Modern Spirit: The Art of George Morrison at the Plains Art Museum

“George Morrison’s importance to our understanding of twentieth-century Native American art is unparalleled,” says Kristin Makholm, executive director of the Minnesota Museum of American Art. “This first, comprehensive retrospective of his work will reveal how visions of identity and place play an essential role in assessing American art of the 20th century and beyond.”

The Minnesota Museum of American Art launched Modern Spirit: The Art of George Morrison, an exhibition of about 80 drawings, paintings, prints, and sculptures at the Plains Art Museum in Fargo, North Dakota on June 16, 2013. Modern Spirit surveys the prolific career of George Morrison (1919–2000), a distinctive and well-loved artist whose works bring together concepts of abstraction, landscape, and spiritual reflection and draw from his physical and spiritual homelands—speaking to both American urban settings and to the solitude of Northern Minnesota.

Modern Spirit spans the entire breadth of Morrison’s oeuvre, from early figurative drawings and Regionalist paintings of the 1940s to monumental abstract landscapes and wood sculptures of the 1970s onward. Many of the works in the exhibition draw from Morrison’s early career in New York, Providence, and Provincetown and refer to important art historical movements such as Cubism, Surrealism, and Abstract Expressionism. Modern Spirit also presents Morrison’s works from the 1970s to the 1990s, which were inspired in part by the artist’s home on the north shore of Lake Superior. This body of work includes line drawings on colored papers, sketches of constellations over Lake Superior, and several paintings of forms breaking up in front of the abstracted shoreline. In terms of technique, these later paintings—quiet, lyrical, and meditative—synthesize Impressionism with Expressionism, while retaining the artist’s trademark representation of nature, land, and the horizon.

Part of a unique collaboration between the Minnesota Museum of American Art and Minneapolis-based Arts Midwest, which helped organize and launch the exhibition, Modern Spirit will tour to five venues across the United States before closing in May 2015: Plains Art Museum (Fargo, North Dakota); Smithsonian National Museum of the American Indian (New York, New York); Eiteljorg Museum of American Indians and Western Art (Indianapolis, Indiana); Heard Museum (Phoenix, Arizona); and the Minnesota History Center (St. Paul, Minnesota).

Cumulated Landscape, 1976, wood, 48 x 120 x 3 in. Collection Minnesota Museum of American Art. Gift of Honeywell Inc. 2000.01 Untitled, 1995, colored pencil on paper, 10 5/8 x 13 5/8 in. Collection Dr. Robert and Frances Leff Spirit Path, New Day, Red Rock Variation: Lake Superior Landscape, 1990, acrylic and pastel on paper, 22 1/2 x 30 1/8 in. Collection Minnesota Museum of American Art. Sun and River, 1949, watercolor and crayon on paper, 15 3/4 x 21 in. Copyright Plains Art Museum. From the permanent collection of the Plains Art Museum, Fargo, North Dakota.

Black and White Patterned Forms, 1952, ink on paper, 10 3/4 x 8 3/8 in. Collection Minnesota Museum of American Art. Gift of George Morrison. 96.10.14

Modern Spirit: The Art of George Morrison June 16-Sept. 1, 2013 Plains Art Museum Fargo, ND 58102

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Thin Profile: 102 Type: Thin Gallery Frame Wood & Finish: maple wood frame with clear lacquer finish Purchasing Option: joined wood frame Framing Advice: fitting gallery frames Picasso and Chicago at The Art Institute of Chicago

The “Picasso and Chicago” exhibit marks the special hundred- year relationship of Pablo Picasso with the city of Chicago and features more than 250 works selected from the The Art Institute of Chicago’s own exceptional holdings and from private collections throughout city. Representing Picasso’s innovations in nearly every media—paintings, sculpture, prints, drawings, and ceramics—the works not only tell the story of Picasso’s artistic development but also the city’s great interest in and support for the artist since the Armory Show of 1913, a signal event in the history of modern art.

