New Year 2020 Kwame Brathwaite, Sikolo Brathwaite Wearing a Headpiece Designed by Carolee Prince,, Africanafrican Jazz-Artjazz-Art Society & Studios, Harlem, C

A quarterly newsletter for small and mid-sized art museums

New Year 2020 Kwame Brathwaite, Sikolo Brathwaite wearing a headpiece designed by Carolee Prince,, AfricanAfrican Jazz-ArtJazz-Art Society & Studios, Harlem, c. 1968. InIn “Kwame“Kwame Brathwaite:Brathwaite: BlackBlack IsIs Beautiful,”Beautiful,” Museum of the African Diaspora, CA

 1  Art World People Talk About MoMA’s Makeover

[Reprinted from The Art Newspaper, October 2019]

Art world figures share their views of the $450m artefacts produced by the artists of Modernism and beyond. makeover at the Museum of Modern Art (NY), especially To see these archives finally knit deeply into the permanent the reinstallation of its permanent collection. galleries is wonderful—an overdue win for both visitors and art history. Sheena Wagstaff, chairman of the department of Modern and Contemporary Art, Metropolitan Museum of Art Nancy Spector, artistic director and chief curator, MoMA has a beautiful new spirit of generosity, both spa- Guggenheim Museum tial and intellectual. To shift orthodoxy means introducing The new MoMA impresses on many levels: the newly credible doubt into received doctrine. I applaud the MoMA enlarged galleries seem to have inspired a curatorial curators for acquiring work beyond this hemisphere and engagement with space that allows the artworks on view presenting a more inclusive presentation of art that is open- to truly breathe. The transcultural (and, in some cases, ended, more responsive to a changing world, which can only transhistorical) installations are most meaningful when enhance their keepership of the citadel of Modernism. Mix- demonstrable connections among artists exist. And it is ing both original and inherited cultural lexicons, MoMA’s thrilling for us at the Guggenheim to see that Hilma af Klint potential is as a critical thought-leader and champion of a has now entered the legions of great artists championed by different kind of credo. this canon-setting museum. I am looking forward to experi- encing the new metabolism of their collection installations Donna De Salvo, former deputy director and senior curator, and to learning from the curatorial risks they will no doubt Whitney Museum of American Art continue to take. MoMA has cracked open all of its vaults to make its first pass at an expanded history that does justice to all that those Christian Viveros-Faune, writer and curator vaults contain. This is not just another building project. The No doubt my opinion is an outlier, but MoMA’s recent newly conceived collection galleries flow seamlessly, and unveiling suggests to me a museum split in two. There’s the the museum has made explicit its commitment to changing museum’s corporate brand, as revealed by its bigger-is- a third of the hang every six months. What the museum gets better architecture and its more than passing resemblance right here is an architectural construct that supports what it to Manhattan’s Hudson Yards project (both sites have Diller claims will now be an ongoing open-ended investigation of Scofidio + Renfro as architects). Then there’s the institu- Modernism and Modernisms as well the art of our own time. tion’s mission to act as stewards of anti-formalist diversity. I’m not convinced you can do both without the seams Randy Kennedy, director of special projects, Hauser & Wirth showing. The new Museum of Modern Art is so big and bountiful it’s impossible to go full bore on the changes in a few words. Dominique Lévy, dealer at Lévy Gorvy So, I’ll go specific and be the Lorax of the library. I speak I think the building is very inviting and, contrary to its for the vitrines! The museum’s library is the world’s greatest previous iteration, it really has a feeling of being engaged repository for the books, ephemera, and unclassifiable in the conversation. As for the hanging, I love the way European art is integrated for the first time in such an interesting way. I’m proud to see that so many of the artists that the gallery supports are presented in such a prominent way, such as Gego, Carol Rama, Senga Nengudi, and François Morellet, to list a few. I find the dialogue between the works very re- freshing, very unex- pected, and extremely intelligent. Although it is the work of many curators, it is surprisingly cohesive. ❒

Clifford Ross, Hurricane LXIII, 2009, Archival pigment print. In “Clifford Ross: Waves,” Boca Raton Museum of Art, FL

 2  What’s New Inside?

Zilia Sánchez, Topología erótica (Erotic Topology), eep in mind that what’s new is more than just MoMA’s house — the building 1960–71. Acrylic on stretched canvas. K In “Zilia Sanchez: Say Isla,” itself: An ongoing program of frequent reinstallations (every six months) will El Museo del Barrio, NY feature a wide range of artworks in new combinations on Collection Floors 4. 5, and 2. Arranged in a loosely chronological order, each gallery on each floor explores an individual topic. A gallery may be devoted to an artist, a specific medium or discipline, a particular place in a moment in time, or a shared creative idea. The works on Floor 5 are from the 1880s-1940s; on Floor 4, from the 1940s-1970s; and on Floor 2, from the 1970s- the present. ❒ Quote of the Quarter: “…the nothings that threaten everything....” “The €11.1 M spent on the canvas of the mysterious king of graffiti [Banksy] marks the birth of a collection inspired more by social networks than by art history…. If Faust sold his soul in exchange for wisdom, the art world, more prosaically, sold both its soul and its wisdom for profit…. [Banksy and KAWS (Brian Donnelly) are] the nothings that threaten everything.” –Francesco Bonami, curator and consultant to the Phillips auction house. ❒

Jonas Lie, The Black Teapot, 1911. Oil on canvas. In “A Legacy of Firsts,” Everson Museum of Art, NY

