A quarterly newsletter for small and mid-sized art museums

Leonardo da Vinci, Unfinished: La Scapigliata, 1500-05. In “Unfinished: Thoughts Left Visible,” April 2016 Met Breuer, NY

 1  Tefaf to Come to NYC

The European Fair (Tefaf), the grand dame of European been reluctant to travel to Europe because of the threat of terrorism. fairs, has been held in Maastrich, The Netherlands, since 1988. Ten years And so, the decision makers of Tefaf, faced with a mere 2,500 Ameri- before that, Tefaf’s ancestor fairs, with other names, were held in various cans attending (3% of the total 75,000), decided to send the fair abroad. locations in The Nether- Preparatory work on the plan has been on-going for more than a lands. They were small and year according to Pat- concentrating on antiques. rick van Maris, chief Today, Tefaf has morphed executive of Tefaf, who into the great exposition has been coordinating of Europe: in 2015, for ex- with Artvest Partners, ample, 262 representatives a New York advisory from as many museums firm which as a result around the world attended; has become Tefaf’s visitors numbered around U.S. partner. The plan 75,000; and 266 dealers is to tap into a new au- exhibited. dience—the collectors In yet a further expan- who have stayed close sion, having never before to home. traveled across the pond, “I think it is a very Tefaf has announced plans clever idea to go to to open two events in the New York, because it’s United States next year: one of the prime mar- Tefaf New York Fall (Oct. kets in the world and 22-27, 2017) focusing on New Yorkers just aren’t art from antiquity to the traveling like they 20th century, and Tefaf used to,” said a long- New York Spring (May time Tefaf exhibitor. 4-9, 2017), on contempo- Unmentioned, yet very rary and modern art and much behind the deci- design. Both events will be sion is America’s rela- smaller than the prototype, tively stable economy. with merely 85 exhibitors And so, welcome to inside the famous Park Tefaf! May your visit Avenue Armory, replacing be successful. q the International Show in October and the Spring Masters New York in May. In a sense, the mountain Left: Albrecht Dürer, Adam and Eve, 1504. Engraving. has come to Mohammed: In “Small Prints, Big : in the last several years, Renaissance and Baroque Masterpieces from Carnegie American collectors have Museum of Art,” Palmer Museum of Art, PA

Paulette Tavormina, Yellow Cherries and Crab Apples, After G.G., 2011 (detail). Michelle Stuart, Maroc Shoes, 2015. Archival inkjet photograph on Hahnemühle In “Seizing Beauty,” Academy , MD paper. In “Michelle Stuart, Theatre of Memory,” Bronx Museumof , NY

 2  Exhibitions Describe Hard Times Anti-Semitism on Display at the New-York Historical Society

Long before Adolf Hitler rose to power, anti-Semitism plagued Europe. In Germany, the punitive 1919 peace agreement ending World War I exacerbated existing prejudices. Some people began to blame the Bolsheviks and “the Jews” for Germany’s forced demilitarization, its exorbitant reparations payments to the victorious Allied Powers, and the collapse of its economy. As the Nazi Party rose to power, it began a long campaign of indoctrinating German citizens with violent messages of hate through the widespread dissemination of anti-Semitic propaganda. After consolidating its rule, it passed the Nuremberg Laws, systematically codifying anti-Semitism. Among these measures was the Law for the Protection of German Blood and German Honor, forbidding marriages and extramarital relations between Jews and non-Jews. In a 1938–39 questionnaire, Helga Fräenkel sought permission to marry the father of her children. The request was denied because she was Jewish. The Nazi leadership passed increasingly harsh anti-Semitic laws that restricted the movement and lives of Jews. Publically displayed signs forbade Jews to use the same park benches as their fellow German citizens who had been defined as “Aryans,” and eventually Jews were forbidden altogether from entering parks. These actions normalized the steadily mounting physical violence against Jews and destruction of their property, leading to their forced relocation to concentration and death camps, and ultimately to Hitler’s “Final Solution” to the “Jewish Problem”—the murder of six million European Jews. Under the Nazi Regime, anti-Semitism penetrated every aspect of life; even children’s books were not immune from its reach. Never Trust a Fox on the Green Heath and Never Trust a Jew by His Oath (1936) was an anti-Semitic children’s book printed by Julius Streicher’s pub- Right: Louise Élisabeth Vigée Le Brun, Self-Portrait, 1790. Oil on canvas. Uffizi Gallery, Florence lishing house. The author, Elvira Bauer, was 21 when she wrote it. In The Jew as Destroyer of the Race (1934), one of the most virulent anti- Women Invade the Salon Semitic books printed, “Aryan” women were warned about the dangers [From the National Museum of Women in the Arts] of associating with Jews. At a time of continuing ethnic propaganda and divisiveness, The The biennial Salon of the Royal Academy of and New-York Historical Society presents an exhibition that examines the in Paris was the preeminent exhibition venue for artists in the 18th risks of a culture of hatred such as that engendered by Germany’s century. In order to exhibit their work, artists had to be members of the systematic enforcement of anti-Semitism. Academy. Artists were voted in by other members after being pre- “Anti-Semitism 1919-1939” (July 31) traces the gradual and deliber- sented formally by a current academician. For women, this was doubly ate indoctrination of German citizens into active hatred of Jews through challenging: their work had to be found as worthy as that of their male the ubiquitous words and images they saw daily. q peers despite not having equal access to artistic training, and the total number of female members allowed at any one time was limited to four. Élisabeth Louise Vigée-LeBrun and Adélaïde Labille-Guiard made history on May 31, 1783, when they were both admitted into the Acad- emy. However, while Labille-Guiard was accepted via the standard ap- plication process, Vigée-LeBrun’s acceptance came about under differ- ent circumstances. The Academy was compelled to admit her under an edict from King Louis XVI, whose wife, Marie Antoinette, employed Vigée-LeBrun as a portraitist. With the admission of Labille-Guiard and Vigée-LeBrun in 1783, the Academy reached its quota for women artists, together with the portrait and still-life painter Anne Vallayer- Coster and miniaturist Marie-Thérèse Reboul Vien. Perhaps unsurprisingly, works by women who exhibited in the Salon were compared and judged against one another, as were their characters. By placing themselves in the public sphere, Vigée-LeBrun, Labille-Guiard, and other women artists risked upsetting societal expectations, which held that virtuous women belonged solely to the private, domestic sphere. Despite this risk, these artists persisted in exhibiting in the Salon throughout the rest of the 18th century. “Salon Style: French Portraits from the Collection” (May 22) examines these women and their art as well as their artistic legacies—particularly that of Élisabeth Louise Vigée-LeBrun. q

Left: Nikki McClure, Escape, 2014. Papercut. In “Paper and Blade,” Fuller Craft Museum, MA

 3  Forced Sales during WWII: Lauder Proposes Action [Shortened version of an article by Catherine Hickley for The Art Newspaper] Switzerland. After World War II broke out, he pleaded with the Kunsthaus director to rescue an Edvard Munch painting still in Berlin Pressure is growing on Swiss museums to accept that works of art sold by by purchasing it. Glaser wrote saying he would view any offer “from Jewish refugees to help them escape from the Nazis were forced sales, and a different perspective than before the war.” The painting, Music on that the works should therefore be returned to their heirs. Speaking in Zurich Karl Johan Street (1889), still hangs in the Kunsthaus. Glaser sold it last month, Ronald Lauder, the president of the World Jewish Congress, pro- “for a ridiculously low price,” says David Rowland, the New York- posed a plan of action, which he described as “long overdue.” based lawyer who represents Glaser’s heirs. “And, of course, he used Lauder said he had turned his attention to Switzerland after Cornelius the funds to flee Europe. The problem has been that the Swiss have Gurlitt bequeathed his entire collection—some of which had been looted from been unwilling to recognize fluchtgut cases.” Jews by the Nazis—to the Bern Kunstmuseum. The museum has said it will The Swiss culture minister Isabelle Chassot pointed out last year refuse to accept any Gurlitt works with tainted or unclear , and that that the country is the only one to draw a distinction between fluchtgut they will remain in Germany for further research. and art lost due to Nazi persecution, and called for the latter term to Whereas the German government has pledged to return any art in Gurlitt’s be applied. Many in the Swiss museum community and art trade op- hoard that had been “lost due to Nazi persecution,” Swiss museums have tra- pose that. ditionally rejected claims for what they term fluchtgut (flight assets)—art sold “Fluchtgut cannot be treated the same way as art that was sold in by Jewish refugees to fund their escape or to start new lives after losing the Germany and Austria,” says Marc Fehlmann, the head of collections rest of their possessions, their homes, and their livelihoods under the Nazis. at the Deutsches Historisches Museum in Berlin and the former direc- One of Lauder’s demands was that Switzerland treat fluchtgut claims in the tor of the Oskar Reinhart Museum in Winterthur, Switzerland. “The same way as claims for looted art. “Could it possibly make any difference if Jewish refugees who sold art in Switzerland had full access to the pro- the painting was taken off the wall by a Nazi or if its Jewish owner was forced ceeds, and Switzerland was a free country. Why isn’t Ronald Lauder to sell that same painting to one of Hitler’s art dealers for almost nothing?” he talking about the art that was sold by refugees in the US and the UK?” asked in his speech at Zurich’s Kunsthaus earlier this year. “Each case has to be looked at individually,” says Olaf Ossmann, a The argument has simmered for decades. The heirs of the Jewish art his- Swiss lawyer who specializes in Nazi-looted art. “Was the sale volun- torian Curt Glaser, for instance, approached the Kunsthaus about a fluchtgut tary? Would it have happened without the Nazi regime? Did the seller painting in its collection in the 1990s. Suspended from his job and evicted get the money? Did he get a fair price?” q from his Berlin apartment, Glaser had escaped Nazi Germany in 1933 for

