museumA quarterly newsletter forVIEWS small and mid-sized museums

April 2018

Kazumasa Nagai, Ueno Zoo, 1993. Silkscreen.  1  In “Red Circle,” University of Michigan Museum of Art, MI The Conservation Conundrum

Attributed to and Lorenzo di Credi, A Miracle of Saint Donatus of Arezzo, c.1479-85. In “The Mystery of Worcester’s Leonardo,” Worcester Art Museum, MA

The debate about hiding or revealing the work of conservation- A conservator explains ists was brought to the fore with last year’s sale at Christie’s of Gallagher goes on to explain: There are those who feel that Leonardo’s Salvator Mundi. The pre-conservation image of the “because in the narrative, figurative tradition of paintings, painting showing cracks in the walnut wood panel and large this is all supposed to hold together. So, it seems unbelievably losses of paint prompted Thomas Campbell, former Director of disfiguring to see something full of little losses. I always the Metropolitan Museum of Art (NY), to comment on Instagram, remind people that if you were to pull those losses in general “450 million dollars?! Hope the buyer understands conservation down to the corner of the picture, it’s really minimal—often issues…” In response, an Art Newspaper contributor tweeted that just a few percent. But it’s a visual white noise that you cannot if Campbell had followed the work of the Met’s conservation filter out. And so, the personal, thoughtful process of retouching department, “he would know that many Old Master paintings look just suppresses the noise. You can’t turn back time, but it like this, when stripped down.” allows you to read the picture, compromised though it might In fact, says Michael Gallagher, conservator in charge in be, changed though it might be. the Met’s paintings conservation department, “…when you go “There is something in a really fine work of art that seems to through a gallery of pictures from before the 19th century, there rise above all these vicissitudes and indignities. Often, when are many things there that you could literally say were pristine, I’m working on something and retouching, I end up finishing meaning absolutely free from any damage....” Yet, in truth, most far earlier than I thought, because at a certain point, it’s like of them have been cleverly restored to the point where observers somebody see them as “pristine.” Paintings, he says, are “complex objects being able inherently, that are vulnerable, that have been the subject of a to leave the great deal of human interference, some of it well-intentioned, hospital: ‘I some of it absolutely not.” am on my So, the question, how much of conservators’ work should be own two visible and how much hidden, arises once again, interest ignited feet now.’” by the publication of the pre-conservation image of Leonardo’s q painting. Its condition was deplorable, like many Old Master [The above paintings seen “stripped down” after bad handling by owners or conundrum restorers over time. “Bad handling” in the conservation process was reported occurred before WWII. It was only until then that conservators by Ben Luke achieved professional status through “systematic training, a body in the of literature, a philosophical approach that is discussed in open March 2018 forum in lectures and symposia,” all of which became requisite issue of for the professional. The Art Today, some of these highly trained professionals think their Newspaper.] work in preservation and display of objects is overlooked. But, says Gallagher, “there is no question—we discover it again and again—that visitors are fascinated by the process and the challenges involved.” But the discipline is so complex that “the process, the thinking, doesn’t lend itself to soundbites.” Thus, the question of whether to reveal the conservation process to the public or to hide it remains moot.

Leonardo da Vinci, Salvator Mundi, c.1500. Oil on walnut.

 2  The Master’s Hand? Paintings by Leonardo da Vinci are rare and exquisite, but not to Lorenzo alone. Researchers now argue that Leonardo was the always easily verifiable. Even the famous Salvator Mundi, sold last main painter of both. year by Christie’s for an astounding $450 million, has engendered “We are not afraid of any controversy,” says Director of the questions about its attribution. Worcester Art Museum Matthias Waschek. External experts are Andrea del Verrocchio, an artist/teacher/leader of a well known cautious; comments range from “plausible” to “doubtful.” artists’ workshop in Florence in the mid-late 15th century, was X-rays of the Worcester panel have confirmed the finding that there commissioned in around 1475 to produce an altarpiece for the Duomo were two artists at work on it. One expert argues that underdrawings of Pistoia in Tuscany. Leonardo and Lorenzo di Credi were young show the hand of Leonardo. Light effects, a realistic landscape, brush members of his workshop at the time. Paintings that came out of strokes, the medium (oil paint was distinctively Leonardo’s medium— Verrocchio’s workshop in the 1480s, including the Pistoia alterpiece, Verrocchio and Lorenzo used tempera) also point toward Leonardo. were often worked on by several artists. Thus, the task of attributing The same conclusions were drawn from the panel. works from Verrochio’s shop becomes difficult if not impossible. After almost 80 years in the Worcester Art Museum’s collection Presently in question is a panel owned by the Worcester Art (it was donated to the museum in 1940), as a Lorenzo di Credi Museum (MA)—A Miracle of Saint Donatus of Arezzo (c. 1479-85) painting, its label will now read “Attributed to Leonardo da Vinci —that has been attributed to Lorenzo di Credi. Museum specialists, and Lorenzo di Credi.” o together with outside researchers and senior curators are making the [The two panels executed for the Pistoia Duomo in Tuscany are now on case that the work should be credited to Leonardo. Currently, the view at the Worcester Art Museum (MA) in the exhibition “The Mystery Miracle panel is on display with another, The Annunciation of Worcester’s Leonardo” through June 3,] (c. 1475-78), from the Musée du Louvre (), which is attributed The Return of #5WomenArtists More than 300 cultural organizations from six continents, 22 countries, and all 50 states signed up to participate in this year’s National Museum of Women in the ’ (DC) award- winning #5Women- Artists social media campaign. During Women’s History Month in March, the campaign invited museums, cultural organizations, and individual art lovers to share in- formation on social media about women artists. The effort inspired discussions on gender in the presentation of art in both the U.S. and around the world, and revealed new ways Hung Liu, Sisters, 2000. Lithograph with chine collé on paper. In “Hung Liu In Print,” National Museum of Women in the Arts, DC museums interact and have renewed significance,” said NMWA Director Susan Fisher engage with audiences through social media. Sterling. “There is no better time than now to raise awareness “Can you name five women artists?” is the question that that the art world also disadvantages women’s opportunities and launched the campaign. Social media users were asked to share advancement, with women artists of color experiencing a double stories of women artists of color who often face double discrimi- disadvantage in an already challenging field.” nation based on both race and gender. Throughout the month, the NMWA’s Director of Public Programs Melani Douglass went on: museum shared information about women artists—including “Very few collections highlight women artists. When talking about biographies, quotes, and statistics—with #5WomenArtists. Last women artists of color the numbers drop even more dramatically. year more than 520 national and international cultural institutions Collections, exhibitions and programs are beginning to become and nearly 11,000 individuals joined the campaign to promote more inclusive as leaders in the field actively push for equity, not women artists in all 50 states and on seven continents. only in the arts, but also in arts administration, so that those who “In this watershed era when influential men are losing their jobs are making the decisions about what’s bought, shown and discussed due to sexual abuse and harassment, and women are speaking out focus on equity for all women.” o with powerful #MeToo stories, discussions about gender inequity

 3  TheThe RRightight SideSide ofof HHistory?istory?

Brian Duffy, Photograph from the Album cover shoot for Alladin Sane, 1973. In “David Bowie is,” Museum, NY

Has the #MeToo which in turn provokes the fundamental question of what the movement moved museum’s role in the world should be.” into museums? In Experts agree that the cancelation by the National Gallery January the National could have significant consequences. Says Tom Eccles, executive Gallery of Art (DC) director of the Center for Curatorial Studies at Bard College, postponed a Chuck “It [the National Gallery] has enormous symbolic authority and Close exhibition be- power as an institution. This is a time when sending messages cause of allegations is very, very important…. [The gallery’s] message is: If you’re of sexual harassment accused of these acts, you will not get an exhibition at the involving potential National Gallery.” Institutions, he adds, should be more focused portrait models. on who are the artists that expand the museum’s collection and Close has denied what actually belongs in a museum: more female artists? more the allegations, artists of color? “We can’t not show artists because we don’t calling them “lies” agree with them morally; we’d have fairly bare walls. It’s about and maintaining that he is “being crucified.” addition—bringing new voices in and new artworks in.” Thus, the question arises: what to do with the paintings and James Rondeau, the president and director of the Art Institute photographs by Mr. Close—held by major institutions like of Chicago weighs in: “The typical ‘we don’t endorse, we just the Metropolitan Museum of Art, the Tate, the Pompidou, and put it up for people to experience and decide’ falls very flat in countless other museums worldwide—and, in fact, what to do this political and cultural moment. We must be keenly aware of about other works by artists accused of questionable conduct? the responsibility and consequences of our decisions within this “We’re very used to having to defend people in the collection, context. The question is, what are the decisions that place us on but it’s always been for the sitter” rather than the artist, said Kim the right side of history?” q Sajet, director of the Portrait Gallery. “Now we have to think to ourselves, ‘Do we need to do that about Chuck Close?’” She [The quotes in this piece were taken from a New York Times went on, “There are lots of amazing artists who have been less article by Robin Pogrebin and Jennifer Schuessler who conducted than admirable people.” extensive interviews about this breaking story. Their article Most curators and directors believe that making artistic appeared in the , 2018 issue.] choices based on an artist’s personal behavior is a dangerous road to go down. All of those interviewed by said they plan to continue to retain and show their Close holdings. He has not, they say, been charged with a crime, and the accusations have not been proven in the courts. Jock Reynolds, director of the Yale University Art Gallery has said: “…are we going to do a litmus test on every artist in terms of how they behave? Pablo Picasso was one of the worst offenders of the 20th century with women. Are we going to take his work out of the galleries? At some point you have to ask yourself, is the art going to stand alone as something that needs to be seen?” Caravaggio was accused of murder. So was Eadweard Muybridge. Egon Schiele was jailed for 24 days on charges of statutory rape involving a 13-year-old. (He was acquitted of rape but found guilty of exposing children who posed for erotic drawings.) Benvenuto Cellini was accused of rape by one of his models. Picasso abused his lovers regu- larly, and once described women as “machines for suffering.” Throughout the history of art, abusers have not been held accountable. In fact, “women who were available to serve as artist models were almost always considered sexually compromised,” said Rebecca Zorach, professor of art history at Northwestern University. Generally, museums argue that the quality of the art should be kept separate from the conduct of the artist. “By taking action in the form of canceling an exhibition or removing art from the walls, a museum is creating an understanding of an artist’s work only through the prism of reprehensible behavior,” said Sheena Wagstaff, chairman for Modern and contemporary art at the Met. “If we only see abuse when looking at a work of art, then we have created a reductive situation in which art is stripped of its intrinsic worth—and