 3  You Can’t Make This Up!

Banksy By Anny Shaw A British artist is claiming According to Lazarides, one man “had ownership of a Banksy been filling his boots with a young lady sculpture he removed from and had spotted it out of the bedroom the street in 2004 but was window.” While Link was away, a team later “liberated” from his of people “liberated” the piece, leaving garden and is now up for sale the traffic cone, which Link still has. at Sotheby’s with a £1million price tag. Lazarides says a deal was then struck between him, Banksy, and “the London Andy Link, who also goes by the name AK47 and is the crew” over ownership, and Lazarides leader of an art group called agreed to store the work. Art Kieda, “kidnapped” The Around eight years later, Drinker from its plinth in during which time Lazarides was told Soho, central London, “the piece had been traded and was almost 15 years ago, thrusting actually now the property of a differ- both artists onto the front of ent team of northerners,” he received a tabloid papers. The 12-foot call from the new owners who wanted mixed media sculpture, to collect the work. After the storage which at that time was costs were settled, Lazarides released valued at £25,000, is a riff on the sculpture. “That was the last time I Rodin’s The Thinker— came into contact with this statue,” instead of a figure hunched he says. deep in philosophical thought, Banksy depicts a Link says the Sotheby’s sale is the man seemingly collapsed in a first he has heard of the work’s where- drunken slump, with a abouts in 12 years. The sale catalogue traffic cone on his head. describes the sculpture as having been Around a year after he “mysteriously retrieved from Art Kieda’s took the work, Link says he lock-up in an anonymous heist.” registered his “find” with In a statement, Sotheby’s says it is police and contacted Banksy, “satisfied that the seller has a legal right asking for a ransom of to put the piece up for auction” and has around £5,000—or an origi- consulted both the Metropolitan Police nal canvas — “to cover costs.” and the Art Loss Register “as part of our pre-sale due diligence.” Link says: “I thought I was the owner, nobody else put in a claim The Met says it “does not have an active criminal investigation into for it.” this matter.” Link says the sculpture was then “stolen” from his garden in 2007. But Banksy’s former dealer Steve Lazarides, from whom The work is being sold with a certificate of authenticity, which the current owner acquired the sculpture in 2014, according to Banksy’s handling service Pest Control issued in 2008. Sotheby’s catalogue, says Link’s claims to ownership are unfounded. Whether the sculpture’s backstory will boost its price in London “It’s like crying that the bigger boys have stolen his ball,” he says. tomorrow remains to be seen. In his forthcoming book, Banksy Captured, Lazarides describes how Banksy was “livid” about Link’s ransom. “Tell him I’ll give him Sotheby’s bills the work as “among one of Banksy’s most enough money for petrol and matches and he can fucking burn it for ambitious sculptural endeavors to date,” a viewpoint not shared by all. all I care,” was Banksy’s response, Lazarides according to Lazarides. describes The The demand, “the kind you see Drinker as “a fuck- in the movies with letters cut out ing monstrosity, and of magazines and newspapers,” was the worst sculpture sent to Lazarides together with an he ever made.” ear cut from the sculpture. “Around Could Banksy be of then I was getting a huge amount of the same opinion? weird mail for Banksy, and would “I think this might regularly throw it all in the bin,” actually be one Lazarides says, so he ignored it. thing we agree on,” Many months later, “associates” of Lazarides says. ❒ Lazarides informed him that they had located The Drinker “in a back yard in the east end of London”. [From

Above: Banksy: The Drinker, 2004. Mixed media. The Art Newspaper, Dec. 2019] Right: Banksy: Devolved Parliment, 2009. Oil on canvas.

 4  In Brief Thomas Sully, Isabel Alexander, 1828. Oil on panel. In “Showing Off,” Rockwell Museum, NY Steinberg Stars on LI A gift to the Parrish Art Museum year’s theme (NY) of 64 works from the Saul Steinberg is “Advancing Foundation was announced by the Foun- Women.”The dation this fall. Steinberg was famous for work of women giving graphic definition to the postwar will be featured, age through the works exhibited nation- as well as the ally and internationally in museums and programming galleries, and six decades of covers and and exhibitions. drawings published in the New Yorker In addition, the magazine. The acquisition spans 45 years museum pledges (1945-1990) and features the artist’s sign- to only pursue ature drawings in watercolor, pen and ink, collection acqui- pencil, crayon, and other media—plus sitions by women rarely shown work: wooden assemblages, artists for the wallpaper, and fabric. entire year. A Parrish collection artist who lived Although and worked in Springs, East Hampton, for women make nearly a half-century, Steinberg is featured up more than 50 in the exhibition Saul Steinberg: Modern- percent of the ist Without Portfolio, part of the current U.S. population, overarching exhibition What We See, How they are under- We See, a series of seven special exhibi- represented and tions currently on view. under-supported The range of objects and styles in by galleries, col- “Modernist Without Portfolio” illumi- lectors, scholars, nates Steinberg’s unique perception of the and museums, world revealed in quirky abstract portraits, as are people of offbeat scenes of quotidian life, animated color. According architectural drawings, and whimsical to a 2019 study depictions of birds, cats, and other real by the Library and imagined creatures. References to life of Science, just on the East End of Long Island are clear 13 percent of the in landscapes of beaches and farms, and artists with work on view in major institu- in specific structures like Amagansett Post tions are women. Lapidary Art Re-appears The theme chosen by the Rockwell for Office, 1981. 2020 is in “active response to the under- in Chicagoland representation of women artists The Lizzadro Museum of Lapidary throughout American institutions,” Art (IL) has a new and improved space said Kirsty Harper Buchanan, cura- in Oak Brook (IL), 17 miles southwest of tor of collections and exhibitions. Chicago. Following the museum’s move “Deeply entrenched cultural biases from its Elmhurst location in May 2019, have prevented a fair and open art visitors can rediscover the marvels of market and restricted equal access hand-carved stone, minerals, and gem- to resources.” stones, including a five-foot jade pagoda “This celebration of suffrage from the 1933 Chicago World’s Fair. will also be pointedly inclusive of works by women of color, since Morgan Receives this milestone is a critical reminder Binding Gift that the original extension of voting rights only applied to white wom- The Morgan Library and Museum (NY) en,” said Brian Lee Whisenhunt, reports the acquisition of an “unparalleled executive director of the Rockwell collection” of 18th-century French manu- Museum. He continued, “Our mis- scripts and bindings, bequeathed last year Saul Steinberg, Amagamsett Post Office, 1981. Illustration. by Mrs. Jayne Wrightsman. The gift builds In “What We See, How We See,” Parrish Art M.useum, N.Y sion is to provoke curiosity, engagement, and reflection about art and the American on J.P. Morgan’s original holdings and experience. However, the multi-faceted complements other important collections Suffrage Celebration and diverse nature of that experience is of French illustrated books and literary classics. Bookbinding played an important Women were granted the right to vote often left out of the discussion. With this 100 years ago this year. A centennial theme, we are recommitting our organi- role in the decorative arts and the cultural worth celebrating! So says the Rockwell zation and its community of members and life of the era, when books bound in gilt- Museum in Corning (NY), where the supporters to better reflect that diversity.” tooled dentelle morocco were works of art.