Edward Burtynsky, Ölfusá River #1, Iceland, 2012. Digital chromogenic print. In “Edward Burtynsky: Water,” Chrysler Museum of Art, VA

 4  New Book Series Covers Women Artists

In Seattle, the Henry is looking to find “a director of education and public engagement.” In New York, The Whitney Museum of American Art has hired a “director of public programs and public engagement.” Both are new positions. And many American museums are engaged in looking to fill these positions, often under the aegis of their education departments. In fact, the New Mu- seum (NY), the Museum of Art (MA), the Berkeley Art Museum (CA), the Museum of Contem- porary Art Detroit (MI), and the Hammer Museum (CA) all now have “” or “directors of engagement.” Questions arise: Does this trend follow in the foot- steps of large companies’ “chief innovation officers”? Is it a trendy label that has no specific definitions? Katie McGowan, who occupies the job in Detroit an- swers: “It’s probably true to some degree that it’s a buzz- word, a trendy label, right now, but at the core, the fact that these positions are cropping up indicates that muse- ums are looking for more programming where visitors use their brains. It’s about interactivity.” Her responsibilities include overseeing education initiatives, public programs, Andy Warhol, In the Bottom of My Garden , c. 1956. Book illustration. In “Warhol by the Book,” Morgan Library & Museum, NY and artists’ projects. Museum goers are no longer merely passive observers; they are active participants. Or so saith the new curators/directors of public engagement. And driving the change from passive to active are museum visitors’ increasing sophistication about the media, and artists’ needs to create participatory work. Allison Agsten at the Hammer says, “We are all more interested in [that] dialogue than monologue.” Public engagement enters the picture when visitors are found to have flat, uninspired relationships with muse- ums. Her focus has been on realizing artists’ projects. The job at the Whitney, as described by Kathryn Potts, head of education, is to oversee “public program- ming and public engagement,” which she says refers to a mix of live events “beyond your usual panels, talks, and symposiums that might challenge or surprise the visitor…. “It’s not just that the museum wants to bring artists and audiences together, but that so many artists today want to connect with audiences directly.” At the Henry, Director Sylvia Wolf de-emphasizes artists’ projects. She describes the job as one for which the goal is “broadening the community’s appreciation of and participation in the museum’s collections and exhibitions….Education suggests we have the knowl- edge and want to pass it on to others. Engagement suggests we are learning together. We are a learning organization that is working with our constituents.” q

Circle of Annibale Carracci, Christ and the Woman of Samaria, c. 1620-30. Oil on canvas. In “Gendered Value,” Davis Museum, MA

Sybil Wilson, Black and White, c. 1970. Acrylic on canvas. In “Ten/Forty,” Florence Griswold Museum, CT  5  And Briefly... Google Pursues Culture The Cincinnati Art Museum (OH) is one of some 50 other institutions that partnered with the Google Cultural Institute to commemorate Black History Month 2016. This spate of institutions joined together in digitally displaying more than 4,000 items—archives from Black history for anyone to access at any time. Cincinnati’s digital exhibition tells the story of 19th-century landscape painter, Robert S. Dun- canson and his role in African American artistic identity in the city during his lifetime. Due to the new virtual exhibition, users can see in depth the work of an whose appear infre- quently. Development for the Future The Frye Art Museum (WA) announced its engagement with Project Terry LLC, a Wash- ington limited liability company, to explore the feasibility of developing housing adjacent to the museum. The property in question is owned by the museum, a legacy of its patrons Charles and Emma Frye, and is currently used for parking by museum visitors and employees. Under the proposed plan, surface parking will be relocated to a subterranean garage in the development. “It’s the responsibility of the trustees to ensure the museum’s continued viability as a cultural and intellectual center on First Hill and as an anchor institution for future generations,” said David D. Buck, president of the board of trust- ees. “Increased residential density will generate Alice Neel, James Hunter Black Draftee, 1965. Oil on canvas. more visitors and supporters for the museum. Poster for “Unfinished: Thoughts Left Visible,” Met Breuer, NY Our active engagement with the project devel- oper will help guide responsible development in occupied by the Whitney Museum of Ameri- our neighborhood.” can Art, to house the contemporary art collec- that. It exceeded its initial $50 million goal Participation in Project Terry LLC is a step tion of the Metropolitan. by $10 million in the course of a seven-year toward achieving the museum’s recently ad- The building had been closed since the fund-raising campaign by tapping into the opted strategy: transforming the museum into a Whitney moved out and into its new location resources of major donors (many generous multiple-revenue-source institution structured in the fast-developing meat-packing district philanthropists in Kentucky), corporations for permanent sustainability. The process began in . At present, and for at least (the makers of Jack Daniels whiskey among by presenting preliminary concepts in public eight years hence, this same building will be them), and a match-grant challenge to the forums such as the First Hill Improvement As- dedicated to the Met’s contemporary program, community (funded by anonymous donors). sociation and the Seattle Department of Plan- with the stated strategy of placing today’s art And so, the new Speed is now open with ning. The end result will be approximately 450 in historical context. Beyond that is the desire Ghislain d’Humières at the helm, his former residential rental units, ground-floor retail space, of the Met to increase its modern holdings and positions an acknowledgement of his wide- and public areas. to expand its donor base. The museum’s Chair- ranging career: he worked at Sotheby’s Lon- man of Modern and Contemporary Art Sheena don and New York; at Christie’s Los Angeles Tweed Reopening Wagstaff announced that the Met Breuer will and Geneva; he took time out for a sabbatical present a rotating display of important gifts on working with street children in Guatemala; he The Tweed Museum of Art at the University the building’s fifth floor. was at the Fine Arts Museum in San Fran- of Minnesota Duluth was closed from Janu- Two astounding inaugural shows are: the cisco in charge of opening the new de Young ary through April for upgrading of its heating, first U.S. survey of the Indian artist Nas- Museum; and finally, in 2007 he became ventilation, and air conditioning system—the reen Mohamedi (June 5), and “Unfinished: director of the Fred Jones Jr. Museum of Art first phase of a renovation project to usher the Thoughts Left Visible” (Sept. 4), in which at the University of Oklahoma. museum into 21st century-hood. For the safety incomplete work by artists from Titian to The decade-long renovation of what is of the collection, artworks were temporarily re- Twombly will be on view. Both exhibitions, now the largest museum in the state of Ken- located; staff members worked on storing pieces each in its own way, fulfill the mission of the tucky, expanded the building by some 75,000 and planning events for the reopening in May. new museum. square feet, tripling its gallery space. An art park, a theater, and a public piazza have been Met Breuer Opens The New Speed added. A new north building contains a con- “We treated the building as a work of art in How does a small museum, founded with temporary art gallery, and a Kentucky Gallery conservation….” With these words, the press private funds and donations in 1927, operated presents the state’s 250-year history of fine corps received a preliminary look at the Met by the founder/owner/contributor until 1942, and decorative arts. Breuer (NY) and the inaugural exhibitions closed for renovation for ten years starting the How did they pull it off? “Come to Louis- therein. A week later, Metropolitan Museum of 21st century, open its refurbished doors with- ville and you’ll understand right away,” says Art Director Thomas Campbell opened the out the support of public funds? The Speed Brooke Brown Barzun, Louisville native and Brutalist building on Madison Avenue, formerly Art Museum in Louisville, Kentucky, did just donor to the museum. Continued on next page