The 1913 Armory Show showcased the works of the most radical European artists of the day alongside their progressive American contemporaries and forever changed the artistic landscape for artists, collectors, critics, and cultural institutions in the United States. Unlike the other venues for the Armory Show in New York and Boston, which were private institutions, the Art Institute enjoys the distinction of being the only art museum to host the exhibition and as such, has the privilege of being the first in the United States to present the works of such artists as Constantin Brâncusi, Marcel Duchamp, Henri Matisse, and Picasso to the public. Indeed, Chicago’s interest in Picasso’s art would grow over the years, leading to a number of important distinctions: as just one remarkable example, in 1967 the city welcomed the artist’s first monumental work of public sculpture.

“It is clear in even the briefest of histories that Chicago played a critical, early role in the reception and development of modern art in the United States,” said Stephanie D’Alessandro, Gary C. and Frances Comer Curator of Modern Art at the Art Institute and curator of the exhibition. “While the career of Pablo Picasso is just one of many examples, it is nonetheless an extraordinary story: some of the most significant events in the reception of his art—including the first presentation of Picasso’s works at an American art museum, the first solo show devoted to the artist outside a commercial gallery, and the first permanent display of his work in an American museum—all happened in Chicago and all within just the first two decades of the last century. This exhibition marks the special hundred-year relationship of Pablo Picasso, and our city.”

Picasso and Chicago documents the development of Picasso’s career alongside the growth of Chicago collectors and cultural institutions, emphasizing the storied moments of overlap that have contributed not only to the vibrant interest in Picasso today but also to the presence of nearly 400 works by the artist in the collection of the Art Institute. The museum began its Picasso collection in the early 1920s with two figural drawings, Sketches of a Young Woman and a Man (1904) and Study of a Seated Man(1905); in 1926 the Art Institute welcomed one of Picasso’s signature Blue Period paintings, The Old Guitarist (late 1903–early 1904), as a part of a generous gift in memory of Helen Birch Bartlett.

Over the subsequent decades, the museum’s collection has expanded to include such important paintings as the classically inspired Mother and Child (1921) and surrealist Red Armchair (1931), as well as such memorable sculptures as the Cubist Head of a Woman (Fernande) (1909), the playful Figure (1935), and the maquette for Picasso’s largest three- dimensional work, the Richard J. Daley Center Sculpture (1964–67). The Art Institute has also developed an exceptional collection of works on paper that demonstrates Picasso’s endless inventiveness and masterful draftsmanship, as seen in such extraordinary examples as the turbulent Minotaur (1933) and the monumental Woman Washing Her Feet (1944). Likewise, the print collection holds special works including The Frugal Meal (1904), one of only three examples of this familiar Blue Period etching printed in blue-green ink. Because of the fragility of the drawings and prints, these works from the museum’s collection are rarely on view, and visitors will be offered an extraordinary opportunity to see them in the context of Picasso’s career and the museum’s own collection.

The exhibition is accompanied by a handsome catalogue, Picasso and Chicago: 100 Years, 100 Works, that brings together 100 of Picasso’s finest works in Chicago. The book will be available beginning March 4, 2013, at the Art Institute’s Museum Shop for $24.95.

Pablo Picasso. Man and Flute Player, 1967. The Art Institute of Chicago, restricted gift from the estate of Loula D. Lasker, © 2013 Estate of Pablo Picasso / Artists Rights Society (ARS), New York.

Pablo Picasso. Minotaur and Wounded Horse, 1935. The Art Institute of Chicago, Anonymous gift. © 2013 Estate of Pablo Picasso / Artists Rights Society (ARS), New York. Pablo Picasso. Weeping Woman I, 1937. The Art Institute of Chicago, through prior acquisition of the Martin A. Ryerson Collection with the assistance of the Noel and Florence Rothman Family and the Margaret Fisher Endowment. © 2013 Estate of Pablo Picasso / Artists Rights Society (ARS), New York. Pablo Picasso. The Faun Musician, 1947. The Art Institute of Chicago, gift of Dorothy Braude Edinburg to the Harry B. and Bessie K. Braude Memorial Collection. © 2013 Estate of Pablo Picasso / Artists Rights Society (ARS), New York. Pablo Picasso. The Frugal Meal, from The Saltimbanques,1904. The Art Institute of Chicago, Clarence Buckingham Collection. © 2013 Estate of Pablo Picasso / Artists Rights Society (ARS), New York.