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 5  In Brief Continued

Elaine de Kooning, Bullfight, 1959. In “Sparkling Amazons,” Katonah Museum of Art, NY New Face in Seattle The Seattle Art Museum announced the ing $1 million, one from the Ellsworth Museum Pieces in the Kitchen opening on February 8 of the Seattle Asian Kelly Foundation to support the museum’s Recipient of The Rosenfield Collection Art Museum in Volunteer Park following collection endowment, and another, a of contemporary functional pottery, the a 24-month renovation and expansion. challenge grant, from photographer, Everson Museum (NY) has seized the The 1933 Art Deco building was the curator, and collector Jack Shear to sup- opportunity to satisfy the desires of the original home of the Seattle Art Museum, port the museum’s publications program. donor who wanted the works to fulfill their and has not been changed since it was purpose. Consequently, the collection will built. The building reopens as a modern Frescoes Uncovered be used and displayed in the new museum museum within an historic icon. It has been in San Francisco restored and at the same time modernized The San Francisco Art Institute (CA) Continued on next page with expanded exhibition and education was awarded a $94,000 Save America’s space, and a new connection to the Treasures grant to restore and conserve surrounding park. two New Deal-era frescoes on the walls Improvements include a new glass- of one of its buildings. Whitewashed enclosed park lobby and new portals and forgotten, they were rediscovered opening onto the park lobby; a new gallery, in late 2013 by the then VP of opera- education studio, conservation center, and tions and facilities who noticed ghostly community meeting room; restored path- outlines of figures and buildings. ways in the park near the museum; three Research in the archives identified six of restored fountains, interior and exterior; a the lost frescoes, one of them a delicate cleaned original sandstone façade, metal- painting by Frederick Olmstead, Jr., work, and re-glazed glass. titled Marble Workers (1935). Funding in the amount of $56 million Marble Workers and a second fresco came through a mixture of public and pri- known as Los Fresco #6 until further vate sources—the City of Seattle (owner identified, are the subjects of the mural of the building), the State of Washington, restoration and access plan made pos- King County, and private support. sible in part by the Save America’s Treasures grant, funded by the National Tang Museum Receives Park Service, Institute of Museum and Gift of $$ Library Services, National Endowment The Frances Young Tang Teaching for the Arts, and National Endowment Museum and Art Gallery at Skidmore for the Humanities. College (NY) has received two gifts total- Charles Gaines, Numbers and Trees Tiergarten Series 3: Tree #6, September, 2018. Color aquatint and spitbite aquatint with printed acrylic box. In “Process and Pattern,” Anderson Collection, CA

 6  In Brief Continued

café, which is planned to open in the share a board of trustees, a budget, and a leries bring to light bodies of work by summer of 2020. There the collection strategic plan—they complement one single artists—Saul Steinberg, famous will be used by museum visitors, staff, another—the goal is to serve as one for his tragi-comic graphic images of and special guests. national museum. the post-war era; and Tom Slaughter, “Every piece in the Rosenfield Col- Officials at the Freer/Sackler deny that who expressed his visions of everyday lection is museum worthy. It is fitting the rebranding was related to the opioid life and objects through graphic shapes that Louise wants the pieces to be used, disaster; leaders of the protest are con- in bold color or stark black and white. honoring the spirit in which they were vinced that their actions have put pressure “Each gallery presents a focused made,” said Curator of Ceramics Garth on the institutions in question, and they, element of the important dialogue Johnson. in turn, have reacted. about how information and emotion is conveyed through art,” noted museum The Ying and Yang Director Terrie Sultan. “What we of Trustees see—and how we see and process Even the vaunted opening of the visual information— is an important new Museum of Modern Art (NY) topic right now….” was disturbed by a noisy protest In the opening galleries: the over trustees—this time over links many abstract ways in which artists to Puerto Rican debt crisis and pri- convey their thoughts and emotions. vate prisons. This has been a public For example, “The Artist’s Hand: scuffle over philanthropic support Circles, Squares, and Squiggles” of New York museums for some sheds light on the concept of mark- time, but it broke new ground at the making— the colors, textures, and inaugural of the extraordinary (and gestures artists rely on; expressive expensive) new iteration of MoMA. brushwork from broad, physical Before and during the private movements; controlled geometry viewing party, hundreds of protestors in a more rigid structure; monumen- crowded 53rd Street in front of the tally scaled geometry and lyrical museum calling for the resignation motion; color at its most basic level of two trustees of an investment á la Josef Albers’s silkscreen color managers firm that has profited plates. while Puerto Rico still struggles to “American Views: Artists at recover from the natural disaster of Home and Abroad” describes how 2018. This protest was another in a landscape images shape our views continuing saga of museums whose of nature and the world–in the trustees’ financial connections late 19th century, William Merritt come into question. Chase literally shifted collectors’ preference from European painters Maira Kalman, What Pete Ate From A-Z (Really!). Illustration. Sackler Name Expunged In “The Pursuit of Everything,” Eric Carle Museum of Picture Bood Art, MA and scenes to American landscapes. in “Rebranding” “Contemporary Portraits’ Split In an action following a myriad of Reference” considers how and why a protests over the Sackler family’s Seven Exhibitions Show How sitter has been depicted, based on the ties to the drug OxyContin and the Artists Envision the World artist’s interaction with him/her and the opioid addiction crisis that took place The Parrish Art Museum (NY) is viewer’s perception. “The Eye and the at Sackler-funded museums in New presenting “What We See, How We See,” Camera”shows photo realists’ reliance York, Washington DC, London, and a series of seven special exhibitions that, on ready-made images as a point of Paris, the Smithsonian’s Freer Gallery by showing a variety of media, styles, and departure and in the service of of Art and Arthur M. Sackler Gallery in approaches to image making over a span abstract narratives. ❑ Washington have declared that the two of more than 150 years from the 19th museums would henceforth be known as century to today, bring light to the many the National Museum of Asian Art, em- ways artists perceive the world, interpret phasizing the focus of their collections. it, and engage their viewers. Entrance signs and legal status remain Individual thematic galleries feature unchanged. And, since the two museums Henry Chalfant, Dondi, 1980, 2013. contrasting approaches. Two other gal- Kodak Professional Endura Metallic Paper. In “Henry Chalfant,” Bronx Museum of the Arts, NY

