museumVIEWS A quarterly newsletter for small and mid-sized art museums Fall 2013

Elie Nadelman, Woman at the Piano. 1920–24. Wood, stained and painted. In “American Modern: Hopper to O’Keeffe,” Museum of Modern Art, NY

 1  museumVIEWS

Features Fall 2013 ARTICLES: • Old Soldiers Never Die, They Just Fade Away Page 3 • The Complaint Department Located Here Page 4 • FROM THE AAM Page 5 In Search of Magnetic Museums Page 5 What to Do When Your Museum Job is Terminated Page 5 Playing and Learning Page 5 What Is Intellectual Property? Page 6

• Artists on the Rise Page 7 • Woodblock Prints Tell Ancient Tale Page 7 • Briefly Page 8 • autumnVIEWS Page 10

Top: Frohawk Two Feathers, They Already Got Yo Kids (“Tricked my wisdom with the system that imprisoned my son”), 2013. Acrylic, ink, coffee, and tea on paper. In “Frohawk Two Feathers,” Wellin Museum of Art, NY museumVIEWS Center: Adolph Gottlieb, Untitled (Three Discs), 1968. Maquette: acrylic on cardboard. In “Adoph Gottlieb Sculptor,” Editor: Lila Sherman University of Michigan Museum of Art, MI Publisher: Museum Views, Ltd. Left: Chuck Close, Lucas/Woodcut, 1993 2 Peter Cooper Road, New York, NY 10010 Woodcut with pochoir. In “Closer: The Graphic Phone: 212.677.3415 FAX: 212.533.5227 Art of Chuck Close,” Bruce Museum, CT 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.

 2  Old Soldiers Never Die; They Just Fade Away MacArthur’s museum $675,000, taking a lien against its assets. The money was used famous words for payroll while the museum was receiving valuations from auction were memorable houses. The loan was paid off after the Fresno Met’s first sale of assets. for soldiers, On the plus side: a children’s science and math exhibit was bought by but they don’t a children’s museum; a of boxed puzzles went to a toy mu- necessarily ap- seum; the museum building is now rented out by the city as commercial ply to museums. space; some staff members and trustees went to the Fresno Art Museum. Museums die. In the face of adversity, they Similarities struggle to sur- Similar, though not yet dire circumstances exist in two cherished vive, they cajole institutions: the Detroit Institute of Arts (MI) and the South Street governments, Seaport Museum (NY). Both are hoping to weather their financial they plead with storms. But both are teetering on the edge of disaster—the DIA, because donors, they a sale would strip its vaunted collection of valuable artworks while advertise, they compromising the museum’s long held imperative that artworks are not enlist the social to be sold except to purchase others; the Seaport Museum, because after media, they cut long years of economic hardship added to by damage from Hurricane back expenses Sandy, lost its main provider when the Museum of the City of New York and pare down said it could no longer afford to run it. staffs. But some- Both the DIA and the Seaport Museum, like the Fresno Metropolitan times nothing Museum of Art, are non-profit institutions; both are housed in buildings helps. owned by the city (the city of Detroit owns the institute and much of It happened its collection; the Seaport Museum leases its building from the city’s to the Fresno Economic Development Corporation). Metropolitan And all three Museum of are important Art & Science local attractions (CA) in 2010, that engender after extensive Bartolomeo Coriolano, Allegory of Peace and Abundance, 1627/1642. much pride. As Chiaroscuro woodcut. In “In the Guise of the Brush,” renovations and to the Fresno, Mt. Holyoke College Art Museum, MA a decrease in Dana Thorpe, the donations. It shut museum’s last down. In fact, the Fresno Met was only one of nearly 30 museums that closed executive direc- their doors in 2009, the last year for which we have statistics, according to tor said, “For the American Alliance of Museums. many people in The Fresno Met began life in 1984 in the former National Registered home the community, of the Fresno Bee newspaper, a 1922 Renaissance Revival building that was this was their donated by the owner. It opened with some enviable treasures such as Ameri- Disneyland.” “It can Indian baskets and a collection of Ansel Adams’ photographs. For a time was a Taj Mahal it thrived, but by June 2008 it had begun a downward spiral: a $28 million and a beautiful renovation, which closed the museum, was $15 million over budget and three museum, but the years behind schedule. demographics The museum finally managed to reopen in November 2008. Attendance were not there to reached record highs that year, but contributions dwindled because of the support it,” said recession. The next year, more than $4 million in debt, the museum began Stewart Randall, cutbacks: its operating budget by 45 percent, its staff through two rounds of former board dismissals, and its exhibitions, closing a prized Chagall exhibition early. president. p Seeking help from the City of Fresno, the museum asked for a loan of $15 million, which the city agreed to guarantee. But the Met was unable to raise money to refinance the loan, and the city took over the building. After that, more staff members were let go, the collection had to be sold, debts had to be paid. The museum hired a lawyer to take it through the agonies of dissolution. After calculating the potential cost and delays, the lawyer, with principals of the museum, decided to pursue an insolvency proceeding (rather than 11 protection) that is governed by state law rather than federal bankruptcy law. As a result of this choice, museum assets were turned over to an assignee who then oversaw their disposal. It was less expensive, faster, less compli- Rembrandt Harmensz cated, and less liable to objections. van Rijn, Woman Bathing Creditors were able to file claims, after the museum’s notification of its her Feet at a Brook (detail), 1658. Etching, dry point, liquidation. Non-art items were auctioned off; Sotheby’s handled the sale of and engraving. art works that brought about $2 milllion; other auction houses handled the In “From Rembrandt to Bollock to Atget,” balance. Unsecured creditors received 80 cents on the dollar. University of New Mexico At the start of the liquidation process, a group of local patrons lent the Art Museum, NM

 3  Complaint Department Located Here In an article written for The New York Times in August, freelance writer and who stared in return. “What was that about but the experience? former reporter and editor Judith H. Dobrzynski voiced some strong objections to “In the world of commerce, this trend has been going on for decades. the “hands-on” trend that has overtaken our cultural institutions. “Visitor engage- By 1998, two consultants, B. Joseph Pine I and James H. Gilmore, had ment and participation are changing the nature of museums. And not always in coined the term ‘the experience economy’ and were urging businesses to good ways,” barks the article’s sub-head. offer customers a memorable time rather ran a product or service…. “Trying to keep pace, cultural institutions are changing,…offering more of the “In this kind of world, the thrill of standing before art—except perhaps kinds of participatory experiences available almost everywhere else,” she writes. for works by boldface-name artists…and leaving aside contemporary “Museums stage sleepovers in the galleries and dance parties in huge atriums that artists who draw attention by being outrageously controversial—seems were built to be gather- not quite exciting ing spaces. The landmark enough for most Beaux-Arts headquarters people. What’s a of the New York Public museum to do,” she on 5th Avenue muses. in Midtown Manhat- According to tan, a sedate research Glenn D. Lowry, institution, may soon “museums must be transformed with the make a shift away addition of a gigantic from passive expe- branch library where the riences to interac- main draws will be meet- tive or participatory ing places and areas for experiences, from teenagers and children. art that is hanging A ground-floor café has on the wall to art already moved in. Who that invites people needs Starbucks?” to become part of Then a concession: it….Shed the idea “Some of these initia- of being a reposi- tives are necessary, even tory and become good. But in the process social spaces.” of adapting, our cultural And in the way treasures are multitask- of qualification, ing too much, becoming Lowry’s impera- more alike, and shedding tives refer mostly the very characteris- to contemporary tics that made them so art museums. But, special—especially art says Dobrsynski, museums.” “I’m not sure of the After describing her thesis or the quali- visit to a contemporary fication. I’ve seen installation by British museums offer artist Martin Creed, Work people the opportu- No. 965: Half the Air in nity to participate a Given Space, in a small in curating exhibi- glass-walled corner gallery at the Cleveland Museum of Art (OH)—it consisted tions, choosing which artworks from their collections should be sold to of a room-full of balloons—she comments, “Work No. 965 occupied only a raise money, deciding whether an altered painting should be restored… small corner of the museum, one previously occupied by Rodin sculptures, but advising on the design of gallery installations, and more. Shouldn’t those it represented a clash of values that’s pulling art museums away from their past. decisions be left to the experts? If not, what do they do? Why study art The Cleveland Museum’s chief curator [at the time]…suggested as much, per- history? haps unwittingly, when he announced that Mr. Creed’s artwork would ‘activate’ “In another manifestation of the trend, museums are embedding inter- the museum’s east wing.” active displays in their painting galleries. They are gamifying them….” Not a good thing to say to Judith. “In ages past, art museums didn’t need Lecture programs are being retooled to engage young people who want activating. They were treasure houses, filled with masterpieces meant to to connect to the art world through networking with the local art com- outlast the moment of the making, to speak to the universal….People went to munity rather than listening to the dry theses of so-called experts who see beauty, find inspiration, experience uplift, sometimes in a spiritual sort of come from afar. way. Museums housed their heritage, their raison d’être. “This is all in the name of participation and experience—also called “But the spirit of Work No. 965 is everywhere, common among curators, visitor engagement—but it changes the very nature of museums, and museum directors and, of course, artists.” Other citations of the ‘hands-on” ethos the expectations of visitors. It changes who will go to museums and for were: Rain Room, at MoMA PS1 (NY) that was billed as giving “visitors the what. experience of controlling the rain”; the Metropolitan Museum’s summer rooftop “For decades, museums have offered social experiences—the fact that installations like Big Bambú and the mirrored, modular habitat Cloud City. These you can talk while you’re in the galleries has always given them an edge walk-through experiences were commonly referred to as talks of the town. And over the performing arts—and that is good. Now, is the balance shift- how about Experience at the New Museum of Contemporary Art, which invited ing too far to the experience? Are they losing what makes them unique visitors to slide down a corkscrew path from the fourth floor to the second—an Should museums really follow the path of those ‘experience’ businesses? “art world amusement park,” according to Dobrzynski’s own New York Times. “If they do, something will be lost.” p Or Marina Abramovic’s The Artist Is Present at the Museum of Modern Art that had New Yorkers queuing up around the block to sit in silence opposite the artist, Senga Negudi, Performance Piece, 1978. In “rAdIcAl presence,” Grey Art Gallery, NY

