a major exhibition Gouache, colored pencil, and in Mexico City in which his drawings were displayed graphite on pieced paper. In “Martin Ramirez,” Institute with folk art objects and artifacts. The exhibit in Los of Contemporary Art, Los Angeles, CA To Sell or Not to Sell push the challenge down the road while diminishing the strength The Berkshire Museum (MA) plans to auction 40 works of the institution Disassembling the unique treasure that is our of art from its collection to fund a $40 million endowment regional museum to save it, is not saving it,” wrote Laurie Norton and $20 million plan to refurbish the 114-year-old plant. Moffatt, director of the Norman Rockwell The American Alliance of Museums has said the move Museum, in the Berkshire Eagle. “Selling these treasured assets violates its code of ethics. actually poses a debilitating economic ripple effect beyond the “To think that selling the art will save the future is simply to museum, not to mention would be a profound spiritual loss to the community.”

Among the works to be sold are two paintings by Norman Rockwell, which were given to the museum by the artist. Others include works by Frederick Church and Albert Bierstadt. The cache is estimated to bring some $50 million. The mu- seum’s annual deficit has averaged $1.2 million for the past ten years. The Berkshire Museum is braced for the backlash that may come. “We explored every pos- sible ramification of this decision…. Loans to the museum have not made a material difference to our programing,” Director of the Berkshire Van Shields commented in the Berkshire Eagle. “Acting as stewards of the museum is the true public trust.” ❒

Manuel Álvarez Bravo, Carrizo y tele (Reed and television), 1976. Printed c.1981. Gelatin silver print on paper. In “Manuel Álvarez Bravo: Mexico’s Poet of Light,” Frye Art Museum, WA

 6  InIn Brief Cultural Campus Created The Indianapolis Museum of Art ent light, interactive kiosks, period style arts education, to be developed over a announced that it will unite the diverse ele- architectural window treatments, and new five-year period. In addition to the new ments of its 152-acre campus—the IMA, the carpeting. In addition, an enhanced website degree programs, the gift will provide Garden, Lilly House, performance spaces, was launched that brings the museum’s scholarships, travel grants, and intern- and the Virginia B. Fairbanks Art and Nature scholarship to a national and international ship opportunities to students. Park, 100 acres—into a holistic cultural audience; an online exhibition reflects the The gift will also support arts campus called Newfields, a Place for Nature content of the gallery. outreach across the state by means of and the Arts. It will serve as a community The year 2018 will bring the golden collaborations with local organizations destination offering experiences in both art anniversary of the inaugural “American including the Crystal Bridges Museum and nature. The IMA, The Garden, Lilly Presidents” exhibition, celebrated with an of American Art in Bentonville, which House. and Fairbanks Park will continue to illustrated volume tracing the history of the was founded by Walmart heiress Alice exist as key attractions at Newfields, which U.S. presidency from Washington to the Walton. “This gift will be transforma- debuted with a new website in early October. present day. In addition, a cellphone app tive for our region and the field of “Our diverse landscape is unlike any will enable visitors to access bilingual American art and we look forward to other in the Midwest, and now is the time biographical descriptions via text or audio. collaborating with the University of that we fully embrace all that we have Arkansas to create the most impact,” to offer the community as a one- Margi Conrads, the of-a-kind institution,” said museum’s director of Dr. Charles L. Venable, the curatorial affairs and Melvin & Bren Simon Director strategic art initiatives, and CEO. “We have an excep- tells The Art Newspaper. tional art collection and exten- sive galleries surrounded by a Hopper House historic estate—a National His- Receives Gift toric Landmark featuring grand The Edward Hopper architecture, a working green- House (NY) announced house and orchard; beautiful the imminent receipt of gardens that host exhibitions and more than 1,000 artifacts outdoor festivals; performance and memorabilia of spaces that welcome guests for Edward Hopper’s family, film screenings and concerts; his early years, and a library and a Park with meadows for of books, articles, papers, outdoor concerts, a 35-acre and documents. The mas- lake, hiking trails and sculptures sive gift comes from the by contemporary artists from Arthayer R. Sanborn Hopper around the world. In addition, Collection Trust. In this the Miller House and Garden in Edward Hopper, Little Boy Looking at the Sea, n.d. Ink on paper. newly formed partnership, Columbus—one of the nation’s most The Arthayer R. Sanborn Hopper Collection Trust. This image was drawn on the back of Edward Hopper’s third grade report card dated October 23, 1891, when Hopper was nine years old. the rarely seen collection is highly regarded examples of mid- to be known as the Sanborn- century Modernist residences— School of Art is Born Hopper Family Archive. The collection extends the campus beyond Indianapolis. includes original letters, drawings from It happened in Fayetteville, Arkansas his school years, the “TC” (Three Com- “America’s Presidents” in August. The University of Arkansas modores) notebooks, his first art tools from Reopens officially established the state’s first his first attic studio, photographs, original School of Art. A gift of $120 million newspaper articles, and more. It took 18 months of planning and from the Walton Family Charitable extensive renovations to enable the National Support Foundation made it possible. Expansion in Newark Portrait Gallery (D.C.) to reopen its must- The foundation was established by the see exhibition, “American Presidents,” in family of the late Walmart founder, Sam A grant from the Henry Luce Found- September of this year. The display is the Walton, to support charities in Arkansas. ation has launched a major project at the only place outside the White House where The new School of Art, focusing on Newark Museum (NJ) to expand and visitors can view a complete collection of the study of American art, grew out of reinterpret its permanent galleries of presidential portraits. the art department of the university’s American art. The grant has also made Bilingual and accessible, the new presen- J. William Fulbright College of Arts possible the appointment of William L. tation is grouped into six historical chapters: and Sciences, which currently has 8,000 Coleman as associate curator of American the first five lead off with a presidential students (out of a total enrollment of Art to help develop the project, a transfor- figure: Washington, Jackson, Lincoln, 27,000 students). It will continue to mational next step for the museum. Theodore Roosevelt, and Franklin Roosevelt; offer the same undergraduate programs The two-year project will focus on the sixth examines the more recent history as the former department, including Modern and Contemporary American art of the presidency. Updated content provides art history, arts education, ceramics, as well as the historical and contemporary the means to better understand events that photography, and painting while adding Native American collection, and will sup- coincided with the President’s time in office. new graduate degrees, such as a master port the American art installations in the The transformation of the gallery itself of fine arts in graphic design and museum’s newly renamed “Seeing Amer- includes LED lighting that adjusts to ambi- doctorate programs in art history and ica” galleries. Physical renovations will Continued on next page