 7  winter VIEWS California Institute of Contemporary Art, Los Angeles Sonoma Valley Museum of Art, Sonoma ❑ produce life; collages of Victorian scientific ❑ Through Jan. 26: “No Wrong Holes: Thirty Through April 5: “Valentin Popov: Modern instruments, plants, and insects create a surreal Years of Nayland Blake” Survey of work Mixmaster” Retrospective: portraits that mix landscape resulting in a nostalgic and timeless inspired by feminist and queer liberations pop and realism; “Judy O’Shea: Permutations” science fiction. movements: minimalist and conceptual works Installation takes viewers from mutating-color in an array of materials such as leather, medi- cars to a waiting room of baroque costume Connecticut cal equipment, and food; “Sadie Barnette: The elements and backlit tapestries. Yale Center for British Art, Yale Univer- New Eagle Creek Saloon” A reimagined Eagle sity, New Haven ❑ “Contemporary Designer Creek Saloon, the first black-owned gay bar in Anderson Collection, Stanford University ❑ Bookbindings from the Collection of Neale San Francisco, re-created with text, decoration, “Process and Pattern” (Feb. 17) Artworks that, and Margaret Albert” (March 29) Featuring photographs, and found the work of imaginative George objects. Kirkpatrick and other noted designer bookbinders working Pacific Asia Museum, today, many especially com- University of Southern missioned by Albert, an active California, Pasadena ❑ supporter of this art. “Dreams of a Sleeping World” (Apr. 26) Solo District of Columbia showing of an immersive National Museum of Women mural rendered in black in the Arts ❑ “DMV Color” ink on the interior of a an (March 4) Selection of works 800-square-foot dome of by women of African American, white nylon, as well as Asian American, and Latina paintings of the surround- heritage with ties to the District ing landscape, all by of Columbia, Maryland, and Oscar Oiwa. Virginia, called the DMV: books, graphic novels, photobooks, and Museum of the African zines cover family life, legacies Diaspora, San Fran- of enslavement, dislocation tied cisco ❑ Through March to immigration, changes re- 1: “Don’t Shoot: An sulting from urban development Opus of the Opulence of and more. ❑ “Delita Martin: Blackness” An explora- Calling Down the Spirits” (April tion, through photography, 19) Large-scale of the ways in which prints of black Blackness is classified, women and men observed, absorbed, or Above: George Catlin, Buffalo Bull, Grazing on underneath layers honored through rituals the Prairie, 1832–1833. of drawing, and spiritual practices; Right: Julian Martinez, Buffalo Hunter, ca. 1920-1925. sewing, collage, black visitors are invited to Both paintings in “Picturing the American Buffalo,” and paint. contribute to a Community Smithsonian American Art Museum, DC Wall by posting one 4 x 6 Smithsonian photograph they consider special; “Black through pro- American Art Is Beautiful: The Photography of Kwame cess, subject, or Museum ❑ Brathwaite” Images of black women and medium, signal “Picturing the men with natural hair and clothes who the presence American Buf- reclaimed their African roots; photographs of the artist falo: George that, in their time, challenged mainstream and engage Catlin and beauty standards that excluded women of the viewer in Modern Native color; “Baye Fall: Roots in Spirituality, exploration, American Art- Fashion and Resistance, Photography by decoding, and ists” (April 12) Laylah Amatullah Barrayn” A series of discovery. A presentation of images of members of the Baye Fall, a two perspectives, reverential sub-group of Senegal’s Colorado that of Catlin, Suri Muslim community, illustrating the Museum of Contemporary Art, Denver ❑ the first artist of European descent to go west, groups’ unique aesthetic that includes Through April 5: “Francesca Woodman: and that of modern Native artists. ❑ “Sculpture ‘locked’ hair, patchwork garments, symphonic Portrait of a Reputation” Details in vintage Down to Scale: Models for Public Art at chanting, artisanal leather talismans and prints, notes, letters, postcards, and other Federal Buildings, 1974-1985” (March 28) prayer beads, and the incorporation of physical ephemera, all detail Woodman’s formative years Maquettes that offer a concrete vision of the labor as a form of worship; “Chanell Stone: as an artist from 1975-79; “Teresa Hubbard / artists’ ideas serve as windows into the Natura Negra, Black Nature” Work that Alexander Birchler: Flora” The undiscovered, creative process. highlights a longstanding connection to the until now, story of artist Flora Mayo, Alberto land, specifically in urban African Americans; Giacometti’s lover in Paris during 1920s; her Florida “Rashaad Newsome” Video works inspired work was destroyed when she left Paris in Boca Raton Museum of Art ❑ “Clifford by the origins and continued dynamism of the 30s; “Stacey Steers: Edge of Alchemy” Ross: Waves” (March 1) Survey showing Vogue, a dance phenomenon that emerged Animated film depicts Mary Pickford and Janet monumental photographed images of the from Harlem’s queer ballroom scene. Gaynor as fairy alchemists working in a lab to power of nature, documented in hurricane