Francesco Cairo, Judith with the Head of Holofernes, c. 1633–37. Oil on canvas. In “Dangerous Women,” Frost Art Museum, FL

 4  Museums in Today's America

The values at the core of most museums, American and international alike, traditionally have been roughly congruent with the prevailing values of society. Today’s political environment is starkly different; according to Adrian Ellis, director of the Global Cultural Districts Network, “We are navigating waters today that are different in degree from those navigated by cultural leaders and civil servants in [an autocracy], but they are not different in kind. Lives are not at stake, but livelihoods potentially are, and… so are the legitimacy and standing of some of the ideas and values on which museums are founded.” Museums’ mission statements usually, if not always, are unequivocal: that the institution will be inclusive, and will ensure that their programs, exhibitions, and collections are available to a wide and diverse community. Even without mission statements, operative values include a commit- ment to research, facts, and logic toward the growth of human knowledge, and empathy in the face of a diverse society. So, what happens in America when a large portion of the body politic seems to be at odds with the values held so dearly by the museums of the country? What does this mean in terms of the future of the museum community? Ellis weighs in again: “We in the arts community have a responsibility to articulate unequivocally the moral and intellectual basis for museums’ work, and to prioritize work that demon- strates and strengthens that basis. This is an opportunity for…an explicit strengthening of the moral and intellectual basis of museums. “This would include squaring up to the most fundamen- tal responsibilities of museums: ensuring that they are relevant and meaningful to the communities in which they are located, on terms that do not compromise or pander; that they contribute to the growth and dissemination of human knowledge; that they respect the primacy of facts and logic; and that they celebrate and foster respect for the teeming variety of human culture and its fragile home.” q Ellen Thesleff, Echo, 1891. Oil on canvas. In “Women Artists in the Age of Impressionism,” Speed Art Museum, KY Directors Have Their Say

The Art Newspaper asked a selection of museum directors: How should museums respond to Donald Gary Tinterow at the Museum Trump? The following are some of the answers, of Fine Arts, Houston paraphrased. Has the relationship of audiences to museums changed under the Trump presidency? Bill Arning at the Contemporary Arts Not at all. Museum Houston Because we are seeing more visitors this past year Museums can be a part of the solution to the cur- than ever before, we should continue what we are rent polarization in our society, as we represent a doing: show mankind’s response to faith, economic safe haven for conversation, dialogue, and open-minded and environmental change, and evolving political discussion. The challenge is to create an atmosphere structures over 5,000 years. It is almost impossible to that attracts individuals from many walks of life in order visit any museum without reckoning with experiences to complete the circle of dialogue…. and testimony different from our own. This reckoning Some of the most effective outreach work is sending is the route to enlightenment. artists and museum educators out to schools. These kids are more likely to bring their parents to the museum, and Continued on next page the parents are often the individuals who are catalysts for discourse. Artist Unknown, Handaxe, Mauritania, ca. 500,000-300,000. Quartz. In “First Sculpture,” Nasher Sculpture Center, TX

 5  Wintjiya Napaltjarri, Women’s Ceremonies at Watanuma, 2007. Synthetic polymer paint on canvas. In “Marking the Infinite,” Nevada Museum of Art, NE

purpose. We need connections in contem- porary life, and this creates an oppor- tunity to explore how artists inform our understanding of topical issues. One of our goals is to bring the voices of modern and contemporary artists into dialogue with the community. Civic engagement is one of the pillars of this museum’s strategic planning. Therefore, the museum should align its focus with the character of the San Francisco Bay Area and its innovative thinking, which is uniquely connected to Latin America and Asia. This points to a geographic focus for our programs. James Rondeau at the Art Institute of Chicago In our best moments, museums empower people to explore, on their own terms, expressions of creativity that challenge our assumptions, provoke us to learn more, spark the exchange of ideas and remind us of our diversity and our common humanity. In the context of Directors Have Their Say Continued uncertainty, pressure, and stress on communities and individuals, museums matter most when they provide unshakeable spaces where Richard Armstrong at the Solomon R. Guggenheim the principles of inclusiveness and diversity may be taken for granted, Museum and Foundation, New York where cultural exchange and understanding are crucial to how we relate and contribute to our local and global communities…. q Art and museums can be agents of change. The Guggenheim Museum was founded on the belief that viewing non-objective paintings could alter people’s behavior. Museum metabolism is different from that of politics. That said, we’re engaged in a long-term activity to inspire and sustain imagination, even and perhaps especially when there may be a poverty of alternatives. Keeping that flame alive is the most important thing we can do. Neal Benezra at the San Francisco To remain dynamic, museums must respond to their time. Art museums can and should encourage civic discourse by developing creative offerings with a public

Alessandra Expósito, Queenie. Wall sculpture. Rosalyn Drexler, Movie, c. 1965. Screenprint on paper. In ”Queenie,”El Museuo In “The Personal is Political,” University of Richmond Museums, VA del Barrio, NY

 6  BBRRIEFSIEFS Portraits Unveiled The Smithsonian’s National Portrait Gal- and Spaces at the university, lery unveiled its commissioned portraits of combined their expertise in 3D former President Barack Obama and Mrs. scanning, object creation, and Michelle Obama by artists Kehinde Wiley virtual reality with their love and Amy Sherald, respectively. The art- of Twin Cities gaming com- works were revealed as part of the Portrait munities. The app will turn Gallery’s 50th anniversary celebrations. Mia’s permanent collection and President Obama and the former First Lady digital assets—including X-rays delivered remarks as did Smithsonian of paintings and 3D scans of Secretary David J. Skorton, National objects—into a game in which Portrait Gallery Director Kim Sajet and players solve a series of riddles artists Wiley and Sherald. using clues, hints, and strategy. “For 50 years, the National Portrait Gal- The Mia team is partnering lery has told the story of America through with GLITCH, a community- the people who have impacted this coun- driven arts and education center try’s history and culture,” Sajet said. “We for emerging game makers. are thrilled to present to the nation these GLITCH specializes in a remarkable portraits of our 44th president, collaborative design process Barack Obama, and former First Lady, that brings organizations Michelle Obama, painted by two of the together with like-minded country’s most dynamic contemporary communities and game-makers artists, Kehinde Wiley and Amy Sherald. to create meaningful interactive As a museum of history and art, we have experiences. learned over the past half-century that the “We saw a chance to combine best portraiture has the power to bring all this cool technology with the world leaders into dialogue with everyday really exciting social interaction, Americans. These two paintings fall into problem solving, and exploration that category, and we believe they will serve that comes with puzzle rooms,” as an inspiration for generations to come.” said McFadden. Before President Obama’s departure from Continued on next page office, he and Mrs. Obama selected Wiley and Sherald to paint their likenesses for the Portrait Gallery’s collection. This is the first “But a Storm is Blowing time that African American artists have been from Paradise” is on view commissioned for the National Portrait through June 17 at the Gallery’s official portraits of a President or Galleria d’Arte Moderna First Lady. Milano, marking the final Wiley’s painting is permanently installed in exhibition of the initiative. the Portrait Gallery’s “America’s Presidents” exhibition. Sherald’s painting is on view in the museum’s “Recent Acquisitions” corridor “Cool Technology” through early November. = Cool Museum Puzzle Guggenheim’s Global Reach The Minneapolis Institute The Guggenheim UBS MAP Global Art of Art (Mia) announced the Initiative creates direct access to contemporary winner of the 2018 3M Art art and education on a global scale. Through and Technology Award for in-depth collaboration with artists, curators, and “Riddle Mia This,” a mobile cultural organizations from South and Southeast app that turns the museum Asia, Latin America, and the Middle East into a puzzle room, provid- and North Africa, MAP has expanded the ing a new, interactive way to Guggenheim’s collection with more than 125 deepen visitor engagement new works and has built physical and digital with the museum’s collection. experiences that bring art and ideas to life. The winners, technology ar- The initiative offers a diverse range of chitect Colin McFadden and artistic voices and critical concerns, the pres- digital preservation specialist ent one from a rapidly evolving region and its Samantha Porter, University international diaspora—a cross-circulation of of Minnesota, will receive ideas. “But a Storm is Blowing from Paradise: $50,000 toward the develop- Contemporary Art of the Middle East and North ment of the project. Africa” presents artworks that use geometry as “The 3M Art and Tech- a metaphor to measure both physical and con- nology Award was created Top: Kehinde Wiley, Barack Obama, 2018. ceptual space, and creates a dialogue between to encourage innovative thinkers to push boundaries Oil on canvas. Below: Amy Sherald, Michelle LaVaughn shape and form, symbol and abstraction, and and change the way visitors experience the museum,” Robinson Obama, 2018. Oil on linen. past and present. Architecture is presented as a said Douglas Hegley, chief digital officer at Mia. “We Wiley’s painting will be permanently installed tool for evoking both colonial history and the believe that digital technology can enable people to in the Portrait Gallery’s “America’s Presidents” exhibition on the museum’s second floor. implications of globalization and gentrification. develop a powerful relationship with art….” Sherald’s painting will be on view in the Issues of migration and displacement around the To come up with the idea, McFadden and Porter, museum’s “Recent Acquisitions” corridor world are raised as urgent issues. founders of the Advanced Imaging Service for Objects through early November 2018. National Portrait Gallery, The Smithsonian, DC.