 7  InIn Brief Continued include improved sight lines and expanded Gillette, executive director of Humanities New Outdoor Art Space wall space in reconceived galleries that will Texas. Opened in Portland house works from the Native American col- In addition, cultural institutions in FEMA- lection and a selection of African American, designated disaster areas were able to apply The Portland Museum of Art (ME) Latin American, and European American art. directly to NEH for streamlined emergency opened the David E. Shaw and Family An artist in residence will be another feature grants of up to $30,000, beginning on Sept. 8, Sculpture Park to the public during the past of the enhanced museum as well as two through the agency’s website, www.neh.gov. summer. Located along the High Street in catalogues, planned for publication with the This special Chairman’s Grant opportunity will the Joan B. Burns Garden, the new park reopening of the new galleries in Feb. 2019. be open until Dec. 31, 2017. provides visitors a new perspective of the All current NEH grantees impacted by Hur- Arts District, the city of Portland, and the D.C. Joins Rescue Efforts ricane Harvey may apply to change the scope museum. The aims of the museum—creat- in TX and LA of their grants to repurpose the agency’s fund- ing a park as a place that makes art available ing to focus on critical needs. These grantees to everyone, including the disabled, free of The National Endowment for the should contact the appropriate NEH division charge; as a community meeting ground; and Humanities (NEH) is awarding up to $1 mil- for further instructions. as an outdoor gallery—have been met. lion in emergency grants to preserve humani- Director of the museum Mark Bessire says ties collections at libraries, museums, colleges, of the addition: “The PMA that inspires me universities, and other cultural and historical is one that welcomes people of all back- institutions in the areas of Texas and Louisiana grounds, connects the relevancy of art to our affected by Hurricane Harvey. Acting Chair- everyday lives, and serves our communities man Jon Parrish Peede announced that “NEH as a center for conversation….” has designated these funds to support the people in Texas and Louisiana in their efforts Campbell Speaks to protect the historic materials that document their invaluable contributions to American At the end of a long Art Newspaper culture. We are proud to partner with Humani- interview of Thomas Campbell after his ties Texas and the Louisiana Endowment for resignation as director of the Metropolitan the Humanities and their dedicated staffs in a Museum of Art (NY) Thomas Campbell coordinated federal-state response.” was asked a final question: NEH provided approximately $250,000 Q: It’s always been a “he” that runs the in initial funding to the two state humanities Met so far, but do you think it is ready for a councils to be re-granted according to their Forever Stamps Mark Andrew female director as your successor? assessments of local needs. The Texas Wyeth’s 100th Birthday A: I can’t opine on that. It’s something Cultural Emergency Response Alliance and the for the search committee. I would say Twelve Forever Stamps highlight Andrew Heritage Emergency National Task Force also that across the country there is a big Wyeth’s paintings, thus commemorating his will receive NEH funding to conduct outreach demographic shift going on. In the AAMD 100th birthday. A dedication took place in and assess damage. (Association of Art Museum Directors) there his home town of Chadds Ford at the “We at Humanities Texas deeply appreciate are a great many women directors, more Brandywine River Museum of Art (PA). NEH’s strong support of our state’s educational than there were 20 years ago. There are In keeping with the policy of its stamp and cultural institutions that have been devas- some very capable individuals out there and, program, to celebrate the best of American tated by the hurricane. We will work with the internally, something like 70% of our staff life, history, and culture, the Postal Service affected communities to ensure that NEH’s are women and many of my senior executive circulates these miniature images that feature funding goes as far as possible,” said Michael staff are women. So, I think our search com- details of different Wyeth paintings: Wind mittee has a very strong field, both male and from the Sea (1947), female, to work with. Big Room (1988), Christina’s World African Art and Google (1948), Alvaro and The Smithsonian’s National Museum Christina (1968), of African Art (DC) joins more than 180 museums, cultural centers, and fashion houses Frostbitten (1962), around the world to bring 3,000 years of the Sailor’s Valentine world’s fashion together in the largest-ever (1985), Soaring virtual exhibition of style. The “We Wear (1942-1950), North Culture” project, launched in June, is Light (1984), Spring organized and hosted by Google Arts & Fed (1967), Culture and uses state-of-the-art technology to The Carry (2003), allow visitors to explore everything from the Young Bull (1960), ancient Silk Road and courtly fashions of and My Studio Versailles to British punk and the stories (1974).The selvage behind the clothes people wear today. The National Museum of African Art is telling shows a photograph immersive stories based on artifacts from its of Wyeth from the “Connecting the Gems of the Indian Ocean: 1930s. From Oman to East Africa Project” that will reach new audiences through this global collaboration at: g.co/wewearculture. Continued on next page

 8  InIn Brief Continued

Ralph Goings, Miss Albany Diner, 1993. Oil on canvas. In “From Lens to Eye to Hand,” Parrish Art Museum, NY

Menil Adds Fifth Building The museum, built with open vertical Oklahoma Museum to Campus spaces to accommodate large stained-glass windows and timepieces, tells the story of Awards Teachers A 30,000-square-foot, $40 million Menil the impact that time and glass have had on Following last November’s election, and Drawing Institute (TX) is the fifth art world culture. Exhibits explore the his- the defeat of a state question that would have building on the Menil 30-acre campus. The new tory of time, the art of creating beautiful legislated a much-needed raise, the Philbrook building began its inaugural year on October 7. timepieces, and the science and mechanics Museum of Art in Tulsa supported Oklahoma As a preamble to the opening, the Menil of inventing clocks and other timepieces to public school teachers by offering them free, Collection presented “The Beginning of tell time accurately. annual museum memberships. To date, 1,046 Everything: Drawings from the Janie C. Lee, A few interesting facts about timepieces: teachers from 80 public-school districts Louisa Stude Sarofim, and David Whitney across the state—more than 10 percent from Collections in the main building. And in the The pendulum was invented in 1656 by Christiaan Huygens, a Dutch mathematician outside the Tulsa Metro area—have joined new facility, a variety of inaugural year exhibi- the program. tions and activities will take place including and scientist, and is based on Galileo’s The non-partisan, non-profit Oklahoma the exhibition “The Condition of Being Here: theories. Policy Institute reported that, of the 50 states, Drawings by Jasper Johns,” with works drawn The second hand appeared on dials in Oklahoma’s 2015-16 average classroom from the same gifts and bequests. In addition, the 1500s in German clocks but they were another exhibition, “Think of Them as Spaces: inaccurate, often by hours a day. These teacher salary ranked 48th, ahead of only Brice Barden’s Drawings” will help to introduce clocks would have to be reset every South Dakota and Mississippi. Average sala- the new galleries. morning according to sundials. ries decreased from the previous year by more than $7,500, after accounting for inflation. Second hands became commonplace in “I am grateful,” commented one recipient. New Museum Opens 1675 and, with the added precision of the The free membership both “supports the arts in Illinois pendulum, became much more precise. and connects my students to artistic experi- Evanston, Illinois is home to a new More interesting facts about stained ences.” “Thankful,” wrote another whose museum. The Hamil Time & Glass glass: husband is also a teacher. “It would other- Museum opened in September with 19th-century artists created colors and wise be a ‘luxury’ not in our family budget.” two collections: rare and historic textures that had never existed in glass. “Thank you so much for celebrating timepieces from every corner of the Their stained-glass windows and other teachers,” said another. world, and stained-glass windows art pieces won competitions in Europe, “This small effort for teachers perfectly and glass art pieces including and reigniting a passion in stained glass that aligns with our commitment to lifelong highlighting American masters of the had not been seen since the 14th century. learning, community engagement, and turn of the 20th century—John La Farge, Glass is made from melting sand at providing access to all,” said Philbrook Mary Taillights, and Louis Comfort Tiffany. about 3,000 degrees Fahrenheit. Director Scott Stulen. q