 4  From the American Alliance of Museums—in Brief In Search of Magnetic Museums [From Magnetic: The Art and Science of Engagement, an Alliance publication by Anne Bergeron and Beth Tuttle.] In answer to the question, where are the great, high-performance institu- tions in the museum sector, the AAA studied museums that had not just sur- vived the last decade, but were thriving and growing despite the challenges. The resulting profile revealed common organizational practices of Mag- netic Museums that helped them achieve gains in mission delivery, business performance, community standing, and audience and community support. Magnetic Museums are high performance organizations that deliver cultural and civic value, and achieve superior business results through a commitment to service, engagement, and empowerment of others. They have a compelling vision; they create lasting bonds through meaningful experiences that enrich and strengthen their internal and external communities. To become “mag- netic” starts with engaging and empowering those closest to your organization in the pursuit of a compelling vision of the future; investing in people; forging strong relationships; and activating networks and communities. To become “magnetic” means creating real value for your customers and constituents by being responsive, relevant, and meeting their needs. To become “magnetic” means building trust, loyalty, and support by consistently meeting or exceed- ing expectations. p Jaune Quick-to-See Smith, Flathead Salish, Paper Dolls for a Post-Columbian World with Ensembles Contributed by the U.S. Government (Ken Plenty Horses), 1991. Pastel and watercolor. In “Heart Lines,” UC Art Museum, CO What to Do When Your Museum Job is Terminated: Playing and Learning [A short summary of an article by Judy Diamond; read more in Associa- Finding your next opportunity tion of Science-Technology Center’s About Learning: A Field Guide for [From a handout circulated at the 2013 AAM Annual Meeting.] Museums.] • Set a consistent weekday work schedule for job-hunting; create a new Play is not only tolerated, but encouraged, in museums. Thus it is daily routine. important to understand the relationship between play and learning, and • Find an alternative location to work on your job search: public library, the contribution of play to the development of motor skills, sociality, and neighborhood coffee shop? cognition.

• Don’t be shy about your situation. Post “revising my resume for the first • Play is a basic behavioral element in most mammals, humans included. time in 5 years” or something like it can signal that you’re out there job hunting. • Play is easy to recognize but hard to define; • Focus your search by compiling a ethologists try to define play by the context of list of target organizations where you certain behaviors. Yet there are always exceptions: would like to work. Read about them; play occurs more readily in immature animals, find people who can connect you to though it appears in adults as well. Play may stakeholders. involve social interaction, but it also can occur in solitude. Play is not directed toward a specific • Make a prioritized list of whom to goal; it is self-rewarding. Yet, short-term goals contact; track your interactions and sometimes facilitate play. Play is elicited by a impressions. wider range of stimuli than other activities. Yet, • Maintain a resume on LinkedIn; sometimes specific behaviors can initiate play. make regular posts; create an e-mail signature that includes the web ad- Despite contradictions, there are certain uni- dress for your LinkedIn profile. versal characteristics of play: • Pursue your job search online and • Play appears to lack goals. Play is intrinsi- off; scour web listings, use social cally rewarding; an enjoyment of means rather than media, attend networking events, have an effort toward a particular end. Play, says utilitar- informational interviews, meet ian Garvey (1990) is inherently unproductive. contacts for coffee. p • Play includes motor patterns that are taken from other functions— eating, fighting, exploring, but in play they don’t serve the same end. They are performed out of context.

• Imagination plays a prominent role in play Geoge Lukomski, Grace Kelly. Photograph. In “From activities. Children attach different meanings to Philadelphia to Monaco,” objects and assume changing roles during play— Michener Art Museum, PA fantasy becomes superimposed on reality. p

 5  What is Intellectual Property? [Excerpt from the Canadian Heri- ed by trademarks, and the period of time the trademark holder can tage Information Network Develop- claim a trademark, vary considerably by country and by whether ing Intellectual Property Policies: A the trademark is common-law or federal. How-To Guide for Museums.] Patent Pending Patent protects inventions—usually described as Intellectual property (IP): new, useful, and “non-obvious” processes, machines or chemical a concept in which tangible expres- compositions. It grants inventors the right to prevent others from sions of intellectual/creative pursuits making, using, offering for sale, or selling their invention for a such as inventions, designs, and specific period of time and within a specific national territory. creative works, are treated in legal and social spheres as property with TRADE SECRET Trade secret protects information that confers value all its attendant implications (owner- and competitive advantage in the marketplace by virtue of its being ship, use, economic transactions, a secret. Trade secrets can be formulas, a business or industrial and such). IP is governed by the le- method, processes, programs, source code, a list of clients, mar- gal regimes of copyright, trademark, keting plans, or any other information that gives an organization patent, and trade secret law. Each of economic value or advantage over other organizations that do not Arnold Newman, Pablo Picasso, Valluris, France, 1954. these addresses specific types of IP: have this information. Silver gelatin print. In “Arnold Newman,” Hofstra University Museum, NY © Copyright protects original works of These simple distinctions mask differing and complex means authorship that exist in physical form such as literary, artistic, musical, dramatic, and of offering legal protections. For example, registration is manda- architectural works. The protections of copyright (right to copy, distribute, display, tory for trademark and patent, but not for copyright. International etc.) and the period of time that a creator has the exclusive rights to those protections, conventions govern the treatment of copyrighted works across varies from nation to nation. nations, while trademark and patent operate within strict jurisdic- tional boundaries. Trade secret may straddle different legal areas ™ Trademark protects distinctive words, phrases, symbols, and designs that identify such as contract or patent, and is governed by state and provincial and distinguish specific goods and services in the marketplace. The protections afford- law. The intricacies of each process can only be understood with the assistance of legal counsel. p

Pablo Picasso, Woman in the Studio, 1956. Oil on canvas. In “Pablo Picasso’s Woman in the Studio,” Fred Jones Jr. Museum of Art, OK

