museummuseumVIEWSVIEWS A quarterly newsletter for small and mid-sized art museums Fall 2007 NATIVE AMERICANS IN MUSEUMS

The Northeast will be represented by func- What better way to learn about a people than to Native North tional wood objects carved with sculptural experience them through their many art forms. details that elevated everyday utensils to the By exhibiting their art and translating what the American Art level of works of art as well as a myriad of other artists are trying to say for the general public, objects both large and small. Native American museums provide the atmos- Gallery Opens phere for better understanding. The First People had many diverse cultures at Met Smithsonian across this land and yet they were similar to one another. Today's Native American museums help The Metropolitan Museum of Art (NY) NMAI Opens to point out these similarities and also to explain opens its enlarged and renovated gallery for the uniqueness between each cultural people. All Native North American art on November 13 of Tribal Shows these museums invite you to come and experi- this year. A selection of 90-some works, more ence how the First People celebrated life with a than ever before, will present the art of various The Smithsonian National Museum of the song, a dance, and a story. North American peoples, regions, and time peri- American Indian (DC) announced the opening ods. Objects on view, ranging from stone tools of two new tribal community displays in the Surprise and Pride (bannerstones that date back several millennia) “Our Peoples: Giving Voice to Our Histories” to a tobacco bag made by Assiniboine/Sioux exhibition: the Blackfeet Nation of Browning, I was finishing my senior year at Syracuse and attending the Native artist Joyce Growing Thunder in the 1970’s, Montana, and Chiricahua Apache of Mescalero, Continued on page 3 come from the New Mexico. Met’s holdings The Blackfeet exhibition highlights key and other well themes in Blackfeet history: the revelation of NOTES ABOUT ARTISTS known collec- sacred powers, creation stories, the importance [In April 2003, the National Museum of the tions from of the medicine lodge, the introduction of hors- American Indian in New York held the first across the es, and language preservation. Of paramount exhibition of “Continuum: 12 Artists,” a series country: the importance, the 1855 Treaty of Lame Bull and that presented paired showings of contemporary American the 1870 Baker’s Massacre both show the tribe’s Native artists. The series continued through Indian collec- interaction with the United States government 2004 until January 2005. The following notes tions of Ralph and the tragic consequences. are about the artists whose work appeared in T. Coe of Santa The Chiricahua Apache exhibition shows those exhibitions.] Fe and Charles the tribe’s forced journey from their homeland and Valerie in the Southwest to Alabama, Florida, JAUNE QUICK- Diker of New Oklahoma, and New Mexico, where two-thirds York, for of the Chiricahua finally made their home in TO-SEE SMITH example; the 1913 together with the Mescalero and Lipan (Flathead Salish/Cree/Shoshone) 1897 acquisi- Apache groups. Animated videos and historical Jaune Quick-to-See Smith, tion of archae- and contemporary still images represent whose art presents a cross-cultural ological ceram- tribal leaders and the life and history of dialogue between the values of an ic vessels from their communities. inherited Native American past and Missouri; the those of 21st century Euro-America, was born in Crosby Brown St. Ignatius, Montana, in 1940, and raised on the Collection of musical instruments; and the Flathead Reservation there. Her name comes from Nelson A. Rockefeller collection, which forms WITH A SONG, her Shoshoni grandmother. Her schooling took her the basis for the current exhibition. from high school, where she was exposed to a The display will be organized by North Famous American Art course, to Olympic College, American regions with emphasis on the art of A DANCE, in Bremerton (WA). Subsequently, she earned a the Great Plains and the Northwest Coast. Two BA degree at Framingham State College (MA) works especially, both from the early 1880’s, AND A and an MFA degree at the University of New bespeak the traditions and images of the Great Mexico. Before she completed her MFA, she was Plains: the Maffet Ledger (named after the edi- STORY earning a living as a painter. tor of the local Cheyenne journal), a book of by Mike Tarbell By the mid 1970’s, Smith had founded artists’ more than 100 drawings, created at the groups, curated exhibitions, and organized grass- Cheyenne and Arapaho Agency in Indian Hello! I hope that you are well and that you roots protests expressing concern over the land Territory (Oklahoma); and a Cheyenne tipi liner come in peace. My name is “He Waits.” I am and its people. She remains an outspoken activist consisting of 13 feet of images depicting Mohawk-Turtle Clan and I come from the Land for avant-garde and feminist causes, and her art Cheyenne warriors and their heroic deeds in Where the Partridge Drums. I welcome you to reflects her passions, which are deeply connected battle. my Mother’s House. to her Native American heritage in the context of Top left: Adkins, Garland and Minnie, Horse, 1993. Carved, painted contemporary issues that face American Indians. wood. In “Collective Wisdom,” Gordon Art Galleries, VA A Native American museum is an invitation Center: J.J. Lankes, Big Sycamore, from West Running Brook by to come and experience, for a moment, the world In addition, she functions as a curator, a lecturer, Robert Frost, 1928. Woodcut on paper. In “Artist at Work,” Harnett and a writer. Museum of Art, VA that Native Americans cultivated for themselves. Continued on page 11 DIRECTORS’ CORNER Bridging Gaps ing works for the permanent collection by living THE NATIVE Native American artists. With these actions, we The Abbe Museum recognizes the need to hope to raise awareness not only of the quality AMERICAN MUSEUM incorporate Native American voices and perspec- and diversity of today’s art but also to register tives as a guide in educational programming and Native American voices in contemporary art. UILDING RIDGES exhibition preparation. Through our permanent B B installations and temporary exhibitions, we seek Keeping the Story Alive by Francine Carraro, Ph.D. to bridge the gaps in our audience’s understanding We believe that history comes alive through of the history and living culture of Native The Abbe Museum opened to our exhibitions and educational programs, and that Americans. the public 79 years ago as a show- history is preserved through the acquisition and In attempting to present a seamless perspective case for a private collection of conservation of Native American art and