 9  autumn VIEWS Marc Riboud, Minneapolis, 2006. Gelatin silver print. In “A Thousand Words,” Tweed Museum of Art, MN

the past 65 years—prints, paintings, Colorado photographs, and iPad drawings—and Denver Art Museum ❏ “Common Ground: key photographs from the 1980s that Photographs by Fazal Sheikh” (Nov. 12) investigate time and perspective through Survey of a 25-year focus on documentary his Polaroid composites and photo col- images that raise awareness of human rights lages. ❏ “The Birth of Pastel” (Dec. 17) issues: portraits and landscapes chronicle life Work from the permanent collection that in displaced and marginalized communities. explores the evolution of pastel paintings ❏ Through Nov. 19: “Depth & Detail: Carved from powdered pigment with a binder to Bamboo from China, Japan, & Korea” Carved, the pastel sticks popular for portraitists cut, incised, and etched objects with symbolic in the 18th century. ❏ Through Jan. 14, meanings or religious significance; “Artistry 2018: “Giovanni Bellini: Landscapes of and Craftsmanship; Ruskin Pottery, Enamels, Faith in Renaissance Venice” Renais- and Buttons” This special style of hand- sance period landscapes complement thrown, hand-turned ceramic objects religious subject matter; “Sacred with innovative glazes; “Glitterati: Portraits Landscapes: Nature in Renaissance & Jewelry from Colonial Latin America” Manuscripts” The raw elements of Portraits that demonstrate the subject’s wealth nature incorporated into European through their jewelry and finery; “Grand manuscripts to inspire and to guide Gestures: Dance, Drama, Masquerade” contemplation of the divine. Pre-Columbian art; “Unseated: Contemporary Chairs Reimagined” A variety of methods and Oakland Museum of California, designs reflect the diversity of contemporary Oakland ❏ “Nature’s Gift: Humans, practices; “From the Fire: Contemporary Friends & The Unknown” (Jan. 21, Japanese Ceramics from the Robert and Lisa 2018) Immersive large-scale, interactive, Kessler Collection” Works by “Living light-filled installation by LA-based National Treasures” as well as emerging fine art collaborative FriendsWithYou. ❏ artists; “Britain’s Golden Age” 18th-century “Metamorphosis & Migration: Days of followers of the era’s greats: Gainsborough, California the Dead” (Jan. 14, 2018) Ofrendas and Reynolds, Wilson, and others. ❏ “Linking Berkeley Art Museum and Pacific Film newly commissioned artworks inspired by the Asia: Art, Trade, and Devotion” (Dec. 17) Archive, University of California, Berkeley Monarch butterfly’s migration and themes of How trade routes inspired and influenced art ❏ “Repentant Monk: Illusion and Disillusion tradition and transformation; in Mexico, the across the Asian continent: sculptures, ceram- in the Art of Chen Hongshou” (Jan, 28, 2018) returning Monarchs symbolize the returning ics, textiles, scrolls are from 20 countries Works exemplifying Chen’s role in driving the souls of loved ones who have passed away. spanning some 2,000 years. ❏ “Her Paris: course of Chinese art history are informed by Women Artists in the Age of Impressionism” the disruptions caused as China transitioned Crocker Art Museum, Sacramento ❏ “Richard (Jan. 14, 2018) Morisot, Cassatt, and Bonheur between two dynasties—the Ming and Qing— Diebenkorn” (Jan. 7, 2018) Diebenkorn’s evolu- as well as lesser known women who migrated at the beginning of the 17th century. ❏ “Martin tion to maturity: paintings and drawings; early to the epicenter of art in the late 19th century. Wong: Human Instamatic” (Dec. 10) Survey of pieces that evolved from representational to ❏ “Martin Wong: Human Instamatic” (Dec. a short-lived artist on the move from northern semi-abstractions and Surrealist topographical 10) Painting paired with rarely seen archival California to New York to San Francisco paint- images, to mature Abstract Expressionism. materials that focus on the artist’s engagement ing portraits, scrolls with poetry and calligra- with his community: here are the youthful phy, and set designs. ❏ “Gordon Parks: The Contemporary Jewish Museum, self-portraits, the street portraitist (the human Making of an Argument” (Dec. 17) Vintage San Francisco ❏ “Jewish Folktales Retold: instamatic), and the later player in the Lower gelatin silver prints, contact sheets, original Artist as Maggid” (Jan. 28, 2018) (“Maggid”: East Side art scene in New York City. issues of Life magazine, and unpublished a religious teacher and teller of stories; the photos from Parks’ photo-essay “Harlem Gang repository and transmitter of cultural knowl- Leader” (1948) which documents the young edge, folklore, and social norms and mores.) gang leader Leonard “Red” Jackson and his Contemporary artists interpret traditional group; the Life editor’s choice of inclusions in Jewish folktales and characters in commis- the magazine ignored Parks’ perspective. sioned works inspired by stories that incorpo- rate cautionary tales, traditional wisdom, and Institute of Contemporary Art, Los Angeles the supernatural. ❏ Through Dec. 31: “Martin Ramirez: His Life in Pictures, Another Interpretation” Self-taught Haggin Museum, Stockton ❏ “Picasso’s artist’s first solo exhibition opens the new La Tauromaquia from the Bank of America museum in the Arts District of downtown Los Collection” (Dec. 30) Series of aquatint Angeles: drawings that demonstrate the artist’s etchings featuring the allure of bullfighting in mark making, his unique visual vocabulary, Spain, completed in 1957 as an homage to the and the many dimensions of his immigrant ex- 18th-century matador José Delgado. ❏ Through perience; “Abigail DeVille” Mobile sculptures Nov. 19: “American Ballads: The Photographs by interdisciplinary artist noted for immersive of Marty Stuart” Country music star Stuart’s installations made from found materials; “Sar- photographs of the people and places around ah Cain: now I’m going to tell you everything” him on the bluegrass circuit; “Baseball: Large-scale work for the courtyard wall. America’s Game, Art and Objects from the Bank of America Collection” The Game, in J. Paul Getty Museum, Los Angeles ❏ arts and letters. “Happy Birthday, Mr. Hockney” (Nov. 26)

For his eightieth birthday celebration: a two- Henri de Toulouse-Lautrec, Eldorado, Aristide Bruant part exhibition of self-portraits made over dans son Cabaret, 1892. Color lithograph. In “In the Limelight,” Bruce Museum, CT

 10  autumn VIEWS continued Richard Diebenkorn, Untitled, 1949. Oil on canvas. In “Richard Diebenkorn,” Crocker Art Museum, CA