“Chicago and Picasso” February 20 – May 12, 2013 The Art Institute of Chicago 111 South Michigan Avenue Chicago, IL 60603

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The South Dakota Art Museum has received an extensive, growing donation of valuable fine art prints that offer visitors an encyclopedic collection of printmaking from the 1960s, 1970s and early 1980s. The collection includes impressive examples of pop, op, abstract, color field and photo-realist art. The donation comes from Neil C. Cockerline, a former preservation services director and senior conservator with the Midwest Art Conservation Center in Minneapolis, MN in memory of his late mother Florence L. Cockerline. From initial appraisals, the value of the collection in today’s art market ranges between $500,000 and $1 million.

Neil C. Cockerline holding a print by Robert Indiana called “Jo the Loiterer”

The collection currently contains more than 400 prints and will continue to grow with the South Dakota Art Museum as its permanent home. The Cockerline Collection features more than 100 notable artists including Jim Dine, Robert Rauschenberg, Robert Motherwell, Andy Warhol, Henri Matisse and Robert Indiana. The works are all original prints which means the artist was present or had strict control of the piece during the printmaking process. After each edition is completed, the plate or screen used to make the print is destroyed, making all the pieces in the collection rare.

“I chose to donate this collection to the South Dakota Art Museum because I knew the staff and university are very supportive of the museum, and they have a reputation of professionalism and a commitment to preservation. The collection will also attract people to the museum. There isn’t a collection like this in the state or nearby.” Cockerline selected each piece to be included in the first exhibition. The South Dakota Art Museum plans to schedule many local exhibitions, as well as send the collection to other venues. Cockerline donated the collection in honor of his late mother because of her influence as his artistic mentor as a child. The donation will be used to educate SDSU students in many departments on campus. “When I put the collection together it was basically to form a context of printmaking from 1960 to 1982,” said Cockerline. “I always wanted it to be a teaching collection.” Museum interns will gain experience handling, cataloging, researching and preserving contemporary works of art. History and political science students will be able to visually see the impact social unrest and current events of the period had on the visual arts.

Lisa Scholten, SDAM Curator of Collections, said the donation impacts the public by exposing people to rarely seen art. “It would take visiting hundreds of different museums to view all of the prints that now call the South Dakota Art Museum home,” said Scholten.

Lowell Nesbitt Exotic Orchid Ellen (Kuhn) Charap A (1980) Screenprint, 25 X 22 Black Day in July (1968) in. © The Estate of Lowell Lithograph, 33 X 23 in. Nesbitt © Ellen (Kuhn) Charap

James Rosenquist Miles (1975) William Weege Home, Home Screenprint, 30 X 22 in. © on the Range…Played… James Rosenquist / Licensed (1970) Screenprint, by VAGA, New York, NY 41.75 X 29.75 in. © Bill www.vagarights.com Weege

“Cockerline Collection: Prints of the 60’s, 70’s and 80’s” South Dakota Museum of Art January 15 – May 12, 2013 Brookings, SD

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Lines Etched with the Weight of Life: Georges Rouault’s Miserere at The Snite Museum of Art

In response to the ravages of World War I, French artist Georges Rouault (1871–1958) produced a portfolio of drawings, which were reproduced as heliogravures, a process combining engraving and photography. Dissatisfied with the results of the reproductions, the artist continued to modify the plates using a variety of printmaking techniques in un-conventional ways. What he achieved was an entirely new object whose surface physicality created a spiritual space in which the viewer’s mind focuses upon the transcendent truths expressed by the artist. Although printed in 1927 under the supervision of the artist, the prints remained in storage until 1948 when they were finally published.

“Lines Etched with the Weight of Life: Georges Rouault’s Miserere” is a haunting series of 58 works on paper. The title, “Have mercy on me, O God” is taken from Psalm 51, and is considered a monument in twentieth-century printmaking. This is the first time the Snite Museum of Art will present the series, described as a powerful lamentation of the human condition, in its entirety.