 6  And Briefly... continued Annual Event under-represented. This expanded fellowship New Museum’s Attracts Professionals program fosters the next generation of Native “IDEAS CITY” The always auspicious Annual Meeting American cultural leaders. “Native American and Native Hawaiian The New Museum’s (NY) 2016-17 of the American Alliance of Museums (May IDEAS CITY is a program that explores, 7-10, 2016) holds interest for a spectrum cultures have survived hundreds of years of both active and inadvertent actions that have with culture as a driving force, the future of of professionals throughout the museum cities. The 2016-17 program includes Detroit industry. A searchable schedule tells it all: threatened their very existence,” said Dan Monroe, the museum’s director. “We are hon- (April 25-30); Athens (September 29-15); programs about presenters, ticket prices, and New York (May 2017). conference sessions and events are listed by ored to partner with the Mellon Foundation to help provide opportunities for young and The programs in Detroit and Athens bring track and by day. Tracks include career man- together researchers, artists, and designers agement; ; curato- highly capable Native Americans and Native Hawaiians to develop the leadership, knowl- in studio laboratory environments to develop rial practice; development and membership; ideas and strategies in response to the chal- education, audience research, and evaluation; edge, and skills they desire to assure that Native American art, languages, and cultures lenges facing each of these urban centers. exhibit planning and design; facilities man- The challenges are diverse and specific: agement; management and administration; grow in strength and influence in the decades to come.” Detroit is emerging from recent bankruptcy forces of change; museum directors; market- and struggles with decay and social inequal- ing and community engagement; and media PEM’s commitment to Native American art and culture extends back to the museum’s ity; Athens is the capital of a nation ravaged and technology. by economic depression and strained by the The museum directors’ track, for example, founding in 1799. The collection is one of the oldest of its kind and includes nearly 15,000 inflow of refugees. Yet both cities, although includes a host of relevant sessions. For in crisis, reaffirm their positions as places of example: “Today’s Looted Art is Tomorrow’s works representing tribes throughout the Americas. cultural production and innovation. Provenance Problem”—the challenges and In Detroit urban reconstruction is central opportunities of provenance research and its Airport Presents Folk Modern to workshops, site visits, lectures, and dis- role in museums. “New Directions in Philan- cussions with local experts—an immersive thropy for Arts & Culture”—funding is more The Albany International Airport & Cul- environment that seeds the development of and more focused on the role that institutions tural Program (NY) presents “Folk Modern” are playing in rebuilding and strengthening (May 8), an exhibition in which folk and fine Henri de Toulouse-Lautrec, Le Tandem (detail), 1899. the economic, social, and physical fabric of art converge. Traditional and innovative, an- Black and colored crayon on paper. In “The French Horse from Géricault to Picasso,” University of communities; what are the implications for cestral and personal coexist here, and thrive. Richmond Museums, VA museums? “Diversity from Talk to Action”—pathways for diversifying museum staff. “Getting Real about Museum CEO Leadership”—prag- matic solutions to real problems. “In Conversation with Federal Cultural Agency Leaders”—perspectives from leaders of the NEA, NEH, and IMLS. “Make or Break, Do or Die: Frank Talk about Leadership and Gover- nance”—lessons learned and success- ful strategies in building an effective director/board partnership. “Leader- ship Perspectives: Leveraging and Sustaining Partnerships for Effective Learning”—strategies that help com- munities ensure that young people are ready for college and career; how do museums become contributors to youth readiness? “Finding True North: Where Mission and Commu- nity Meet”—reorienting organizations in the midst of leadership transition. “TrendsWatch 2016” an overview of AAM’s forecasting report: how trends play out in the world, and their signifi- cance to museums. The 2017 meeting is planned for May 7-10 in St. Louis, MO. Native American Fellowship Expands The Peabody Essex Museum (MA) announced that it was awarded a $750,000 grant from the Andrew W. Mellon Foundation, allowing the museum to expand and strengthen its Native American Fellowship pro- gram, assuring that talented Native Americans will take their place as cultural leaders. Although more and more museums are focusing on staff diversity, Native Americans remain

 7  And Briefly... continued strategies and projects that tackle the cities’ tion,” Minneapolis Institute of particular issues. The same strategies will ap- Art (Oct. 30-Jan. 15, 2017) ply to the Athens program in partnership with •“Law and Grace,” Pitts Theol- NEON Foundation, a nonprofit group devoted ogy Library (Oct. 10-Jan 16, to broadening the appreciation and creation of 2017) contemporary art in Greece. The New York program will introduce an event, “100 Ideas for the Future City,” featur- Knoedler Trial Ends ing projects, strategies, and ideas developed in Settlement through the multiple IDEAS CITY platforms. The court saga of the infa- mous Knoedler Gallery sale of U.S. to Receive fake Abstract Impressionists Reformation Relics came to an end with a settle- German institutions will be sending rare ment in February. A trove of “Abstract Impressionists,” manuscripts, artefacts, and works of art to the Björn Braun, Untitled (zebra finch’s nest), 2015. U.S. in celebration of next year’s 500th an- churned out by painter Pei Coconut fiber, plastic bag, silver tinsel, golden tinsel, Shen Qian, was sold to the Knoedler Gallery and artificial plastic plants. In “The Nest,” niversary of the start of the Protestant Refor- Katonah Museum of Art, NY mation. The pulpit of the Wittenberg church by -based dealer Glafira Rosales where Martin Luther preached and an original who “discovered” the unknown paintings. printed copy of his 95 Theses, neither of which In turn, Knoedler’s director Ann Freed- markets. Meanwhile, sophisticated forensic have ever left Germany, will be included in man knowingly sold several of the forger- technologies had not been developed when the objects to be on view starting in October ies—some $70 million worth of them—to the first Knoedler fakes surfaced. in three museums: the Minneapolis (MN) unsuspecting, buyers, among them Domenico Institute of Art (Mia), the Morgan Library De Sole, director of Sotheby’s, and his wife 2. Unreliable records: the former Knoedler and Museum (NY), and the Pitts Theology Eleanor, who bought what was sworn to be director Ann Freedman’s lawyer told the Library at Emory University (GA). a Rothko. Subsequently, after the scam was jury in the trial in February that the Ab- Luther used words and art to spread his revealed, the De Soles brought suit and the stract Expressionists were a hard-drinking, ideas. “The Reformation was, in a sense, a gallery, formerly a mainstay of the New York “messy, unpredictable” group. “Keeping media revolution,” says Mia print Tom gallery world, shut down for good. careful records was not the first thing on Rassleur, “The number of images and books Recently, The Art Newspaper published a their minds,” he said. coming off the printing press just explodes.” five point list, authored by Julia Halperin, under the question: “How easy is it to fake • The Morgan and Emory exhibitions fo- 3. A good story: the Knoedler fakes came the Abstract Expressionists?” What made the with an elaborate backstory that involved cus on the Reformation’s influence on the paintings so convincing? printed word, while the Mia exhibition hones an anonymous Swiss collector and the gallery assistant David Herbert. Samuel in on art—“a much starker type of art,” says 1. Modern materials: some of the materials Rassleur. Sachs, the president of the Pollock-Krasner that the Abstract Expressionists used re- Foundation called the tale “almost as clever •“Word and Image: Martin Luther’s Reforma- mained commercially available in the 1990s as the fakes themselves.” tion” Morgan Library and Museum (Oct. 7-Jan and early 2000s. The FBI alleges that Qian 22, 2017) used Masonite, a favorite material of the New 4. Technical virtuosity: some say it is •“Martin Luther and the Art of the Reforma- York School, from old furniture bought at flea possible for a skilled painter to imitate the Abstract Expres- sionists’ signature styles. (After all, every famous painter had a bad day.) Qian, who studied at the Art Students League in New York in the 1980s, had books on the movement and auction catalogues in his apart- ment, according to the FBI.

5. Lots of material: many of the Abstract Expressionists were prolific, which makes the discovery of a previously unknown work all the more conceivable. q

Henri Cartier-Bresson, Ile de la Cité, Paris, 1952, printed later. Gelatin silver print. In “In Focus,” University of Michigan Museum of Art, MI

 8  spring VIEWS

Mischa Askenazy, Sunset Blvd. In “The Nature of Water,” Irvine Museum, CA

(June 19) Paintings, and fashion sketches, photo-booth film strips, Polaroids, photographs, personal memorabilia, all indica- tive of Warhol’s fascination with celebrity and the art of portraiture.

San Jose Museum of Quilts & Textiles q “Blanket Statements: New Quilts by Kaffe Fassett and Historical Quilts from the Quilt Museum and Gallery, York England” (July 3) Twenty new quilts, designed in response to fifteen historic quilts made from 1780-1949— traditional contrasted with contemporary.