Smithsonian National Museum Mickalene Thomas Photographs and Tête- of African Art ❏ “Visionary: à-Tête” (Jan. 7, 2018) Photographs taken by Viewpoints on Africa’s Arts” Thomas focus on beauty and what it means to (Opens Nov. 4) A large-scale be a woman, and a selection of works by other presentation of the museum’s artists who inspired her. collection, the first to offer broad thematic connections between art- Indiana works across the spectrum of time, Indianapolis Art Museum ❏ “Crazy Quilts: place, and medium; organized Stitching Memories” (Jan. 7, 2018) A look into around seven viewpoints— the brief history of this style of quilt, made collectors, scholars, artists, by fashionable American women in the 1880s sponsors, performers, museums, who, by breaking from structured patchwork and visitors—are more than 300 style, reflected the decorative art trends of works of art, shown with a focus the period. on the act of “looking”—looking at technique and creative expres- K entucky sion, at the lives of the assembled University of Kentucky Art Museum, objects, at how contexts shift, and Lexington ❏ “Alison Saar: Breach” in this way presenting a broad (Dec. 3) Sculptor, installation artist, painter, range of Africa’s creative visual and printmaker looks back in time to the Great expressions. Mississippi River Flood of 1927 to investigate Florida contemporary social and cultural themes, particularly those resulting from the treatment Hand Art Center, Stetson Univer- of flood victims, the decimated African Ameri- sity, Deland ❏ “Oscar Bluemner” can neighborhoods, and the legacy, both artistic Visions & Revisions” (Dec. 8) and cultural, of the resulting African migration Selections from the Vera Bluemner north. Kouba Collection. Maine The Dali, St. Petersburg ❏ “Dali Farnsworth Art Museum, Rockland ❏ Connecticut & Schiaparelli” (Jan 14, 2018) A presentation “Andrew Wyeth at 100” (Dec. 31) This retro- ❏ of the creative relationship between these two Bruce Museum, Greenwich “In the Lime- spective exhibition marks the beginning of a artists, friends, and collaborators who set Paris light: Toulouse-Lautrec Portraits from the series of four more that mark the centennial of and the world agog with their groundbreaking Herakleidon Museum” (Jan. 8, 2018) Drawings, Wyeth’s birth; the present major retrospective visions: haute couture gowns and accessories, prints, and posters that depict the nightlife—the includes more than 100 of his works; other up- jewelry, paintings, drawings, objects and pho- dancers, singers, and other performers—of late coming exhibitions will focus on his watercol- tos, as well as new disigns by Bertrand Guyon 19th-century Parisian cabarets, dance halls, ors, temperas, drawings, and photographs of the ❏ for Maison Schiaparelli in Paris. theaters, and brothels. “George Wharton Olson House. ❏ “Marguerite Zorach—An Art- Edwards (1859 - 1950): Illustrator, Painter, Georgia Filled Life” (Jan. 7, 2018) Paintings and textiles Writer” (Nov. 25) A selection of European and made between 1910 and 1965 illuminate the American scenes that show the diversity of Georgia Museum of Art, University of story of a colorful career—painter, participant Edwards’ oeuvre—his preference to draftsman- Georgia, Athens ❏ “Modern Masters from the in New Deal mural projects, embroiderer. ship in his works on paper, and a more fluid Giuliano Ceseri Collection” (Nov. 12) The treatment in his oils on canvas. latest exhibition of selections from this Massachusetts massive collection consists of drawings Eric Carle Museum of Picture Book Art, District of Columbia by 19th- and 20th-cemtury American and Amherst ❏ “David Wiesner & the Art of ❏ European artists; studies for finished works, National Museum of Women in the Arts Wordless Storytelling” (Nov. 5) Original sketchbook pages, finished works in a variety “Inside the Dinner Party Studio” (Jan. 5, 2018) watercolors from the books for which he won Archives, documentation, and film that explores of mediums. ❏ “Louise Blair Daura: the creation of Judy Chicago’s monumental A Virginian in The Dinner Party; a sketchbook with nascent Paris” (Dec. 10) All of ideas, test objects, designs, documentation, and Daura’s known works behind-the-scenes footage present the historic including paintings, record of the creation process. drawings, and prints are shown here. ❏ Smithsonian American Art Museum ❏ At “Martha Odum: Art the Renwick Gallery: “Murder Is Her Hobby: Intersects Ecology” Frances Glessner Lee and The Nutshell Studies (Dec. 31) Married of Unexplained Death” (Jan. 28, 2018) Explore to the founder of the intersection between craft and forensic sci- modern ecology, ence: detailed miniature crime scene dioramas Martha Odum’s works of true crime, used to train homicide investiga- shown here focus on tors to “convict the guilty, clear the innocent, the coast, the water’s and find the truth in a nutshell.” edge, swamps, and streams in watercolor and silver. ❏ “Muse:

Left: Utagawa Kuniyoshi, Nozarashi Gosuke (detail), c.1845; Right: Utagawa Kunisada, The In-demand Type (Yoku ureso­‐­) (detail), 1820s. In “Showdown! Kuniyoshi vs. Kunisada,”Museum of Fine Arts Boston, MA

 11  autumn VIEWS continued Marguerite Thompson Zorach, Nude, 1922. Oil on canvas. In “Marguerite Zorach–An Art-Filled Life,” Farnsworth Art Museum, ME the Caldecott Medal as well as many others. 1916-17 stark, geometric images ❏ “Collecting Inspiration: Contemporary Il- of elements of an 18th-century lustrators and Their Heroes” (Nov. 27) A peek house in Doylestown, PA—a into the minds and motivations of an array of response to the Cubism of Picasso talented artists working today in the field of and Braque—and 1920 stills picture-book art. considered to be icons of Machine Age photography; Institute of Contemporary Art, Boston ❏ “Alfred Stieglitz and Modern “Dana Shutz” (Nov. 26) Survey of paintings America” New York views, combining abstraction with configuration, portraits of Georgia O’Keeffe and made in the past 10 years, and works on paper. other family members, and im- ❏ “Mark Dion: Misadventures of a 21st- ages of his family home at Lake Century Naturalist” (Jan. 7, 2018) Large gal- George. ❏ “Follow the North lery presentations of sculpture, drawing, and Star: Inuit Art from the Collection photography, as well as models of major public of Estrellita and Yousuf Karsh” artworks that illuminate the outcomes of colli- (Dec. 31) Prints and some sculp- sions between the natural and cultural worlds. tures by key Inuit artists largely ❏ “Gillian Wearing” (Jan. 1, 2018) Site spe- from the printmaking cooperative cific, wall covering photographic installation at Cape Dorset, north of Hudson of portraits of the artist digitally enhanced to Bay. ❏ “An Enchanted Land: A show how she will look as she ages. Century of Indian Paintings at the MFA” (Jan. 7, 2018) Works made Isabella Steward Gardner Museum, Boston in the Rajput kingdoms of North ❏ “Henry James and American Paintings” India between the 17th and 19th (Jan. 21, 2018) The relationship between centuries James’s literary works and the visual arts, and the significance of his friendships with MIT List Visual Arts Center, American artists John La Farge, John Singer Massachusetts Institute of Tech- Sargent, and James McNeill Whistler as well nology, Cambridge ❏ “Heimo as his close friend and patron Isabella Steward Zobernig: Chess Painting” 28, 2018: “Body Talk” Beauty, attraction, Gardner; included are oil paintings, drawings, (Dec. 31) To reorient the role of the artist, eroticism, all addressed through objects in the watercolors, photographs, manuscripts, letters, the institution, the audience, and the artwork permanent collection; “Buckdancer’s Choice: printed books, archival objects and corre- itself, the artist uses the museum and its Joe Bradley Selects” An eclectic mix of spondence. ❏ “Elaine Reichek: Ever Your, architecture as a stage: this display includes highlights from the collection, selected by the Henry James” (Jan. 2018) Artist-in-residence’s recent sculptures and a new room-scale instal- artist in conjunction with his solo exhibition of creation: a site-specific work for the museum’s lation as well as “Books & Posters,” which is color-field paintings, grease-pencil drawings, façade composed of the many ways Henry an overview of the printed matter designed by and expressionistic abstract canvases as well as James closed his letters to Gardner, from Zobernig from 1980 to 2015. works on paper and some sculptures. “Very truly yours” to “Always constantly.” Cahoon Museum of American Art, Cotuit ❏ The Davis, Wellesley College, Wellesley ❏ Museum of Fine Arts, Boston ❏ “Showdown! “Contemporary Silhouettes” The Art of Through Dec. 17: “Eddie Martinez: Ants at Kuniyoshi vs. Kunisada” (Dec. 10) Showcas- Cut Paper” (Nov. 26) A global tradition— a Picnic” Installation: a suite of large-scale ing the two best-selling designers of ukiyo-e Scherenschnitte, chuäng huä, and American “mandala” paintings, a range of tabletop woodblock prints in 19th-century Japan; portrait silhouettes: in new forms, brought to painted bronze sculptures, and large black and the museum invites visitors to choose their Massachusetts. ❏ “Fifth Annual Small Works white drawings; “Hrair Sarkissian: Horizon” favorite, reviving the centuries-old competition Show” (Dec. 23) Invitational: all works in all Two-channel video installation, shot by drone, between the two: Kunisada’s realistic sensual mediums by local artists are equal to or less charts a refugee route from southwestern portraits of kabuki theater actors, or Kuniyo- than 154 square inches. Turkey to southeastern Greece—a “journey shi’s action scenes of tattooed warriors and into the unknown where there is just one line monsters. ❏ Through Nov. 5: “Charles Sheeler Fitchburg Art Museum, Fitchburg ❏ “People to hold onto: the horizon”; “Martin Luther: from Doylestown to Detroit” Photographs: Watching: Then and Now” (Jan. 14, 2018) A Protest in Print” 16th-century prints and books look into how observation and representation of commemorating the 500th anniversary of the human subject has shifted Luther’s 95 Theses; “Life on Paper: Contem- over time. porary Prints from South Africa” Drypoints, lithographs, screen prints, woodcuts, and more; Rose Art Museum, Brandeis “Soong Mayling: Paintings” Works by the University, Waltham ❏ Wellesley graduate wife of Chiang Kai-shek. ❏ Through Jan. 21, 2018) Through Dec. 21: “Feast Your Eyes” Through “Kevork Mourad: Immortal prints, drawings, photographs, paintings, and City” Paintings created in dinnerware we see the changing fashions response to the war in Syria in consumption; “Sigalit Landau: Deadsee” and the destruction of the An exploration of the landscapes of Israel in artist’s city of Aleppo; “Rose video; “Michael Craig-Martin: Art & Design” Video 11: John Akomfrah” A Print series by conceptual artist: graphic line two-channel video, Auto Da drawings with a flashy pop palette of colors. Fé, that investigates historic migrations driven by religious Michigan persecution. ❏ Through Jan. Marshall M. Fredericks Sculpture Museum, Philippe Halsman, Halle, 1942, Gelatin Saginaw Valley State University, Saginaw ❏ silver print. In “Gloss: Modeling Beauty,” University of Michigan “Floating World, Karen LaMonte” (Dec. 16) Museum of Art, MI Sculptures of kimonos, absent the bodies on