 6  Artists on the Rise and Move; Ohio Program Helps Starving or not, artists are hooked on their careers. Gener- ally speaking, they think being an artist is rewarding and fulfilling—more than anything else out there. But the price is high: costs of supplies, travel, housing, and studio space all take their toll. Thus a Cleveland-based program called Artists in Residence (AIR) becomes a boon to those artists who need it: the program aims to help prospective artists live affordably while growing their businesses. Aided by AIR, artists and musicians can own affordable permanent locations in the Cleveland area where there are a multitude of art festivals and events each year. The program offers homes to artists for as little as $6,500 in the North Shore Collinwood area, and discounted neighborhood store- fronts. Once settled, occupants are assisted with grants and loans for repairs and other exigencies that come up. AIR is organized by the Community Partnership for Arts and Culture (CPAC) and Northeast Shores Development Corporation. Its goal is to increase artists’ access to affordable space within Cleveland and to develop a replicable model for increased artists’ participation in the revitalization of other neighborhoods and other industrial cities across the nation. Utagawa Kunisada, The Courtesan Takigawa of the Kukimanjiya Inaka Genji (Kukimanjiya nai Takigawa), 1838. Woodblock print, ink and color on paper. The model’s aim is to build up artistic communities around the nation, In “Genji’s World in Japanese Woodblock Prints,” Loeb Art Center, NY communities that are affordable and make sense to artists and musicians. After the launching in Cleveland, AIR will study the results and effect on portation, and meals. Participants were able to investigate some of the area’s the surrounding neighborhood. “It is our hope,” says CEO of CPAC Megan most artist-friendly neighborhoods and meet fellow artists. p Van Voorhis, “that the program will continually grow and build out the local arts and music scene. From there, we will be able to share this model and program with other rust belt cities in the nation to do the same.” “Offering affordable housing in a neighborhood that is up and coming is a great way for artists to keep their costs low and invest in their business, Woodblock Prints whether they are from the surrounding neighborhood or a few hours away,” says Brian Friedman, executive director of Northeast Shores Development Tell Ancient Tale Corporation. “North Shore Collinwood is the prefect opportunity for artists An exhibition of 18th- and 19th-century Genji prints, “Genji’s World in who do this as a full-time career. With a thriving arts scene and affordable Japanese Woodblock Prints,” at the Loeb Art Center (NY), recalls the 11th living, it’s perfect for those who commute back and forth throughout the year century tale which has influenced painting, prints, short stories, plays, to cut costs and increase their business exposure.” opera, movies, symphonies, manga, video games, and anime in Japan over A program, “Welcome to Cleveland,” hosted by AIR, was held for those the centuries. wanting to learn more. The event brought artists from all over the country. Court lady Murasaki Shikibu (c. 973-1014/25) wrote about the life and CPAC and Northeast Shores assisted artists with hotel costs, ground trans- loves of Prince Genji for an audience of aristocratic women. Her story has been considered the greatest work of classical Japanese literature, and is also called the world’s first mod- ern . Imagery associated with the tale was first featured in paintings, especially folding screens, in the 11th-12th centuries, and then followed in Japanese prints beginning in the 18th century. Parodies and retellings of the classic story of Genji, the beautiful but low-born son of the emperor, were popular in the 19th century. Famous Utagawa School artists produced prints depicting either the romantic exploits of Prince Genji or those of the hand- some Mutsuuji, hero of the satire A Rustic Genji by a Fraudulent Murasake. The satire became the favorite subject of illustrators; it was published in light and entertaining installments, like other popular fiction of the period. The variety of styles in prints of this era—those that portray the classic tale and those that focus on the satire—reveals 19th-century efforts to revive Japanese classical culture yet to infuse images with lively and satirical commentary on contemporary society. Beauti- ful, idealized women and opulent dress that communi- cate harmony and sensual pleasure are always present, yet some have the edge of impending change, soon to overtake Japanese society at the end of the century. p

Charles Burchfield, Sunflowers and Red Barn, c. 1942. Screenprint on paper. In “American Prints from the Permanent Collection,” Jundt Art Museum, WA  7  Briefly... Aboriginal Art Reaches Virginia The Kluge-Ruhe Aboriginal Art Collection at the University of Virginia is hosting artist David Bosun, a printmaker and woodcarver from Moa Island in the Torres Strait. He is the first resident artist at the museum under a grant from the Australia Council for the Arts, which will sponsor residencies for six indigenous Australian artists at the museum over the next three years. Advancing Chinese Art and Artists in NYC The Guggenheim Museum and Founda- tion (NY), together with the Robert H.N. Ho Family Foundation, announced a new initiative to advance the achievements of contemporary Chinese artists and expand the discourse on contemporary Chinese art. Artworks by artists born on mainland China, Taiwan, Hong Kong, and Macao will be commissioned, and a new Martin Lewis, Above the Yards, Weehawken, 1918. Aquatint and etching. In “Telling American History,” Bruce Museum, CT curatorial position will open for a Robert H.N. Ho Family Foundation Curator of Chinese Art. Deerfield; Historic New England; Massa- stand the cost of blight and build community chusetts Historical Society; Museum of Fine support to tackle the issue to engage, empower, Massachusetts Furniture Arts, Boston; North Bennet Street School; and transform the lives of low-income families Celebrated Old Sturbridge Village; Peabody Essex and long-neglected communities. Museum; and Winterthur Museum, Garden A statewide celebration, “Four Centuries and Library. of Massachusetts Furniture,” will involve Connecticut Indian Tribe Seven exhibitions will focus on different the collaboration of 11 institutions and other Holds Conference aspects of Massachusetts furniture making: organizations throughout the state. Founding Boston furniture, paintings, prints, account The Mashantucket Pequot Museum & institutions will highlight furniture-making , and ledgers at the Massachusetts His- Research Center (CT) hosted an academic from the 1600s to the present day through a se- torical Society; furniture making in western conference, “17th Century Warfare, Diplo- ries of exhibitions, symposia, public programs, Massachusetts at Historic Deerfield; the life macy, & Society in the American Northeast.” and a dedicated website. They include the and career of William Munroe at the Concord The public was invited to join and engage with Colonial Society of Massachusetts; Concord Museum; the career of Federal period arti- international scholars who discussed new find- Museum; Fuller Craft Museum; Historic san Nathan Lombard at Sturbridge Village; ings, regional history, archaeology, and cultural contemporary studio furniture from the topics. Bay state through the last half century The Battlefields of the Pequot War project, at the Fuller Craft Museum; the career established by the museum, the University of of Salem cabinetmaker Nathaniel Gould Connecticut, and the National Park Service at the Peabody Essex Museum; and an American Battlefield Protection Program, installation of fine Boston furniture at expands current understandings of the Pequot the Winterthur Museum as well as other War, and the locations and preservation of sister institutions. battlefields.

Citywide Sculpture Southern Arabian Artifacts Arrive in DC Exhibition Intrigues The Smithsonian’s Arthur M. Sackler and Educates Gallery (DC) received a gift of 374 ancient For the first time, a museum-orga- Arabian artifacts from the American Founda- nized citywide public sculpture exhibi- tion for the Study of Man. Dating from the tion, Nasher XChange, sponsored by the 8th century B.C. to the 2nd century A.D., the Nasher Sculpture Center (TX) in col- objects were unearthed at the ancient city of laboration with the Dallas Area Habitat Tamna in Yemen and provide insight into the for Humanity, will enliven the streets of history of the southern Arabian Peninsula. It is Dallas. The first artwork on display in one of the few fully documented collections of some 10 locations is a sculpture by Lara Qataban artifacts available to researchers. Almarcegui that was commissioned by The Qataban empire was a hub of cultural the center. It can be viewed in the Oak exchange, central to the ancient trade routes Cliff Gardens neighborhood in East from the Mediterranean to the Indian Ocean. Oak Cliff. Tamna was its capital when, in the 1st century The project coincides with a Dallas A.D. a catastrophic fire destroyed the city, Area Habitat for Humanity Blight Study leaving it buried under layers of ash and sand that it commissioned with the University for almost two millennia. It remained undis- of North Texas. Researchers created a covered until the 1950s. Highlights of the new measurement tool that could help archaeological discoveries are a pair of bronze communities around the nation under- lions with the figure of Eros on their backs (the “Lions of Tamna”), showing the cultural Artist Unknown, Mather & Company, Say It With Snap! Get ToThe Point, 1925, color lithograph. In “Say it With Snap,” Goldstein Museum of Design, MN