artifacts. on Native American life and culture, we make artifacts assembled by physician We seek to unite the past and the present through every effort to tie the message of the artifacts of and amateur archaeologist Robert building bridges of cultural understanding. Abbe. The museum of “stone age the past with the reality of Native American expe- rience in the present. Exhibitions related to arche- antiquities” reflected the popular cultural classifi- [Francine Carraro, Ph.D. is executive director of ological findings as well as exhibitions of works cation given to Native American archaeology in the Abbe Museum (ME)] the 1920’s. by contemporary Native American artists provide In the last few decades, the Abbe Museum has the context and content of Native life, both past moved with purpose toward presenting modern and present, while at the same time correcting Native American culture with a Native voice in some widely held misconceptions. AMERICAN INDIANS governance and public presentations. The muse- With these objectives in mind, we plan to um’s history includes the development of signifi- reexamine some of our long-time permanent AND MUSEUMS: cant collections, outstanding exhibitions, and installations, and with guidance from scholars and meaningful educational programs. In two loca- Native elders, to create new interpretations of A CHANGING tions, the original building from 1928 in Acadia Native American life. National Park and the state-of-the-art facility from LANDSCAPE 2001 in downtown Bar Harbor, Maine, we show- Art and History by Duane King, Ph.D. case the best in Native American art, archeology, Come Together As long as museums have history and culture. By doing so, we celebrate the been in this country, American heritage and living cultures of Native Americans Temporary exhibitions range from artworks by Native American school children to curated Indians have been represented in them. The treat- and inspire appreciation and understanding of the ment of Native American subjects by museums culture, art, history, archaeology, and the lives of shows that place Native American art and culture in historical context. One recent exhibition, “A over the years has changed considerably. They Maine’s Native peoples. were once depicted as relics of the vanquished Tree with Eyes: Birch Bark Collections from the The museum is a cultural hub and community and vanishing; Native American objects were Abbe Museum,” showcased works, both historic gathering place as host to a wide range of events most often exhibited as exotic curiosities with lit- and contemporary, from our permanent collection: that engage the public by sharing the story of the tle or no interpretive context. Human remains Native American experience. We are seeking a birch bark canoes and containers of traditional were commonly displayed in American museums still wider audience by expanding our definition culture that were integral to regional Native life in as late as the 1970’s, and on a few occasions, liv- of community to include not only the four the past. These objects chronicled the transforma- ing people were placed on exhibit. Wabanaki tribes of the region, but also the local tion from items produced for a tourist market into For much of the 20th century, Native community, tourists, the teacher/student communi- art forms that illustrate a keen aesthetic of quality Americans viewed museums not as educational ty, as well as the national craftsmanship. institutions, but as the storehouses for looted cul- community of scholars “Journeys West: The David & ture and the repositories for material from dis- and museum profession- Peggy Rockefeller American turbed graves. Collecting practices of museum als. Our reputation for Indian Art Collection,” curated by pioneers showed little regard for ethics or cultural educational programming Bunny McBride, focuses on the sensitivity. George Gustav Heye founded the is excellent. We work development of the Rockefeller museum that later became the National Museum closely with public family’s collection of Native of the American Indian. In addition to acquiring a schools to ensure that the American artworks. This exhibi- collection that is now regarded as a national treas- history and culture of tion includes works by well- ure, he also became well known for his obsession Native Americans is cen- known artists Maria Martinez, with objects and his insensitivity about people. He tral to the curricula. We Ma-Pe-Wi, John Louis Clark, and exemplified the oft discussed dichotomy facing serve as an important Tonita Peña as well as other works collectors and museums alike. While it is true that resource for teachers to by unnamed artists such as a museums are preserving objects for future genera- meet Maine’s “Wabanaki Western Apache basketry storage tions through proper stewardship of collections, it Initiative,” a state law jar, saddlebags from Dakota is also recognized that unethical Continued on page 4 that requires all grade Sioux, Navajo Kachina figures, a levels to teach Wabanaki Papago salt storage jar, and exam- museum history and culture. We ples of Navajo Late Classic wear- VIEWS annually produce teacher ing blankets. The exhibition pro- Editor: Lila Sherman workshops that address vides a contextual framework for Publisher: Museum Views, Ltd. issues such as stereotyp- the history of an art collection that 2 Peter Cooper Road, New York, NY 10010 ing. And, we recently began at the same time as the Phone: 212-677-3415 FAX: 212 533-5227 established The Robert Abbe Museum was founded and On the WEB: museumviews.org R. Gann Distinguished broadens our scope to include a museumVIEWS is supported by grants from the Speaker Series with an wider community of Native Horace W. Goldsmith Foundation inaugural lecture by American art and experiences. and Bloomberg. Charles C. Mann, author Marilyn da Silva, House of We are in the early stages of establishing an Cards, 2001. Copper, brass, museumVIEWS is published 4 times a year: of 1491: New Revelations goldplate, gesso, colored pencil. annual exhibition and artist-in-residence program In “From Dwellings Forward,” Winter (January 1), Spring ( April 1), Summer of the Americas before Palo Alto Art Center, CA that will showcase works by contemporary Native Columbus. (July 1), and Fall (October 1), Deadlines for American artists. The Diane Kopec Collection listings and art work are November 15, Fund was established with the purpose of purchas- February 15, May 15, and August 15. 