Cantor Center for , Stanford Uni- versity, Stanford q “Myth, Allegory, and Faith: The Kirk Edward Long Collection of Manner- ist Prints” (June 20) 16th-century engravings, etchings, woodcuts, and chiaroscuro woodcuts illustrate the development of the Mannerist style in Italy, and follows its transformation into the Baroque style later in the century. q “Red Horse: Drawings of the Battle of the Little Bighorn” (May 9) Ledger drawings by Red Horse, a Minneconjou Lakota Sioux warrior who fought against Custer and the 7th Arkansas Cavalry at the Battle of the Little Bighorn in Arkansas Art Center, Little Rock q Through Classicists) to large-scale hard edged paintings 1876. q “Showing Off: Identity and Display May 8: “Dorothea Lange’s America” Photo- in the 50s. in Asian Costume” (May 23) How costume graphs made by Lange and her Farm Security and objects of personal adornment functioned Administration colleagues , Ben Palm Springs Art Museum q “Contemporary as a method of identification and display from Shahn, and Marion Post Wolcott during the Glass” (July 3) Glass and tech- the late 18th century to today; visual symbols early- and mid-20th century recording people niques from casting to glass blowing among range from Qing court costumes to Indonesian coping with the Dust Bowl, bank failures, and other methods in diverse styles and subjects. textiles. q “Into the Forest: Landscape as Sub- the loss of jobs and homes; “Industrial Beauty: q Through May 1: “Reflections on Water” A ject and Studio in 19th-Century France” (July Charles Burchfield’s Black Iron” Watercolors, variety of works that consider how water defines 4) Prints, drawings, and photographs explore oil paintings, sketches, and notes that show the human experience as a source of negative im- the beginnings of making art en plein air and artist’s process in making Black Iron, a newly pact as well as pleasure and cultural importance; its proponents among the Barbizon School and arrived gift to the museum. q “Nathalia Eden- “Bauhaus twenty-21: An Ongoing Legacy— the Impressionists. q “Who We Be” (June 27) mont: Force of Nature” (May 1) Large-format Photographs by Gordon Watkinson” Twelve of A look at the contemporary arts, justice move- photographs, some never exhibited before. q the most iconic Bauhaus buildings built before ments, and popular culture in America since “William Adolphe Bouguereau’s Admiration: 1933, shown together with a project built in this 1965: How do Americans see race now? Do A Special Loan” (May 15) French neoclassical century, thus showing the enduring philosophies we see one another more clearly than before? painting of ladies admiring Cupid is accompa- of the Bauhaus in 21st-century architecture. Selections from the center’s collection tell the nied by a related (both from the San q Through May 29: “Edward S. Curtis: One story. Antonio Museum of Art) and complemented Hundred Masterworks” (May 29) A selection of by traditional academic drawings of the nude vintage photographs—photogravure, platinum, Connecticut figure. q “Annual Juried Exhibition of the gold-tone, toned and untoned gelatin silver, Florence Griswold Museum, Old Lyme q Mid-Southern Watercolorists” (Apr. 27) In its cyanotype, and gold-toned printing-out paper “Ten/Forty: Collecting American Art at the 46th year, the show includes 136 entries from prints—that come from The North American Florence Griswold Museum” (May 29) Com- 74 artists; the final cut results in 30 works on Indian, a 20-volume, 30-year-in-the-making memorating a curator’s tenth anniversary, the display record of our Native Americans; “Changing the director’s fortieth, the exhibition reflects the Tone: Contemporary American Indian Photogra- museum’s growth and the changes of approach California phers” Diverse perspectives on Native Ameri- in light of new scholarship. Irvine Museum q “The Nature of Water: Our can identity, by Native Americans, provide a Most Precious Resource” (June 16) Works contemporary context for Curtis’s historical District of Columbia that document the natural cycle of water in the photographs. q “Tom Hunter: Life atmosphere: scenes that illustrate snow, clouds, and Death in Hackney” (July 10) Photographs rain, lakes, rivers, oceans. Crocker Art Museum, Sacramento q Through that rework Victorian paintings in a contempo- May 1: “Back to Life: Bay Area Figurative rary setting, the post-industrial landscape of his Laguna Art Museum, Laguna Beach q Drawings” Paintings of figures, still lifes, and own working-class neighborhood in northeast Through May 30: “Frederick Hammersley: landscapes by a group of northern California London. q “Louise Bourgeois: No Exit” (May Works on Paper from the Permanent Col- artists whose return to the humanist tradition 15) Bourgeois’s illogical spaces, irrational lection” Los Angeles modernist ranges from was revolutionary in the era of Abstract Expres- juxtapositions, and distorted anthropomorphic casual life studies to careful abstractions; “City sionism in the 50s and 60s: Park, Bischoff, and forms might appear surrealist in nature, but her Life, Los Angeles: 1930s to 1950s” Urban Diebenkorn were the first; “Ai Weiwei: Circle of subjects testify to her commitment to existen- scenes by members of the California Water Animals/Zodiac Heads” 12 monumental, bronze tial thought. Color Society who led the “American Scene” zodiac animal heads reinterpret those that once painting movement in California; “Helen Lun- adorned the famed 18th-century fountain-clock National Museum of Women in the Arts q deberg: A Retrospective” Survey beginning in of the Old Summer Palace, an imperial retreat “She Who Tells a Story: Women Photogra- the 1930s through Post Surrealism (the New outside Beijing. q “Andy Warhol: Portraits” phers from Iran and the Arab World” (July 31)  9  spring VIEWS continued The Lod Mosaic (detail). In “Predators From portraits to documentary to staged narra- and Prey,” Frost Art Museum, FL tives, images that provide insight into political tectural and figurative paintings that and social issues; made in the last decade, bespeak an artist firmly based in the these works challenge stereotypes surround- California scene, the Monterey region ing the people, landscapes, and cultures of the in particular. q “Frank Hartley Ander- q region. “Salon Style: French Portraits from son: Forging the Southern Printmakers the Collection” (May 22) 18th-century women Society” (June 19) Works by artists artists, their art, and their artistic legacies— of the Southern Printmakers Society, particularly that of Élisabeth Louise Vigée- formed in 1935 by Anderson. LeBrun. q “Womanimal: Zine Art by Caroline Paquita” (May 13) Recent work by zinester Morris Museum of Art, Augusta Caroline Paquita focusing on half-woman/ q “The Wild Treasury of Nature: A half-animal creatures, whimsical and irreverent Portrait of Little St. Simons Island” distractions into modern culture created by a (May 22) Artist Philip Juras captures punk-art zine maker. a wide variety of the island’s natural Florida landscapes on canvas. Hand Art Center, Stetson University, DeLand q Illinois “Oscar Bluemner’s Germany: Youth and Re- Tarble Arts Center, Eastern Illinois turn” (May 21) Works from the Vera Bluemner University, Charleston q “Kingdom Animalia: Freeport Art Museum q “Making Their Kouba Collection. Animals in Folk and Indigenous Art” (June 5) Mark: Illinois Women Artists 1940-1960” (May Wood and metal sculptures, ceramics, paintings, 7) Women who pushed boundaries by produc- Frost Art Museum, Florida International textiles, and more from the Americas, Haiti, ing diverse and experimental work that paved q University, Miami “Predators and Prey: A India, and West Africa. the way for future generations. Roman Mosaic from Lod, Israel” (May 15) In 1996, workmen widening the Jerusalem–Tel Block Museum of Art, Northwestern Univer- Kentucky Aviv road in Lod (formerly Lydda), Israel, sity, Evanston q Through July 17: “A Feast of Speed Art Museum, Louisville q “Kentucky came upon signs of a Roman mosaic with Astonishments: Charlotte Moorman and the Captured: Photographs Inspired by the Blue- depictions of exotic beasts and marine scenes, Avant-Garde” Film clips, music scores, audio grass State” (July 17) A travelogue stretching about three feet below the modern ground recordings, documentary photographs, snap- from urban to rural landscapes, backyards to surface; a rescue excavation revealed a mosaic shots, performance props and costumes, ephem- graveyards, and from portraits to street photog- floor of about 50 feet by 27 feet. Recently era, and correspondence offer fresh insights into raphy. conserved and now on display at the Frost, the Moorman’s improbable career in the 1960s, 70s, mosaic dates to approximately the 3rd century and 80s: a girl from Little Rock, Arkansas, who Maine CE, and is said to have graced the floor in a metamorphosed into a barrier-breaking figure in Portland Museum of Art q “Masterworks on reception hall of a private home. performance art and an impresario of the post- Paper: Highlights from the Portland Museum of war avant-garde; “Don’t Throw Anything Out: Art” (June 5) The myriad ways artists work on q Vero Beach Museum of Art “Nature Charlotte Moorman’s Archive” A look at the paper: drawings, prints, watercolors, and pho- Illuminated: Landscapes and Still Lifes by private Moorman, who had followed her dying tographs by stars such as Close, Frankenthaler, Heade and his Contemporaries” (June 5) See precepts: “Don’t throw anything out.” Hopper, Lichtenstein, Manet, and many more. the breadth of Heade’s oeuvre while com- paring his paintings with those of other 19th-century artists. q “Oscar Bluemner: Selections from the Vera Bluemner Kouba Collection” (May 22) Modernist urban and rural landscapes inspired by the “new styles”—the avant garde—encountered in Europe in 1912. q “John Baeder’s Ameri- can Roadside” (May 15) Documentary color photographs of the road: a classic diner, signs, mom-and-pop motels, gas stations. Georgia Georgia Museum of Art, Athens q “David Ligare: California Classicist” (May 8) Retrospective of still lifes, landscapes, archi-

Edward Hopper, Pemaquid Light. (detail) In “Masterworks on Paper,” Portland Museum of Art, ME