Compared with some of the most famous graphic sequences in history, including Albrecht Dürer’s Little Passion, Jacques Callot’s Caprices, and Francesco Goya’s Disasters of War, Miserere uniquely combines overtly religious iconography with modern, subtle and introspective portrayals of human misery and salvation. Prints by these artists are also included in the exhibition to illustrate Rouault’s homage to tradition and his endless innovation.

“Lines Etched with the Weight of Life: Georges Rouault’s Miserere” January 13 – March 10, 2013 The Snite Museum of Art University of Notre Dame, South Bend, IN METRO GALLERY FRAME

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INK MIAMI

On our trip to Art Basel Miami we planned to attend some of the satellite shows surrounding the convention center. The first one on our list was INK MIAMI because one of our customers, Graphicstudio, was an exhibitor and we wanted to stop by and say hello. It was well worth the trip. INK MIAMI is the antidote to the larger art fairs. It is located in the Dorchester Hotel which is located a few blocks from the convention center where ART BASEL is held. Unlike ART MIAMI and ART BASEL each exhibitor has their own hotel room, which limits the visual clutter of competing exhibitors. The scale of the space and the atmosphere makes it much easier to appreciate the art. It is sponsored by the International Fine Print Dealers Association (IFPDA) and exhibitors are selected from among their members. Since its founding in 2006, the Fair has attracted a loyal following among museum curators and committed collectors of works on paper.

There are 15 exhibitors at INK MIAMI and they all serve an important role in the fine art works on paper community. Time constraints did not allow us to talk with each of them individually. In addition to Graphicstudio, we had the opportunity to talk directly with the ones below and we hope to have the privilege of touring their studios in the future.

Graphicstudio We have done many projects with Graphicstudio and have toured their studio in Tampa at the University of South Florida so we were familiar with their mission. Artists are invited to work at the studio by invitation. They are a university-based atelier engaged in a unique experiment in art and education, committed to research and the application of traditional and new techniques for the production of limited edition prints and sculpture multiples. The artists they were exhibiting at the show were: Christian Marclay, Iva Gueorguieva, Trenton Doyle Hancock, Carlos Garaicoa, Richard Tuttle, Alex Katz, Ibrahim Miranda, among others. Tamarind Institute is a division of the College of Fine Arts of the University of New Mexico in Albuquerque. Tamarind Lithography Workshop, Inc. (TLW) was founded in Los Angeles in 1960 as a means to “rescue” the dying art of lithography. They became affiliated with the University of New Mexico in 1970. Their goal remains to continue to restore the prestige of lithography by creating a collection of extraordinary prints. In order to do that they are creating a a pool of master artisan-printers in the United States by training apprentices. Artists are invited to work at the institute by invitation. They work collaboratively with master printers to extend the expressive potential of the medium. The artists exhibited at the show were Jim Dine, Liliana Porter, Anna Hepler, James Siena, Nicola López, Toyin Odutola, Tony DeLap, Kiki Smith, Tiago Gualberto, Donald Sultan, and many more.

Tande m Press Tande m Press was found ed in 1987 and is based at University of Wisconsin-Madison. Tandem Press is an artistic laboratory where internationally recognized artists undertake creative experimentation. Tandem Press shares this mission by teaching, undertaking research into new and traditional printmaking techniques, and by conducting outreach programs to help educate the public about art in general, and printmaking in particular. Tandem is celebrating it’s 25th anniversary this December with an exhibiton opening at the Chazen Museum in Madison. The artists that were exhibited at the show were: Suzanne Caporael, Robert Cottingham, Nicola López, Cameron Martin, Judy Pfaff, Sean Scully, T.L. Solien, David Lynch, and Dennis Nechvatal. Mixografia In addition to the University presses above, we were especially impressed with Mixografia, which is located in Los Angeles. Mixografia produces and publishes handmade 3D paper prints, multiples and sculptures in all media that expand the language of traditional editions by allowing the artist greater choice. Since its inception, the workshop has aspired to help the artist realize a vision through the production of artwork they may not have thought possible. With their processes, the artist is not limited by the boundaries associated with traditional techniques or by the selection of their materials. Their processes accommodate the unique working style of each artist, and preserve the identifiable traits of their artwork. This collaborative environment is an exciting and freeing experience, while at the same time challenging and gratifying. Artists exhibited at the show were: John Baldessari, Kwang-Young Chun, Jorge Pardo, Jason Martin, Ed Ruscha, Donald Sultan, Tom Wesselmann, Rachel Whiteread, and Peter Wuthrich.