2 With A Song, A Dance, And A Story continued from page 1 NEWSBRIEFS American program at Cornell University My cousin clanmother, when she heard Promised Gift when I got an invitation from my sister, who that I was taking the job as Native Educator The Bruce Museum (CT) announced a prom- was an artist intern at the Iroquois Indian at the museum, gave me a charge: “Bring our ised gift to the collection of a Martin Johnson Heade Museum that, at the time, shared space with ancestors into this modern time in a better painting titled Sunlight on Newbury Marshes the Old Stone Fort Museum in Schoharie. She light.” (c. 1865-75). “It is the finest nineteenth century wanted me to come and see the new building, American landscape that the museum has ever which was almost finished, built in the shape Carrying Out the Charge received,” said Executive Director Peter C. Sutton. of the traditional longhouse in which our One of the hardest things a museum edu- “It also advances our campaign to gather 100 out- ancestors lived. cator in a Native American museum must do standing gifts of works of art to the museum in its If I had ever made up a list of what I is try to change the stereotypical image that centennial year.” wanted to do or be in life, an educator at a everyone has been subjected to in the movies, Native American museum would not have in paperback books, and in flawed interpreta- New at the Met been on it. But, the moment I walked into the tions of history. Another difficult task is try- Following a three-year renovation, the building that would ing to convince Metropolitan Museum of Art (NY) opens a become the Iroquois many children and redesigned and reinstalled exhibition space for the Indian Museum, I some adults that display of Oceanic Art—the arts of the Pacific realized where those we as a people are Islands. The inaugural exhibition will feature works stories my grand- still here. from the five major artistic regions of Oceania— mother had shared Ours was a Polynesia, Micronesia, Melanesia, Australia, and with me as a child, world steeped in a Island Southeast Asia. The museum’s renowned belonged. I swelled rich democratic masterworks, many from the Asmat people of New with pride as I process that Guinea collected by Michael C. Rockefeller, will opened the front brought people resume their place in the new galleries alongside doors. The pristine together to iron other previously unseen treasures from the collec- walls echoed with out their differ- tion and recent acquisitions. her stories, some ences. A world funny and some where women and The Joyce and Robert Menschel Hall for very serious, coming alive as I walked men were equals and saw their existence in Modern Photography was opened to the public in through the galleries. The rafters that support- the Creation as a partnership in life. The September, establishing for the first time a gallery ed the arched roof resembled the Wing Fan People understood that everything the Creator dedicated exclusively to photography, especially Belt, the widest wampum belt of the Iroquois provided for them to use could exist without large-scale photographs taken since 1960. The inau- Confederacy, which represents the ever grow- them, but that they could not exist without the gural installation, “Depth of Field: Contemporary ing tree that provides shelter for all who seek Creator’s provisions. Theirs was a life-way Photography at the Metropolitan,” drawn from the peace and harmony. that allowed them to exist within their envi- museum’s permanent collection, traces the various Many times in her stories my grandmother ronments—a far cry from the common image paths of photography since 1960. Future exhibitions told of how the People, as they of Indians always hiding behind trees, waiting will change every six months and will include traveled about from one village or nation to for someone to club. selections on themes such as landscape and the the next, sang the songs of Thanksgiving, the Native American museums are an essential built environment, the body, photography about songs of the Strawberry, the Maple, and the tool in the teaching of American history. They photography, among others. Deer. They sang loud, she said, for the natural are excellent places to go to learn about the world to enjoy and the Onkwehonweh, the First Peoples of North America and their cul- The Wrightsman Galleries for French Real People, to hear. “When you come tures, to witness their art, both past and pres- Decorative Arts are scheduled to open, renovated singing, you come in Peace,” my grandmother ent, and to become aware of their contribu- and reinstalled, on October 30. Six 18th-century would say. tions to the world that we live in today. Our rooms that house the museum’s collection of French The new arrivals would be welcomed and Outreach Programs cover these essentials, and furniture and related decorative arts of the ancien given a place to rest, their clothes would be are designed to meet all grades levels and cur- régime have new lighting, climate control, fire sup- mended, and they would be fed. Then they riculum requirements of New York State. pression systems, new décor, and newly conserved were given a strawberry drink to cleanse the furniture and upholstery. Works not before included spirit and soul, and a crystal to wear in a med- [Mike Rohrha:re Tarbell, of the Mohawk- in the displays will now take their place in the new icine pouch around their neck and over their Turtle Clan, is museum educator at the installation. heart. They believed that this crystal would Iroquois Indian Museum (ME)] J help their hearts to see the beauty in all Expanded and renovated galleries for 19th-cen- Creation. From the Easterndoor Keepers this tury European paintings and sculpture are expected was their passport for safety through the rest to be ready for opening on December 4, offering a of the Confederacy. new and broadened presentation of the development of modern art. 19th-century works will be accompa- nied by seminal works from the early modern era. Above: Etahdleuh Doanmoe, Arrival in Jacksonville, Florida, 1877, colored pencil on paper. In ”A Kiowa’s Odyssey”The Trout LHC Plans Practicum Gallery,PA The Lower Hudson Conference, an organization Right: Saul Steinberg, that serves museums and historical agencies in the Santa Claus as Christmas greater Hudson Valley (NY) region, plans the com- Tree, 1949 or later. Offset printing, black and white pletion of a three-tier practicum, the first having lineshot. In “Saul Steinberg,” Loeb Art taken place earlier this year. The remaining sessions, Center, NY consisting of a one-day symposium followed, over a Left: Mary Nohl, Lake period of about two months, with four workshops. Cottage Environment. In “Sublime Spaces Each year focuses on one of three critical areas of and Visionary Worlds,” Kohler concern: in 2007, “The Context” or public presenta- Arts Center, WI tion of the house museum; in 2008 (Jan 28), Continued on page 9