 7  BBRRIEFSIEFS Continued

Thumb Theft Upsets Chinese NEH Fellowships support advanced research The Blackest Black in the humanities toward the production of A British company, Surrey NanoSystems, Lenders The thumb of an ancient Chinese terracotta articles, books, digital materials, archaeologi- developed Vantablack, the blackest known sub- cal site reports, translations, editions, or other stance on earth, which absorbs 99.96 percent of warrior, one of ten on view at the Franklin Institute of Philadelphia (PA), was broken off scholarly resources in the humanities. Through all visible radiation. It was given by its develop- April 11, the program accepted applications from er to Anish Kapoor with exclusive rights over a and carried away after a Christmas revelry— an “ugly Christmas sweater” party. The perpe- individual researchers, teachers, and writers to spray variant, Vantablack S-VIS. The company pursue full-time, continuous humanities research stipulated that it could only be used for art. trator was recorded on security cameras taking a selfie in front of the statue, after which he projects for a period of six to twelve months. This year, British architect Asif Khan coated Successful applicants’ stipends will represent a pavilion at the Winter Olympics in Pyeong casually broke off the left digit, and left the party. Some two weeks later, museum staff an increase of $800 a month over previous Chang, Korea, with another version called years for a minimum stipend of $30,000 for a VBx2. It is probably the darkest building on noticed the deformed hand and contacted the FBI. The offender was arrested, his home six-month project, and a maximum of $60,000 earth. This version, unlike the one used by for twelve-months. The increase also applies to Kapoor, cannot be applied with a brush. It must searched, and the member was found there, lying in a desk drawer. NEH-Mellon Fellowships for Digital Publication, be sprayed onto a surface by a team of experts which supports individual scholars to pursue trained in the technique. The de-fingered statue is one of the warriors belonging to a terracotta army of about 8,000 interpretive research projects that require digital soldiers, horses, and other figures discovered expression and digital publication. Together, in the tomb of China’s first emperor, Qin the number of fellowships come to a total of Shihuangdi. The entire army is housed at the 90 for 2018. Shaanxi Cultural Heritage Promotion Center, Application information can be had from which, after the “noxious incident,” is now program staff in NEH’s Division of Research at reconsidering its loan policy. 202-606-8200 or [email protected].

Nasher Prize Awarded Want to Buy a Castle? to American There’s one available in Belgium Dedicated to contemporary sculpture, the , a Belgian property built in Nasher Prize Laureate, presented annually by 1304, once owned by Pieter Paul Rubens, is now the Nasher Sculpture Center, is awarded a for sale at an asking price of $4.9 million (€4m). living artist who has significantly impacted Asif Khan’s pavilion for the 2018 Winter Olympics It is located south of , has 33 rooms, and our understanding of the art form. The 2018 is surrounded on three sides by a moat. Laureate is Chicago-based Theaster Gates, the Rubens lived there with his second wife, Brits Guide to the Best first American to receive the $100,000 prize as Appearing among the many museums from 16-year-old , from 1635 until well as a commemorative award designed by his death in 1640. He completed several works around the world on The Art Newspaper’s Renzo Piano. “Guide to the most important new museums and there including A View of in the Early Morning. Mechelen-based estate agents Engel expansions in 2018” are two notable American - institutions: The Getty Villa in Los Angeles NEH Increases Award Amount & Volkers explain: “The current owner had the (mid-April opening) and the Institute for for Fellowships castle gradually restored since 1955, and in 2009 Contemporary Art at the Virginia Common- the castle was granted the status of official The National Endowment for the Humani- architectural heritage.” Built by medieval knights wealth University in Richmond. ties has increased the monthly stipend awarded At the Getty Villa, which enlarges the original as a fortress, it had an imposing tower (depicted through its fellowships program to $5,000 in Ruben’s painting A View of Het Steen), which venue by almost 3,000 square feet, reorganized per month, for a maximum stipend award of antiquities displays have been switched from a was removed in the 1700s. $60,000 for a 12-month fellowship project. In thematic presentation to a chronological one. doing so, the revised program accommodates Web content strategist Amelia Wong says: smaller museums and historical societies. Continued on next page “The new display will take a stronger narrative approach, tracing chronology of the development of art in the Etruscan, Greek, and Roman cultures from the Bronze Age through the late Roman Empire, roughly 3,000 BC to 600 AD.” The inaugural show, “Plato in LA: Contemporary Artists’ Vision” (Sept. 3), examines Plato’s impact on the contemporary world. The Institute for Contemporary Art, a new 41,000 square foot, $41 million venue (also mid-April opening), complements the adjoin- ing university, incorporates a 4,000 square foot gallery, and an outdoor garden (the “thinking field”). The inaugural show, “Declaration,” ex- plores the power of contemporary art to catalyze change through paintings, sculptures, multimedia works, site- specific installations, and time-based performances.

Pieter Paul Rubens, A View of Het Steen in the Early Morning, 1636.

 8  BBRRIEFSIEFS Continued Flip Schulke, Martin Luther King Jr. Photograph; Lawrence Schiller, Robert F. Kennedy, Photograph In “Kindred Spirits,” New-York Historical Society, NY

2018 National Medal Finalists Each year, the Institute of Museum and Library Services presents select museums and libraries with the nation’s highest honor, the National Medal for Museum and Library Service. The medal is awarded to institu- tions that make significant and exceptional contributions to their communities, that demonstrate innovative approaches to public service, and exceed the expected levels of community outreach. The winners are hon- ored at a National Medal award ceremony in Washington, DC (to take place in May, after museumVIEWS’ posting date).

Libraries Museums Carson City Library (Carson City, NV) South Carolina Aquarium (Charleston, SC) • • 9/11 Memorial Museum at the • • Cuyahoga County Public Library (Parma, OH) World Trade Center (New York, NY) • University of Oregon Museum of Natural and Cultural History (Eugene, OR) • Georgetown Public Library (Georgetown, TX) • Chicago Zoological Society/Brookfield Zoo (Brookfield, IL) • Ketchikan Public Library (Ketchikan, AK) Documentary Expands LA County Library (Los Angeles, CA) • Children’s Museum of Denver at Marsico • Visibility Mancos Public Library (Mancos, CO) Campus (Denver, CO) • Discussions at the University of Kentucky Detroit Historical Society (Detroit, MI) • North Carolina Digital Heritage Center at the • Art Museum on ways to expand the visibility University of North Carolina at Chapel Hill • El Paso Museum of Art (El Paso, TX) of a modestly sized museum resulted in a University Libraries (Chapel Hill, NC) • High Desert Museum (Bend, OR) documentary film, Museum, that honors the significance of museums. In it, artists, patrons, History Museum at the Castle (Appleton, WI) • Orange County Library System (Orlando, FL) • staff, supporters, and educators explore • Pueblo City-County Library District • Missouri Historical Society (St. Louis, MO) the concept of inspiration and dialog that (Pueblo, CO) • National Railroad Museum (Green Bay, WI) museums facilitate. This effort “underscores what we as directors and curators do every Newark Museum (Newark, NJ) • Reading Public Library (Reading, PA) • day, creating significant experiences for • Rochester Public Library (Rochester, MN) • Orlando Science Center (Orlando, FL) individuals and our communities,” said Stuart Sacramento Public Library (Sacramento, CA) • Pretend City Children’s Museum Horodner, director of the University of • (Irvine, CA) Kentucky Art Museum. • Terrebonne Parish Library (Houma, LA) A year in the making with • Science Museum of Virginia • Wiggin Memorial Library (Stratham, NH) (Richmond, VA) collaborators from local companies, the film includes footage of exhibitions, installations, opening receptions, and interviews with an artist, poet, sup- porter, and actor, all of whom share how museums play important roles in their lives. The result: A transformation happening at the university… a renaissance across campus… the art museum plays a major role in this renaissance through the creation of profound experiences that engage the entirety of the Commonwealth… honoring the heritage of great Kentucky artist while also showcasing contemporary international masters.

Continued on next page

Ugo Rondino, Seven Magic Mountains, 2013-2018. Nevada boulders, painted. In “Ugo Rondino: Seven Magic Mountains,” Nevada Museum of Art, NE

 9  BBRRIEFSIEFS Continued

Deborah Roberts, Witness, 2011. Mixed media on paper. In Deborah Roberts,” Museum of Fine Art, GA

The next deadline for application for NEH Preservation Assistance Grants is May 1. First-time applicants are encouraged to contact program staff in NEH’s Division of Preservation and Access at 202-606-8570 or preservation @neh.gov to discuss proposed projects and questions about the application process.