 8  Briefly... Continued exchange between the Qataban and Greek Community members will be invited to Barcelona—have joined an initiative subse- empires; and a translucent alabaster head of a develop the events, interpretation, and tours for quently named GLAM-Wiki (GLAM for young woman (“Miriam”) with an Egyptian these exhibitions. The museum believes that galleries, , archives, and museums). hairstyle. through this project, it provides a new model for audience engagement for small and mid- IMLS Awards Nearly $30 More Art Comes to DC sized museums across the country. “Today’s audiences demand to be engaged, to go beyond The Smithsonian American Art Museum Million in Federal Grants receiving information to helping shape and (DC) announced the acquisition from the This year the Institute of Museum and create it. The Akron Art Museum’s model ful- Irving Penn Foundation of 100 photographs Library Services (IMLS) awarded grants fills this mission by involving the public even by legendary photographer Irving Penn, best totaling nearly $30 million for 244 projects before the exhibition opens,” says the Akron known for his fashion, still-life, and portrait at museums of all types, from art museums program director for the Knight Foundation. photographs made for Vogue magazine. Includ- to science centers, from aquariums to history ed in the collection are 1930s and 40s street museums. photographs, mostly unpublished; images of Knoxville Closes Shop — On September 18, IMLS Director Susan post-war Europe; portraits of iconic figures Hildreth honored the grantees at a workshop such as Agnes de Mille, Langston Hughes, and Temporarily and ceremony in Washington, D.C. Repre- Truman Capote; color photographs made for A comprehensive renovation of the Knox- sentative Paul Tonko (D-NY) addressed the magazine editorials and advertisements; self ville Museum of Art’s (TN) landmark Clayton gathering of grant recipients and others from portraits; and the very recognizable fashion Building has closed the museum to the public across the country. and still-life images. until November 29, when the East Tennes- Funding for IMLS grants is provided A touring exhibition following the presenta- see Regional Student Art Exhibition will take through an appropriation from Congress. tion at the Smithsonian in 2015 is in the plan- place. At the September 18th event, members of ning stages. Congress and their staffs were able to see how museums across the country will use the Wikipedia Editors funds to support learning experiences, serve as Contemporary Art Collection Join with Museum community anchors, and safeguard the nation’s Transforms Museum In an unlikely pairing, editors from Wiki- cultural and scientific heritage represented by their collections. The Harwood Museum of Art (NM) an- pedia and scholars from the Smithsonian American Art Museum (DC) joined in a “The nation’s 17,500 museums are trusted nounced a pledged gift of some 341 works by spaces where people can follow their passions contemporary artists, comprising one of the daylong session aimed at expanding the breadth of human knowledge. The and connect with their communities in new foremost collections of contemporary art in the ways, where treasured collections are used to Southwest. The Gus Foster Collection includes session, an “editathon,” was the latest collabo- ration between the online encyclopedia and create unique learning places,” said Hildreth. works by Ken Price, Larry Bell, Ron Davis, “The American people can be proud of these and 83 other artists whose works emanated cultural institutions, the goals of which have been to expand and improve the encyclopedia’s federal investments that help support the edu- from the art colony of Taos, New Mexico. In cational and cultural life of the nation.” fact, the collection explores the depth of the entries which, as everyone who has used the resource is aware, are subject to the vagaries of The funding, awarded through the agency’s Taos-Los Angeles contemporary art connec- five museum grant programs, its cooperative tion. volunteer’s contributions. “Wikipedia is driven by this desire to share and interagency agreements, and the National Medal for Museum Service, supports a wide Funding Creates knowledge freely with the world, and that is in sync with our mission,” said Sara Snyder, variety of projects. They include exhibits; Community Connections webmaster at the Archives of American Art, onsite and offsite arts and education program- To engage the public, the Akron Art Muse- a Smithsonian research center that held an ming; projects to digitize collections; partner- um (OH) will present a series of exhibitions in editing session to increase the encyclopedia’s ships to reach underserved neighborhoods which the community will help design public entries on female artists. and to address community needs; projects for outreach and programming: all this as a result These cooperative sessions began in 2010 people with disabilities and underserved popu- of a multi-year gift totaling $750,000 from the at the British Museum. A year later, another lations; conservation of threatened or fragile John S. and James L. Knight Foundation. session was held at the Archives of American collections, including living collections in zoos In the next three years, six curators will Art, during which local amateurs were enlisted and botanical gardens; creative physical spaces commit to six exhibitions, accompanied by to write new entries using the resources of the for hands-on learning; internships; “maker- public programming that seeks to draw in archives. Other institutions—the New York spaces” and STEM-based learning projects; new audiences. Public Library, the Children’s Museum of and much more. Indianapolis, and the Picasso Museum in The Institute of Museum and Library Ser- vices is the primary source of federal support for the nation’s 123,000 libraries and 17,500 museums. Its mission is to inspire libraries and museums to advance innovation, lifelong learning, and cultural and civic engagement. Grant making, policy development, and research help libraries and museums deliver valuable services that make it possible for communities and individuals to thrive.

[A complete list and map of museum recipi- ents is available on the IMLS website (www. imls.gov). For information about IMLS mu- seum grant programs, see: http://www.imls. gov/applicants/available_grants.aspx.] p

Left: Edward S. Curtis, Bear Bull-Blackfoot, 1926. Photogravure. In “Edward S. Curtis and the Vanishing Race,” Museum of Wisconsin Art, WI  9  autumn VIEWS Arkansas and Airflow to Rambler, Dodge, Pontiac, and Everywhere” (Nov. 16) Mixed media installa- Arkansas Art Center. Little Rock ❑ Through Lincoln; “Nature’s Tranquil Splendor” Works tion: sculpture and video function as allegori- Nov. 17: “Interwoven: Craft” Works by artists by 19th-century landscape painter, William cal actors in a theatrical setting that explores who employ the process of weaving or who Keith (d. 1911). the critical tensions between art and life. ❑ explore the varied meanings of the word “in- “Mathew Zefeldt: Forms Forming Forms” terwoven”; “Interwoven: Paper” Drawings and Oakland Museum of California ❑ “The Tree (Jan. 11, 2014) Installation that transforms the prints that explore physical, emotional, and of Life and Death: Dias de los Muertos, 2013” multi-color illuminated gallery walls into a spiritual relationships. (Dec. 8) The 19th annual tribute to the Meso- backdrop for monumental still lifes. american tradition celebrates the connections California between humans and nature—past, present, Cantor Arts Center, Stanford University Berkeley Art Museum and Pacific Film and future. ❑ “Peter Stackpole: Bridging ❑ “Carrie Mae Weems: Three Decades of Archive, University of California, Berkeley ❑ the Bay” (Jan. 26, 2014) B&W photographs Photography and Video” (Jan. 5, 2014) A look Through Dec. 22: “Beauty Revealed: Images chronicling the original San Francisco- at Weems’ career from her early documentary of Women in Qing Dynasty Chinese Paint- Oakland Bay Bridge and Golden Gate Bridge and autobiographical photographic series to ing” Mid-17th- to late 18th-century merien construction in the 1930s the more complex works that have placed her hua, paintings of beautiful women, mostly in the forefront of contemporary art; today courtesans; “Linda Stark/Matrix 250” ❑ Palo Alto Art Center ❑ “” and she is one the most respected interpreters of “Yang Fudong: Estranged Paradise, Works “The Illuminated Library” (Dec. 15) Two cel- the African American experience. ❑ Through 1993-2013” (Dec. Nov. 17: “Faith 8) Mid-career Embodied: Saints retrospective of from the Renais- this important sance to the China-based artist Enlightenment” features 20 years Prints and draw- of films, multi- ings that show channel video the different installations, and ways in which photographs; in artists from the addition, a special late 15th century single-channel film to the 18th told series by the artist the stories of the and a selection saints: works by of films which he Dürer, Tiepolo, chose. Goltzius, among others; “Manet Irvine Museum and the Graphic ❑ “California Arts in France, Impressionism: 1860-1880” Selections from the Prints, drawings, Irvine Museum” and photographs (Jan. 9, 2014) After that focus on the more than 3 years themes and styles on the road, this of printmakers collection from in France dur- the Irvine returns ing these years home to pres- leading up to and ent viewers with following the the special brand Paris Commune of Impression- of 1871. The cen- ism—California terpiece: Manet’s light shining on 1871 lithograph California landscapes—that emerged in the ebrations of the inspiration books and libraries Civil War (Guerre Civile). Other works by early years of the 20th century. have provided artists, especially now when Courbet, Pissarro, and Bracque. ❑ “Ad Men: digital devices are ubiquitous, and the act of Advertising in Prints, 1960s–1970s” (Dec. 1) Autry National Center, Los Angeles ❑ “Jews reading less prevalent. Artists who merge techniques and processes in the Los Angeles Mosaic” (Jan. 5, 2014) Ar- of “high” and “low” art: Warhol, Rosenquist, tifacts, photographs, video, audio, and music, Crocker Art Museum, Sacramento ❑ “Eman- Lichtenstein, Chagoya, Johns, and Wessel- all used to illuminate the influence of Jews in cipating the Past; Kara Walker’s Tales of mann, among others. the transformation of frontier-era Los Angeles Slavery and Power” (Jan. 5, 2014) An explora- into today’s dynamic metropolis. tion of Walker’s art, especially her transforma- Colorado tion of the cut-paper silhouette into lyrical and UC Art Museum, University of Colorado, Saint Mary’s College Museum of Art, argumentative expression; also included are Boulder ❑ “Heart Lines: Expressions of Native Moraga ❑ Through Dec. 15: “The Artist drawings, prints, and video. ❑ “Jules Taver- North American Art” (Dec. 21) Artistic expres- Revealed: Artist Portraits and Self-Portraits” nier: Artist and Adventurer” (Jan. 26, 2014) A sions of history, politics, cultural memory and Chuck Close, Manet, Steichen, Rockwell, and career survey of the artist’s approach to scenes persistence, the significance of landscape and many more, many portraits and self-portraits of the American West, with intimations of his place, animal relationships, contemporary paired revealing more than either one alone; native country’s Barbizon aesthetic. urban experience, and the continuing relevance “Judy Dater: Edo Redux” Photographs and of cultural tradition. memorabilia from Japan beginning in 1963 San Jose Museum of Quilts and Textiles ❑ reveal changes in clothing, hairstyles, sig- “Fiberart International 2013” (Jan. 19, 2014) Unknown photographer, Captain Charles A. and Sergeant John nage, and technology; “Malcolm Lubliner: M. Hawkins, Company E, “Tom Cobb Infantry,” Thirty-eighth The Automotive Landscape” Color and B&W ❑ Regiment, Georgia Volunteer Infantry (1861–62). Ambrotype, Santa Monica Museum of Art “Ara Quarter-plate, applied color. In “Photography and the American photographs of guess-what—Chalmers, Dino, Dymond: Famous, New York, Modernism Civil War,” Gibbes Museum, SC