3 DIRECTORS’ CORNER continued from page 2 collecting practices have resulted in cultural loss Increased communication has engendered the who believes that elected officials do not influence through the alienation of significant items from mutual realization by museum and tribal officials public opinion as much as they are influenced by the families and communities of origin. that they are important to each other. Museums, it. As a result, many tribal leaders are more con- Many museums in the early 20th century spon- for the most part, insist that information about cerned about sharing their messages with the gen- sored archaeological expeditions, ostensibly for Native American cultures be presented from the eral public than members of Congress. scientific inquiry, but frequently measuring suc- first person perspective and that Native American cess by the number of recovered “museum quali- curators and consultants be hired to help develop The Future ty” treasures that they thought would be suitable exhibits and educational programs. At the same As tribal resources increase through successful for display. The methods of collecting in the late time, tribal leaders have recognized that museums business ventures, so too does the risk of losing 19th and early 20th centuries made logical the can be powerful tools in educating the general traditional culture and political sovereignty. inclusion of Native American material in natural public and have frequently recruited non-Indian Today, many tribes are taking extraordinary meas- history museums alongside exhibits of dinosaur scholars and museum professionals to bring aca- ures to preserve native languages, cultural tradi- bones and taxidermies. For many people today, demic credibility to tribal programs. tions, and accurate public images. The future role the historical absence or under-representation of Since 1975 more than 150 tribal museums and of museums in support of tribal efforts will Native American material in “fine art” or cultural centers have been established in the depend upon the willingness of both museums and American history museums is as inexplicable as is United States and Canada. They vary widely in tribes to share educational responsibilities with the general acceptance of indigenous ethnographic scope and scale but virtually all see their mission new partnerships and strategies to achieve com- collections in museums, sometimes called “dead as preserving and perpetuating tribal culture and mon goals. animal zoos.” history. In some cases, they serve as community [Duane King, Ph.D. is executive director at the centers offering workshops and educational pro- Southwest Museum of the American Indian, The Climate Changes grams for tribal members. In other cases, the pri- Autry National Center, CA] J In stark contrast to the activist protestors who mary focus is on educating the general public chained themselves to museum doors in the early about tribal histories and traditions. 1970’s to protest the public display of human remains, American Indians today are increasingly The Key: Education CURATOR’S CHOICE likely to be found on museum boards or as admin- Many tribal leaders view public education as istrators or curators making decisions about essential to the survival of Indian tribes as sover- exhibits and programs. Increased deference to eign nations. They agree that constant vigilance is Native sensitivities, fostered by a heightened sense required to defend tribal sovereignty against fre- of inclusion by many museums and a more favor- quent and repeated challenges by the federal, state, able political climate, have brought about wel- and local governments: “The fate of Indian Tribes come changes. Legislation such as the Native in this country will be determined by the voting American Graves and Repatriation Act (NAG- public,” says Anthony Pico, former Chairman of PRA) in 1989, for example, enables tribes to make the Viejas Band of Kumeyaay Indians. “The great- claims for certain categories of objects held by est threat to tribal sovereignty is public percep- museums that receive federal funding. Although tion,” believes Wilma Mankiller, former Principal NAGPRA has not resulted in the mass of claims Chief of the Cherokee Nation. “Museums have a that many predicted, it has given rise to construc- responsibility in helping to shape for the public a tive dialogue among tribes and museums concern- balanced and accurate image of Native ing the most appropriate care and treatment of art Americans,” according to Marshall McKay, and artifacts. Chairman of the Rumsey Band of Wintun Indians, THE FRAME GAME: KULTURE FOR KIDS Go to framemuseums.org and you will anthropology—and having fun,” said Elizabeth find the newest, free, most animated art-related Rohatyn, who founded Frame in 1998. But, At the Barber’s, Greek Boeotian, ca. 460 B.C. Terra cotta, paint. game for children ages 8-12. It is called Room since it functions on several levels, adults can This real charmer testifies to the Greeks’ humor of Wonders and was developed under the aus- play and enjoy the game as well. Word games, and delight in familiar subjects and to their enjoy- pices of the French Regional and American puzzles, and musical quizzes are also factored in. ment of naturalistic details in the representation of Museum Exchange On her visits to local museums across France everyday life. The protagonists are portly men, (Frame), a coalition of 23 where her husband was United well past middle age. The customer, wrapped in a museums that exchange States Ambassador, Mrs. gown fastened on the shoulders to keep off shorn works of art, personnel, Rohatyn conceived the idea of strands of hair, slouches on the low stool and tilts his head to better allow the barber to accomplish technology, and resources. an exchange program between regional French and American his job. The barber maneuvers his long shears The game is stocked with deftly. The day must be hot—a typical objects from these very museums. Such a program Mediterranean working day—for he is shirtless. museums. would extend the reach of His pot belly protrudes above his ample apron. To play, the child sin- smaller museums on both sides He is hard at work, and the client’s moustache gles out an exotic arti- of the Atlantic and bring art- and spate-shaped beard–one surmises–would fact—a stone sea monster works to people who otherwise be attended to next. from China, a decorated shield for the Solomon might not have access. This rare piece (one of only two other barber Islands, an African mask, a Hope kachina doll— “We didn’t want government money because groups known) is of outstanding workmanship and then searches for its origin, gaining informa- governments tell you what to do,” she went on. and vividly preserves its colorful paints (black and tion along the way. The little explorer finds the “We charge member museums a small fee.” pink over a white slip). It owes its exquisite sculp- Together with foundation and corporate grants, tural quality to the coroplast’s skillful use of the right destination by scrolling across the map molding technique. The crisp contours are mini- while the game responds orally and visually. Frame goes forward. mally enhanced with a finishing tool. Hand-fash- “The idea was to make an imaginative “Frame offers an active as opposed to a theo- ioning was used only for the limbs. entrance to museums via a game,” said Richard retical way to bridge the cultural gap,” said –Adriana Calinescu R. Brettell, the American director of Frame. “It’s curator Penelope Hunter-Stiebel (she organized Curator of Ancient Art, about kids learning history, geography, and one of Frame’s exhibitions). Continued on page 10 Indiana University Art Museum