Hudson Valley Collaboration Features Warhol Works Five institutional partners in the Hudson Valley (NY) region will present “Warhol x 5,” a collaborative exhibition project to be held this year, ending in November. Participants in the program are three State University of New York (SUNY) campus museums and two private college museums: the Neuberger Museum of Art at Purchase College, the Samuel Dorsky Museum of Art at SUNY New Paltz, the University Art Museum at the University at Albany, the Frances Lehman Loeb Art Center at Vassar College, and the Center for Curatorial Studies at Bard College. The works featured in each exhibition have been donated by the Andy Warhol Foundation for the Visual Arts and by the museums’ respective collections—shared resources that allow each venue to expand on themes related to its own holdings and enjoy the benefits of joint programming and a variety of curriculum opportunities.

Not Your Grandmother’s Quilts! The National Quilt Museum in Paducah, Kentucky, has launched a new gallery to feature emerging artists. The new Corner Gallery is a dedicated space within the main gallery that features work by professional and emerging quilt artists in a “pop-up” exhibition format. The goal: to create a no-holds- Grant Milestone barred opportunity to spotlight the work of modern quilters. q The National Endowment for the Humanities celebrated a milestone in one of its grant programs, Preservation Assistance Grants for Smaller Institutions (PAG). It surpassed a landmark 2,000 grants awarded previously. The Preservation Assistance Grants (PAG) program, created in 2000, helps small and mid-sized institutions—libraries, museums, historical societies, and other cultural societies— improve their ability to preserve and care for humanities collections. The grants provide funding for these organizations to consult with preservation professionals to develop long-term plans for collections care, address specific conservation needs, purchase preservation supplies, provide training for staff in collections management and disaster response. PAG grants helped… • the Katirvik Cultural Center in Nome, Alaska to purchase environmental monitoring; supplies to preserve the histories of the Yupik and Inupiat peoples of the Bering Strait; • the Harriet Beecher Stowe Center in Hartford, CT, upgrade its lighting and storage to safeguard archives that tell the story of Stowe’s life and legacy; • the Yellowstone Gateway Museum in Livingston, Montana, to rehouse its 19th- and 20th-century archives into temperature- and humidity-controlled facilities; • the Birthplace of Country Music Museum in Bristol, Tennessee, to hire a conservation consultant to advise on the long-term care Gerhardt Knodel, fabric structure inspired by a piece of silk from the Ming Dynasty. of master recordings of country, bluegrass, old-time, and gospel In “Gerhardt Knodel, Minglings,” Marshall M. Fredericks Sculpture Museum, MI music; • and many more.

 10  springspring VIEWSVIEWS Armin Hansen, The Farmhouse by Armin Hansen. In “Harmony of Light,” Irvine Museum, CA

Arkansas Arkansas Arts Center, Little Rock ❏ “A Luminous Line: Forty Years of Metalpoint Drawings by Susan Schwalb” (Apr. 29) Works that transform the traditional Renais- sance medium to the realm of abstraction.

California Berkeley Art Museum & Pacific Film Archive, University of California, Berkeley ❏ “Art Wall: Karabo Poppy Moletsane” (July 15) Commissioned work by South African street artist and designer: monumental portraits. ❏ “Way Bay” (June 3) A wide ranging selection of works across time, media, and style that reflect the region’s emergence to its present- day status of economic and cultural promi- nence. ❏ “Breaking ICE: A Community Response to a Citizenship Test” (May 20) Based on the questions asked by the U.S. Citizenship and Immigration Services, artists’ aim is to encourage citizenship based on community and belonging. ❏ “Jay Heikes / MATRIX 269” (April 29) Paintings, Sculptures, and drawings reference the artist’s residency in a small desert town in Texas near A revisit to the Cold War era: Soviet Union’s and installations based on banned and the Mexican border: two large-scale sculptures official imagery in posters that show the re- forbidden books in China. conjure ornamental fences that define metaphoric gime’s economic, social, and political space. ❏ “Cal Conversations: Dreaming the ideology as well as the power of poster Connecticut Lost Ming” (May 13) Paintings and literature propaganda to the masses. Yale Center for British Art, Yale University, from the Ming-Qing transition period that New Haven ❏ “The Paston Treasure: Micro- narrate the conquest by the Qing army and Contemporary Jewish Museum, San cosm of the Known World” (May 27) This the resulting collapse of the Ming dynasty. ❏ Francisco ❏ “The Art of Rube Goldberg” 17th-century painting by a Dutch itinerant Through June 17: “Agony in Effigy: Art, Truth, (July 8) Original drawings of the archetypical artist combines still life, portraiture, animal Pain, and the Body” Physical violence as machines, photographs, toys, films, news- painting, and allegory, all of which describe represented in art: historic graphic works from paper clippings, and more. the world of the Pastons, a landowning family the collection; “Al Wong: Lost Sister” The of Norfolk: shown here are some of the objects photo-collages of a young woman, reproduced San Francisco Art Institute ❏ “Phillippe that appear in the painting as well as period 64 times, many mutilated, torn, cut, shredded Rahm: Anthropocene Style” (May 19) objects on loan to the center. to represent the pressures felt by someone Architect’s installation investigates aesthetic trapped in China and unable to join her family. choices of color and material resulting in a Delaware new decorative style (Anthropocene) specific Delaware Art Museum, Wilmington ❏ “Eye Irvine Museum, University of California, to our modern aesthetic and environment. on Nature: Andrew Wyeth and John Ruskin” Irvine ❏ “Harmony of Light: Spring in (May 27) Two approaches to interpreting the California” (June 21) Century-old paintings by Haggin Museum, Stockton ❏ “60th natural world by two men born 100 years California Impressionists that show the glories Stockton Art League Juried Exhibition” apart. ❏ “Point, Counter-point: Alan Soffer, of springtime in their state. (July 15) New works by long-standing Brian Dickerson, Moe Brooker” (April 29) local artists and newcomers from across the Harmonies and contrasts in abstract forms. Saint Mary’s College Museum of Art, country: acrylics and oils, water media, Moraga ❏ “Darker Shades of Red: Soviet mixed media, graphics, and sculpture. Propaganda from the Cold War” (May 20) District of Columbia Colorado Museum of the Bible ❏ “The Living Dead: Denver Art Museum Ecclesiastes Through Art” (April 30) Euro- ❏ “Degas: A Passion pean masterpieces explore the questions posed for Perfection” (May and the meanings found in this book from the 20) Paintings, drawings, Hebrew bible. pastels, etchings, mono- types, and sculptures, National Museum of Women in the Arts from 1855 when he ❏ “Hung Liu in Print” (July 8) Explore the was 21, to 1906. ❏ relationship between the artist’s multi-layered “Stampede: Animals in paintings and her layered works on paper. ❏ Art” (May 19) Animals “Women House” (May 28) Women artists from throughout centuries the 1960s to today examine the persistence and across cultures. ❏ of stereotypes about the house as a feminine “Eyes On: Xiaoe Xie” space: photographs, sculpture, installations, (July 8) Still-life paint- and videos inspired by Judy Chicago and ings of books, videos, Miriam Schapiro’s 1972 Womanhouse, the first ever female-centered art installation.

Sandra Rocha, Untitled (from the series DR – Um Diário da República, 2012), 2014. Inkjet print on hot press paper. In “Second Nature,” Kreeger Museum, DC