 10  spring VIEWS continued q “Edward Curtis: Selections from The North of viewing society through the history of con- Ralph Cahoon” (June 26) The inaugural show American Indian” (May 29) Images from Cur- servative political regimes. q “List Projects: in the new building: works that have been tis’s magnum opus, a 20-volume compilation Narrative Color” (May 22) Artists’ films and rarely shown. (amassed from 1907-1930) of photographs of videos that consider the relationship between and narrative about the languages, traditions, color and narrative. Fitchburg Art Museum q “TRIIIBE: same and cultural practices of Native Americans difference” (June 5) A fantastical, faux dress- primarily from the West and Pacific Northwest. Museum of Fine Arts, Boston q “#tech- ing room filled with clothing and accessories style” (July 10) The fashion industry: how worn by triplets whose various costumes and Maryland the synergy between fashion and technology guises appear in a collection of theatrical, styl- Walters Art Museum, Baltimore q “A is changing designers’ designs and the way ized photographs. Renaissance Original: Carlo Crivelli” (May people interact with their clothing through, for 22) Four of the six surviving panels from the example, clothes that respond to the environ- Smith College Museum of Art, Northampton Porto San Giorgio altarpiece (1470), reunited ment, dresses you can tweet, and garments q “Mothers’ Arms: Käthe Kollwitz’s Women for the first time since the 19th century, as well that come off a 3-D printer ready to wear. q and War” (May 29) Kollwitz’s works placed in as other artworks that were likely displayed on “The Idea of North: The Painting of Lawren their political, historical, and cultural context: private chapel or church altars. q “Madame de Harris” and “Lawren Harris: Modern Con- women and mothers are a particular focus, Pompadour, Patron and Printmaker” (May 29) nections from the MFA Collection” (June 12) featured as heroic rebel rousers and activists, Selections from the Suite of Prints Engraved Pioneering modernist whose paintings defined as breadwinners and protective guardians of by Madame the Marquise de Pompadour after 20th-century Canadian art: idealized northern children, and, in her later work, as victims or the Carved Gems of Jacques Guay, a first edi- landscapes from the 1920s and 30s show the mourners of the dead—from Weimar politics tion set of etchings produced by the Marquise northland’s isolated peaks and vast expanses of to the Nazi propaganda machine and various in the early 1750s, discovered in the Rare water. q “Megacities Asia” (July 17) Mon- social programs enacted to embrace “women’s Books issues.” Collec- tion of the Province- Walters. town Art Association Academy and Museum Art Muse- q “Toward um, Easton Abstraction” q “Paulette (May 30) Tavormina: New works Seizing by Constance Beauty” Black whose (July 10) academic Photographs background of still life took a back arrangements seat to the that recall the geometric and sumptuous minimal. detail of 17th- century still Mount life paintings. Holyoke College Art Washington Museum, County South Hadley q Museum of Through May Fine Arts, 29: “Dancers of Hagerstown the Nightway: q “Along the Ceremonial Eastern Imagery in Road: Navajo Hiroshige’s Weaving” Fifty-Three Wall hang- Stations of the Tokaido” (June 26)A series of umental sculptures and installations represent ings that depict the participants in the woodblock prints that record views along the the urban environments of Beijing, Shanghai, Yeibichai dance, the evening conclusion of “Eastern Road,” which linked Edo () Mumbai, Delhi, and , the Asian “Mega- a nine-day Navaho healing rite called the with Kyoto (the ancient Imperial capital of cities.” q “Visiting Masterpieces: Pairing Nightway, a sacred ceremony; “Fragile Paper Japan), published in 1833-34. Picasso” (June 26) Juxtaposing works to show Timeships: Photographs by Joel Meyerowitz” the artist’s range of techniques and styles—the Color photographs taken with a large-format Massachusetts transformation of the human figure, variation view camera: the landscape of Cape Cod. MIT List Visual Arts Center, Boston q of a single subject, and emulation of artistic Through July 17: “Tala Madani: First Light” forbears. q “Walid Raad” (May 30) Photogra- Davis Museums, Wellesley College, Welles- Provocative paintings, drawings, and stop- phy, video, sculpture, and performance works ley q “The Game Worlds of Jason Rohrer” motion animations that satirize conventional informed by the artist’s upbringing in Lebanon (June 26) The work of a single video game notions of masculinity, mock virility, and during the civil war and by the socioeconomic maker whose games engage emotional, intel- redistribute the dynamics of power—all on and military policies rife in the Middle East; lectual, philosophical, and social issues. q bright pastel color fields; “Villa Design Group” Raad explores the ways in which we represent, Through June 5: “Gendered Value: Curators’ Writing, performance, sculpture, and film cre- remember, and make sense of history. Choice” The museum’s permanent collec- ate a hybrid “theatre of design” that supports tion in the context of feminist : the the group’s interest in queer histories, the Cahoon Museum of American Art, Cotuit q “Coming Home Again: Works by Martha and aesthetics of cultural values, and the potential Unknown artist (Navaho), Yeibichai dancers with children, c. 1925. Handspun wool and commercial yarn. In “Dancers of the Nightway,” Mount Holyoke College Art Museum, MA  11  spring VIEWS continued

Xu Weixin, Miner Wang Haizhong, 2005-2015. Oil on canvas. In “Xu Weixin: Monumental Portraits,”University of Michigan Museum of Art, MI interplay between gender and value as seen under construc- through works of art that span periods, genres, tion in the and cultures; “That Right Promethean Fire: early 1900s, a Shakespeare Illustrated” In a celebration of virtual look at the 400th anniversary of Shakespeare’s demise the change over this exhibition explores the legacy of artistic time—show- engagement with the Bard’s plays: paintings, ing buildings prints, photography, and books. as they grew on site—and Rose Art Museum, , Kahn’s innova- Waltham q Through June 5: “Who Does She tive solutions Think She Is?” Retrospective of Rosalyn to the architec- Drexler’s multidisciplinary oeuvre: paintings, tural challenges collages, sculptures, plays and novels, and of his day. q photographic and video documentation of her “Alvin Lucier: life and work; “Ben Hagari’s Potter’s Will” I am Sitting in Multimedia installation of a potter’s rotat- a Room” (May ing studio in both three (a real site) and two 22) Sound (video) dimensions—a lump of clay trans- installation formed into a beautiful pot, transformed into a based on a clay-covered human, casting allusions to Adam performance by and the serpent, ancient Egypt’s divine potter, the composer and more; “Foster : Joyce Pensato” Site Lucier: the first specific mural inspired by cartoon characters performance and comic book heroes expressing a darker in 1969 was side of American Pop; “Sharon Lockhart/Noa produced as Eshkol” Multi-channel film installation: Lock- an archival hart explores composer and choreographer recording at Eshkol’s work, a contemporary artist activating the Museum the dances of a modernist composer through of Modern Art films of a new generation of dancers. (NY) in 2014. q “In Focus: Michigan Henri Cartier- University of Michigan Museum of Art, Ann Bresson” (May Arbor q “Xu Weixin: Monumental Portraits” 8) Ile de la (May 29) Two large-size portrait series: Miner Cité, Paris, 1952, printed later. Gelatin silver The Thinker which stood in the library of the Portraits (coal miners in contemporary China) print. Cranbrook Academy of Art where he studied. and Chinese Historical Figures: 1966-1976 (people who lived during the time of the Cul- Museum of African American History, Minnesota tural Revolution); the monumental size of the Detroit q “No Boundaries: Aboriginal Austra- Tweed Museum of Art, University of Min- images brings focus to the lives and ordeals of lian Contemporary Abstract Painting” (May nesota, Duluth q “Windows” (May 26) the subjects. q “Albert Kahn: Under Construc- 15) The work that rose out of the Aboriginal Site-specific, multi-disciplinary installation tion” (July 3) The archive of photographs that Australian artistic revolution of the 1970s: brings together sculpture, paintings, music, show the powerhouses of American industry artists across the continent began transforming and theatrical lighting: the artist has utilized their traditional iconographies into more clear acetate drawings and mirror-like sheets abstract styles without sacrificing their of aluminum suspended from the ceiling, and distinctive identities. covered aluminum attached to the walls.

Kalamazoo Institute of Arts q “Rhythms Walker Art Center, Minneapolis q “Life in of Abstraction: Landscape Duets of Arnold the Sky: The Elevated City” (May 28) a look Chang and Michael Cherney” (June 19) into the evolution of skyways in burgeoning Works combining contemporary paint- cities that contend with increased congestion, ing and photography, but rooted in the extreme weather, and urban regeneration: traditions of Chinese painting: Chang’s “streets above streets” are examined in St. Paul traditional ink brushworks of Chinese and Minneapolis, London, Hong Kong, Mum- landscapes photographed by Cherney. bai, and New York City.

Marshall M. Fredericks Sculpture Goldstein Museum of Design, University of Museum, Saginaw Valley State University, Minnesota, St. Paul q “When Places Speak” University Center q Through May 21: (May 8) This exhibition aims to start dialogues “Hweh-Geeh Returning Again” Inspired around the places related to sex trafficking and by three near-death experiences, all involv- an awareness of the role design plays in this ing almost drowning (in a river, a pool, and community concern. q “Ladakh: A Spirit of at sea), artist Jinwon Chang’s sculptural Place” (May 1) A glimpse at the beauty and installation is based on aquatic creatures the traditions of this remote region on the high- and vessels able to survive in water; “Can’t est plateau of the Himalayas in northern India Stop Thinking About….” Installation in- and the evidential problems brought forth by spired by the artist’s affinity to Fredericks’ modernization.