4 autumnVIEWS California America: Hockney, Rosenquist, Florida Maine Berkeley Art Museum, University of Lichtenstein, and others. Duncan Gallery of Art, Stetson Portland Museum of Art J “Both Sides California, Berkeley J Through Dec. University, DeLand J “Richard Heipp: of the Camera: Photographs from the 23: “One Way or Another: Asian Museum of Outdoor Arts, Englewood More Paintings Like Pictures” (Oct. 29) Judith Ellis Glickman Collection” (Jan. American Art Now” Contemporary J “Holiday Lighting” (Nov. 15-Jan. 4) Recent paintings and installations. 6) Photographers associated with Asian artists, most under 40 and influ- Illuminating installation at Samson Park Maine: the collector’s father Irving enced by popular culture, working in a in Greenwood Village and the Coors Vero Beach Museum of Art J “David Bennett Glickman, Steichen, Bourke- variety of media with divergent points Amphitheatre. Hayes: Sculpture” (Dec. 16) Large- White, and Salgado. J “Graphite” of view; “RIP.MIX.BURN.BAM.PFA” scale abstract works in welded steel Contemporary paintings, drawings, and Guest artists remix and burn digital- Connecticut inspired by shapes in the natural world. sculpture, all linked through the use of media of two artists—with their con- Bruce Museum, Greenwich J “Eye graphite. sent—resulting in new artistic collabo- Candy: Two Centuries of Chocolate Cornell Fine Arts Museum, Rollins rative creations. J “Rosaling Advertising” (Dec. 2) Turn-of-last-cen- College, Winter Park J Through Dec. Ogunquit Museum of American Art J Nashashibi: Bachelor Machines Part I” tury posters and lithographs attempting 30: “American Portraits” 1790-1860; Through Oct. 31: “Ansel Adams: The (Nov. 3) Film installation chronicling the seduction of chocolate lovers.J “Winslow Homer: Joys of the Day” Man Who Captured the Earth’s Beauty” the voyage of a cargo ship. “Contemporary and Cutting Edge; Woodcut engravings made for Harper’s Images of Yosemite, Sierra Nevada Pleasures of Collecting, Part III” (Jan. Weekly and Appleton Journal; J Sequoia, Yellowstone, and the Grand Craft & Folk Art Museum, Los 6) From local collectors’ collections: “Select European and American Teton; “Paintings by Lincoln Perry” Angeles J “Zulu Fire: Ardmore Bourgeois, Lichtenstein, Katz, and Paintings, c. 1561-1915”; “Rachel Oils and watercolors by a “figurative Ceramics from South Africa” (Jan. 27) Warhol and the emerging contempo- Simmons: Wonders” Mixed-media painter of narratives”; “Watercolors A contemporary expression of Zulu raries Hirst, Beecroft, Quinn, and Day. installations. from the OMAA Permanent Collection” folklore that fuses African and Western Burchfield, Demuth, Dewitt, Marin, artistic traditions, produced at a com- Yale Center for British Art, New Haven Idaho Marsh, and others. munity studio that employs local arti- J “Art and Emancipation in Jamaica: Boise Art Museum J “Laura McPhee: sans, many of whom have HIV/AIDS. Isaac Mendes Belisario and His River of No Return” (Jan. 13) Large- Maryland J “Eva Zeisel: Extraordinary Designer Worlds” (Dec. 30) Sugar, slavery, and scale color photographs of remote Mitchell Gallery, St. John’s College, at 100” (Dec. 30) The “grande dame of a turbulent emancipation in paintings, Idaho landscapes ponder the conflict Annapolis J “The Inventions of organic modernism,” industrial designer drawings, and prints (1655 to the between individualism, development, Leonardo da Vinci” (Dec. 15) Models Zeisel’s ceramics range in style from 1840’s), featuring lithographs and and preservation. J “2007 Idaho of inventions conceived in the the Art Nouveau of Russia to Bauhaus other works. Triennial” (Nov. 25) Statewide; juried. Renaissance, constructed at IBM to post-war biomorphism. J “Brittany Powell: Mucho Más” (Nov. in the 1950’s. Lyman Allyn Art Museum, New 11) Hearst Art Gallery, St. Mary’s College London J “Guido Garaycochea: Baltimore Museum of Art J “Matisse: of California, Morago J “Footloose in Wooden Boxes” (Nov. 24) Interactive Illinois Painter as Sculptor” (Feb. 3) His sculp- Arcadia: Artist & Writers in Piedmont, installation about political turmoil and Block Museum of Art, Northwestern tures alongside his paintings, drawings, 1895-1915” (Dec. 16) Celebrating the personal loss in Peru. J “The British University, Evanston J “Casting a and prints; first look at the major sculp- centennial of the city with work by and Are Coming: British Art from the Shadow: Creating the Alfred Hitchcock tures in 40 years. tales about artists and writers who lived Lyman Allyn Art Museum” (Feb. 4) Film” (Dec. 9) Sketches, designs, story- there or found inspiration there. Paintings, drawings, prints, and decora- board, script pages, and more from well Walters Art Museum, Baltimore J tive arts from the last 300 years: Ruskin, known films. “Déja Vu? Revealing Repetition in Oakland Museum of California J “A Romney, Morris, Rossetti, and others. French Masterpieces” (Jan. 1) Legacy of Art: The Ted and Ruth Nash Krannert Art Museum, University of Exploring why artists repeat them- Art Collection” (Dec. 30) Selection District of Columbia Illinois, Urbana-Champaign J Through selves: Delacroix, Ingres, Monet, from the recent bequest of California Anderson House, Society of Cincinnati Dec. 30: “Berni Searle: Approach” Cézanne, Degas, and Matisse. J “Daily artists. J “Inheriting the Revolution: Loyalty, Large-scale work about racial and Magic in Ancient Egypt” (Nov. 25) Brotherhood and the Society of the gender inequities. J “Facades” Videos, Amulets, scarabs, figurines, and ritual Palo Verdes Art Center J “Off the Cincinnati during the Civil War” (Jan. photographs, digital images, and litho- objects. J “Recurrence” (Jan. 20) Wall” (Nov. 18) Non-juried, all-media 5) Portraits, letters, weapons, and arti- graphs that address the meanings of the Complementing the “Déjà Vu” exhibit, show. J Through Dec. 22: “From facts tell the story of Civil War soldiers word “facade” when applied to a person work from the Egyptian, ancient Greek, Dwellings Forward: Metalwork by and the ideology they inherited. or to a