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Zodiac Heads” Georgia (June 1) Ai Georgia Museum of Art, Athens ❏ “Opera Weiwei’s 12 in Print: Fin-de-siècle Posters from the Blum monumen- Collection” (April 22) Bel Époque opulence tal bronze captured and printed by means of the newly sculptures. ❏ invented lithography. ❏ “Crafting History: “250 Years of Textiles, Metals and Ceramics at the the Circus in University of Georgia” (April 29) Objects Print” (May crafted at the university; also, a review of the 7) Posters that history of American studio craft. ❏ “Images of show both the Awakening: Buddhist Sculpture from Afghan- Karabo Poppy Moletsane, Proposal for Art Wall, 2017. In “Art Wall,” Berkeley Art Museum, CA advance of istan and Pakistan” (June 17) Sculpted imagery commercial from early-period Gandharan Buddhist art National Postal Museum ❏ “Beautiful printing and the cultural changes that were (1st-3rd centuries), stucco images from the Blooms: Flowering Plants on Stamps” (July taking place at the same time. ❏ “Toni Dove: later cosmopolitan stucco style of Hadda school 14) In a garden setting, a display of artworks Embodied Machines” (May 20) Live and of sculpture (4th-5th century) and examples of that explore the symbiotic relationship between stage performances, interactive cinema, digital early medieval sculptures (6th-7th century). flowering plants, bees, birds, butterflies, all technology, and robotics. commemorated on U.S. postage stamps Museum of Fine Art, Spelman College, during the past 50 years; also a display of the Vero Beach Museum of Art ❏ “Paul Outer- Atlanta ❏ “Deborah Roberts: The Evolution production process from original designs by bridge: New Color Photographs from Mexico of Mimi” (May 19) Collages, photographs, illustrators to the miniature images. and California, 1948-1955” () From paintings, and drawings about girlhood, the seaport towns of Baja: people at airports, vulnerability, body image, popular culture, Florida tourist destinations, and pool parties in Koda- self-image, color discrimination defining the Frost Art Museum, Florida International chrome colors. ❏ “Medieval to Metal: The Art burden that society places on girls of color. University, Miami ❏ “Dangerous Women: & Evolution of the Guitar” () A history Selections from the John and Mable Ring- of the instrument, from European lutes and Illinois ling Museum of Art” (May 20) A look at the Moorish ouds to classical acoustic and modern Art Institute of Chicago ❏ “Wang Dongling” changing perceptions of Biblical women, both electric; also, illustrations and photographs of (May 13) Large-scale Plexiglas panel installa- heroines and femmes fatales—from Judith to well known guitar players of the last century. tion produced during a reading of ancient Esther, Salome to Mary Magdalene, Delilah ❏ “Shadow and Light: The Etchings of Martin poetry. ❏ “The Medieval World at Our to Lot’s daughters—through 16th- and 17th- Lewis” (May 13) Intaglios and lithographs of Fingertips: Manuscript Illuminations from century paintings and etchings and contem- urban and rural American life that reference the the Collection of Sandra Hindman” (May 28) porary depictions of the same characters. ❏ Ashcan School and American scene paintings. Images from choir books, books of hours, and “Laura Aguilar; Show and Tell” (May 27) religious narratives provide a microcosm of Retrospective of three decades of medieval western Europe, from the photographs: portraits of friends, Gothic family, and LGBT and Lantinx cathedrals to the culture of the communities with racial, gender, Italian courts. ❏ “Xu Longsen: cultural, and sexual overtones. ❏ Light of Heaven” () Instal- “Outsider Artists from Havana” lation of a set of painted pillars (June 3) A project managed by and several monumental landscape the National Art Exhibitions paintings. ❏ “Modern Japanese of the Mentally Ill Foundation: Portraits” (July 1) Works- from the works by artists whose aesthet- 1940s and 50s by Onchi Ko-shiro- ics and themes vary according to and Saito- Kiyoshi and others who their respective mental disorders. favored woodblock printmaking in the Western styles of Munch, Dali Museum, St. Petersburg Redon, and Gauguin. ❏ “Dali/Duchamp” (May 27) A look into the friendship and mu- Kentucky tual influence of two 20th-century Speed Art Museum, Louisville ❏ greats—the father of conceptual “Women Artists in the Age of Im- art (Duchamp), and the champion pressionism” (May 13) The work of traditional painting and of women who achieved excellence imagination (Dali). in the face of restricted access to a male-dominated art world in late Ringling Museum of Art, 19th-century Paris: Morisot, Sarasota ❏ “Hank Willis Thomas: Cassatt, Bonheur, and many others. Branded/Unbranded” (June 10) ❏ “Thoroughly Modern: Women in 100 years of images from a series 20th Century Art and Design” of chromogenic prints that recon- (July 1) Artists, active between sider classic advertisements (by 1900 and 1960, many overlooked, altering their original text): new others going on to contribute to captions reinforce stereotypes of commercial design and fine art. disempowered white women and add humor, irreverence, irony, and - tragedy. ❏ “Circle of Animals/ Onchi Ko- shiro- , Hagiwara Sakutaro- . Woodblock print. In “Modern Japanese Portraits,” Art Institute of Chicago, IL

 12  spring VIEWS continued George Grosz, Lions and tigers nourish their ❏ young, ravens feast their brood on carrion... National Quilt Museum, Paducah “New Series: The Robbers (detail), 1922. Photolitho- Quilts from an Old Favorite: Bow Tie” (June graph on paper. In “The Robbers,” 12) Finalists and winners f rom the annual Portland Museum of Art, ME competition along with traditional examples: Tessellations, perspective and per- These are not your grandmother’s quilts! ❏ At ception conundrums, sphere and the new Corner Gallery: “Personal Horizons” water reflections, and transforma- (May 22) Dimensional art quilts that introduce tions. ❏ “(un)expected families” special surface design techniques and sculp- (June 24) Photographers from tural wall presentations. ❏ “Japanese Quilt the 19th century to today explore Artists Who Have Influenced the World” (July the definition of the American 10) Eastern aesthetics: workmanship, design, family—a wide range of relation- coloring, and ethnicity. ships offers a new perspective. ❏ “Klimt and Schiele: Drawn” (May Maine 28) Marking the centenary of the Portland Museum of Art ❏ “2018 Portland deaths of both artists: drawings on exhibition into virtual space–collaborating Museum of Art Biennial” (June 5) Textiles, loan from the Albertina Museum in Vienna that organizations throughout Greater Boston sculptures, video installations, photography, show the differences and parallels between the present their own explorations of art and painting, and more that stretch the Maine art two approaches. ❏ “Masterpieces of Dutch and technology, offering concurrent exhibitions, community and its concerns beyond state Flemish Painting” (May 6) Donations to the performances, screenings, and programs. boundaries. ❏ “The Robbers: German Art in museum by two enthusiastic collectors consti- ❏ “Allison Katz: Diary w/o Dates” (May a Time of Crisis” (July 15) Prints executed tute the largest gift of European paintings in 18-July 22) A new series of figurative works between the World Wars highlighted by the the museum’s history and include the likes of spanning a wide spectrum of subject, scale, complete portfolio of George Grosz’s 1922 Rembrandt, Cuyp, Honthorst, van Ruisdael, technique, and style takes its point of depar- The Robbers, his lithographic suite based on and a myriad of others. ❏ “Phantasmagoria” ture from the French Revolutionary Calendar. Schiller’s 1781 play, but reflecting the climate (May 28) What people did for spooky enter- of Berlin in the early 1920s. tainment before movies were invented: here is Cahoon Museum of American Art, Cotuit ❏ the ghoulish spectacle of demons, spirits, and “A Swedish Folk Tale” (June 3) A marriage Massachusetts other creepy creatures, accompanied by sound of Swedish folk art with early American and Isabella Stewart Gardner Museum, Boston effects and projected moving images that Pennsylvania-German design by Martha ❏ “Fra Angelico: Heaven on Earth” (May 28) excited pre-Hitchcock film audiences. Cahoon to create decorative art and painted Four newly restored reliquaries painted for the furniture. church of Santa Marie Novella in Florence, MIT List Visual Arts Center, Massachu- 1424-1434, two monumental altarpieces, an setts Institute of Technology, Cambridge ❏ Fitchburg Art Museum ❏ “Fantastical, intricate series of panels from his Silver Chest Through May 20: “List Projects: Gordon Hall” Political” (June 8) Works by five contemporary (Armadio degli Argenti), a triptych for private Two sculptural works that continue a body of New England artists who combine the absurd devotion, and nine predella scenes; the instal- work in which Hall creates replicas of found, and extravagant to uncover political content. lation evokes the Renaissance in Italy; many of one-of-a-kind pieces of furniture; “Art in the ❏ “Triiibe: Same Difference” (June 5) Staged the works from collections in Italy are in the Age of the Internet, 1989 to Today” How the photographs, performances, and videos play U.S. for the first time. internet has changed the field of art, especially up the sameness of the identical triplet Casilio in its production, distribution, and reception: sisters to provoke cultural conversations about Museum of Fine Arts, Boston ❏ “M.C. painting, performance, photography, sculpture, gender, equality, and difference, while Escher: Infinite Dimensions” (May 28) video, and web-based projects that extend the traversing hot-button social and political issues. ❏ “Mirrors and Windows: Photographs from FAM's Permanent Collection” (June 3) Windows and mirrors as compositional devices that inform and direct how we, as viewers, see. ❏ “People and Places: Contem- porary Photographs from the Collection of Dr. Anthony Terrana” (May 20) Large-scale, color, 21st-century works by an international array of artists selected from a major gift to the museum.

Rose Art Museum, Brandeis University, Waltham ❏ Through July 8: “Jennifer Packer: Tenderheaded” Recent paintings of funerary bouquets and intimate portraits; “Blueprint for Counter Education” Introduced in the 1960s, the unconventional publication introduced the tools for a radical pedagogical model; “Praying for Time” Art produced from late 80s through early 2000s from the permanent collection; “Foster Mural” Site-specific project drawn from investigations of the relationships between drawing, abstraction, and language; “Mark Dion: The Undisciplined Collector” The look of a 1961 collector’s den evokes the year of the museum’s founding.

Andrew Wyeth, Sycamore Tree, Study for Pennsylvania Landscape, 1941. Ink and watercolor. In “Eye on Nature,” Delaware Art Museum, DE

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David Teng Olsen, Smoked my Head on Yes Waters, 2017. Detail, vinyl. In “David Teng Olsen,” Davis Museum, MA

Minnesota Goldstein Museum of Design, St. Paul ❏ “Storied Lives: Women and Their Wardrobes” (May 13) A celebration of the working woman of the 20th century through the wardrobes of three career women in the Twin Cities.