 10  autumn VIEWS continued Earth: The Cole-Ware Collection of American Baskets” (Dec. 8) Contemporary basketmakers strut their stuff; made between 1983 and 2011, the baskets on display demonstrate the endur- ance of indigenous, African, and European basket-weaving traditions. Florida Hand Art Center, Stetson University, Deland ❑ “Oscar Bluemner: Color Sketches” (Dec. 2)

Museum of Fine Arts, St. Petersburg ❑ “Mix- ing Metaphors: The Aesthetic, the Social and the Political in African American Art, Works from the Bank of America Collection” (Jan. 5, 2013) Andrews, Bearden, Gilliam, Jacob Lawrence, Gordon Parks, Puryear, Ringgold, Simpson, and Carrie Mae Weems, among others.

Vero Beach Museum of Art ❑ “Simply Beautiful: Photographs from National Geo- graphic” (Jan. 5, 2014) “Photographs have Marco Ricci, Roman Capriccio. Gouache. In “Tiepolo, Guardi, and Their World,” Morgan Library & Museum, NY given us visual proof that the world is grander Connecticut and paintings explore life, mortality, than we imagined, that there is beauty, often Bruce Museum, Greenwich ❑ “Telling and magic. overlooked, in nearly everything.”—Annie American History: Realism from the Print Griffiths, photographer and organizer of the Collection of Dr. Dorrance T. Kelly” (Dec. Smithsonian American Art Museum ❑ exhibit. 1) Lithographs and etchings by early 20th- “Landscapes in Passing: Photographs by century Americans who were inspired to depict Steve Fitch, Robbert Flick and Elaine Mayes’’ Cornell Fine Arts Museum, Rollins Col- everyday scenes that chronicled daily life in (Jan 20, 2014) Pictures of civilization’s rapid lege, Winter Park ❑ “Studio Malick” (Dec. 1) the world around them; the display presents expansion into suburbs and exurbs, updating Malick Sidibé’s photographs of Malian people a snapshot of America from 1905 through the idyllic portrayal of the American landscape as they gained independence from France in 1967, set amid a backdrop of events such as of the 19th and early 20th century by the likes 1960. ❑ Through Dec. 8: “Auktion 392: Re- World War I, the Great Depression, New Deal of Ansel Adams and others. ❑ “Infinite Place: claiming the Galerie Stern, Düsseldorf” (Dec. programs, and World War II. ❑ “Closer: The The Ceramic Art of Wayne Higby” (Dec. 8) 8) Organized in three modules, the exhibi- Graphic Art of Chuck Close” (Jan. 26, 2014) Landscapes in clay; the forms, techniques, tion tells the intertwined stories of the Stern Selections from his oeuvre that provide a look and firing processes used throughout a 40- family and Max Stern’s doomed struggle in at the wide range of his printed production. year career; work in raku earthenware and 1939 during the Nazi era to save his art gallery in porcelain; ceramic objects, drawings, and and collection; the forced auction (including District of Columbia architectural maquettes. ❑ “Ana Maria Tava- a reconstruction of the auction environment Hillwood Estate, Museum and Garden ❑ res: Deviating Utopias” (Jan. 12, 2014) Works, with more than fifty images of the sold lots); “Living Artfully: At Home with Marjorie Mer- inspired by the architecture of the modern city and finally the restitution of Nazi looted art in riweather Post” (Jan. 12, 2014) Stories of fam- that employs steel, glass, and mirrors. ❑ “A general, alongside current progress of the Max ily, staff, and guests, formal dinners, charity Democracy of Images: Photographs from the Stern art restitution project; “Albrecht Dürer events, garden parties, and weekend retreats, Smithsonian American Art Museum” (Jan. 5, to Claes Oldenburg: Collecting at the Cornell, all brought to life for this exhibition. 2014) Images from the permanent collection 1990-2010” Works purchased by the museum show the medium’s evolution from a documen- during two decades at the turn of the 21st National Museum of Women in the Arts ❑ tary to an artistic genre. ❑ “A Measure of the century: in addition to Dürer and Oldenburg, “Wanderer: Travel Prints Delacroix, Cézanne, Blondel, Tiepolo, Lich- by Ellen Day Hale” (Jan. tenstein; “Diana Beltran 5, 2014) Detailed etch- Herrera: Birds of Florida” ings of people and places Paper sculptures featuring by the artist who created local bird species. the well known fur-lined teacup and saucer in 1936. Georgia ❑ “Making her Mark: Georgia Museum of Art, Publishers’ Bindings by University of Georgia, Women” (Nov. 1) Cloth Athens ❑ Through Jan. bindings created by 5, 2014: “Cercle et Carré women artists after leather and the International Spirit and paper were abandoned of Abstract Art” Works in the 19th century. ❑ by the group of abstract Through Nov. 10: “Ameri- artists who came together can People, Black Light: in 1929 in opposition to Faith Ringgold’s Paintings Surrealism; they called of the 1960s” Bold images themselves Cercle et painted in response to the Carré; “The Crossroads Civil Rights and feminist of Memory: Carroll Cloar movements; “Awake in the and the American South” Dream World: The Art of (Jan. 5, 2014) Paintings Carrie Mae Weems, From Here I Saw What Happened and I Cried, that depict a unique vision Audrey Niffenegger” Mid- 1995-96. Toned prints. In “Carrie Mae Weems: Three Decades of career retrospective: art, works on paper, Photography and Video,” Frist Center for the Visual Arts, TN of the South pay homage to great American

 11  autumn VIEWS continued realist masters and Pointillism; “L’objet en mouvement: Early Abstract Film” Films from the 1920s: members of Cercle et Carré identi- fied these early films as initial steps toward achieving an entirely abstract cinema—a nonrepresentational mode of expression based purely on movement; “Exuberance of Mean- ing: The Art Patronage of Catherine the Great (1762-1796)” The works of decorative art commissioned by Russian Empress Catherine the Great for her own use as gifts for courtiers, including a chalice created by goldsmith Iver Winfeldt Buch, which belongs to the Hillwood Estate, Museum and Gardens (DC). Illinois Tarble Arts Center, Eastern Illinois Univer- sity, Charleston ❑ “Motion—Real & Implied: Selections from the Collection’’ (Nov. 24) Illustrations of visual illusion in painting, the use of balance in sculpture to suggest move- ment, and actual motion requiring interaction between object and viewer.