 12  autumn VIEWS continued

which would otherwise occupy them, made from Missouri to educate, persuade, and to effect social rusted iron, cast bronze, ceramic, and cast glass. Springfield Art Museum ❏ “Veterans’ Views” change; “Absence and Trace: The Dema- (Nov. 26) Juried exhibition: photographs, taken terialized Image in Contemporary Art” In University of Michigan Museum of Art, between 1946-2017 by members of the armed addition to two large-scale works: prints ❏ Ann Arbor “Gloss: Modeling Beauty” (Jan. services, that relate to their military experience. from an Ed Ruscha portfolio, photographs 7, 2017) The role of women as the subject of ❏ “Water: The Artist’s Essential Element” of empty Paris by Eugène Atget, and other photography and the shifting ideals of female (Oct. 29) Fifth in a series focusing on contem- works that indicate absence through their beauty in European and American visual porary American watercolor landscapes. voids and erasures; “On the Prowl: Cats culture from the 1920s to today: Steichen, and Dogs in French Prints” The ways Halsman, Newton, Warhol, and Bourdin as Nevada 19th-century artists represented pets as well as documentary photographers. ❏ “Power both status symbols and as denizens of the ❏ Contained: The Art of Authority in Central Nevada Museum of Art, Reno “City of Paris streets. ❏ “Three American Painters: and West Africa” (Dec. 31) How authority was Dust: The Evolution of Burning Man” (Jan. David Diao, Sam Gilliam, and Sal Sirugo” expressed and power contained across a range 7, 2018) How a legendary Nevada gathering (Jan. 14, 2018) Abstract expressionists, of historical cultures in Nigeria, Ghana, the evolved from humble countercultural roots all of whom preferred working on a large Democratic Republic of the Congo, and Cam- into the world-famous desert convergence it is scale with heavily worked or highly eroon; the parallels between the adornment of today: never-before-seen photographs, artifacts, colored surfaces. the king’s physical body and minkisi (“power journals, sketches, and notebooks. ❏ figure”). ❏ “Moving Image: Portraiture” (Nov. “Unsettled” (Jan. 26, 2018) Artworks by New Mexico artists living and/or working in the “Greater 26) A contemporary spin—through video, New Mexico History Museum Palace of software, and West,” a geographic area that stretches from algorithms—on traditional no- tions of portrai- ture; the third of three exhibitions drawn from the collection of the Borusan Contem- porary, Istanbul, which focuses on media arts. ❏ “In Focus: Sam Nh- lengethwa” (Dec. 10) South African artist explores multiple themes such as life under Apartheid, jazz icons, daily life in the townships, and miners, in a range of medi- ums, honoring artists who have influenced both him and his coun- try’s art—South Tiffany Studios, Mosaic Panel with Peonies, c. 1900–1910. In “Tiffany’s Glass Mosiacs,” Corning Museum of Glass, NY Africans Goldblatt, Alaska to Patagonia, and from Australia to the the Governors, Santa Fe ❏ “Syria: Cultural Kentridge, and Sekoto as well as Bearden, Patrimony Under Threat” (Nov. 5) Seven Matisse, Basquiat. American West; despite its size and diver- sity, this massive area shares similarities, and albums of photographs of historic sites, now destroyed, and images of the people in Syria Mississippi works included range from Pre-Columbian to modern. ❏ “Trevor Paglen: Orbital Reflector” taken between 1899 and 1909. ❏ Lauren Rogers Museum of Art, Laurel (Jan. 1, 2018) A 14-foot Mylar balloon serves “Rooted, Revived, Reinvented: Basketry in as a model for a future artwork by Paglen—a New York America” (Nov. 12) An historical overview of similar balloon to be launched into orbit. ❏ Wellin Museum of Art, Hamilton Col- American basketry from its origins in native “View from the Playa: Photographs by Eleanor lege, Clinton ❏ “Innovative Approaches, American, immigrant, and slave communities Preger” (Jan. 7, 2018) Images taken a decade Honored Traditions” (Dec. 10) A diverse to its presence in the contemporary art world. ago at Burning Man. selection of art and cultural objects from ❏ “Contemporary Connections: Woodcuts” the permanent collection ranging from (Nov. 5) The work of artists who utilize the New Jersey 1300 B.C. to the present. woodcut, an ancient medium, while reconsid- Zimmerli Art Museum Rutgers University, ering it and breathing into it new life in the Fenimore Art Museum, Cooperstown ❏ context of the contemporary world. New Brunswick ❏ Through Jan. 7, 2018: “Subjective Objective: A Century of Social Through Dec. 31: “Our Strength is Our Photography” A re-examination of social People: The Humanist Photographs of Hockaday Museum of Art, Kalispell ❏ “The Lewis Hines” Vintage prints that highlight Falcon’s Eye: Nature Photographs by Michael documentary photography focusing on the shifting public image, and the responses of im- the immigrant experience, child labor, Sample” (Nov. 4) Images that capture the es- the American worker, and studies of the sence of Western wildlife and geography. agemakers to these transformations: Works by American, European, Soviet, and post-Soviet construction of the Empire State Building; Russian photographers who use the camera “Hamilton’s Final Act” The letters between Continued on next page