Dale Chihuly, Translucent Blue Putti Venetian with Gilt Leaves and Dragons, 1994. Glass. In “Dale Chihuly: Venetians,” Lauren Rogers Museum of Art, MI

 12  spring VIEWS continued

Double Portrait of Mughal Emperor Shah Jahan (1592-1666) and His Empress Mumtaz Mahal (1593-1631). India, late 19th c. Colors and gold on ivory. Object in “Wondrous Worlds,” Newark Museum, NJ

(June 26) In addition to his first children’s Bronx Museum of Art, New York City q book A Little Boy Was Drawing (1932), Through June 26: “Michelle Stuart, Theatre the exhibition features original illustration of Memory Photographic Works” A pioneer drawings for some of this artist’s classics of Land Art, known for nature-based art, less for children. know for recent large-scale photographic im- ages on view here; “Bronx Focus: Paintings by Princeton University Art Museum, Valeri Larko” Paintings that serve as a record Princeton q “By Dawn’s Early Light: of the graffiti culture in the Bronx, now on Jewish Contributions to American Culture the verge of extinction; other works showcase from the Nation’s Founding to the Civil the salt marshes and creeks that have survived War” (June 12) Books, maps, manu- within the urban sprawl—the Bronx as both scripts, prints, and paintings, including city and nature preserve; “Martine Fougeron: some of the earliest novels, plays, scientif- The South Bronx Trades” Photographs that re- ic treatises, and religious works produced veal the unseen places and unheralded workers by Jews in the United States. q “Women, of the South Bronx, contemporary and historic; Art, & Social Change: The Newcomb “Beyond the Veil: Works from the Permanent Pottery Enterprise” (July 10) Works made Collection” A selection of works by artists who Mississippi during the 45-year lifespan of the enterprise, reflect the various communities in the Bronx: Lauren Rogers Museum of Art, Laurel q which provided an opportunity for Southern African, Asian, and Latin American, and the “Dale Chihuly: Venetians” (June 5) Works women to support themselves and in the doing, mediation between tradition and globalism. q from the artist’s Venetians series, inspired by creating a vital workshop, the product of which “Permanent Collection Spotlight: John Ahearn the Art Deco style glass he saw in Venice in included not only iconic pottery, but also tex- and Rigoberto Torres” (July 4) Sculptures 1988: putti Venetians, Piccolo Venetians, and a tiles, metalwork, jewelry, and book bindings. produced individually or in collaboration, all selection of preliminary drawings. conveying both artists’ commitment to their local communities. q “Reflections in Tea” New York Montana Wellin Museum of Art, Hamilton (May 29) After the ritual of preparing loose- Missoula Art Museum q “Gennie DeWeese: College, Clinton q “Yun-Fei Ji: The Intimate leaf tea in special paper filters for individuals The Process of Painting” (May 2) Non-objec- Universe” (July 2) A selection of work from and groups, Brody transcribes the conversations tive works that forged a path toward modern- 2006 to the present including new scrolls, of participants onto the stained tea bags that ism at a time when Romanticism was rife in sculptures, and drawings; Chinese scroll paint- have been dried and flattened; the result is an Montana. q “Gesine Janzen: Floodplains” ing takes on a 21st-century look—here are ever-growing set of fluttering paper quilts—a (June 25) River imagery explores the passing the traditional landscapes executed with the visual experience of collective memories and of time and the elusive qualities of memory: traditional ink on paper, but the gritty reality of experiences. q “Jill Baroff: in a grove” (May woodcuts; monotypes; lithography; and mul- life in China replaces the idealistic realism of 8) Installation in which the top surface of tree tiple layers of colors, forms, and veils of ink to traditional scroll painting. trunks with hand routed grooves have been reflect the qualities of flowing water and mimic painted a solid color, the trunks channeling the act of recollection. q “Larry Thomas: Am- Katonah Museum of Art q “The Next” (June light and capturing shadow. mophilia” (July 23) The artist’s response to his 19) Art in nature: real birds’ nests and works immediate environment along the California by contemporary artists explore the notion that Frick Collection, New York City q “Van coast using gestural techniques drawn from the drive to gather, assemble, and create is a Dyck: The Anatomy of Portraiture” (June 5) action painting; abstract drawings, paintings, function of both nature and the artistic process. Works—some 100 of them—by the favorite and prints of the coastline suggest changes and portraitist of the rich and powerful figures of resilience in the native species. Americas Society, New York City q “Hemi- the 17th century: shining through all is the spheres: A Labyrinth Sketchbook by Silvia versatility of the artist, his inventiveness, his Gruner” (May 31) Feminism and post-Concep- stylistic development, and his efficiency and Newark Museum q “Wondrous Worlds: Art tualism expressed through experimental film, genius. & Islam through Time & Place” (May 15) photography, installation, and performance. Historic and contemporary objects showcase Yun-Fei Ji, The Village and Its Ghosts (detail), 2014, the history and breadth if Islamic art: carpets, Ink and watercolor on Xuan paper. In “Yun-Fei Ji: The Intimate Universe,” Wellin Museum of Art, NY costumes, jewelry, ceramics, glassware, met- alwork, prints, paintings, and photo- graphs.

Zimmerli Art Museum, , New Brunswick q “Here Now: Rutgers 250” (July 3) Images submitted by students, faculty, staff, alumni, and visitors to New Bruns- wick, Newark, and Camden campuses show education and campus life in the 21st century. q “Abstraction Squared” (July 10) Artworks drawn mostly from the museum’s collection of American art demonstrate the transformative qualities of geometry and color—and presents a tongue-in-cheek homage to Josef Albers and the square. q “Donkey-donkey, Petunia, and Other Pals: Drawings by Roger Duvoisin”

 13  spring VIEWS continued Grey Art Gallery, New York University, New role in shaping our York City q “Art For Every Home: Associated modern view of American Artists, 1934-2000” (July 9) Over- the old masters: view of the commercial enterprise that pub- drawings both by lished prints by Benton, Curry, and Wood and old masters and attempted the popularization of American art in by contemporary the 1930s and beyond. artists. q “Sight Reading: Photogra- Japan Society Gallery, New York City q “In phy and the Legible the Wake: Japanese Photographers Respond to World” (May 30) 3/11” (June 12) A wall lined with hundreds of The history of pho- rescued family snapshots in memory of the day tography as a means an enormous earthquake and tsunami struck of writing with light: northeast Japan, devastating the region and set- works from the ting off a nuclear power plant failure. 1840s to the pres- ent reveal how the Met Breuer, New York City q The inaugural camera can transmit exhibitions: “Nasreen Mohamedi” (June 6) The not only appearance, first museum retrospective of the artist’s work in but also narratives, the United States, part of the Met’s initiative to arguments, and ideas explore and present the global scope of modern from art to zool- and contemporary art; working with pencil and ogy, from fashion Egon Schiele, Standing Male Nude, Back View (detail), 1910. Watercolor, gouache and charcoal ink on paper, experimenting with organic forms, to warfare through on paper. In “The Expressionist Nude,” Neue Galerie, NY grids, and hard-edged lines, Mohamedi’s oeuvre x-rays and aerial shows her continuing engagement with abstrac- views, photojournalism, and . q A Retrospective” (May 15) Key works from tion. q “Unfinished: Thoughts Left Visible” “Trees: Oil Sketches from the Thaw Collection” all aspects of his oeuvre including poetry, (Sept. 4) When is a work of art finished? Here (July 10) The late 18th-century practice of using sculpture, painting, artist’s books, printmak- are hundreds of them: “Unfinished” works of oil paint on paper while working outdoors is ing, and film. q “A Japanese Constellation: art, including those left incomplete by their shown here in abundance. Toyo Ito, SANAA, and Beyond” (July 4) makers, thus giving insight into process, and The work of architects and designers orbit- those that are intentionally unfinished, non The Museum at FIT, Fashion Institute of ing Pritzker Prize-winners Ito and SANAA finito, an aesthetic that embraces the unresolved Technology, New York City q “Denim: Fashion’s provides an overview of Ito’s career and his and open-ended—a process explored by great Frontier” (May 7) The multi-faceted history of influence on a new generation of Japanese artists ranging from Titian to Pollock. denim and its relationship with high fashion from architects—a retrospective of recent works the 19th century to the present from work wear to by three generations of designers: models, Morgan Museum & Library, New York City haute couture. drawings, and images of architectural designs q “Warhol by the Book” (May 16) Warhol as from Japan since the 1990s. q “Edgar Degas: book artist: objects dating from student days, Museum of Arts and Design, New York City q A Strange New Beauty” (July 24) The artist’s early years in NYC as commercial artist and “In Time (The Rhythm of the Workshop): An- monotypes—works in which he abandoned self-publisher, and work of the 1960s, 70s and dreas Bunte, Denis Côté, Daniel Eisenberg and the academic drawing style of his youth and 80s—drawings, screen prints, photographs, self- Varvara & Mar” (May 22) Three filmmakers turn invented a new repertoire of mark-making published books, children’s books, photography their cameras on manufacturing and the ways that included wiping, scraping, scratching, books, text-based books, unique books, archival that material, bodies, and value are shaped by in- fingerprinting, and rendering via removal; material, and dust jacket designs. q “Pierre-Jean dustry; the films are punctuated by an installation these works are shown with related paint- Mariette and the Art of Collecting Drawings” of metronomes, set to follow and translate into ings, drawings, pastels, sketchbooks, and (May 1) The 18th-century collector’s pivotal rhythm the trade volume of the stock markets. prints. q “Projects 102: Neïl Beloufa” (June 12) Moving-image media combined with Museum of sculpture resulting in domestically scaled Modern Art, cinematic spaces. New York City q “Jackson Pollock: Neue Galerie, New York City q Through A Collection Sur- June 13: “Munch and Expressionism” An vey, 1934-1954” examination of Munch’s influence on his Ger- (May 1) Pollock’s man and Austrian contemporaries, and their artistic evolu- influence upon him. Other artists included are tion from loosely Max Beckmann, Erich Heckel, Ernst Ludwig figurative images Kirchner, Gabriele Münter, and Emile Nolde, based on mythical and the Austrians included are Richard Gerstl, themes made in Oskar Kokoschka, and Egon Schiele; “The the 30s and early Expressionist Nude” A selection of works 40s to his pour and on paper from Austria and Germany shows drip abstractions the shift in treatment of the human figure in made in the 40s the early 20th century. Proponents of the late and late 50s; also 19th-century Symbolist movement offered included are little- near caricatures of the nude; “German Ad- known engrav- vertising Posters of the Early 20th Century” ings, lithographs, Reality-focused art and design became the screen-prints, plakatstil (poster style) design in the early and drawings. q 20th century in contrast to previous more “Marcel Brothers: ornate advertisements; here ad messages are