building. and Asian collections that reveal reuse Marilyn da Silva”; “A Model Building” of images and repetition. J “The National Museum of Women in the Arts Indiana Repeating Image in Renaissance and Museum of Photographic Arts, San J “WACK! Art and the Feminist Indiana University Art Museum, Baroque Art” (Feb. 17) Same theme; Diego J “Picturing Eden” (Jan. 13) Revolution” (Dec. 2007) The forma- Bloomington J Through Dec.: different period. International artists explore gardens and tion, development, and impact of femi- “Domestic and Personal Arts from the concept of paradise. J “Public nist contemporary art from 1965 to Eastern and Southern Africa” Washington County Museum of Fine Privacy: Wendy Richmond’s 1980: Bourgeois, Kusama, Ono, Furniture, containers, jewelry, and Arts, Hagerstown J “Americana Surreptitious Cellphone” (Jan. 6) Cell Chicago, Sherman, and many others. more; “Ceramic Vessels from Eastern Roads: Photographs by Robert M. phone videos rearranged in visual grids. and Southern Africa” Utilitarian Kurtz, Jr.” (Nov. 4) Vanishing land- Smithsonian Institution J At the Freer containers as works of art. scapes. J “Tramp Art: The Art of Folk Fine Arts Museums of San Francisco J Gallery: “Parades: Freer Ceramics Wood Carving” (Nov. 18) Chip carv- “The Sculpture of Louise Nevelson: Installed by Gwyn Hanssen Pigott” Kansas ings made from cigar boxes and the like Constructing a Legend” (Jan. 13) A (Nov. 4) Australian ceramicist organizes Salina Art Center J “Jon Rappleye: by itinerant artists as payment for room lifetime of work: sculpture, drawings, vessels from the collection into still-life Strange World” (Dec. 16) Paintings that or board. J “Visions of the and two room-size masterworks. groupings; the artist’s own work on invoke fairy tales, folk lore, mythology, Susquehanna: 250 Years of Paintings by view at the Embassy of Australia in and the impact of technology on ecology. American Masters” (Dec. 2) Works that Cantor Center for Visual Arts Stanford D.C. J “Literary Masterpieces in trace the course of the river from Lake University, Stanford J “Mutual Chinese Painting” (Jan. 13) J Through Wichita Art Museum J Through Jan. Otsego, New York, through Admiration: Eugéne Carriére and His Feb. 10: “The Potter’s Mark: Identity 6: “Heritage of the West—A Romance Pennsylvania, and into the Chesapeake Circle” (Dec. 2) Paintings, prints, and and Tea Ceramics”; “Japanese Art in Gone Forever: The M.C. Naftzger Bay. J “Autumn Landscapes from the J sculptures by the artist, his friends the Edo Period” At the National Collection of Paintings Sculptures and Permanent Collection” (Jan. 6) Church, (including Rodin and Verlaine), and Museum of African Art: “Art of Being Drawings by Charles M. Russell”; Hillyer, and others, 1820’s to present those they influenced. J “Anxious Tuareg: Sahara Nomads in a Modern “Kansas Quilts from the Prairie Quilt day. J “Designing for Victory, 1914- Objects: Willie Cole’s Favorite Brands” World” (Jan. 27) Desert living that gen- Guild” J “Prairie Earth: A 1945: Posters from the United States (Jan. 6) Consumer objects transformed erates distinctive creativity in jewelry, Collaboration” (Jan. 27). Army Heritage and Education Center” into works that relate to contemporary clothing, leatherwork, and other (Feb. 3) Works by Rockwell, Christy, issues and African and Asian belief decorated items. Kentucky and Shahn, and by artists from the UK, J J systems. J Speed Art Museum, “For Safekeeping: France, Germany, and Japan. Textile Museum “Textiles of Klimt’s The Kentucky Sugar Chest, 1790-1850” “Making Music: Mechanical Organs” Colorado Vienna” (Jan. 6) Fabrics, samples, (Dec. 2) First exhibit ever of chests, (Feb. 10) Barrel, street, cob, and paper Fine Arts Center, Colorado Springs J fabric-covered books and boxes, and boxes, desks, and related furniture roll organs. J “75th Annual “The Eclectic Eye: Pop and Illusion” furnishings created by artists in the meant to house the family’s stash of Cumberland Valley Artists Exhibition” (Oct. 28) The evolution of Pop art in Secession movement, Klimt among that highly prized commodity: sugar. (Jan. 27) Paintings, drawings, prints, them. Roman, Marble Head of Serapsis, 75-150 C.E. In “The Roman World,” Dayton Art Institute, OH 5 autumnVIEWS continued and sculptures in juried exhibition. Minnesota Wyeth: American Masterworks from the century. J Through Dec. 23: “Stop. Tweed Museum of Art, University of Mitchell Museum” (Nov. 11) Eakins, Look. Listen: An Exhibition of Video Massachusetts Minnesota, Duluth J “Unsoiled: Cassatt, Hassam, Sergeant, Bellows, Works” The relationships between sound Institute of Contemporary Art, Boston Nature/Culture Themes in Clay” (Nov. Henri, Wyeth, and more. and image, looking and the body—all J “Chiho Aoshima: The Divine Gas” 11) Ceramic artists reflect on the junc- made in the last 15 years; “Evidence: (Nov. 4) New lobby mural depicts giant ture between our natural and created New Jersey Documentary Photography at the Turn girl in a lush landscape. J “Design Life environments. J “Archetypes and Stedman Gallery, Rutgers University, of the 20th Century” Images from the Now: National Design Triennial” (Jan. Armatures: Sculptures and Drawings by Camden J “Changing Identity: Recent beginning of the art: the Civil War to the 26) Most innovative American design John Orth” (Nov. 18) Cast, welded, and Works by Women Artists from Vietnam” Industrial revolution. over the past three years. assembled sculptures inspired by (Nov. 21) A look at Vietnam through the machines, everyday objects, and the eyes of the marginalized and overlooked Bard Graduate Center, New York City Cape Cod Museum of Art, Dennis J human form; also works on paper, can- women artists of that country. J “Fragile Diplomacy: Meissen “A. S. Packer & Suzanne M. Packer: vas and mixed materials. J “Turkish Porcelain for European Courts” (Nov. Spanning The Years” (Nov. 18) American Alliance Exhibition” (Dec. 30) American Labor Museum, Haledon J 15-Feb. 11) The first porcelain produced Illustrator father’s work shown with his A collaborative project with students and “The Shirts Off Our Backs: Union T- in Europe at the beginning of the 18th artist daughter’s. J “Lillian Orlowsky: faculty from Turkey. Shirt Quilts” (Dec. 31) Quilts created out century, known as “white gold,” quickly The Signature is in the Work” (Nov. 11) of shirts donated from workers across the became the perfect gift for August II to Joint retrospective with the Province- Weisman Art Museum, University of country. give to other royals, such as a dessert town Art Association. Minnesota, Minneapolis J “Changing service sent to Empress Elizabeth of Hands: Art Without Reservation 2: Newark Museum J “Mexicana: Russia, in 1745, or the toilette service DeCordova Museum, Lincoln J Contemporary Native North American Discovering