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 8  winter VIEWS Continued wave images, a series of photographs that story–the many ways that images of explore the power added to movement by ob- the horse represented the state’s iden- struction, “Hurricane Scrolls,” and a series of tity, history, mythology, and agricul- abstractions exploring the purity of color; more tural economy. ❑ “Loose Nuts: Bert power is documented in large-scale prints on Hurley’s West End Story” (Apr. 19) wood and a computer-generated video, “Digi- A hand-written novella replete with tal Waves,” displayed on a LED wall. self-taught artist Hurley’s full-page pen-and-ink, crayon, watercolor, and Georgia ink wash drawings throughout. Georgia Museum of Art, University of Georgia, Athens ❑ “Material Georgia 1733- Massachusetts 1900: Two Decades of Scholarship” (March Eric Carle Museum of Picture 15) Examples of furniture, textiles, pottery, Book Art, Amherst ❑ “The Pursuit of and metal work, together with new and old Everything: Maira Kalman’s Books research, show the way for future research in for Children” (April 5) Panorama of a Georgia-related decorative arts. ❑ Through picture-book career: books, paintings, March 8: “Rachel Whiteread” Cast-stone illustrations. sculptures that reiterate the artist’s interest in the use of negative space in her work; “Mas- Museum of Fine Arts, Boston ❑ ter, Pupil, Follower; 16th- to 18th-Century “Mural: Jackson Pollock/Katharina Italian Works on Paper” Drawings and prints Grosse” (Feb. 23) The pairing of representing specific artistic styles and Italian Pollock’s Mural (1943), his largest regional schools. ❑ “The Monsters Are Due and pivotal work, with the newly on Broad Street: Patrick Dean” (March 29) commissioned large-scale installation Retrospective of cartoonist Dean who popu- of spray-painted swaths of color by lates his scenes with Athens characters. ❑ German painter Grosse demonstrates “Kevin Cole: Soul Ties” (April 19) Three- how these two artists have each trans- dimensional wooden and metal constructions. formed painting through their innova- tive approaches to color on a massive Emile Hoppe, Hubert Stowitts in Inca Dance (detail), 1920. Morris Museum of Art, Augusta ❑ “Vietnam scale. ❑ “Hyman Bloom: Matters of Life and Photograph. In “Emil Hoppe: Photographs from the Transformed: The Art of Richard J. Olsen” Death” (Feb. 23) Paintings and drawings that Ballets Russes,” Museum of Russian Icons, MA (Feb. 16) Selection of paintings from this vet- chart the artist’s career and his abiding atten- eran/artist/professor’s “Wall Series,” some 200 tion to the human body, Museum of Russian Icons, Clinton ❑ paintings filled with allegory and symbolism. drawing on his Jewish faith, his interest in Through March 8: “Emil Hoppe: Photographs Eastern religions, and his belief in regen- from the Ballets Russes” An homage to the Kentucky eration. ❑ “Collecting Stories: A Mid-Century genius of two men: Sergei Diaghilev who KMAC Museum, Louisville ❑ “Picasso: Experiment” (March 8) Works that were founded the Ballets Russes, and Emil Otto From Antibes to Louisville” (Mar. 22) originally acquired as part of the Provisional Hoppé, who, between 1911 and 1921, photo- Ceramics and works on paper created by Collection, which started in 1941 as a trial graphed the stars and other celebrities; “Nuts Picasso between 1931 and 1956, loaned from initiative to acquire contemporary American About Nutcrackers” Nutcrackers on loan from the Musée Picasso in Antibes, France. art, a holding repository for works by living the Leavenworth Nutcracker Museum (WA)– artists whose work was not necessarily the their evolution in history from simple stones Speed Art Museum, Louisville ❑ “Tales Abstract Expressionism that prevailed at the into works of art. ❑ “From the Vault: The Lore from the Turf: The Kentucky Horse, 1825– time. ❑ “Boston Made: Arts and Crafts Jewelry of Saint Nicholas” (March 15) Beginning in 1950” (March 1) Works of art that reveal and Metalwork” (March 29) The “Boston the 4th century with oral histories, to the first Kentucky’s long-lived relationship with the look”: bold color, combinations of gemstones written mention of him in the 6th century, to horse: paintings, sculpture, photographs, and enamels, foliate motifs, and designs the present, this wonderworker, gift-giver, drawings, prints, and manuscripts tell the inspired by historical styles. protector became the most popular saint in Russia and the world. MIT List Visual Art Center, Massa- chusetts Institute of Technology, Cam- Smith College Museum of Art, Northampton bridge ❑ Through April 20: “Christine ❑ “Black Refractions: Highlights from The Sun Kim: Off the Charts” A series of Studio Museum in Harlem” (April 12) new drawings breaking down in pie- A century of artworks by artists of African de- chart form, by relative importance, the scent, including Faith Ringgold and Kehinde various factors involved in a number of Wiley. personal decisions (“Why I Do Not Read Lips,” “Why I Work with Sign Language Michigan Interpreters”); “Colored People Time” University of Michigan Museum of Art, Ann A group exhibition explores how the Arbor ❑ “Mari Katayama” (Jan. 26) In a series history of slavery and colonialism in of works combining photography, sculpture, America shaped the foundations of our and textile, a disabled artist explores her own country but also exists in the present body and her understanding of self vis-á-vis and impacts our future. ❑ “List Projects society’s categorizations. ❑ “Take Your Pick: 20: Becca Albee” (Feb. 9) Images that Collecting Found Photographs” (Feb. 23) utilize re-photographing, cropping, and Selections from a huge private collection of overlay to create new narratives of found amateur photographs gathered from flea photos, film negatives, and other source markets around the world; shown here are materials. visitors’ choices of which ones should be Continued on next page Saint Nicholas of Mozhaisk with Scenes, 19th century. In “The Lore of Saint Nicholas,” Museum of Russian Icons, Clinton, MA

 9  winter VIEWS continued

included in the permanent collection. ❑ New Jersey Expressionism, and whose continuities varied “Abstraction, Color, and Politics: The 1960s Zimmerli Art Museum, Rutgers Univer- from color school and three dimensional paint- and 1970s”(Feb. 9) Works that demonstrate the sity, New Brunswick ❑ Through March 28: ing, to color field painting, to white writing changes in how artists worked in a politically “Home is Where….” Works on paper that and heavy impasto. shifting landscape, transforming the practice show many interpretations of home; “Intimate of abstraction. Details: Prints by James Tissot” Showcasing New York Tissot’s etching technique in translating his Rockwell Museum, Corning ❑ “Showing Off: Missouri painted compositions into monochromatic 19th Century Portraiture from the Arnot Art National World War I Museum & etchings; “Dialogues–Ilya Kabakov and Museum” (Feb. 2) Portraits featuring women Memorial, Kansas City ❑ “Etched in Memory” Viktor Pivovarov: Stories About Ourselves” and children whose hair styles, clothing, exotic (March 1) James Alphege Brewer’s color Albums–1970s artworks popularized by pets, jewelry, and homes bespeak their status etchings of scenes from Belgium and Northern conceptual artists in Moscow: loose pages of in society. ❑ “Antigravity: Needle-and-bowl France—cathedrals, churches and town build- softly colored images with handwritten texts, by Melissa Vandenberg” (Feb. 16) Site-specific ings threatened or damaged during WW I. simultaneously a novel, a drawing, an instal- installation in response to the architecture of lation, and a performance. ❑ “A Celebration the museum’s entryway rotunda; hundreds of Springfield Art Museum ❑ “Randy of the Books of Vladimir Radunsky” (March handkerchiefs reminiscent of Buddhist prayer Bacon: The Road I Call Home” (Feb. 23) 7) Illustrations from four books that have flags serve as markers of individual identity. New portraits that feature casual studio images appealed to both young and old audiences of homeless people living in Springfield, since their appearance some 30 years ago. Katonah Museum of Art ❑ Through Jan. 26: accompanied by narrative from the subjects. ❑ Through Feb. 29: “Recent Acquisitions in “Sparkling Amazons: Abstract Expressionist ❑ “Anders Zorn: Etchings” (March 8) The Photography” A look at photography’s mul- Women of the 9th St. Show” Arranged in 1951 entire collection of some 93 etchings tiple definitions and functions: photojour- by avant-garde artists with the help of gallerist (plus three later acquisitions), nalism, high fashion, family Leo Castelli, the show sparked the acceptance gifted to the museum in snapshots, conceptual of Abstract Expressionist art, previously shut 1970, and seen across the works; “Women out by museums and galleries–of more than 60 U.S. in a traveling exhibi- artists, only 11 were women including Krasner, tion soon thereafter. Mitchell, de Kooning, and Frankenthaler; “Rotem, Reshef: Arcadia” Large Montana rolls of unstretched canvas Hockaday Museum of covered with collected Art, Kalispel ❑ “50 Works vibrantly colored organic for 50 Years: The Hocka- materials suspended from day Collection” (Feb. 23) the walls. Paintings, sculpture, drawings, Native American artifacts, America’s Society, archival documents, and ephem- New York City ❑ “Alice era, gathered together and curated Miceli: Projeto Cher- by members of the museum com- nobyl” (Jan. 25) A series munity. ❑ “Members’ Salon 2019” of radiographs produced in (Feb. 8) Annual exhibition of artist 2006-2010: images that document members’ works. the effects of the Soviet nuclear plant explosion of April 26, 1986, images of Nevada the invisible contamination (still present) Nevada Museum of through direct contact between the radia- Art, Reno ❑ Through April tion and film, exposed in the Chernobyl 19: “Work Ethic Exclusion Zone for months at a time. in American Art: The Legacy of E.L. Bronx Museum of the Arts, New Wiegand” Representa- York City ❑ “Henry Chalfant: Art tions of the work ethic vs. Transit, 1977-1987” (March in a variety of settings– 8) A documentarian of street art, domestic, rural, urban, Chalfant has produced works of visual industrial; “America’s Art, anthropology recording popular culture Nevada’s Choice: Community in the late 20th century; this exhibition Selections from the Smithsonian American Art features works no longer extant by legendary Museum” From a list of other works, voters subway writers as well as historical ephemera choose Hassam, Hopper, and O’Keeffe to hang Artists on the Leading Edge: Celebrating and photographs that record the birth of hip in the museum’s galleries. ❑ “Without You I Douglass College at 100” The achievements hop. ❑ “The Life and Times of Alvin Baltrop” Am Nothing” (Jan. 26) Works that uncover of alumnae and faculty a century after its (Feb. 9) Photographs that show a time of markers of class and identify hierarchies in founding (inspired by Black Mountain collapse in the city–financial crisis, the under- society across time and place. ❑ Through College’s innovations) as the New Jersey ground gay culture, drug smuggling, derelict Feb. 16: “King of Beasts: A Study of the College for Women. ❑ Through April 11: warehouses, and sunbathing and cruising African Lion by John Banovich” Artworks “Polymorphic Sculpture: Leo Amino’s on the Hudson River. that explore questions about human’s fear, Experiments in Three Dimensions” Examples love, and admiration for these creatures; of work in wood, plastic, and resin by an Drawing Center, New York City ❑ “Winter “Decorative Arms: Treasures from the Robert artist interested in transparency, light, and Term 2020” (Jan. 26) Annually the museum M. Lee Collection” Objects dating from the dialogue between interior space and outer partners with an artist or organization to 1500s through modern times show the skills of structure; “Three American Painters: explore the role that drawing can play in arms makers and engravers across the world: David Diao, Sam Gilliam, Sal Sirugo” civic and global society; this 2020 “term” is suits of armor, antique firearms, swords, and Artists whose point of departure was Abstract designed to investigate the efficacy of drawing modern arms. Continued on next page Erik Demaine & Martin Demaine, Together, 2012. Mi-teintes watercolor paper. In “Above the Fold,” Leigh Yawkey Woodson Museum, WI  10  winter VIEWS Continued Tommaso de Simone, The Steamship Quaker City in the Port of Naples, 1867. Oil on canvas. In “Mark Twain and the Holy Land,” New York Historical Society, NY