Mississippi Mississippi Museum of Art, Jackson ❏ “Timeless: The Sculptural Work of Robert Crowell” (May 31) Retrospective: structure and harmony in a variety of materials. ❏ “Now: The Call and Look of Freedom” () The African American liberation movement: works by Catlett, Bearden, Saar, Withers mark the museum’s Art & Civil Rights Initiative, under- taken in partnership with the Tougaloo College Davis Museum, Wellesley College, Wellesley piece” (May 13) A shadow self-portrait of Art Gallery. ❏ Through July 8: “Joe Overstreet: ❏ Through June 13: “Clarence H. White and the artists created from metal casts of dead Justice, Faith, Hope and Peace” Four-panel His World: The Art and Craft of Photography, vermin they collected and welded together: canvas, a geometric abstraction to commemorate 1895-1925” Retrospective shows White’s early silver sculpture from a distance, menagerie the assassination of Martin Luther King, Jr.; influence in the field together with his con- of creatures up close, and the shadow on ❏ “Picturing Mississippi: 1817-2017” A visual temporaries Stieglitz, Steichen, and Coburn; the wall of the two creators. “Cosmo- history of Mississippi: a place of beauty, a place “Fragment: A Museum’s Mid-century Legacy” gonic Tattoos” (June 2) A procession of laid waste by the Civil War, a place farmed by Authentic fragments acquired in mid-20th window installations—images pasted to the sharecroppers held hostage by segregation, a century in conformance to modernist tastes and glass in a narrative based on artworks at place marked by the struggle for civil rights; pedagogy; “Soulful Stitching: Patchwork Quilts the University of Michigan Museum of Art ❏ “Hank Willis Thomas: Flying Geese” Conceptual by Africans (Siddis) in India” Works, made by and the Kelsey Museum of Archaeology. artist incorporates found photographs, text, and the Siddis of Karnataka, descendants of early “Exercising the Eye: The Gertrude Kasle fabrics into quilt-like artwork; “White Gold: African immigrants and slaves who have Collection” (July 22) This Detroit gallerist’s Thomas Sayre” Site-specific installation depicting retained and transformed African aesthetics; showings of paintings, works on paper, and cotton-filled Southern landscape. “Artists Take Action! Recent Acquisitions from sculptures from the Abstract Expression- the Davis” Works acquired over the last 10 ists through the present: Guston, Hartigan, Lauren Rogers Museum of Art, Laurel ❏ years: prints that confront social and political Johns, Rauschenberg, and others. “Samuel Yellin and the Lauren Rogers issues; “Intermezzi: The Inventive Fantasies of Museum of Art” (July 22) Handwrought Max Klinger” Fantastical prints from mythology Center Art Gallery, Calvin College, Grand ❏ ironwork by a master blacksmith placed and German literature by this 19th-century Rapids Through April 27: “Jennifer L. among the permanent collection displays. German; “David Teng Olsen: Smoked My Head Hand: Remembrances” Mixed media works On Yes Waters” Floor-to-ceiling window treat- that utilize the natural world as a source of ment based on objects in the museum collection: material; “Mere Objects” Installation of Missouri National World War I Museum and the debut exhibit of an invitational pilot pro- suspended glass globes filled with objects Memorial, Kansas City ❏ “John Singer gram to engage local artists in transforming the from people who have experienced sexual Sargent: Gassed” (June 3) Giant painting, ground-level expanse of windows. violence. 21’ x 9’, is featured in the centennial exhibition;

also included are reproductions of Sargent’s Worcester Art Museum ❏ “The Mystery of Marshall M. Fredericks Sculpture study drawings, and historical and contemporary Worcester’s Leonardo” (June 3) This Museum, Saginaw Valley State University, objects on detection of and protection from exhibition brings together two early Italian University Center ❏ Through May 19: chemical warfare. ❏ “Images of the Great War: panel paintings—the Musée du Louvre’s the “Gerhardt Knodel, Minglings: A Journey America Crosses the Atlantic” (May 13) Annunciation and WAM’s Miracle of San Across Time” Knodel’s exploration of the Images of the final two years of the Great War by Donato—for the first time since they were fabric medium: fragments of fantastic im- French, British, German, and American artists. eparated from their original altarpiece; the ages in intricate fabric structures generated complex process of identifying a painting as centuries ago are the Leonardo’s is on display here. inspiration of this work; “Chinese Folk Michigan Pottery: The Art of University of Michigan Museum of Art, Everyday” Contem- Ann Arbor ❏ “Aftermath: Landscapes of porary folk pottery Devastation” (May 27) From ancient Pompeii produced by diverse to 9/11/01, landscape photographs made at the ethnic minorities— sites of natural or human-made disasters, the Tibetan, Dai Miao, Bai, results of destructive forces on the land and its and Han potters across inhabitants. ❏ “Red Circle: Designing Japan China. in Contemporary Posters” (May 6) The effort to change Japan’s global image in the 1980s through graphic design: posters with traditional symbols and motifs borrowed from folklore Joyce Werwie Perry, Mining America (diptych), 2010. distilled into brilliant iconographic images. Oil with knives on canvas. ❏ “Tim Noble and Sue Webster: The Master- In “Tell Us Your Immigration Story,” Westmoreland Museum of American Art, PA

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Dox Thrash, Saturday Night, c. 1944-45. Montana Etching. In “Dox Thrash, Black Life, Hockaday Museum of Art, Kalispell ❏ and the Carborundum Mezzotint” “The Surging, Thundering Herd: Vintage Palmer Museum of Art, PA Bison Engravings” (June 16) 152 years of art Katonah Museum of Art ❏ created by Europeans who never saw the “Long, Winding Journeys: animal and by artists who witnessed them Contemporary Art and the in the wild before their near extinction in Islamic Tradition” (June 17) the 1880s. ❏ “Resilience: An Exhibition of Artists of Middle Eastern and Strength and Reverence” (June 2) Works South Asian descent whose turned out by the Creative Indigenous work engages the many forms Collective, which is composed of artists of Islamic visual tradition— focusing on their culture through time. calligraphy, miniature paint- ing, geometric patterning, Nevada textiles, and architecture—to Nevada Museum of Art, Reno ❏ “Marking explore religion, culture, and the Infinite: Contemporary Women Artists socio-political issues. from Aboriginal Australia” (May 13) Works by artists who are expressing pride in Samuel Dorsky Museum of themselves and their communities, which are Art, State University of New among the most remote on the planet. York, New Paltz ❏ “Marking Time: Andy Warhol’s Vision New Hampshire of Celebrations, Commemo- Currier Museum of Art, Manchester ❏ rations, and Anniversaries” “The Sculpture of Augustus Saint-Gaudens” (July 15) An exploration (May 20) Many of the large-scale masterpiec- of Warhol’s insights into es that made Saint-Gaudens famous—Abra- the social and personal ham Lincoln: The Man, the Adams Memorial, significances of these Diana. time markers.

(see also Loeb Art Center) Ideas: Gifts from the Susan Grant Lewin New Jersey Collection” (May 28) Brooches, necklaces, Zimmerli Art Museum, Rutgers University, Americas Society, ❏ “The ❏ bracelets, and rings created by designers from New Brunswick “Cats vs. Dogs: Illustra- Metropolis in Latin America, 1830-1930” (June Europe, Asia, Australia, and North America. ❏ tions for Children's Literature” (June 24) 30) A century of rapid urban growth, socio- “Passion for the Exotic: Japonism” (June 18) Original artworks show the character and political upheavals, and cultural transitions Western design and Japanese aesthetics in charm of both species. reshaped the architectural landscapes of major the late 19th century. cities such as Buenos Aires, Havana, Lima, New York , Rio de Janeiro, and Santiago de El Museo del Barrio, New York City ❏ Hofstra University Museum, Hempstead Chile: photographs, prints, plans, and maps. “Queenie: Selected Artworks by Female Artists ❏ “Portfolios II: Offset Lithographic Prints” from El Museo del Barrio’s Collection” (July 27) Fine arts prints created off a Center for Curatorial Studies, Bard (June 23) Presented in conjunction with the commercial press. College, New York City ❏ “Warhol: Unidentified” Hunter East Harlem Gallery, Hunter (May 27) Warhol’s pronouncement that “in College, New York City: Works that prompt a the future everyone will be world-famous for dialogue about society, gender, and a homoge- fifteen minutes” comes close to truth with nized view of Latinx art; the focus is on female the current pervasiveness of social media; the artists from the Caribbean, Latin America, and exhibition gathers Polaroid headshots and the Latin diaspora. candid photographs of mostly anonymous people. Grey Art Gallery, New York City ❏ “Land- scapes after Ruskin: Redefining the Sublime” , New York () Contemporary painting, photography, City ❏ “Angel Otero: Elegies” (April 29) sculpture, and video explored through the In a tacit recognition of Motherwell’s many lens of art critic John Ruskin (d. 1900): in the Elegies made during the Spanish Civil War, industrial world, artists discover new beauties Otero reinvents old painting traditions in and terrors in nature. service of urgent themes that have seen the power of abstract art. Morgan Library & Museum, New York City ❏ “Tennessee Williams: No Refuge but , New York City ❏ Writing” (May 13) Uniting his original drafts, “David Bowie is” (July 15) The final showing, private diaries, and personal letters with paint- after a five-year global tour, of Bowie’s ings, photographs, production stills, and other reinventions, collaborations, and character- objects, this show tells the story of Williams’ izations that revolutionized the way people struggle for self-expression and how it changed see music and their own identities: original American drama. ❏ “Peter Hujar: Speed of costumes and album art, handwritten lyric Life” (May 20) Photographs from a career that sheets, paintings, photographs, and videos paralleled the unfolding of gay life in the East from teenage years in England through his Village (NY) between 1969 to the Aids crisis last twenty in New York City. of the 1980s: “uncomplicated, direct photo- graphs of complicated and difficult subjects.” Cooper Hewitt, Smithsonian Design ❏ “Now and Forever: The Art of Medieval Museum, New York City ❏ “Jewelry of Time” (April 29) How people told time in the

Simon Bening, August: Reaping Wheat, illustration in Da Costa Hours, c. 1515. In “Now and Forever,” Morgan Library & Museum, NY

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CROSSWORD by Myles Mellor (answers on last page) Middle Ages and what they thought about it: Euro- pean illuminated manuscripts from the 11th to the 16th centuries. ❏ “Power and Grace: Drawings by Rubens, Van Dyck, and Jordaens” (April 29) A look at the distinctive graphic styles of each artist and their influence on one another. ❏ “Joseph Cornell: The Saint-Exupéry Dossier” (June 24) Five newly discovered drawings by the author of The Little Prince, and intimate memorabilia (owned by Joseph Cornell) from his time in New York during the 1940s.