Mexican Popular Arts, that went to Maria Amalia, the queen of Through Jan. 13: “Trainscape: Art from the West, Northwest and 1919-1950” (Nov. 25) Textiles, glazed Naples, in 1747. These in turn garnered Installations Art for Model Railroads” Pacific” (Dec.) Three-dimensional majolica, earthenware pottery, and more. reciprocal gifts, also included in the New England artists create imaginary objects in classic indigenous forms that exhibit, such as an amber chess set worlds, all connected by an operational challenge stereotypical notions of Native New York presented to August II by the King of model railroad; “Ricardo Barros: Facing American art. Albany Museum of Art J “The Art of Prussia. Sculpture” Selections from a series of Fred Marcellino: Illustrator and Writer” Missouri J photographs taken at sculptors’ homes J (Nov. 4) Survey of a multi-faceted Grey Art Gallery, New York City and studios; “New Arrivals: Gifts to the Springfield Art Museum “I and My career: from abstract-expressionist “Geometry of Hope: Latin American Permanent Collection” Paintings, draw- Eye” (Nov. 11) Works from the perma- painter to rock album illustrator, book Abstract Art from the Patricia Phelps de ings, prints, sculpture, photographs, and nent collection: self-portraits and other jacket illustrator, children’s book illustra- Cisneros Collection” (Dec. 8) digital images; “Collection Highlight: works by the “selfs.” tor, and children’s book author. J Showcasing the history of Abstraction in Harriet Casdin-Silver.” Nevada Through Dec. 30: “Art and Nature: the great cities of South America from Nevada Museum of Art, Reno J “A Hudson River School Paintings” Cole, 1930’s to 1970’s: Montevideo, Buenos J Peabody Essex Museum, Salem Tribe of Artists: Costumes and Culture at Durand, Cropsey, Hart, Inness, Kensett, Aires, São Paulo, Rio de Janeiro, “Accidental Mysteries” (Jan. 27) Vintage Burning Man” (Nov. 11) Life-size photos and others; “Fabrica: Fiber Constructs by Caracas, and elsewhere. photographs taken for personal use, and mannequins documenting the Estelle Kessler Yarinsky” Fabric works J many containing darkroom mistakes that Burning Man Art Festival and temporary that tell the stories of people whose lives Guggenheim Museum, New York City J create interesting outcomes. “Gateway community at Nevada’s Black Rock benefited their communities; “The “Richard Prince: Spiritual America” Bombay” (Dec. 7) Work by artists who Desert. J “Salt Dreams: Reflections Helderberg Escarpment: Landscape (Jan. 9) A look at the past 30 years: early either live in or are deeply connected to from the Downstream West” (Dec. 9) Photographs by John Yang” Gold-tone appropriated photos, a photographic J India’s most populous city. “Sketched Photographs that examine the environ- contact prints taken on a 11”x14” view series, paintings, and sculptures, which at Sea” (Jan. 6) Marine sketchbooks, mental history of the Salton Sea, the camera; “The Helderberg Escarpment: A together review his take on the American J many on view for the first time. largest lake in California. J “Nosotros History of Tourism and Science” A histo- social landscape. “Foto: Modernity in por Nosotros: Latinos in Nevada Tell ry of the area known as the Indian Central Europe, 1918-1945” (Jan. 13) Mount Holyoke College Art Museum, their History” (Oct. 28) Cameras distrib- Ladder Trail: guidebooks, postcards, Restoring historical perspective through J South Hadley “Two by Two: Lines, uted to 500 Latinos who were asked to photographs, prints, broadsides, and photography taken between the two Rhymes, and Riddles” (Dec. 16) Playful use them to tell their stories show the paintings; “Full Steam Ahead: Robert world wars: Lissitzky, Moholy-Nagy, J collaboration of poetry and drawing by traditions of the community. J Fulton and the Age of Steamboats” Höch, and others. “Solomon’s Gift: brothers Mark (artist) and Brad (poet) “Yosemite: Art of an American Icon” Celebrating the 200th anniversary of The Founding Collection of the Leithauser. (Jan. 13) Paintings and photographs: Fulton’s first voyage; “Iroquois Games Guggenheim, 1937-1949” (Jan. 1) Bierstadt, Adams, Hockney, and others. and Dances: Paintings by Tom Two Honoring the museum’s namesake and Rose Art Museum, Brandeis J “A/Part: Constructions by Jeremy Arrows” Documentary paintings; “Indian celebrating the 70th anniversary of the J University, Waltham “Tiger by the Mayer” (Dec. 2) Figurative forms make Ladder, A Lyric Journey: Photographs by foundation, over 600 pieces of art have Tail! Women Artists of India from typewriter parts. John Yang” Landscapes and panoramas à been designated “founding collection”: Transforming Culture” (Dec. 14) la Stieglitz. Delaunay, Kandinsky, Moholy-Nagy, Contemporary artists confront feminism, New Hampshire Mondrian, Chagall, Leger, Marc, gender, and sexuality in paintings, sculp- Lamont Gallery, Phillips Exeter Emerson Gallery, Hamilton College, Modigliani, Picasso, among many others. ture, drawings, photos, and video art, Academy, Exeter J “RedHOUSE: Clinton J “The Best Kind of Life: challenging social oppression and gender Architecture for Art” (Dec. 1) An Edward W. Root as Teacher, Collector, International Center of Photography, discrimination and providing new encomium to collectors Frederick and and Naturalist” (Jan. 6) His contributions New York City J Through Jan. 6: “This models for the empowerment of women. Jan Mayer and the home built for their as teacher and pioneering collector of is War! Robert Capa at Work” Vintage collection: Innes, Warhol, Benton, modern American art. Collateral exhibi- prints, contact sheets, caption sheets, Clark Art Institute, Williamstown J Sargent, Avery, and others. tion at the Munson-Williams-Proctor handwritten observations, personal let- “Consuming Passion: Fragonard’s Allegories Art Institute Museum of Art (NY). ters, and original magazine layouts; of Love” (Jan. 21) A period in life when Hood Museum of Art, Dartmouth “Gerda Taro” Photojournalist killed after the artist focused on romantic love. College, Hanover J “American Art at Hyde Collection, Glens Falls J “Natura first year covering Spanish Civil War Dartmouth: Highlights from the Hood Morta: Still-Life Painting and the Medici alongside Capa: vintage and modern Michigan Museum of Art” (Dec. 9) Largest selec- Collections” (Nov. 3-Jan. 13) Works cre- prints, and magazine layouts; “Other University of Michigan Museum of tion of American works ever shown here: ated in Florence between 1618 and 1720. Weapons: Photography and Print Culture Art, Ann Arbor J “Persian Visions: paintings, sculpture, silver, and other During the Spanish Civil War” The prop- Contemporary Photography from Iran” decorative arts to 1950 by the likes of Hofstra University Museum, Hempstead aganda of war in magazines, posters, and (Dec. 30) Defying