Jackson Pollock, Untitled, c. 1950. Ink on paper. In “Jackson Pollock,” , NY

 14  spring VIEWS continued

vated on Olympus—mosaics, sculptures, jewelry, the artists’ work to date; major series appear ceramics, coins, glass, and implements—dating alongside works from other points in their from the 10th century BC to the 4th century CE. career, creating dialogues that span the pair’s 33-year history of working together, their body Society of Illustrators, New York City q “The of work offering a meditation on the perception ZAP Show: A Cultural Revolution” (May 7) of everyday life through a witty “misuse” of Retrospective of original ZAP artwork; Zap cultural genres such as low-budget Hollywood Comix #1, self-published in 1968 by illustrator movies, picture postcards, the readymade—or- R. Crumb whose efforts resulted in the forma- dinary life transformed into something that is tion of a creative cooperative in San Francisco’s not. Haight-Ashbury district that broke away from the traditional comics market, set new standards for Studio Museum in Harlem, New York City creators’ rights and ownership, and eventually q Through June 26: “Rodner McMillian: liberated mainstream comic books and estab- Views of Main Street” Works that use sym- lished an adult market for the medium. bols of domesticity to scrutinize the myth of a middle-class “Main Street.” q “Ebony Noguchi Museum, New York City q “Tom G. Patterson: …when they grow up…” Site Sachs: Tea Ceremony” (July 24) Site specific specific, mixed media installation on violence installation for the museum’s indoor-outdoor gal- against young people of color and the fears it leries: a tea house in a garden and tea ceremonies creates; “LGBTQ” A presentation about this hosted by the artist as contrast to the artist’s James A. Michener, Thinking Man’s Collage No.1, c. 1971-71. Wood. culture includes video, works on paper, and a In “Pattern Pieces,” James A. Michener Art Museum, PA exhibition “Space Program: Mars,” which repre- performance; “Palatable: Food and Contem- sents the apex of cutting-edge science while the porary Art” Contemporary artists using food expressed with few words and a dominating Tea Ceremony, the universe within. object or figure—simple imagery the order of to address issues of politics, memory, heritage, the day. Solomon R. Guggenheim Museum, New York race, and culture; “Surface Area: Selections City q “Vasily Kandinsky” (spring) Seven select from the Permanent Collection” How artists New Museum, New York City q “Beatriz San- canvases from the Guggenheim collection trace have explored new forms of materiality in their tiago Muñoz” (June 12) A new body of work: Kandinsky’s aesthetic evolution: his early begin- treatment of surface. a series of 16mm portraits of anthropologists, nings in Munich at the start of the century, the q activists, and artists working in Haiti and Puerto return to his native Moscow with the outbreak Watermill Center, Water Mill “POST: Rico. q Through June 19: “Andra Ursuta” of World War I, his interwar years in Germany Basco Vazko” (June 17) An artist’s newspaper, Drawing, painting, sculpture, and installations as a teacher at the Bauhaus, and his final chapter made by altering pages of the New York Post, that distort folk traditions, caricature economic in Paris. q “Peter Fischli David Weiss: How to which serves as a canvas, painted, collaged, symbols, and critique gender expectations; Work Better” (Apr. 27) Retrospective that brings and transformed to alter the appearance and/or “On Forced Tears and Outsourcing” Installation together sculptures, photographs, videos, and meaning of the original contents. brings Cally Spooner’s live performance prac- installations, the most complete overview of tice into the arena of museum exhibitions. q Through June 26: “Ni- cole Eisenman” Figura- tive paintings that combine the imagina- tive with the lucid, the absurd with the banal, and the stereotypical with the countercultural and queer; “Goshka Macuga” In-depth his- torical research applied in tapestries to the evolving relationships among artists, institu- tions, politics, and communities.

Onassis Cultural Center, New York City q “Gods and Mortals and Olympus: Ancient Dion, City of Zeus” (June 18) The relation- ship between daily life in a city built on the slopes of Mount Olym- pus and the mythologi- cal abode of the gods at the peak: artworks and artifacts recently exca-

Lawren Harris, Mountains in Snow: Rocky Mountain Paintings VII, c.1929. Oil on canvas. In “The Idea of North,” Museum of Fine Arts Boston, MA

 15  spring VIEWS continued Ohio as works of art; “Everhart /Snaps: Cincinnati Art Museum q “The Community Art at the Everhart” Etching Revival from Daubigny Photographs and snapshots by to Twachtman” (May 8) The community members featuring renaissance of etching from the the museum building. late 1850s through the turn of the century in Europe and the U.S.; re- Barnes Foundation, Philadel- viewing one of the first original art phia q “Picasso: The Great War, movements in America. q “Max Experimentation and Change” and Gaby’s Alphabet by Tony (May 9) Works created from Fitzpatrick” (July 10) A children’s 1912 to 1924, war years during alphabet relates reading to art. which Picasso used both cubist and classical modes in his art; Oregon the exhibition was the result of a Schnitzer Center for Art and De- partnership with the Columbus sign, Pacific Northwest College of Museum of Art (OH), where it Art, Portland q “Lifetime Achieve- will open in June. ment Award Exhibition: James Rosenquist” (June 18) Works Palmer Museum of Art, from the years 1964 through 2011, Pennsylvania State University, presented with the Center for University Park q Through May Contemporary Art & Culture; 8: “Consciously Surreal: Pho- both institutions join together to tography, the Uncanny, and the honor Rosenquist with a Lifetime Body” Challenges to the notion Achievement Award. of photographic truth through the use of experimental techniques, Pennsylvania fragmentation, and chance Lehigh University Art Galleries, encounter; “From Dada to Dali: Bethlehem q “Object as Subject: Surrealist Works on Paper” Works The Lehigh University Art Gal- by artists from both camps: leries Teaching Collections” Parts Dada—the rejection of conven- 1 and 2 (May 29) A broad range tion and rationalism with whimsy of objects amassed over the 150 and absurdity, and Surrealism— years of the university’s existence. evolved out of Dada but reject- q “Revisiting South Bethlehem” ing Dada’s whimsy. q “Small (May 18) Works by contemporary Prints, Big Artists: Renaissance Pablo Picasso, Harlequin Musician, 1924. Oil on canvas. and Baroque Masterpieces from and historical photographers contribute to the In “Picasso: The Great War,” Barnes Foundation, PA visual history of the borough. q “…of the Carnegie Museum of Art” (May 15) Woodcuts, Americas” (June 4) Contemporary Latin Ameri- Painting with Color and Light” (June 4) Two engravings, and etchings trace the development can art, and the ways Latino artists have carved art glass windows commissioned for Lafayette of in Europe. out a place within the mainstream of art history. College in the late 19th century, their history and artistry, and Louis Comfort Tiffany’s use of Tennessee James A. Michener Art Museum, Doylestown opalescent glass. Frist Center for the Visual Arts, Nashville q q “Philadelphia in Style: A Century of Fashion Through May 1: “Treasures from the House of from the Robert & Penny Fox Historic Costume Everhart Museum, Scranton q Through Alba: 500 Years of Art and Collecting” From Collection, Drexel University” (June 26) A June 6: “Between the Covers: Altered Books one of the oldest and most significant of clothing and accessories created, in Contemporary Art” Books transformed by collections in Europe: Goya, Murillo, Rubens, worn, and sold in Philadelphia from 1896 to folding, drilling, shredding, , stacking, Titian, and more from antiquity to the 20th 1994. q “Pattern Pieces: Can You Make a Quilt ripping, sewing, pasting, burning, and collaging century; first time outside Spain; “Guido van Out of Wood?” (May 15) Pattern, shape, and into sculptures and installations pursue the ques- der Werve: Nummers 2 6 8 14” Four films from color in contemporary art as it relates to quilts tion: “Is the printed publication about to disap- van der Werve’s Nummers (Numbers) series: and their long history as pear?” and answer it by giving books new life witty subversions of relationships between both utilitarian and artistic time, nature, culture, objects: a look at the and the body, with building blocks of visual music and action. art within the context of q “The Power of patchwork and quilting in Pictures: Early So- American art. q “Holly viet Photography and Trostle Brigham: Sisters Film” (July 4) From and Goddesses” (May 29) early constructivism Self-portraits in the guise to modernist images: of artists of the past such an examination of as Kahlo, Gentileschi, and how photography, Lempicka: a connecting film, and poster art link between a contem- were harnessed to dis- porary woman’s life as an seminate Communist artist and the lives of her ideology—a time in “sisters.”