50 for Arkansas The Dorothy and Herbert Vogel Collection

Dorothy and Herbert Vogel were avid collectors of contemporary art and were well known throughout the New York art scene. Their world-class art collection began in a one-bedroom New York apartment while they lived on Dorothy’s income as a librarian and dedicated Herb’s income as a postal worker to the acquisition of art. Their collection steadily grew to more than 4,000 pieces. In 2008, the Vogel’s launched a nation-wide gifts program titled The Dorothy and Herbert Vogel Collection: Fifty Works for Fifty States with the help of the National Gallery of Art, the National Endowment for the Arts and the Institute of Museum and Library Services. The Vogel’s distributed 2,500 works from their collection throughout the nation, with 50 works going to a selected art institution in each of the 50 states. Consisting largely of works on paper, the Arkansas Arts Center was selected to receive the works for the state of Arkansas. This exhibition will feature the works from this gift. Artists include William Anastasi, Will Barnet, Michael Goldberg, Michael Lucero, Betty Parsons, Richard Tuttle and more.

Robert Duran American (Salinas, Betty Parsons American (New California, 1938-2005) active New York, 1900 – 1982, New York) York Untitled watercolor on paper Brush Up paint on weathered 1970 wood construction 1974

MASS PRODUCTION

We always appreciate getting photos from our customer’s sharing how they fit our gallery frames. This is a good example of fitting a large order of gallery frames with wood spacers.

Attaching spacers with clamps Richard Tuttle Watercolor

“50 for Arkansas: The Dorothy and Herbert Vogel Collection” September 21 – January 6, 2012 Arkansas Arts Center Little Rock, AR GALLERY FRAMES

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Ulysses suite by Robert Motherwell

“I thought you might enjoy seeing the attached photo. It is the entire Ulysses suite by Robert Motherwell in your frames: very beautiful, a perfect complement to the works. Motherwell was commissioned to do this suite of prints to complement a beautiful hand-printed text of James Joyce’s Ulysses. Thanks,” Jerald

Motherwell counted Irish author, James Joyce, as his favorite modern author and drew upon his writings for titles to his paintings, drawings, and prints throughout his career. Ulysses, written by Joyce, chronicles the passage of Leopold Bloom through Dublin during an ordinary day in 1904. The title alludes to the hero of Homer’s Odyssey, Odysseus (Latinized into Ulysses). The Ulysses project was four years in planning and a year and a half in production and included an illustrated book and this portfolio of 22 prints. Motherwell saw an affinity between Joyce’s particular use of language and his own thinking about representation and abstraction. The prints have strong calligraphic elements, a recurring motif in Motherwell’s work. Metropolitan has been making frames for the Jerald Melberg Gallery for many years. He is located in Charlotte, NC. He like many other galleries exhibit in multiple art fairs every year. This one is artMRKT San Francisco and took place May 17 – 20th. It is considered to be the Bay Area’s premier contemporary and modern art fair. This year they featured 70 galleries from around the globe. Both historically important work was showcased alongside contemporary pieces and projects.

Jerald Melberg Gallery Charlotte, NC 28211 www.jeraldmelberg.com

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“From Alice to Zeus: The Art of John Rocco” at the Orlando Museum of Art ©2006 John Rocco. Cover image by John Rocco for The Light n i n g T h i e f ( P e r c y J a c k s o n a n d t h e O l y m p i a n s, Book 1) written by Rick Riordan, published by Disney Hyperion Books.

John Rocco is an award winning author and illustrator of children's picture books. The show will include examples of the cover art Rocco created for the bestselling Percy Jackson series and the Kane Chronicles as well as a selection of illustrations from his popular children’s books Blackout, Moonpowder, Wolf! Wolf! and Fu Finds the Way.