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Alexander Hamilton and Aaron Burr that led Field” (Jan. 7, 2018) Interdisciplinary artists New-York Historical Society, New York to the infamous confrontation in Weehawken, at work on large-scale, immersive, and City ❏ “Arthur Szyk: Soldier in Art” (Jan NJ: paintings and personal artifacts included. community-engaged installations that expand 21, 2018) Works from the WWII era by this the boundaries of traditional craft practice; Polish-Jewish artist who fought in watercolors Corning Museum of Glass, Corning ❏ also on view are small displays of ephemera, and drawings as a “one-man army” against “Tiffany’s Glass Mosaics” (Jan. 7, 2018) research materials, drawings, and studio Hitler and other Nazi leaders, Mussolini, and Architectural panels, decorative objects, and experiments. Hirohito; the murder of European Jewry; glass fragments reveal this little known as- the restrictions on Jewish immigration to pect of Tiffany’s art dating from the 1890s to Museum of Modern Art, New York City ❏ Palestine; the racial injustice in the U.S., his the 1920s; high resolution photographs and Through Jan. 1, 2018: “Max Ernst: Beyond adopted country. ❏ “American Visionary: John digital displays enable close study of details. Painting” Survey of Ernst’s experiments on F. Kennedy’s Life and Times” (Jan. 7, 2018) techniques that went “beyond painting”: col- Images that capture the scope of his life. Hofstra University Museum, Hempstead lages and overpaintings, rubbings, illustrated ❏ “Converging Voices: Gender and Identity” books, sculptures of painted stone and bronze, Solomon R. Guggenheim Museum, New (Dec. 15) How visual artists from different and prints; “Charles White—Leonardo da York City ❏ “Art and China after 1989: cultures depict gender roles. Vinci” A monumental 1973 work by White Theater of the World” (Jan. 7, 2018) Contem- compared with a brush and ink drawing by porary art from China, 1989-2008, a trans- Morgan Library & Museum, New York Leonardo created more than 450 years ago. ❏ formative period for China and the world; City ❏ Through Jan 7, 2018: “Magnificent Through Jan. 28, 2018: “Louise Bourgeois: An concentrating on the conceptualist art practice Gems: Medieval Treasure Bindings” Jewel Unfolding Portrait” Prints and illustrated books of two generations, the exhibition examines encrusted book bindings that were treasured shown in the context of related sculptures, how Chinese artists have been both agents as extreme luxuries valued for their symbolic drawings, and paintings, reveal the artist’s and skeptics of China’s emergence as a global veneration of the sacred text and for their creative process; “Items: Is Fashion Modern?” presence. demonstration of wealth and status; “Drawn Garments and accessories that have had a pro- to Greatness: Master Drawings from the found effect on the world over the last century: Studio Museum in Harlem, New York City Thaw Collection” A formidable private how fashion touches everyone, everywhere. ❏ Through Jan. 7, 2018: “Fictions” Fifth in collection of drawings was gifted to the Morgan a series of emerging artist exhibitions: video, early in 2017: on view are masterworks from New Museum, New York City ❏ “Trigger: photography, painting, drawing, sculpture, and the Renaissance to the 20th century. Gender as a Tool and a Weapon” (Jan. 21, installation are all used to investigate the com- 2018) Gender’s place in contemporary art and plexities of race and identity and the values of The Museum at Fashion Institute of Tech- culture at a moment of political upheaval and African-American, Latino, U.S., and global nology, New York City ❏ “Expedition: Fash- renewed culture wars. ❏ Through Jan. 7, 2018: artistic communities; “We Go As They: Artists ion from the Extreme” (Jan. 6, 2018) How “Kahlil Joseph: Shadow Play” Film installa- in Residence 2016-17” The output of three fashion has been influenced by discovery tion; “Petrit Halilaj: RU” Video works, fabric year-long artist-residents. and investigation of the world around us. ❏ sculptures, the flight patterns of migratory “Force of Nature” (Nov. 18) How designers birds—real and imagined narratives; “Alex Da Frances Lehman Loeb Art Center, Vassar for centuries have looked to nature and Corte: Harvest Moon” Storefront window College, Poughkeepsie ❏ “A Neoclassical science for fresh ideas. display. ❏ “Helen Johnson: Ends” (Jan. 14, Portrait of a Classicist: Houdon’s Bust of 2018) Paintings that investigate issues of colo- Jean-Jacques Barthélemy” (Dec. 22) An Museum of Arts and Design, New York nialism, national identity, personal history and original plaster portrait by the French Enlight- City ❏ “Studio Views: Craft in the Expanded politics in the artist’s native Australia. Continued on page 16

Leiko Ikemura, Lying with Red Lion, 2009/10. Oil on burlap. In “Leiko Ikemura,” Nevada Museum of Art, NV

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CROSSWORD by Myles Mellor (solution on next page) Down 1. The Tate’s new ten-story building, 1 2 3 4 5 6 7 the ___ House 2. Gum ____ 3. The ___ Painter, an anonymous Greek vase 8 9 10 painter of white ground lekythoi 4. He promoted the works of Richard Gerstl 11 5. Billionaire purveyor of luxury goods opening 12 13 14 his private museum of contemporary art 6. Burdened Titan 15 7. An __ Man Asleep by the Fire by Rembrandt 16 17 18 19 10. Bagpiper’s wear

20 14. Artistic Getty structure in LA 15. Musical instrument in Hope by 21 22 23 24 25 26 George Fredric Watts 16. A painting of this revolutionary was a 27 28 forgery attributed to Andy Warhol