Krannert Art Museum, University of Il- linois, Urbana-Champaign ❑ Through Jan 5, 2014: “Return to Sender: Ray Johnson, Robert Warner, and the New York Correspondence School” Ephemora from the school of “mail art,” started by Johnson in the 1950s and Ellen Day Hale, Milk Delivery, Cairo, 1930. Soft-ground etching with aquatint on paper. In “Wanderer,” National Museum of Women in the Arts. DC carried on by Warner, in which participants received a letter or object in the post, added to or subtracted from that item, and then mailed it prominent in the lives of women. of diagrammatic line, the history of Abstract to another participant or returned it to Johnson. Expressionism, and the erotic dimensions of The network of participating artists came to be Salina Art Center ❑ “Six Years In: The Ware- paint. ❑ Through Oct. 27: “Steve Locke: there called the New York Correspondence School; house” (Dec. 22) Celebrating the first six years is no one left to blame” Paintings of male heads “Correspondents of Ray Johnson” Works from of artist residencies at the center’s living and that challenge the historic tendency to depict the museum’s permanent collection by artists working space for contemporary artists. men as authoritative and powerful; “Mary Reid such as Robert Indiana, James Rosenquist, Kelley” Videos of political frictions affecting Ed Ruscha, William Wiley, and Karl Wirsum the lives of women and the discourse on war Maryland and other historic events as seen through the who corresponded with the collagist and mail Walters Art Museum, Baltimore ❑ “Egypt’s eyes of fictitious characters. artist and who shared his aesthetic; “HELLO Mysterious Book of the Faiyum” (Jan. 5, 2014) WORLD! or: How I Learned to Stop Listening An illustrated papyrus from Greco-Roman Museum of Fine Arts, Boston ❑ “Hippie and Love the Noise” Installation consisting of Egypt depicting the Faiyum oasis, located to Chic” (Nov. 11) A revisit to the 1960s and 70s thousands of video diaries gathered from the the west of the Nile, as a center of prosperity to trace the revolutionary influence of the hippie Internet; “Yun-Fei Ji: Selected Works” Works and ritual: Egyptian jewelry, papyri, statues, movement on fashion; the rejection of Parisian in ink and watercolor on handmade mulberry reliefs and ritual objects illuminate the reli- haute couture led to an eclectic, individual look or xuan paper explore the violence and suf- gious context ot the text, which celebrates the that mixed vintage and ethnic clothing with fering of communities affected by the Three crocodile god Sobek and his special relation- clothes inspired by psychedelic pop art, nature, Gorges Dam project in China. ship with the Faiyum. fantasy, and ethnographic art. Kansas Massachusetts Peabody Essex Museum, Salem ❑ “Toshio Dane G. Institute of Contemporary Art, Shibata” (fall) Landscape photographer Hansen Museum, Logan ❑ Boston ❑ “Amy Sillman: explores the balance between human-made “Perfecting the Past: Colonial one lump or two” (Jan. structures and nature and the unique appearance Revival Quilts” (Dec. 1) 5, 2014) Survey that of such structures in his native Japan. ❑ “Future Works from the late traces the develop- Beauty: 30 Years of Japanese Fashion” (Jan. 19th, early 20th ment of the 26, 2014) Japanese designers reshaped fashion centuries artist’s in the early 1980s: flowing, sculptural forms, when work reduced range of color, space between body and women over fabric are shown to emphasize the relationship tried to 25 between art, design, and fashion. rep- years licate from Mount Holyoke College Art Museum, South what early Hadley ❑ Through Dec. 17: “In the Guise of they use of the Brush: the Italian Chiaroscuro Woodcut” thought car- Images made by layering impressions from to be toon multiple carved blocks, resulting in works that colonial figures appear to be fluid paintings; “To Be at the life, an ideal- through Farther Edge: Photographs Along the New ized version that explorations made needlework JoAnne Russo, Acorn Basket, #74, 2003. Black ash, pine needles, nylon thread, and acorns. In “A Measure of the Earth,” Smithsonian American Art Museum, DC  12  autumn VIEWS continued England Trail/Barbara Bosworth” A multi- that explores eerie landscapes, creepy crea- dust as old as 4.5 billion years and embody venue exhibition presented by the National tures, ghostly figures, and other intersections the geology of the remote locations in which Park Service in cooperation with the Appa- of reality and imagination. the artist works as well as the formation of the lachian Mountain Club and the Connecticut planets. Forest & Park Association; “Lorna Bieber: Of Minnesota Echoes and Grace” Pictures from magazines, Walker Art Center, Minneapolis ❑ “Fritz New Jersey books, and catalogues transformed through Haeg: At Home in the City” (Nov. 24) Part of American Labor Museum/Botto House copying and cropping, becoming finally an ongoing series that examines ways in which National Landmark, Haledon ❑ “Centennial multi-paneled montages. gardens and landscapes are harvested and Commemoration of the 1913 Paterson Silk brought into the home. ❑ “Claes Oldenburg: Strike” (Dec. 28) Photographs, artifacts, and Rose Art Museum, Brandeis University, The Sixties” (Jan. 12, 2014) Large exhibition artwork depicting the people, places and events Waltham ❑ Through Dec. 15: “Image focusing on his early works. related to this historic strike: In the winter of Machine: Andy Warhol and Photography” 1913, more than 24,000 men, women, and Photography as source material: the cen- Goldstein Museum of Design, Saint Paul ❑ children marched out of Paterson, New tral role of photography in Warhol’s art and “Say it With Snap! Motivating Workers by Jersey’s silk mills calling for decent work- its relationship to his portrait painting and Design, 1923-1929” (Jan. 6, 2014) Historic ing conditions, an end to child labor, and an documentation of his own social life; “Light posters offer a view into the 1920s workplace. eight-hour day. Silk workers Pietro and Maria Years, Jack Whitten, 1971-1973” In a first solo Botto offered their Haledon home overlooking exhibition in a green as a New England, meeting place monumental for strikers. abstract canvases Upton Sin- created in the clair, Eliza- early 70s and beth Gurley small works on Flynn, and canvas as well other cham- as experimental pions of labor drawings; “Col- spoke from lection in Focus: the second- Al Loving” Two floor balcony abstract works to workers that echo the of many African American nationalities. vernacular— This action quilting, the and others use of recycled like it brought materials, and about reforms African ceremo- in the work- nial clothing; place broadly “Minimal and enjoyed by More: 60s and Americans 70s Sculpture today. from the Collec- tion” Works that Monmouth reflect the era’s Museum, revolution in the Lincroft ❑ perception and “Covered in production of Gold” (Nov. art in America. 10) Presented ❑ “Omer Fast by the Society 5000 Feet is the of Gilders: Best” (Nov. 3) fine art and Video that opens Leon Bibel, Refugees, 1938. Oil on canvas. In “Leon Bibel,” University of Richmond Museums, VA decorative up a discussion objects with gold and metal leaf. about drone surveillance and warfare. Montana Missoula Art Museum ❑ “Sara Siestreem: New Mexico Michigan Ballast” (Jan. 26, 2014) Abstract paintings University of New Mexico Art Museum, Al- University of Michigan Museum of Art, Ann that incorporate color field painting, automatic buquerque ❑ Through Dec. 14: “Agnes Martin: Arbor ❑ “Adoph Gottlieb, Sculptor” (Jan. 5, drawing, and symbology. ❑ “Strange and Won- The Early Years, 1947-1957” Much different 2014) Abstract Expressionist, an important derful—American Folk Art from the Volkersz from the grids and stripes of her later works, presence in the artistic life of New York from Collection” (Dec. 22) Works by self-taught these works show a young talented artist’s the 1930s until his death: a focused distillation artists who, without instruction or academia, journey through the maze of early- to mid-20th of simple geometric shapes. produce honest expressions, executed with century modernism. ❑ “Life’s a Peach: Martin the barest of materials. ❑ “Christine Joy: Parr” Photographer takes a color-saturated Flint Institute of Arts ❑ “Toulouse-Lautrec Currents” (Jan. 15, 2014) Sculpture from look at the beach. ❑ Through Dec. 21: “From & His World” (Dec.30) Scenes from Parisian willows, red osier, and other branches. Raymond Jonson to Kiki Smith: The UNM night-life: original works on paper rarely seen Art Museum’s Permanent Collection at Fifty outside Europe; the only Midwestern venue. Nevada Years” Highlights and recent acquisitions; Nevada Museum of Art, Reno ❑ “Ulrike Ar- “From Rembrandt to Pollock to Atget: Cel- Kalamazoo Institute of Arts ❑ “Copley to nold: Painting with Ground & Sky” (Nov. 17) ebrating a Collection” Works on paper, from Kentridge: What’s New in the Collection?” Paintings that incorporate terrestrial minerals 1493 to the present. (Dec. 1) Recent acquisitions. ❑ “BOO! from 200 million years ago, and meteoritic Images of the Macabre” (Jan. 26, 2014) Art  13  autumn VIEWS continued New York Diana Beltran Herrera, Common Starling, 2013. the three cities, many of which were published Wellin Museum of Art, Paper sculpture. In in the BMW Guggenheim Lab publication. ❑ “Diana Beltran Herrera: Hamilton College, Clin- Birds of Florida,” Cornell “Christopher Wool” (Jan. 22, 2014) Retrospec- ton ❑ “Through Dec. Fine Arts Museum, NY tive of monochrome works that look into the 22: “A Sense of Place” complexities of painting as a medium as well Works that comment as the rhythms of the urban environment. on the power of place, winning feature film both real and imaginary, Life of Pi. ❑ Nov. Jewish Museum, New York City ❑ “threeAS- to evoke both shared 15-Jan. 12, 2014: FOUR: MER KA BA” (Nov. 10) The fashion and personal associa- “Drawing Time, collective threeASFOUR presents a multime- tions; “Frohawk Two Reading Time” Art- dia installation fusing avant-garde couture, Feathers: You Can ists from the 1960s architecture, and video projections, and blend- Fall: The War of the to today who explore ing ancient symbols with new technologies to Mourning Arrows” the relationship evoke a desire for cross-cultural unity. Images that depict real between drawing and imagined history and writing; “Dick- Loeb Art Center, Vassar College, Poughkeep- and combine traditional inson/Walser: Pencil sie ❑ “Genji’s World in Japanese Woodblock European portraiture, Sketches” Emily Prints” (Dec. 15) First time outside Japan: Native American and Dickinson’s original prints inspired by the 11th-century Tale of folk art, and contempo- poem manuscripts Genji, and its 19th-century parody A Rustic rary urban culture— and Walser’s micro- Genji by a Fraudulent Murasaki. a new perspective on scripts, i.e., art may colonialism, imperialism, and racism. be used to make language; “William Engelen: Morgan Library & Museum, New York Falten” Works that build musical scores from City ❑ “Tiepolo, Guardi, and Their World: Hofstra University Museum, Hempstead ❑ folded sheets (falten) of paper. Eighteenth-Century Venetian Drawings” (Jan. “Arnold Newman: Luminaries of the Twentieth 5, 2014) Work from the flourishing family Century in Art, Politics and Culture” (Dec/ 13) Grey Art Gallery, New York City ❑ Through workshops and commissions from the church, Photographic portraiture, where the back- Dec. 7: “Radical Presence: Black Performance nobility, bourgeoisie, and foreign travelers cre- ground is integral to the image. in Contemporary Art” The emergence and ated a resurgence of Venice in the 18th century development of African American perfor- as a center for international arts patronage. Americas Society, New York City ❑ mance practices from the 1960s to the present. “Cristóbal Lehyt: Iris Sheets” (Dec. 14) Site The exhibition is presented in two parts; the ❑ specific installation focusing on the perception second, at the Studio Museum in Harlem (Nov. Museum of Modern Art, New York City of space: a monumental sculpture that fills the 14-March 9, 2014); “Modern Iranian Art: “American Modern: Hopper to O’Keeffe” gallery, a wall painting with drawings, and a Selections from the Abby Weed Grey Collec- (Jan. 26, 3014) A fresh look at the museum’s large banner outside the building. tion at NYU” Paintings, sculpture, prints, and holdings of American art made between 1915 jewelry made in the 1960s and 70s. and 1950, and the cultural preoccupations of a Drawing Center, New York City ❑ Through rapidly changing American society in the first Nov. 3: “Sean Scully: Change and Horizon- Guggenheim Museum, New York City ❑ half of the 20th century: Burchfield, Stuart tals” Acrylic, ink, graphite, masking-tape, and Through Jan. 5: “Robert Motherwell: Early Davis, Hopper, O’Keeffe, Sheeler, Stettheimer, ❑ typewriter drawings from 1974-75; “Alexis Collages” Papier collés and related works on Stieglitz, Andrew Wyeth among others. Rockman: Drawings from Life of Pi ” The first paper from the 1940s and early 1950s provide “Soundings: A Contemporary Score” (Nov. 3) stage in the development of the 2012 award a look into the artist’s origins and his engage- A communal exploration of how and what we ment with collage; “Participatory City: 100 hear, and what we might make of it: works in- Urban Trends from the BMW Guggenheim clude architectural interventions, visualizations Lab” This exhibition, following presentations of otherwise inaudible sound, an exploration in New York, Berlin, and Mumbai, examines of how sound ricochets within a gallery, and the major themes and ideas that emerged in a range of field recordings of everything from bats to abandoned buildings in Chernobyl to 59 bells in New York City to a factory in Taiwan. ❑ “New Photography 2013” (Jan. 6, 2014) Recent works by artists who have expanded photography as a medium of experimenta- tion and intellectual inquiry. ❑ “Dorothea Rockburne: Drawing Which Makes Itself” (Jan. 20, 2014) Carbon paper and wall works.