work extant; “Burke Prize 2019” (April 12) Works by 2019 the first publi- winner ($50,000 goes to an artist under the age cation of “Ode of 45 working in glass, fiber, clay, metal, and/ to Joy” from or wood)—sculptor, performance artist, writer, Beethoven’s and creator of installations Indira Allegra. ❑ Ninth Sym- “Belt/Border” (Feb. 9) Hand-painted pyramid phony; and studs rendered as pieces of Mexican Talavera a pop-up pottery pierce the gallery walls. book by Kara Walker en- Museum of Modern Art, New York City ❑ titled Freedom At the new MoMA: “Sur moderno: Journeys of Walker. On Abstraction—The Patricia Phelps de Cisneros permanent Gift” (March 14) A journey through the his- view: the tory of abstract and concrete art from South Gutenberg America—Brazil, Venezuela, Argentina, and Bible, the Uruguay—at mid-century. ❑ Through April jewel-encrusted 12: “Haegue Yang: Handles” Large-scale as it addresses inequity and encourages binding on sculptures and installations of disparate social change. the 9th-century Lindau Gospels, and a terra- materials from clothing racks to jingle bells, cotta bust by Jo Davidson of the Morgan’s space heaters, and artificial straw; “Artist’s El Museo del Barrio, New York City ❑ “An first librarian and director. ❑ “Illusions of the Choice: Amy Sillman, The Shape of Shape” Emphasis on Resistance: 2019 CIFO Grants Photographer: Duane Michals at the Morgan” Works in MoMA’s collection in which shape & Commissions Program Exhibition” (Feb. 2) (Feb. 2) Career retrospective combined with an prevails over other considerations. ❑ “Taking Commissioned works by emerging artists, artist’s choice show–Michals’ choices from the a Thread for a Walk” (April 19) A walk among mid-career artists, and achievement award Morgan’s vaults and his favored screenings of ancient textile traditions, early-20th-century recipient: a platform for advanced research on short films. design reform movements, and industrial Latinx and Latin American art resulting from materials and production methods—com- the collaboration between Cisneros Font- Museum of Arts and Design, New York City binations of natural and synthetic fibers and anals Art Foundation (CIFO) and El Museo ❑ “Vera Paints a Scarf: The Art and Design of spatially dynamic pieces marked the emer- that aims to consider the act of resistance in Vera Neumann” (Jan. 26) Selection of paintings gence of a more sculptural approach to textile both Latin America and in its diaspora. ❑ in sumi-e (ink paintings) from which her textile art. ❑ “member: Pope.L, 1978-2001” (Feb.1) “Zilia Sánchez: Soy Isla (I Am an A group of performances in which, defined as Island)” (Mar. 22) Retrospective an agitator and humorist, the artist of Havana-born Sánchez, San Juan uses his body to examine division resident (after stints in Europe and and inequality on the streets and New York) featuring works from stages of New York City and in the the early 1950s to the present— rustic environs of Maine. paintings, works on paper, shaped canvases, sculptural pieces, graphic ❑ At MoMA PS1: “Theater of illustrations, and ephemera. Operations: The Gulf Wars 1991- 2011” (March 1) The impact on Grey Art Gallery, New York contemporary culture of America’s University, New York City ❑ over 30-year engagement in Iraq: “Taking Shape: Abstraction from works by more than 80 artists the Arab World, 1950s-1980s” based in Iraq and its diaspora. (April 4) How individual artists as well as collectives, both in the New Museum ❑ New York City ❑ region and the diaspora, moved Through Jan. 26: “Hans Haacke: away from figuration toward a All Connected” Retrospective of process of simplifying reality. the artist’s career: kinetic works, environmental sculptures, visitor Morgan Library & Museum, polls (1960s and 70s) about New York City ❑ “Guercino: systems in art, works from the 70s Virtuoso Draftsman” (Feb. 2) A and 80s about corporate sponsor- focused exhibition of works from ship and political interference, the collection by Guercino follow- and recent works about world ing his career from early altar- problems; “Screens Series: Luiz pieces through preparatory draw- Roque” Films combining sci-fi, ings to his later masterpieces. ❑ animals, and modernist objects– familiar and surreal. “Treasures from the Vault” (Feb. 23) Rodney Smith, Twins in Tree, Snedens Landing, New York, 1999. In “Human in Nature: Items featured in the current four-month The Art & Wit of Rodney Smith,” Edward Hopper House Museum, NY rotation of treasures include two manu- New York Historical Society, New scripts written 700 years apart—The Strange designs derive; objects from the artist’s lines of York City ❑ “In Profile: A Look at Silhou- Case of Dr. Jekyll and Mr. Hyde (1885) and home and women’s fashion (1950-80); original ettes” (April 5) The development of the 18th- an 11th-century of readings from the four works on paper, textiles, and garments; archival and 19th-century art form and how artists are ❑ Gospels in Greek; a letter from Jane Austen to photographs and videos. ❑ “The World of Anna reinventing it today. “Mark Twain and the her sister; the manuscript of Franz Schubert’s Sui” (Feb. 23) Examples from the designer’s Holy Land” (Feb. 2) Twain’s take on the Holy Fantasie in G minor for piano, his earliest archive as well as staples of the Sui aesthetic. ❑ Land as expressed in The Innocents Abroad:

Continued on next page  11  winter VIEWS Continued letters, journal entries, photographs, posters, the Mountains” (April 12) Contemporary Light: Studio Drift and the Mint” (April 26) costumes, and more. interpretations in ink of Chinese landscapes. Sculptures, created in Studio Drift, that explore the relationship between humanity, nature, and Studio Museum in Harlem, New York City ❑ Everson Museum of Art, Syracuse ❑ “A technology. At the satellite Studio Museum 127: “Dozie Legacy or Firsts: The Everson Collects” Kanu: Function” (March 15) The arc of Kanu’s (March 22) Works collected over more than Ohio practice over the last three years with “func- 100 years since the museum’s founding in Cincinnati Art Museum ❑ “The Levee: A tional art”: works that bridge the gap between 1911 to the present. ❑ “Adam Milner’s Late Photographer in the American South” (Feb. fine art and utilitarian design. Night Space Force” (Jan. 26) New work that 2) Suite of images by a contemporary Indian draws on emerging NASA technology, the photographer who explores connections, Edward Hopper House Museum & Study aesthetic of science, and the Moon presence perspective, and places. ❑ “Women Breaking Center, Nyack ❑ Through March 8: “John in our cultural landscape. Boundaries” (April 12) Works from across the Morton: Place of Origin” Rockland County permanent collection, shown in historic/con- through tales of residents, music, and more; Parrish Art Museum, Water Mill ❑ “Maya temporary pairings, by women who challenged “Human Nature: The Art & Wit of Rodney Lin: Bay, Pond, & Harbor (Long Island Trip- the norm in a male-dominated art world. Smith” Photographs illustrate Smith’s love tych)” (Jan. 26) The jewel-like qualities of water are captured with recycled cast silver; Pennsylvania by translating technological views (sonar Westmoreland Museum of American Art, resonance scans and aerial and satellite im- Greensburg ❑ “107th Associated Artists aging) of climate change, Lin has observed of Pittsburgh Annual Exhibition” (Jan. 26) Mecox Bay, Georgica Pond, and Accabonac Works by artists who work and live throughout Harbor on the East End of Long Island and western Pennsylvania. ❑ “Pop/Op” (March 1) translated her observations into sculptures, The likes of Warhol and Oldenburg in conver- installations, and wall reliefs. ❑ “Artists sation with Op artists Andrade and Stanczak. Choose Artists 2019” (Feb. 23) Painting, ❑ “Contemporary Visions” (March 29) Works sculpture, photography, prints, and mixed on paper by contemporary artists. ❑ “Nicole media works chosen by a jury of seven Ryan: Land of Little Thoughts and No Worries” known artists of the region, whose works (Feb. 14) Realistic/abstract works on canvas are also on display. represent distant, remembered landscapes. ❑ “Conservation: Works from the Permanent North Carolina Collection” (March 22) View behind-the-scenes Mint Museum, Charlotte ❑ “Coined in processes and how they pertain to managing the the South” (Feb. 16) A showing of new collection. works gathered for the fourth annual time, hosted by The Young Affiliates in col- South Carolina laboration with the Mint. ❑ “Immersed in Charleston Museum ❑ “War on Fashion” (March 31) An in- depth look at the way fashion has changed following periods of war and why: sections on pre-WWI, post- WWI, pre-WWII, and post-WWII. Anonymous Venetian artist after Jacopo Robusti, called Tintoretto, Two male figures, c. 1600. Brush and brown wash Texas over black chalk with touches of white on faded blue paper. In “Master, Pupil, Follower,” Georgia Museum of Art, GA Kimbell Art Museum, Fort Worth ❑ Paintings, draw- affair with nature—surrealism combined ings, pastels, and with style and humor. sculptures by Renoir and his predecessors, Frances Lehman Loeb Art Center, Vassar contemporaries, and College, Poughkeepsie ❑ “Louise Bourgeois: followers: images of Ode to Forgetting, From the Collections of the human form, from Jordan D. Schnitzer and His Family Founda- Realism to Impres- tion” (April 5) Prints and textile works made sionism to modern in the artist’s eighties and nineties reflect Classicism. her lifelong interest in textiles starting with her childhood family’s business of tapestry Moody Center for restoration. the Arts, Rice Uni- versity, Houston ❑ Frances Young Tang Teaching Museum “Geoff Winningham: and Art Gallery, Skidmore College, Sara- Changing Houston” toga Springs ❑ “Hyde Cabinet #5: Divine (March 17) Images Dalí” (Feb. 7) Six prints from Salvador Dalí’s of the Houston interpretation of Dante’s The Divine Comedy. landscape by photog- ❑ “Elevator Music 40: Melissa Thorne— rapher/professor Landslide/Solid” (April 26) A combination Winningham. of interior design, hard-edge abstraction, and narrative pop to create a listening environ- Continued on last page ment in the museum’s elevator. ❑ “Between Pierre-Auguste Renoir, Nude in an Armchair, 1890. Oil on canvas. In “Renoir: The Body, The Senses,” Kimbell Art Museum, TX