29 30 31 32 19. Photo keeper 20. Painting of a bull by John Steuart Curry 33 34 35 36 22. Prominent aspect 37 38 39 40 23. Hyperrealistic sculptor, ___ Mueck 24. Seventh Greek letter 25. Sun in Spanish 41 42 28. Site of one of the Seven Wonders of the Ancient World Across 30. Black and Red painter, ___ Francis 1. Painter of Still Life With Uncomfortable Chair 32. Half a Latin dance 5Across. Italian architect and engineer who described “the therapeutic power of beauty” Down34. New York’s “Museum ___” - celebrating its 39th year 8.1 .Visual Painter representation of Still Life With Uncomfortable Chair 1. The Tate's new ten-story building, the ___ House 9. Restored life and energy 36. Site of “a poem in marble” 11.5. __Italian Fahne Hoch!architect by Frank and Stella, engineer a minimalist who painting described "the 237.. GumRock’s ______Leppard 12.therapeutic Goddess depicted power in the of chariot beauty" clock in the National Statuary Hall, US Capitol 338.. TheOne of ___ Thor Painter, Heyerdahl’s an boats anonymous Greek vase painter of 13.8. HeVisual commissioned representation the construction of the Petit Trianon for his mistress white40. Social ground realism Lithuanianlekythoi American artist, ___ Shahn 9 . MadameRestored de Pompadour life and energy 4. He promoted the works of Richard Gerstl 17. Painter of White House 18.11 Apostle. __ Fahne in prison, Hoch! painted by Rembrandt Frank Stella, a minimalist 5. Billionaire purveyor of luxury goods opening his 20.painting Expression of surprise private museum of contemporary art 21.12 Painter. Goddess of The Brandywinedepicted in the chariot clock in the National 6. Burdened Titan 26.Statuary “Money, money,Hall, USmoney” Capitol singers Francisco Goya, Leave it all to 7. An __ Man Asleep by the Fire by Rembrandt 27. In the know Providence (Dejalo 13. He commissioned the construction of the Petittodo a la probidencia), 1816-20. 10. Bagpiper's wear 29. Time for presents Black ink and Trianon for his mistress Madame de Pompadour gray wash. In “Drawn 31. Painting by Jackson Pollock to Greatness,” 14. Artistic Getty structure in LA 17. Painter of White House Morgan Library & 33. Scottish cap Museum, NY 15. Musical instrument in Hope by George Fredric Watts 18. Apostle in prison, painted by Rembrandt 35. Santa’s laugh 16. A painting of this revolutionary was a forgery 37.20 The. Expression Uprising painter of surprise attributed to Andy Warhol 39. 1957 painting by Joan Mitchell 21. Painter of The Brandywine 19. Photo keeper 41. One of “Four Abstract Classicists” - LA County Museum of Art 26 traveling. "Money, exhibit money, from 1959, money" first name singers 20. Painting of a bull by John Steuart Curry 42.27 ___. In Maria the deknow Taull ensemble in the Museu Nacional d’Art de Catalunya 22. Prominent aspect 29. Time for presents 23. Hyperrealistic sculptor, ___ Mueck  15  31. Painting by Jackson Pollock 24. Seventh Greek letter 33. Scottish cap 25. Sun in Spanish 35. Santa's laugh 28. Site of one of the Seven Wonders of the Ancient 37. The Uprising painter World 39. 1957 painting by Joan Mitchell 30. Black and Red painter, Francis 41. One of "Four Abstract Classicists" - LA County 32. Half a Latin dance Museum of Art traveling exhibit from 1959, first name 34. New York's "Museum ___" - celebrating its 39th year 42. ___ Maria de Taull ensemble in the Museu Nacional 36. Site of "a poem in marble" d'Art de Catalunya 37. Rock's ___ Leppard 38. One of Thor Heyerdahl's boats 40. Social realism Lithuanian American artist, ___ Shahn autumn VIEWS continued ‹ Crossword Solution Wexner Center for the Arts, Ohio State University, Columbus ❏ “Cindy Sherman: Imitation of Life” (Dec. 31) A career of photographs spanning 40 years from the Eli and Edythe Broad collection: Sherman’s exploration of disguise probes the complexities of feminine identity.

Pennsylvania Lehigh University Art Galleries, Bethlehem ❏ Through Dec. 10: “Scott Sherk: SonanceZOELLNER” Collaborative sound sculpture celebrating 20 years of Zoellner Arts Center; “Visionaries of the Light” Contemporary photographic work by outsider artists; “Aaron Suskind” Close-ups of ordinary and overlooked objects become abstract works of art; “Estraño— Stranger Things” Images of unsettling—uncanny—familiarity; “The Drawings of Wilfredo Lam: 1940-1955” Rarely seen works on paper; “Maria Marinez-Cañas” New approaches to photography resulting in photomontages, cameraless photo- grams, sculptural installations, and archival research.

Michener Art Museum, Doylestown ❏ “George Sotter: Light and Shadow” (Dec. 31) Nocturnal landscapes and works in stained glass, as well as works by the artist’s Bucks County artistic contemporaries. ❏ “Dedicated, Displayed, Discovered: Celebrating the Region’s School Art Collections” (Jan. 7, 2018) Selections from various collections from surrounding counties that are hung in high schools throughout the area as teaching tools. enment sculptor alongside an unfinished marble versionof the same Barthélemy. ❏ “Fluid Expressions: The Prints of Helen Frankenthaler, South Carolina from the Collections of Jordan D. Schnitzer and His Family Founda- Halsey Institute of Contemporary tion” (Dec.10) A glimpse of works in a medium Art, College of Charleston, not frequently explored by abstract expression- Charleston ❏ Through Dec. 9: “Sea ists: often overlooked prints of splattered home- Change” Commenting on pollution made pigments and layers of inks. of the environment and the connec- tion between conservation of the Parrish Art Museum, Water Mill ❏ “From natural world and art, an installation Lens to Eye to Hand: Photorealism 1969 to made from recovered Tide detergent Today” (Jan. 21, 2017) Photorealistic, or repre- bottles, and a close look at recover- sentational, works that were reintroduced into ing turtles made sick by ingesting the primarily conceptual art world in the late plastic that has invaded their habitat; 1960s. ❏ Through Oct. 30: “Material Witness” “The Tide is High” Installation made Artists on the East End of Long Island who with plastic bottles: the use of post- have explored the various ways that paint can be consumer plastic to create new applied; “Fairfield Porter” Portraits of family in objects; “Chris Jordan: Midway” their Southampton, NY, and Maine houses; “Col- Photographs of the sea taken on this lective Conversation” Different approaches to the remote atoll show the detritus of creative process; “Drawn in Black and White” civilization thousands of miles away. Limited to black and white, artists are then encouraged to explore new methods and materials. ❏ “Poets and Painters” (Nov. 4) Artistic col- laborations: poets in step with the visual arts and counting painters among their closest friends.

Ohio Contemporary Art Center, Cincinnati ❏ “Solar Above: Francois Boucher, Venus at Bell Ensemble” (Dec. 31) Installation drawn from Alexander Graham Vulcan’s Forge, 1769. Bell’s studies involving the tetrahedral kite frame construction: a series Oil on canvas; Right: Jean-Marc of pyramid-shaped, kite-like structures suspended from the lobby ceiling. Nattier, Manon Balletti, 1757. Oil on canvas. Cincinnati Art Museum ❏ “More Sweetly Play the Dance” (Jan. 28, Both in “Casanova,” Kimbell Art Museum, 2018) Contemporary South African artist William Kentridge’s film TX installation encircles viewers with seven screens on which a procession of travelers passes across a charcoal-drawn animated landscape: a panorama that evokes a danse macabre, a jazz funeral (there is brass band accompaniment), an exodus and a journey. ❏ “Iris van Herpen: Transforming Fashion” (Jan. 7, 2018) Working with diverse materials —umbrella ribs, industrial yarns, woven metal, leather strips, and transparent acrylic—this fashion designer blends hi-tech processes with traditional handiwork to create sculptural garments.

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Tennessee Fine Arts Gallery, Vanderbilt University, Nashville ❏ “Who Are We? Identity and the Con- temporary Photographic Portrait” (Dec. 7) Diverse images with a common thread: the attempt to say something about the subject or his/her broader environment/culture.