Don Rambadt, Glide, 2011. Bronze and stainless steel. In “Birds in Art,” Woodson Art Museum, WI

Left: Patrick DesJarlait, Red Lake Fishermen, 1946. Watercolor on paper. In “Our Treasures,” Hillstrom Museum of Art, MN  14  autumn VIEWS continued ❑ “Magritte” The Mystery of the Ordinary, Ohio sculpture by artists of the Lehigh Valley. 1926-1938” (Jan. 12, 2014) Paintings that Akron Art Museum ❑ “Real/Surreal: (Nov. Berman Museum of Art, Ursinus Col- “challenge the real world”: tracing the strate- 3) Paintings, drawings, prints, and photographs lege, Collegeville ❑ “A to Z: Highlighting gies and themes of this experimental period dating from 1930 to 1955 that examine how Works from the Berman Collection” (Jan. in Magritte’s career—displacement, transfor- American artists added naturalistic detail to 12, 2014) An alphabetically arranged selec- mation, metamorphosis, the “misnaming” of imaginative images: Burchfield, Hopper, Sheeler, tion of artworks—a subtle commentary on objects, and visions seen in half-waking states. Grant Wood, and other less well known artists. the limitations inherent in the chronological presentation of works of art: Calder, Cassatt, New Museum, New York City ❑ “Chris Oklahoma Glackens, Warhol, and others. ❑ “Holly Burden: Extreme Measures” (Jan. 12, 2014) Fred Jones Jr. Museum of Art, Norman ❑ Trostle Brigham: Dis/Guise” (Dec. 22) First A survey of Burden’s work focused on “Dark Light: The Micaceous Ceramics of solo exhibition: life-sized watercolors, oil marvels of engineering – buildings, vehicles, Christine Nofchissey McHorse” (Jan. 12, 2014) paintings, and a multi-media work. war machines, and bridges – which consistent- Navajo artist creates undecorated, abstract ly engages with masculinity and the destruc- vessel-based art, fired to a black sheen from Michener Art Museum, Doylestown ❑ tive potential latent in engineering pursuits; mica-rich clay harvested from the riverbeds in “From Philadelphia to Monaco: Grace Kelly: two large works are on display on the northern New Mexico, that are more akin to Beyond the Icon” (Jan. 26) Her life beyond exterior of the museum. modern sculpture than to Southwestern culture. the fairy tale: letters, photographs, awards, ❑ “Libertad de Expresión: The Art of the Ameri- couture fashion and other personal artifacts, Staten Island Museum ❑ “Colman Rutkin: cas and Cold War Politics” (Jan. 5, 2014) Artists as well as film clips, playbills, home movies A Visual Journey” (Jan. 21, 2014) Paintings, from Latin America and the Caribbean demon- and souvenirs from her acting career. drawings, and prints that journey through strated their affiliation with modernist styles and nature, memory, and myth. in doing so, showed their adherence to freedom Phillips Museum of Art, Franklin & of expression in the American republics during Marshall College, Lancaster ❑ “The Hudson Parrish Art Museum, Water Mill ❑ “Artists the Cold War. ❑ “Pablo Picasso’s Woman in the River to Niagara Falls: 19th-Century Ameri- Choose Artists” (Jan. 12, 2014) To celebrate Studio” (Dec. 29) On loan from the St. Louis can Landscape Paintings from the New-York the region’s endurance as an art colony, a jury Art Museum. Historical Society” (Dec. 15) Paintings, of well known regional artists has made selec- produced between 1818 and 1890, of land- tions from online submissions and subsequent Pennsylvania scapes, historic sites, and natural wonders, studio visits; jurors works are also on exhibit. Lehigh University Art Galleries, Bethlehem ❑ from the Hudson River to the Catskill and “Faces” (Dec. 13) Works by Baskin, Ovenden, Adirondack mountains, to Niagara Falls. North Carolina Hirsch, Katz, Lizama, and Cruz that explore Nasher Museum of Art, Duke University, the face as mirror, map, window, or mask. ❑ Philadelphia Museum of Art ❑ “Barbara Durham ❑ “Doris Duke’s Shangri La: Archi- “Time and Place: Photographs from the LUAG Chase-Riboud: The Malcolm X Steles” tecture, Landscape, and Islamic Art” (Dec. 29) Teaching Collection” (Dec. 31) Parisian street (Jan. 20, 2014) Survey of sculptural works, Works of Islamic art are featured alongside life and nomadic motorcycle culture: images contemporary iterations of the ancient-world architectural sketches, archival photographs, by Doisneau, Winogrand, Fleming, and others. steles that commemorated important people videos, and large-scale color photographs ❑ Through Dec. 8: “Anthony Viscadi: Tracing and events; a melding of sheets of wax, of the estate. In addition, artists who have Time to Measure Space” Drawings and construc- manipulated bronze, knotted and braided participated in Shangri La’s artist-in-residence tions derived from observations of the passage silk, and wool fiber. program have contributed new work to the of light over time; “The Portrait of the Marqués exhibition. d’Lorenzo Manzanares: From Goya to Esteve” A Everhart Museum, Scranton ❑ “Sidewalk one-object exhibition. ❑ “Lehigh Art Alliance” Surfing: The Art & Culture of Skateboard- Mint Museum, Charlotte ❑ At the Mint 77th annual fall juried exhibition of selected ing” (Dec. 30) The historical roots of Museum Uptown: “Inventing the Modern paintings, drawings, mixed media, prints, and skateboarding, as well as the popular culture World: Decorative Arts at the World’s Fairs 1851-1939” (Jan. 19, 2014) Examples of glass, furniture, jewelry, ce- ramics, precious metalwork, and textiles—all displayed at world’s fairs, tradition- ally important vehicles for introducing advancements in modern living. ❑At the Mint Museum Randolph: “El- egance and Ease” (Jan. 12, 2014) From the museum’s fashion collection, the de- signs of three major Parisian designers: Dior, Balmain, and Saint Laurent. ❑ “New Eyes on America: The Genius of Richard Caton Woodville” (Nov. 3) Paint- ings depicting daily life, cre- ated by a young Baltimore- born, European-trained artist during the years prior to the American Civil War.