Museum of Modern Art, New York City ❏ “Tarsila do Amaral: Inventing Modern Art in Brazil” (June 3) First solo exhibition in America of this native of Brazil, a founder of modernism in Latin America: paintings, drawings, sketchbooks, photographs, and historical documents. ❏ “Stephen Shore” (May 28) Five decades of image making, from gelatin silver prints to digital platforms; an entire career defined by an interest in daily life and serial imaging. ❏ Through July 22: “Adrian Piper: A Synthesis of Intuitions, 1965-2016” Conceptual art that addresses gender race, xenophobia, social engagement, and self- transcendence; “Studio Visit: Selected Gifts from Agnes Gund” Some of the 700 works of art gifted to the museum by one of its staunchest supporters, a long-time trustee, and its president from 1991 to 2002. ❏ At MoMA PS1: “Maria Lassnig: New York Films 1970-1980” (June 18) Newly discovered and restored experimental films that incorporate anima- tion, sound, and voiceovers that encourage entry Across Down into the artist’s internal world. 1. Artist and creator of The Dinner Party- 1. First name of the artist who painted The Farm 2 words 2. Raison ___ 7. Dutch artist who painted Dog At Rest 3. First name of the contemporary artist and photogrpher 9. "A jealous mistress": Emerson who created Company Housing From Beacon 10. Jean-Michel Basquiat painting, 4. T.C. Steele painted many landscapes in this state goes with 47 across 5. His "Good Fences Make Good Neighbors" project 11. Floral arrangements in NYC focuses on the refugee crisis, 2 words 12. Sculptor of Joan Brown Seated 6. Painter of Title to Be Determined, Angel ____ 13. French friend 7. Like Rembrandt or Vermeer 14. Orange/yellow color 8. Navy ship intro 18. Civilization that built Machu Picchu 15. Firm's top dog 20. The Art Gallery in this univesity is now 16. Fled displaying some of the work of 12 across 17. Led the way in a new field 21. Classical architectural style, not Greek 19. "Luncheon in Fur" portrays one 24. Supporter's suffix 21. Memo starter 26. A Rodin bust of this famous military 22. Title of a Fanch Ledan painting, New York ___ general recently "came to light" 23. Where Romero Britto lives, abbr. 29. Hugo __ (prize awarded by the 25. Mexican artist who painted Solomon R. Guggenheim Museum) New York Seen from The Terrace 31. "Aladdin" prince 27. Samuel and ___ by John Singleton Copley 32. Locale of the Rose Art Museum 28. Painting medium 34. Sharply outline 30. Artist chosen to paint Michelle Obama's 36. Sylvia Shaw Judson's native state portrait, Amy ____ 37. Painter of Le Chant 33. What @ means 39. Belle ____ 35. The Blue ___, painting by Pieter Brugel the Elder 41. Warhol subject 38. Wood veneer source 43. Man Ray was part of this movement 40. Conger or moray 45. Museum piece 41. ___-century, defining the 1950s 46. Saurganga Darshandhari's native country 42. Salvador Dali's __ of Diamonds 47. Goes with 10 across Art Seiden, C and D. Illustration from My ABC Book, c. 1953. Gouache 43. ___-drenched Furze, by Sir John Everett Millais on illustration board. In “Cats vs. Dogs,” Zimmerli Art Mseum, NJ 48. Daniel in the Lions' ___ , Rubens painting 44. Improvisational speed painter, ___ Dunn 49. Make one's way

 16  spring VIEWS continued New Museum, New York City ❏ “Anna Kennedy and Martin Luther King, Jr.” Craycroft: Motion into Being” (May 13) (May 20) Photographs and original Production from the artist-in-residence correspondence, publications, and program: an exhibition and public programming ephemera illustrate the overlapping considering the rights and ethics of personhood; trajectory of their lives and the a gallery transformed into a site for producing deepening ties between them and an animated film; new footage shot every week their interests. draws on traditions of folklore and fables. ❏ “2018 Triennial: Songs for Sabotage” (May 27) Solomon R. Guggenheim The museum’s fourth Triennial questions how Museum, New York City ❏ individuals and collectives address the connection “Danh Vo: Take My Breath Away” (May 9) Sculptures, photographs, and works of images and culture to forces that structure Elaine Maas, Sign for society—varied artistic approaches to dis- on paper, created over the past 15 years address Women’s March on New York City, mantling and replacing the political and cultural and political themes. 2017. Foam board, fabric, plastic. In “Collecting the Women’s Marches,” New-York economic networks that envelop global youth. Historical Society Museum & Library, NY Snug Harbor Cultural Center, Staten New-York Historical Society Museum & Library, Island, New York City ❏ “Shaolin: Into the 36 smuggle them out of France during New York City ❏ “Feathers: Fashion and the Chambers” (May 6) Paintings and drawings the Nazi occupation. Fight for Wildlife” (July 15) Commemorating that celebrate Staten Island’s cultural identity the centennial of the Migratory Bird Treaty Act derived from the Wu-Tang Clan who named the Oregon of 1918, a merging of fashion, activism, and island Shaolin. Schneider Museum of Art, Southern the history of the act that prohibited the hunt- Oregon University, Ashland ❏ “The ing, killing, trading, and shipping of migratory Edward Hopper House, Nyack ❏ “Sean Animated Image” (May 12) birds and regulated the commercial plume trade, Scully: No Words” (May 27) Paintings of color which decimated many American bird species: stripes in thickly applied oil paint—imagery Pennsylvania bird- and plumage-embellished clothing and from the “Doric” series, celebrating Greece Lehigh University Art Galleries, accessories, watercolors by Audubon, models for and its architectural heritage. Bethlehem ❏ “…of the Americas” (May 27) The Birds of America, recordings of bird songs, Contemporary Latin American art: works books, ephemera, and photographs. ❏ Through Frances Lehman Loeb Art Center, Vassar that reference gender, diaspora, poetics, and June 3: “Collecting the Women’s Marches” College, Poughkeepsie ❏ “Marking Time: political commentary—the reality of life in (June 3) Signs, sashes, hats, props, and the emer- Andy Warhol’s Vision of Celebrations, the 20th and 21st centuries. ❏ Through May gent political and visual themes document one Commemorations, and Anniversaries” (: “Dieter Roth: Trophies, Bats, Dogs” of the largest single-day protests in the nation’s 15) Prints, Polaroid and black and white photo- Post-WWII artist loosely associated with history—more than 500 Women’s Marches graphs, and a work in plastic, all demonstrating Fluxus presents three portfolios from across the U.S.; “New York Through the Lens Warhol’s insights into the social and personal 1978-79 that reveal his draftsmanship; of George Kalinsky” Some of New York’s most significance of these time markers. “Contemporary Japanese Prints” The new iconic cultural moments, photographed from the generation of self-expression shows works halls of Madison Square Garden over the past 50 Parrish Art Museum, Water Mill that are self-drawn, self-carved, and self- years: John Paul II, Bill Bradley, Frank Sinatra, ❏ “Image Building: How Photography printed; “Jack Youngerman: Prints” Works and many more. ❏ “Rebel Spirits: Robert F. Transforms Architecture” (June 17) by one of the group that formed a bridge Survey, 1930s to the present, of between the gestural painting of the 1940s the relationship between architec- and the Minimalism and Pop Art of the 60s; ture, photography, and the viewer: “Karyn Olivier” Artist-in-residence architect photographs of Cityscapes, Domestic presents new works and installs a permanent Spaces, and Public Places examine sculpture; “Photographs Are Ideas” the relationship between contem- Selections from the LUAG Teaching porary and historical approaches Museum collection. to portray buildings in different environments. Michener Art Museum, Doylestown ❏ “Magical and Real: Henriette Wyeth and Ohio Peter Hurd, A Retrospective” (May 6) The Cincinnati Art Museum ❏ cultural and regional influences on these “Cagnacci: Painting Beauty and husband-and-wife artists—Philadelphia and Death” (July 22) Italian the Southwest on Hurd; Chadds Ford on paintings including Cagnacci and Wyeth—re-situates each in the dialogue Strozzi, on loan through the of American art. ❏ “Rae Sloan Bredin: Foundation for Italian Art and Harmony and Power” (July 15) Impressionist Culture and other American institu- views of an idyllic life along the Delaware tions. ❏ “Marcel Duchamp: Boite- River by a long-time native of New Hope. en-valise” (May 6) A “portable museum” containing 68 small-scale Westmoreland Museum of American Art, replicas and models made by Greensburg ❏ “Tell Us Your Immigration Duchamp of his own works— Story” (May 6) Interactive, ever-growing paintings, drawings, objects, and exhibition features stories from the public “ready-mades”; packing the work through writings, audios, and photographs. into a suitcase made it possible to ❏ John Kascht with his caricatures (clockwise from Everhart Museum, Scranton Through lower left): Jimmy Stewart, Bill Murray, Ricky May 7: “MAKING FACES: Portraits by Gervais, Whoopi Goldberg, Conan O’Brien and Zsa Zsa Gabor. In “Making Faces,” John Kascht” Retrospective of drawings and Everhart Museum, PA paintings by caricature artist Kascht; “Leni Levenson Wiener’s Park Bench Stories”