 12  winter VIEWS Continued CROSSWORD by Myles Mellor (solution on next page) Down 1. Pointillist’s marklings 2. Animated 3. They are featured in Capriccio paintings 4. Origins of great paintings 5. Time period, for short 6. Nighthawks artist 7. Lake, in Geneva 8. What a sky can do at sunset 10. Summer month, abbr. 11. Madrid museum 12. Place to hang something 13. “All ___ are created equal ...” 15. Dr. Seuss, to his friends 16. Took a dip 18. Andrew Wyeth painted Christina’s World in this region, 2 words 20. ___brush 21. Blue color 22. French for gold 23. Expressionist Nolde 25. Very large San Francisco sculpture fashioned by Tom Loughhlin 26. Creator of the 1918 sketch, Reclining Nude Girl 28. First name of the painter who painted Marilyn Diptych 30. Van Gogh’s The ___ Cafe Across 31. T. H. Benton’s Threshing ___ 1. Inclusion of people of all cultures and races 33. Muddy area on a farm 6. Dutchman who painted Gypsy Girl 34. 19th-century portrait painter, Bass___ 9. Painter of Homeward Bound 2, David ____ 36. Much used artsitic medium 10. Henry Farney’s The ___ 38. __ touch 11. Young dog 12. Trees in some Gaugin paintings 14. He drew portraits in charcoal, such as Sybil Sassoon

17. Compass heading H.O. Hoffman, Cheers! An Art Deco New Year, 1920. Drawing 19. Painter of Midnight Ride of Paul Revere, 2 words from the New Yorker magazine. 23. Expulsion from the Garden of ___ by Thomas Cole 24. Ring bearer, maybe 25. Famous painting by Edvard Munch, The ___ 27. Artist who developed Black Rock Senegal, Kehinde _____ 29. Artist whose work was shown at MoMA, ____ Beavers in 2019 31. Waikiki woman 32. “___ cannot wither her...” 33. Quiet! 35. Painter of Manajese Con Cuidado, Carmen ____ 37. Ancient culture whose art is displayed at The Met

39. Howdy James Alphege Brewer, Cloth Hall in Ypres, 40. “Tales of a Wayside ___” (Longfellow) reproduced in the December 1915 issue of The Outlook. Etching. In 41. City with a famous arch, abbr. “Etched in Memory,” National World War I 42. Gustav Klimt masterpiece, 2 words Museum and Memorial, MO  13  winter VIEWS continued ‹ Crossword Solution

Virginia University of Richmond Museums ❑ “Satire & Social Criticism: Agnieszka Polska. The New Sun, 2017. Ink print on archival paper. Prints by William Hogarth from the Collection” (March 29) With In “Agnieszka Polska,” Frye Art Museum, WA satirical prints revealing vice as well as virtue, Hogarth’s narrative sculptural practices, often series, which come together in instal- genius took on the failing systems and pictured the morals of the lations designed by the two; “Rebecca Brewer; Natural Horror” victims; featured here are his most famous series, The Harlot’s Felted wood “scrims” and embossed enamel monoprints in cast Progress and Industry and Idleness. ❑ “This is War! The Pain, resin frames: abstract/representational works produced with Power, and Paradox of Images” (April 4) War from diverse materials associated with craft practices evoke memories and perspectives and time periods through history: etchings, litho- organic forms; “Agnieszka Polka” Two video installations: graphs, drawings, photographs. ❑ At the Harnett Print Study hallucinatory computer-generated works combine original poetry Center: “Because of Conflict: Photographs by Peter Turnley with digital images in an attempt to describe two ethical issues– (April 24) Images of conflict, struggle, humanity, and inhumanity climate change and mass extinction. around the world. Henry Art Gallery, University of Washington, Seattle ❑ “In Plain Washington Sight” (April 26) Group exhibition that engages artists whose work Frye Art Museum, Seattle ❑ Through April 19: “Subspontaneous: addresses narratives, communities, and histories that are typically Francesca Lohmann and Rob Rhee” Two sculptors who collaborate hidden from public view – personal histories hidden due to race, with the forces of nature–gravity, time, biological growth–in their ethnicity, or class; coded language for protection or secrecy; covert systems of labor, and much more. ❑ “Viewpoints: These Are Their Stories by Samantha Scherer” (March 8) Watercolors depicting victims from TV series “Law and Order.” Wisconsin Charles Allis and Villa Terrace Art Museum, Milwaukee ❑ “Delight, Inspire, Educate: The Allis Collection as Catalyst” (April 12) Various aspects of the Allis collection, from paintings and sculptures to decorative art objects and print materials. ❑ Through Jan 26: “Measured Misalign- ments” The dual-faceted story of the Villa Terrace and the idiosyncratic architect; “Aariana Huggett: House Tableau” Paintings of both museums, created during her artist-in-residence.

Museum of Wisconsin Art, West Bend ❑ “The World After Us: Imaging Techno-Aesthetic Futures” (March 25) Sculp- tures, installations, prints, photographs, and experiments that speculate about what our devices—phones, tablets, batteries,

Continued on last page

Henry Stull, The Finish, 1893. Oil on canvas. In “Tales from the Turf,” Speed Art Museum, KY

 14  winter VIEWS cont’d LCDs, etc.—might become over decades, or longer. ❑ “Mark Klassen: Combustible Dust” (March 25) Sculp- tural investigation of low-grade societal anxiety and the banality of some common objects like water-squirting prank flowers, fake drivers’ licenses, and the like; “2020 Wisconsin Artists Biennial” Works by contemporary artists from throughout the state.

Leigh Yawkey Woodson Art Museum, Wausau ❑ “A Collection Medley” (Feb. 16) Avian artworks created between 1875 and 2018. ❑ “Above the Fold: New Expressions in Origami” (March 1) Two-dimensional paper transformed into three-dimensional sculpture: dampening, stretching, folding, pleating, and twisting create forms showing connections to mathematics, architecture, and computer-generated design. ❑

Right: Jacob Lawrence, Panel 1. ...Is Life so dear or peace so sweet as to be purchased at the price of chains and slavery? – Patrick Henry, 1775, 1955. From Struggle Series, 1954–56. Egg tempera on hardboard. In “Jacob Lawrence: The American Struggle,” Peabody Essex Museum, MA

Above: Francisco de Goya, Carretadas al Cementerio (Carloads to the Cemetery) from the series Los Desastres de la Guerra (The Disasters of War), c. 1808-1814 (printed in 1863). Etching, aquatint, drypoint, burin, and burnisher on paper. In “This is War!,” University of Richmond Museums, VA Yvette L. Cummings, Burden, 2019. Acrylic on canvas. In “Coined in the South,” Mint Museum, NC

museumVIEWS Editor: Lila Sherman Publisher: Museum Views, Ltd. 2 Peter Cooper Road, New York, NY 10010 Phone: 212.677.3415 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.

Above: Yang Yongliang, Before the Rain, 2010. Video still. In “Between the Mountains,” Tang Teaching Museum, NY

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