Oscar Bluemner, Untitled, 1911. In “Oscar Bluemner: Color Sketches,” Hand Art Center, FL

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Robert Dawson, Library built by ex-slaves, Allensworth, California, 1995. Digital inkjet print. In “Bibliophilia,” Palo Alto Art Center, CA of the sport today; artifacts and artwork that Texas Utah Museum of Fine Arts, University of reflect the cultural importance of skateboard- Nasher Sculpture Center, Dallas ❑ “Return Utah, Salt Lake City ❑ “Salt 8: Shigeyuki ing, as well as design, technology, demograph- to Earth: Ceramic Sculpture of Fontana, Kihara” (Jan. 5, 2014) New Zealand based ics, contemporary art, and social impact of the Melotti, Miró, Noguchi, and Picasso, 1943- artist born of a Buddhist Japanese father sport on society. 1963” (Jan. 19, 2014) An exploration of the and a Christian Samoan mother, the artist huge increase in interest in ceramics shown by presents a pair of videos, inspired by a Palmer Museum of Art, Pennsylvania State artists of the avant-garde: works in fired clay traditional Samoan dance, that express University, University Park ❑ “Uncanny that engaged the material in novel, inventive, sadness for the losses caused by the 2009 Congruencies” (Dec. 15) Works that close the radical ways, challenging the boundaries tsunami, meditation on Samoa’s colonial space between abstraction and representation. between sculpture and ceramics. past, and intimations of the effects climate ❑ “American Block and Burin: Wood Engrav- change may have on the region’s future. ❑ ings from the Permanent Collection” (Dec. Houston Center for Contemporary Craft “Martha Wilson: Staging the Self” (Nov. 8) Carved from wood’s end grain rather than ❑ “Sprawl” (Jan. 19) Works by emerging and 10) An exploration of current approaches the traditional side grain, these prints emerge mid-career artists who focus on the urban toward feminism, activism, and collaborative with a network of fine white lines making the landscape: three sections, “Infrastructure practice. image more delicate and detailed that a typical of Expansion,” “Survey, Plan, Build,” and woodcut. “Aftereffects,” loosely define the phases of Springville Museum of Art ❑ “Expres- urban growth. sions: A Walter Rane Retrospective” (Dec. 1) South Carolina Religious paintings and more. ❑ “Exploring Gibbes Museum of Art, Charleston ❑ Utah Play” (Jan. 11, 2014) “Photography and the American Civil War” Utah Museum of Contemporary Art, Salt (Jan. 5, 2014) The evolving role of the camera Lake City ❑ “O-Town Arts: Creating Ab- Virginia during the nation’s bloodiest war. sence” (Nov. 23) In the Locals Only Gallery, Fralin Museum of Art, University of Vir- this exhibition focuses on dualities concern- ginia, Charlottesville ❑ Through Dec. 22: Tennessee ing the familiar and the strange by exploring “In the Shadow of Stalin: The Patterson Fam- Frist Center for the Visual Arts, Nashville relationships between built and conceived ily in Painting and Film” (Dec. 22) Paintings, ❑ “30 Americans” (Jan. 12, 2014) A survey of environments. film, posters, and archival materials recount works by many of the nation’s leading African the journey made by African American artists American artists working since the mid-1970s: who traveled to the Soviet Union to make a Basquiat, Ligon, and Weems among many others. film sanctioned by the communist govern-

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ment about racism in the U.S.; “Patrick Dougherty” Site-specific Museum of Wisconsin Art, West Bend ❑ “Portrait of a Textile Worker” sculpture made of locally harvested twigs and saplings. (Jan. 17, 2014) 8 x 9 foot tapestry made following the collapse of a gar- ment factory in Bangladesh killing 1,127 workers and injuring 2,500 University of Richmond Museums ❑ At the Lora Robins Gal- more; the tapestry is made from clothing labels, and was executed to spur lery: “Collecting Paradise in the Philippines: Selections from the the conversation about where much of our clothing in the U.S. and else- Margaret B. Dunkum Shell Collection” (Nov. 15) The rich marine where comes from, who makes it, and under what conditions. ❑ “Edward. environment that surrounds the archipelago of the Philippines. ❑ W. Curtis and the Vanishing Race” (Jan. 5, 2014) The artistic results of “Leon Bibel: Art, Activism, and the WPA” (Nov. 11) Work creat- more than three decades crisscrossing the country, traveling to tribal lands ed during the Great Depression in various sections of the Federal to photograph and document the lives and traditions of 80 tribes. ❑ Art Project: paintings, prints, and drawings about the social ills of racism, poverty, unemployment, and war; the necessity of protest; and the humanity of the common worker. Washington Jundt Art Museum, Gonzaga University, Spokane ❑ “Ameri- can Prints from the Permanent Collection” (Nov. 2) Etchings, lithographs, woodcuts, and screenprints by the likes of Bellows, Hassam, Marin, Bearden, from the 19th century, and Close, Johns, and Diebenkorn from the 20th; other artists include Barnet, Benton, Burchfield, Haring, In- diana, March, Rauschenberg, and many more. ❑ “Leslie W. LePere: Magic of the Objects” (Dec. 20) Survey of the past 50 years as artist, illustrator, and designer: murals, books, jewelry, posters, prints, sculpture, paintings, and banners.

Wisconsin Villa Terrace Decorative Arts Museum, Milwaukee ❑ “Afghan Rugs: The Modern Art of Central Asia” (Jan. 6, 2014) Continuing a tradition of hand-woven rugs that has lasted for thousands of years throughout Central Asia and the Middle East, modern rug makers of Afghanistan abandoned the long-established nonfigu- rative styles to produce pictorial images that recount a broader narrative: portraits, landscapes, and maps framed by tanks and combat helicopters; weapons and vehicles of war.

Woodson Art Museum, Wausau ❑ “Birds in Art” (Nov. 10) The 38th annual incarnation of this international showing of avian marvels in painting, sculpture, and graphics, all created within the last two years. ❑ Through Jan. 19, 2014: “Transformation 8: Contemporary Works in Small Metals” Jewelry, vessels, and plates, all fashioned from precious metals and stones; “Huchthau- sen: A Retrospective” Four decades of glass art from early mixed media sculptures to color laminations and spheres. ❑ Nov. 17- Jan. 20, 2014: “Simply Steel Furniture in the Shaker Tradition” Handmade furniture made from Midwestern scrap-yard steel with a patina that suggests aged wood and textiles; “Gather Up the Fragments: The Andrews Shaker Collection” A look at the results of a 40-year quest for bits and pieces, large and small, of Shaker culture—an attempt to save and promote this distinct culture.

Lucio Fontana, Harlquin (Arlecchino), 1948. Polychrome ceramic. In “Return to Earth,” Nasher Sculpture Center, TX

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