This exhibition is the eighth in the Orlando Museum of Art's (OMA's) Art of the Picture Book Series. The exhibition will feature more than 60 preparatory drawings and finished illustrations by John Rocco, and will be on view through October 28, 2012. Rocco will appear at the OMA’s opening on July 14 at noon for a presentation and book signing.

We first met with the OMA last winter to discuss the frames for this project. This project had a special interest for us because we had just worked on an exhibit for another celebrated chlldren's picture book illustrator,Ezra Jack Keats, for the Jewish Museum in New York.

In preparation for this post I did some research on John Rocco. He has led a very interesting life working with some of the most creative people in the entertainment industry. The following is an excerpt from his website outlining his interesting career path.

"After high school I studied illustration at the Rhode Island School of Design and School of Visual Arts in New York City. Upon graduating I collaborated with actor/comedian Whoopi Goldberg creating the picture book Alice.

...Shortly after, I moved to Los Angeles. At Walt Disney Imagineering I designed many attractions at Disney’s Epcot, including the Spaceship Earth Post-Show and the Mission Space Post-Show. While at WDI I also served as the art director for DisneyQuest, an interactive theme park in Downtown Disney. At Dreamworks, I was the pre-production art director for the top grossing animated film Shrek, where I created hundreds of illustrations that helped the animators create the final look of the film.

…In 2005 I shifted my focus back to children’s books and created Wolf! Wolf! which garnered several awards including Borders Original Voices Award for best picture book. My next book, Moonpowder, was part of the Original Art Show at the Society of Illustrators, and artwork from the book was selected for a special nationwide traveling exhibition. The fall of 2009 marked the release of my latest book, Fu Finds the Way about a boy who finds courage in a pot of tea. I also illustrate all the covers for Rick Riordan’s bestselling YA series, Percy Jackson and the Olympians."

In 2012 Blackout, which was written and illustrated by Rocco was a Caldecott Honor Book.

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The Art of Oleg Vassiliev at The Museum of Russian Art

The Art of Oleg Vassiliev surveys the career of one of the most important unofficial Soviet artists. This exhibition is the third in the series of remarkable one-man shows under the umbrella title Discovering Russian 20th Century Masters. The exhibition of Vassiliev’s works on paper includes the exciting House with the Mezzanine series, seven children’s books illustrated by Oleg Vassiliev and Erik Bulatov, as well as his six self-portraits where the artist explores the issues of identity and self-representation through visual means. Inspired by the personalities and settings of Anton Chekhov’s story “House with the Mezzanine,” this series of thirty metal- cut prints combines a critical revision of Soviet history with the ingenious graphics to create a progression of beautiful vignettes.

One of the most respected figures in Russian contemporary art, visual artist Oleg Vassiliev was at the inception of the Unofficial Artist Movement in the Soviet Union during the 1950s, ‘60s and ‘70s. This movement demonstrated disagreement with soviet society and government through artistic experimentation and non conformist work. For Vassiliev this meant combining Russian Realist style with that of the early Soviet avant-garde in studies of pictorial space and light. Vassiliev, who immigrated to the Untied States in 1990, continues to paint in his home studio in St. Paul. In 2012 the Museum of Russian Art in Minneapolis held a retrospective of his work. Oleg Vassiliev was recently featured on TPT’s MN Original series. Click here to watch.

The Art of Oleg Vassiliev The Museum of Russian Art. Minneapolis, MN

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“Hybrid Romance” by Los Angeles artist Lawrence T. Yun is his latest watercolor series and can be seen at theLos Angeles Municipal Art Gallery in Los Angeles thru 5/6/12 .

“The paintings are meant to be aesthetically pleasing,” said Yun, “yet the deliberate awkwardness of the structured subject matter conveys subtle messages that trigger the audience to question the imagery.”

Born in Taiwan and now living in Los Angeles, Yun has exhibited his paintings throughout California, including at the Long Beach Art Museum and the Los Angeles Municipal Gallery in Hollywood, as well as in Kentucky, Nevada, Oregon, Wisconsin and India.

Thank you Metroframe, The 115 Profile is wonderful and these strainers are amazing! Definitely using them again for my next body of works! Lawrence Yun

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