Williams Center for the Aleskei Vasilev, They are Writing about us Arts, Lafayette College, in Pravda, 1951. In “Russian Stories, Easton q “Tiffany Glass: Soviet Ideas,” Springville Museum, UT

 16  spring VIEWS continued history when artists acted as engines of social change and radical political engagement. Texas Nasher Sculpture Center, Dallas q “Sightings: Mai-Thu Per- ret” (July 17) Sculptural works, paintings, and performances based on a fictional feminist art commune called The Crystal Frontier—imaginary women live in New Ponderosa, a town in the New Mexican desert; based on objects and text from the women of New Ponderosa, the artist made life-size figures in papier-mâché, ceramic, and latex, outfitted them in soldiers uniforms and gear, and presents them as representative of the women fighting in all-female militia groups in Kurdistan.

Kimbell Art Museum, Fort Worth q “Titian Masterpiece” (June 12) The Entombment of Christ, one of Titian’s most poignant masterpieces, created at the height of his career, is on loan from the Museo del Prado, Madrid. Utah Utah Museum of Contemporary Art, Salt Lake City q “Ideo- logue” (July 23) Through text, print, video, and sculpture, the projects in this exhibition playfully map out how contemporary artists poke fun at the political universe and its claims to social truth. q Through Apr. 30: “Yoshua Okón: Oracle” Multi-channel TRIIIBE, Fine, 2010. Archival inkjet print. In “TRIIIBE,” Fitchberg Art Museum, MA video explores the issue of immigration and national borders: Oracle, a small town in Arizona, was witness to a large protest against the of the 1980s: the myriad experiences and languages used by women art- migration of unaccompanied minors from Central America; “David ists Condit, Cuevas, Cohen, Hatoum, and Beckman. Brothers: Rolithica” Elaborate staged worlds serve as the palette for Chrysler Museum of Art, Norfolk q “Edward Burtynsky: Water” photographic compositions: installation and photography combined (May 15) Large (4 by 5 feet minimum), high-definition photographs, present a scene from a surreal land, both hell and paradise. many taken from planes, helicopters, drones, and even a 50-foot q pneumatic mast; the focus is on six themes—agriculture, aquaculture, Springville Museum of Art Through May 14: “Here, There, and waterfront, control, distress, and source. q “Seascapes by William Trost Everywhere” Diverse depictions of place show how “spaces” become Richards” (May 1) An insight into the artist’s work, from his paint box “places,” locations invested with meaning; “Middle/Nowhere” (May and palette to preparatory sketches, from quick works in ink to deftly 14) The forgotten spaces and disregarded landscapes of the American executed works of color. q “New Light on Land: Photographs from the West—the common yet overlooked materials, locations, and activi- Chrysler Collection” (May 15) How nature has inspired photographic ties that give a more complex, gritty picture of the West—mountain innovation and creativity since the advent of the medium. springs, ox bows, and wild flowers, but also dry lakebeds, horse flies, and thistles.” q Through June 1: “Russian Stories, Soviet Ideals” University of Richmond Museums, Richmond q At the Harnett Soviet artwork that depicts the effect of the Soviet government on the Museum of Art: “The French Horse from Géricault to Picasso: Works realities of everyday life; “Voices: People, Places and Ideas in Utah from the Virginia Museum of Fine Arts” (Apr. 24) Painting, sculpture, Art” In three sections: People (images of individuals from different and work on paper by the likes of Picasso, Toulouse-Lautrec, Degas, times and backgrounds), Places (grand landscapes, tall buildings, and others in every major movement from Romanticism to Surrealism. intimate spaces), and Ideas (images that stimulate the mind and the q “Bernard Perlin: An Anthology of Drawings, 1934-1994” (May 13) imagination). The full scope of Perlin’s “magic realism” drawing from the 1930s to the 90s: wartime propaganda posters, pictures of New York Society, views of Virginia Italy, magazine illustrations, portraits, self-portraits, and nudes. q “Jazz: University of Mary Washington Galleries, Fredericksburg q Print Series by Romare Bearden” (June 26) The life of African-Ameri- “Video: Shedding the Utopian Moment” (Apr. 29) Feminist video art cans in paintings, prints, and collages. q At the Lora Robins Gallery of Design from Nature: Through May 13: “Massive Rocks & Miner- als: Selections from the Collection” Spectacular specimens extracted from mines all over the world: quartz clusters from Arkansas, amethyst from Brazil, Peruvian pyrite, okenite and stillbit specimens from India, and more; “Stories, Status, & Patriotism: Nineteenth-Century American Ceramics from the Collection” Objects that tell stories, gave status to their owners, and demonstrated American patriotism. q At the Joel and Lila Harnett Print Study Center: “Castiglione to Warhol, The Art of Making Faces” (Apr. 22) Drawings, prints, photographs, and paintings from the 17th century to the present. Wisconsin Villa Terrace Decorative Arts Museum, Milwaukee q “Making a Scene: Wisconsin Art Organizations” (May 8) Artwork from the Ce- darburg Artist Guild, the League of Milwaukee Artists, and Wisconsin Visual Artists. Woodson Art Museum, Wausau q “Walter Wick: Games, Gizmos, and Toys in the Attic” (May 29) Retrospective of this photographic illustrator of I Spy books with his elaborate sets and models of riddles, puzzles, and optical illusions. q Edward S. Curtis, An Oasis in the Badlands, 1905. Photogravure. In “Edward S. Curtis,” Palm Springs Art Museum, CA

 17  CROSSWORD by Myles Mellor (solution on next page)

Roger Duvoisin, The Happy Lioness (detail), book jacket design for a story by Louise Fatio, 1980. Gouache and black ink on illustration board. In “Doney-donkey,” Zimmerli Art Museum, NJ

Across 1. IRS charitable provision being restored 40. Van Gogh’s “Great Peacock ____” 20. Painter of Black Wall Street Noah ____ 6. Photographer whose works are displayed at 42. Conceptual artist who engaged with, 22. Gustave Caillebotte’s the Arthur M. Sackler Gallery, Ahmed ____ challenged and rejected the concept of “work” Paris Street, ____ Day, 1877 9. It’s usually referred to in art as a period 43. Artist who created Harran II, Frank ____ 23. Biblical subject in a Hans Holbein painting 11. The ____ Museum (NY) recently released 46. Writer Jonson 25. Goya painting Out Hunting for ____ Mass Effect: Art and the Internet in the 48. 20th-century American painter, ____ Francis 28. Connection 21st Century, with the MIT Press 49. George Caleb Bingham’s Concealed ____ 29. Auction label 12. Promotional creation at the new building at 50. New-York Historical Society president 30. Brown, for one the UC Berkeley Art Museum and Pacific and CEO Dr. Louise ____ Film Archive, 2 words 31. Tyrian purple, e.g. 51. Doctor of Science, for short 13. Yoko Ono’s “Ceiling Painting” was 34. ____Sapp, Canadian Cree painter Down also called this 35. The ____ on the Sea of Galilee, famous 15. The aryballus was one of the most popular 1. Home to the Smithsonian American Art painting stolen from the Isabella Stewart pottery items created by this civilization Museum’s craft and decorative arts program Gardner Museum of Boston 17. Baltimore collector, Stephen ____ 2. Copper for example 37. Painting medium 19. Group of Seven member, Thomson 3. Rule 38. Moon and Half Dome photographer ____ 21. Country of origin of Gris and Berruguete 4. Edgar Allen Poe’s The Portrait 40. American painter and friend of Degas, 22. Sculptures of a certain kind 5. Consume ____ Cassatt 24. Shipping delivery estimate, abbr. 7. Metal mix 41. Going on as scheduled, as an event 26. Smaller version 8. Location of many archeological discoveries 44. Link ____ 27. Deputy Director of the Getty Foundation, 10. First name of the painter of The Murder 45. A Shropshire by Housman Joan ____ 14. Creator of “Formal Wear,” 1968, on display at 46. Hamlet’s favorite verb 32. Ending for epic and ser the Institute of Contemporary Art, MA, Diane ____ 47. PhD. graduate 33. University storing digital photographs 16. Italian artist who invented the monotype from the Great Depression era technique 35. Charon’s waterway 17. Connective tissue 36. Artist who painted “Carretadas al Cementerio” 18. Compass direction 39. Yale student  18  Did you know this? Edgar Degas exhibited only one sculpture during his lifetime: The Little Fourteen-Year-Old Dancer. To the surprise of experts—and of his family— more than 150 sculptures of dancers, horses, and nudes were discovered in his studio after his death in 1917. Degas had been quietly using the me- dium in much the same way as he did sketches, to explore compositions. q

[From Artstor, a digital resource for images] Edgar Degas, Arabesque over the right leg, left arm in line, 1882-1895. Yellow-brown wax. Musee d’Orsay, Paris, France

John Baeder, Trailer, Arizona Route 66, 1975. “C” Print on Kodak Endura Paper. In “John Baeder’s American Roadside,” Vero Beach Museum of Art, FL

Frank Hartley Anderson, Church Supper, n.d. Wood engraving on paper. In “Frank Hartley Anderson,” Georgia Museum of Art, GA Solution to crossword

Helen Lundeberg, Self-Portrait, 1944. Oil on masonite. In “Helen Lundeberg,” Laguna Art Museum, CA

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.

 19 