Texas Nasher Sculpture Center, Dallas ❏ “Tom Sachs: Tea Ceremony” (Jan. 7, 2018) An im- mersive environment representing the artist’s reworking of the tradition- al Japanese tea ceremony including all the essential elements. ❏ “Founda- tions: Tom Sachs” (Dec. Mickalene Thomas, Negress with Green Nails, 2005. Photograph. 31) A complementary exhibition that expands on the featured exhibi- In “Mickalene Thomas,” Georgia Museum of Art, GA tion; here, Sachs selected works that provide insights into his ties to Modernism as well as some historical predecessors. century, that balance unusual perspectives, cropped compositions, and technical skill. Kimbell Art Museum, Fort Worth ❏ “Casanova: The Seduction of Europe” (Dec. 31) An exploration of the 18th century across Europe Virginia through the eyes of one of its most colorful characters: paintings, University of Richmond Museums, Richmond ❏ At the Lora Robins sculpture, works on paper, furnishings, porcelains, silver, and period Gallery of Design from Nature: “19th-Century American Jugs: Relief- costumes bring Casanova’s world to life. Molded Pitchers from the Collection” (Nov. 17) Design variations and the technique of relief-molding used in creating these decorative jugs. ❏ Menil Collection, Houston ❏ “Thirty Works for Thirty Years” (Jan. “Teresa Cole: Saffron Installation” (Dec. 8) Installation commemorating 28, 2018) Celebrating the museum’s first 30 years, the exhibition the great earthquake in Nepal when more than 8,000 Nepalese lost their walks visitors through 30 years of collecting. ❏ The Menil Drawing lives, made of yellow-orange dyed, printed, and laser-cut Japanese pa- Institute has announced the postponement of its opening (expected for per that flutters “like a prayer on the wind.” ❏ At the Harnett Museum Oct. 7) to a date yet to be determined. Among upcoming exhibitions of Art: “Processes & Permutations: Prints by Leonardo Drew” (Dec. 8) will be: “The Condition of Being Here: Drawings by Jasper Johns”; Prints made by the sculptor of large-scale installations that evoke the “Think of Them as Spaces: Brice Barden’s Drawings”; and detritus of urban living. ❏ Through Jan. 28, 2018: “Unexpected “Roni Horn: When I Breathe, I Draw.” Smile: Seven Types of Humor in Japanese Paintings” Paintings on hanging scrolls that illustrate the humor developed in Japan from the Utah 1700s to the early 1900s; works in seven categories of humor—parody, Utah Museum of Fine Arts, University of Utah, Salt Lake City ❏ satire, personification, word-play, fantasy, exaggeration, and playful- “Great Salt Lake and ness—served as escapes from the repressions of the Shogunate; Vicinity” (Jan. 2018) “WAR-DROBE: Fantasy & Exaggeration in Contemporary Japanese Spencer Finch’s site- Fashion” Designer clothing, made from 1990 to the present, that specific installation focuses on exaggeration and fantasy through shape, texture, and records the colors of construction, all of which together transformed methods of making Robert Smithson’s clothing. Spiral Jetty and the Great Salt Lake in which the Valentine Museum, Richmond ❏ “Our Hearts on our Sleeves” jetty sits: Pantone color (Jan. 28, 2018) Historic and contemporary costume and textiles: swatches match the flora fashion and fiber arts. and fauna in an attempt to recreate the lake and Virginia Museum of Fine Arts, Richmond ❏ “Hear My Voice: Native its vicinity; American Art of the Past and Present” (Nov. 26) Exploring conversa- the color samples are tions between Native American artists across centuries, a continent, and installed on the wall 35 indigenous cultures: how Native American art speaks of a shared around the room with knowledge and history while remaining diverse in subject matter, style, short notations under- medium, and age. neath that explain what they represent. ❏ “Ilse Muscarelle Museum of Art, The College of William & Mary, Bing” (Dec. 31) Poetic Williamsburg ❏ “Fred Eversley, 50 Years an Artist: Light & Space & realism in photographs Energy” (Dec. 10) Survey of 50-year career: engineer’s kinetic sculp- made in Frankfurt, Paris, tures that utilize wind current to create dynamic acrylic-cast forms. ❏ and New York, early 20th “Building on the Legacy: African American Art from the Permanent

Hana Hamplová, Untitled, 1980. Gelatin silver print Continued next page on paper. In “Hana Hamplová: Meditations on Paper,” Frye Art Museum, WA

 17  autumn VIEWS Collection” (Jan. 14, 2018) A commemo- ration of the 50th anniversary of the first African American students in residence at the college.

Washington Frye Art Museum, Seattle ❏ “Frye Salon” (Jan. 21, 2018) Paintings from the Frye Art Museum’s Founding Collection, hung from floor to ceiling typical of the salon-style exhibitions of the early 1900s; included are works by both the Munich Künstlergenossenschaft and the Munich Secessionists. ❏ Through Dec. 31: “Manuel Álvarez Bravo: Mexico’s Poet of Light” Photographs of the artist’s native Mexico— mood and metaphor over documentation; “Hana Hamplová: Meditations on Paper” Black and white photographs of torn, warped, and peeling fragments and reams of paper explore the destruction of books and by extension the fragility of the medium through which meaning and ideas are communicated; “Mike Kelley: Day is Done” Feature-length musical-film hybrid that re- Oscar Bluemner, Jersey Silkmills, 1916-17. Watercolor and ink on paper. creates activities documented in high-school In “Oscar Bluemner: Visions and Revsions,” Hand Art Center, Stetson University, FL yearbook photographs.

Wisconsin Leigh Yawkey Woodson Art Museum, Wausau ❏ “Birds in Art 2017” (Nov. 26) 42nd annual international exhibition: new interpretations in paintings, sculptures, and graphics created within the last three years. ❏

Wilfredo Lam, Untitled, 1953. In “The Drawings of Wilfredo Lam,” Lehigh University Art Galleries, PA

Right: Louise Bourgeois, Spiral Woman, from the portfolio La reparation, 2001-03. In “Louise Bourgeois,” Museum of Modern Art, NY

Left: Iris Van Herpen, Snake Dress, 2011. In “Iris Van Herpen: Transforming Fashion,” Cincinatti Art Museum, OH

 18  Right: John Atkinson, At the Oxymoron Museum, gocomics.com/wrong-hands

Inuit print. In “Follow the North Star,” Museum of Fine Arts Boston, MA

Right: Ruth Buentello, The Last Supper. Acrylic on canvas. In “Narratives Invented,” Galería Guadalupe, TX

Philemona Williamson, Golden Afternoon, 2015. Oil on canvas. In “Converging Voices,” Hofstra University Museum, NY museumVIEWS Editor: Lila Sherman Publisher: Museum Views, Ltd. 2 Peter Cooper Road, New York, NY 10010 Phone: 212.677.3415 FAX: 212.533.5227 Email: [email protected] On the web: www.museumviews.org museumVIEWS is supported by grants from the Horace W. Goldsmith Foundation and Bloomberg. museumVIEWS is published 4 times a year: Winter (Jan. 1), Spring (April 1), Summer (July1), and Fall (October 1). Deadlines for listings and artwork are Nov. 15, Feb. 15, May 15, and Aug 15.

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