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Everett Raymond Kinstler, Tom Wolfe, 1987. Oil on canvas. In “America Creative,” Fine Arts Gallery, Vanderbilt University, TN

Paintings and works on paper that objects as works of art, as evidence of the show the influence of Mexican art and earliest forms of artistic intention and the culture in Charleston in the mid-20th recognition of beauty in found objects— century. natural occurring stones having forms that could be enhanced through additional Halsey Institute of Contemporary carving; “2018 Nasher Prize Laureate: Art, College of Charleston ❏ “Bohler Theaster Gates” A sampling of the prize- & Orendt; The Carrion Cheer: A winner’s work, each piece illuminating key Faunistic Tragedy” (July 7) Installation elements of his practice —the use of that references extinct animals, human reclaimed and archival materials, and beings in relation the destruction of the biographical references. ❏ “Sightings: animals’ habitats, the plight of refugees Nairy Baghramian” (July 8) New installation, in the West and the attendant political like his others, draws on histories of art, issues. architecture and design, dance, theater, and photography. Tennessee Fine Arts Gallery, Vanderbilt Univer- Houston Center for Contemporary Craft sity, Nashville ❏ “America Creative: ❏ “Light Charmer: Neon and Plasma in Portraits by Everett Raymond Kinstler” Action” (May 13) Works by artists who (July 14) Portraits, made over a long create a spectacle of light, color, and move- career beginning in 1952, of creative ment through neon and plasma sculpture leaders—visual artists, actors, musi- and performance. cians, entertainers, and authors. Museum of Fine Arts, Houston ❏ Frist Center for the Visual Arts, “Modernism on the Ganges: Raghubir Singh Nashville ❏ Through May 28: “Rome: Photographs” (June 3) Survey of a career City and Empire” Objects and works from early works (1960s) to the last (1990s): of art from Europe, North Africa, and India’s dense complexity shown in teeming, the Middle East reflect the empire’s fractured compositions, all in brilliant color. social, political, and aesthetic impact; ❏ “ and the Vatican: Master- “Slavery, the Prison Industrial Com- works from the Museo e Real Bosco di plex: Photographs by Keith Calhoun Capodimonte, Naples” (June 10) Drawings, and Chandra McCormick” Life on cartoons, paintings, sculptures, and prints the prison farm at the Louisiana State show the role drawing played in art Penitentiary at Angola: b/w images production, 15th-16th centuries; also work show the exploitation of incarcerated by Rubens, Tintoretto, and Titian. men as well as their humanity. ❏ “Nick Cave: Feat” Sculpture, installation, Moody Center for the Arts, Rice University, video, and performance, everything Houston ❏ “Josiah McElheny’s Island bursting with color. Universe” (June 2) Installation of five Fabric collages of a variety of people sitting hanging sculptures referencing the big bang on park benches. Texas theory: the hangings are modeled after the Meadows Museum, Southern Methodist chandeliers in the Metropolitan Opera House Palmer Museum of Art, Pennsylvania State University, Dallas ❏ “Memory, Mind, Matter: The in New York. ❏ “Pile the Wood High!” (May University, University Park ❏ “Plastic En- Sculpture of Eduardo Chillida” and “Chillida in 19) Sculptures, drawings, and collages, all in tanglements: Ecology, Aesthetics, Materials” Dallas: De Musica at the Meyerson” (June 3) Two finished hardwoods, by three generations of (June 17) The story of plastic, from drawings exhibitions that present Spanish sculptor Chillida’s artists. ❏ “Platform—Jarrod Beck, Origin, and photographs to video installations and mature work, the first presenting his interest in 135 degrees” (May 31) First of a series of sculptures made from found plastic: three space, the human body, sections describe the progress of the medium and nature—works through the past, present, and future. ❏ “Pop in iron, steel, stone, at the Palmer” (May 13) Warhol, Duchamp, ceramic, alabaster, Rauschenberg, Lichtenstein Oldenburg, and paper; the second Paolozzi, Rosenquist, and others. ❏ “Dox presenting Chillida’s Thrash, Black Life, and the Carborundum monumental sculpture Mezzotint” (May 20) Examples of carborun- located in front of the dum mezzotints and other prints, made by Morton H. Myerson Thrash and colleagues in the 1930s and 40s, Symphony Center documenting African American culture. in Dallas.

South Carolina Nasher Sculpture Gibbes Museum of Art, Charleston ❏ Center, Dallas ❏ Through May 20: “Magic in the Mundane: Through : Modernist Photography from the Robert “First Sculpture: Marks Collection” Stieglitz, Abbott, Moholy- Handaxe to Figure Nagy, Munkácsi, Lynes, among others; Stone” First “Mexico and the Charleston Renaissance” presentation of these Raghubir Singh, Pavement Mirror Shop, Howrah, West Bengal, 1991. Chromogenic print. In “Modernism on the Ganges,” Museum of Fine Arts, TX

 18  spring VIEWS continued Gustav Klimt, Lady with Plumed Hat, 1908. temporary, site-specific public art projects on Ink, graphite, colored pencil, and watercolor on Asian paper. In “Klimt and Scheile: the campus: a sculpture and performance. Drawn,” Museum of Fine Arts, Boston

Ellen Noël Art Museum of the Permian Basin, Odessa ❏ “Captured by Design” is Political”; “Birds & Pop- (May 20) Realistic oil paintings that pies: Large-Scale Woodcuts by depict the artist’s native Tennessee and the Richard Ryan” An exploration Tennessee state symbols. of simple images: a vase and poppies, birds seen in profile. Utah ❏ Through May 11: “Bon à Utah Museum of Fine Arts, Salt Lake City Tirer: Prints & Monotypes ❏ “salt 13: Katie Paterson” (May 20) The from the Center Street Studio thirteenth in the “salt” series of contemporary Archives” Final works for pub- art: installations that explore space and time lished editions and portfolios, through using familiar aesthetics to translate printed by master printer James cosmic concepts into relatable language. ❏ Stroud, highlight the collabora- “Selections from the Photography Collec- tion between printer and artist; tion: Marilyn Bridges” (June 30) Photographs “Topography of Sound: Peaks taken from a small plane flying at low altitude & Valleys Series, New Work describe the marks of mankind on the surface by Maria Chavez” Sound art- of the earth, and sometimes result in abstract ist sketches the microscopic compositions. ❏ “Epicenter: Our Futures” images of vinyl records that (July 1) Interactive installation: travel in resemble nature’s mountainous time to explore the possible future of a regions. town of 961 people. Muscarelle Museum of Art, Virginia College of William & Mary, University of Richmond Museums, Williamsburg ❏ Through May Richmond ❏ At the Harnett Museum of Art: 13: “In the Light of Caravaggio: Through July 2: “The Personal is Dutch and Flemish Paintings Political: Images of Women from the Harnett from Southeastern Museums” Print Study Center” Highly stylized women: Rembrandt and the Utrecht sexualized objects, frumpy matrons, idealized Realists: Old Masters who were inspired leaders, dreamy-eyed protagonists, romantic by the art unveiled in Rome by Caravaggio and sculptures ranging across four centuries partners, and provocateurs, all inspired by around 1600; “Women with Vision: from 1660 to 2017, on view to celebrate the Carol Hanisch’s 1969 essay “The Personal Masterworks from the Permanent Collec- 100th anniversary of the first female students tion” Paintings, drawings, works on paper, admitted to the college: artists include Rosa Bonheur, O’Keeffe, Nevelson, Sherman, Smith, and others.

Washington Frye Art Museum, Seattle ❏ “Ko Kirk Yamahira” (June 3) Samples of the artist’s recent works, most of which are the result of eliminating parts of the canvas (horizontal or vertical threads) or the frame, a process of deconstruction that produces new works.

Seattle Art Museum ❏ “Everyday Poetics” (June 17) Everyday materials and objects transformed in works by contemporary Latin American artists who were shaped by social, economic, and political changes in their countries during the 1980s and 90s. ❏ “Sondra Perry: Eclogue for [in]Habitability” (July 1) Second in a series of video and computer-based media installations and performances about real and virtual land- scapes.❏ “Figuring History: Robert Colescott, Kerry James Marshall, Mickalene Thomas” (May 13) Three generations of contemporary American artists whose bold perspectives on black culture, presented together for the first time, challenge the underrepresentation of people of color.

Tracey Moffatt, Invocations #10, 2000. Photo silkscreen. In “People and Places,” Fitchburg Art Museum, MA

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Left: William Halsey, Two Maya Women, Yucatan, 1976. Oil on paper. In “Mexico and the Charleston Renaissance,” Gibbes Museum of Art, SC

Wisconsin Milwaukee Art Museum ❏ “Coming Away: Winslow Homer & England” (May 20) Paintings, drawings, and prints, executed during Homer’s two-year stay in the northern English fishing village of Cullercoats, focus on life along the waterfront. ❏ Through April 29: “Turning to Turner” A selection of Turner’s prints together with works by Homer and others inspired by Turner; “Designing Paris: The Posters of Jules Chéret” Color lithograph posters made to advertise the entertainments of Paris in the 19th century, the products, department stores, and more.

Museum of Wisconsin Art, West Bend ❏ “High Thread Count: Art Quilts by Pat Kroth” (May 14) Found objects (buttons, candy wrappers, jewelry, toys) and fabric sewn together creating abstract compositions. ❏

Right: George Kalinsky, Patrick Ewing and the Knicks win the NBA Eastern Conference Championship, June 5, 1994. In “New York Through the Lens of George Kalinsky,” New-York Historical Society, NY

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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 Philanthropies. 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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