stereotypes and intro- Copley, Gilbert Stuart, Homer, Eakins, J “American Perspectives 1907-1992” vintage photos; “Dark Is the Room ducing a complex and sophisticated cul- Remington, and many more. J (Dec. 14) Modern art, from Fauvism to Where We Sleep: A Project by Francesc ture that is unknown to most Americans. “American Works on Paper to 1950: Abstraction and photo realism: Johns, Torres” B/W shots of the 2004 opening Highlights from the Hood Museum of Maurer, Mitchell, Rockwell, Rosenquist, of an unmarked grave outside of Burgos, Flint Institute of Arts J “The Art of Art” (Dec. 9) A complementary exhibi- Stella, and others. Spain where 47 men were killed and Collecting” (Dec. 30) Paintings, draw- tion of drawings, watercolors, prints, and buried in 1936. ings, prints, and sculptures available for photographs: Audubon, Whistler, Johnson Museum of Art, Cornell purchase from galleries around the coun- Cassatt, etc. University, Ithaca J “Studied Elegance: Jewish Museum, New York City J try in an exhibit intended to encourage Italian Master Drawings from the Askin “Levy-Franks Family Portraits” (Dec. local collecting. Thorne-Sagendorph Art Gallery, Keene Collection” (Oct. 28) A range of works 31) First two in a three-part series of State College, Keene J “From Cassatt to from the Renaissance through the 18th Colonial American portraiture that serves 6 as a window into family life in18th-cen- Illuminations” (Nov. 2-Feb. 24) “Romanticism to Post Impressionism: Institute of Contemporary Art, tury New York. J Through Feb. 3: Retrospective: drawings, collages, 19th Century German Art from the University of Pennsylvania, Philadelphia “Isaac Bashevis Singer and the Lower and sculptural assemblages. Milwaukee Art Museum” (Nov. 4) J Through Dec. 16.: “Ensemble” East Side: Photographs by Bruce Prints, drawings, watercolors, and paint- Sculptures and installation art that Davidson” Intimate portraits: the author George Eastman House, Rochester J ings—in conjunction with Oktoberfest. utilize sound: Bertoia, Yoko Ono, and in his Upper West Side apartment, his Through Jan. 27: “Lucha Libre! Masked Pistoletto; “Eileen Neff: Between Us” haunts on the Lower East Side, and the Mexican Wrestlers” Photos, taken by Massillon Museum, Massilon J Photographed moments cut out of time neighborhood almost 20 years later; Mexican photographers from 1940 to “Darkrooms in a Digital Age: The Five and placed in unexpected scenes; “Jay “Camille Pissarro: Impressions of City 2007, showing the rituals of Lucha Senses Explored in Photographs” (Nov. Heikes” Humorous storytelling installa- and Country” Paintings and works on Libre, the professional wrestling of 18) Contemporary takes on the human tion; “Taalman Koch, Fly Thru” paper, many rarely seen. Latin American countries. J “Male & figure and still lifes. Architectural installation: aluminum and Female: Gender Performed in glass pre-fab house and the vinyl window Metropolitan Museum of Art, New York Photographs from the George Eastman Southern Ohio Museum, Portsmouth J treatments that create privacy within. City J Through Nov. 25: “Excellence House Collection” Images dating from “Ohio’s Natural Landscapes: A and Elegance: Decorative Arts of the the 19th century to the present showing Photographic Journey of the Buckeye Philadelphia Art Alliance J Through Eighteenth-Century Qing Court” ways that gender has been presented to State” (Oct. 27) J “ Avant Gardens” Dec. 30: “SunKoo Yuh: Along the Porcelain, metalwork, jade, lacquer, and the camera, exaggerated and stereo- (Nov. 10-Dec. 29) Contemporary artists Way” Large scale and small porcelain textiles; “Incisive Images: Ivory and typed, ambiguous and deceptive. look at plants and flowers. J “Christine sculptures in combination with drawings Boxwood Carvings, 1450-1800” Bothwell: Invisible Realities” (Nov. 2- and sketches; “Tim McFarlane: Sculptures, reliefs, carved armaments, Munson-Williams-Proctor Art Institute Dec. 30) Figurative sculptures of raku Stratum” Abstract paintings that aim to and furnishings. J “Coaxing the Spirits Museum of Art, Utica J “Auspicious and cast glass. catch random formations as they shift in to Dance: Art of the Papuan Gulf” (Dec. Vision: Edward Wales Root and and out of focus; “Catherine Gontarek: 2) Sacred objects and historical photos. American Modernism” (Jan. 27) Held in Zanesville Art Center J “The Hand of Falling Upstairs” Paintings and collages J “Drawings and Prints from Holland’s conjunction with the Emerson Gallery Toshiko Takaezu” (Jan. 1) Ceramics that suggest latent aspects of the familiar. Golden Age: Highlights from the (NY), this exhibition celebrates the 50th from the artist’s and other private collec- Collection” (Dec. 17) Rembrandt, anniversary of Root’s bequest to the tions. J “Vivian Ripley: Light and Philadelphia Museum of Art J “Bosch Ruisdael, Cuyp, and more. J museum. Color” (Nov. 4) Landscape paintings and Bruegel in the John G. Johnson “Impressed by Light: British and drawings. J “Ohio Art League Fall Collection” (Nov. 23) B & B and their Photographs from Paper Negatives, North Carolina Exhibition” (Dec. 2). followers. J “Notations: Kiefer, Polke, 1840-1860” (Dec. 30) Calotypes, an art Mint Museums, Charlotte J At the Mint Richter” (Nov. 25) Postwar European form in the 1850’s. J Through Jan. 6: Museum of Craft + Design: “Point of Oklahoma painters. J “Tibetan Ritual Arts” (Nov. “The Age of Rembrandt: Dutch View IV: Windgate Charitable Gilcrease Museum, Tulsa J “1776- 30) Textiles, prints, paintings, sculpture, Paintings in the Metropolitan Museum Foundation” (Dec. 2) American, 1876: A Century of American History in and a Tibetan-Buddhist altar. J “The of Art” First-ever showing of the entire Japanese, and European acquisitions in Art” (Dec. 31) Portraits and historic Book of War: The Free Library of collection, considered the finest outside ceramic, fiber, glass, metal, and wood. scenes used to immortalize individuals Philadelphia’s Mughal Razmnama Europe; “Tapestry in the Baroque: and commemorate events. Folios” (Dec. 9) Illustrated pages from a Threads of Splendor” Made in Brussels, Nasher Museum of Art, Duke Mughal manuscript dated 1598-99, on Paris, London, Florence, Rome, and University, Durham J Through Jan. 6: Oregon view for the first time since 1923. J Munich between 1590 and 1720. J “States of Mind: Dan and Lia Museum of Contemporary Craft, “Renoir Landscapes: 1865-1883” (Jan. “Abstract Expressionism and Other Perjovschi” Mid-career retrospective of Portland J “Eden Revisited: The 6) The plein-air and Barbizon paintings Modern Works: The Muriel Kallis well known Romanian artists; “New at Ceramic Art of Kurt Weiser” (Jan.) Mid- many of which appeared in the Steinberg Newman Collection in the the Nasher” Contemporary works career survey, 1970’s to the present. Impressionist exhibition of 1874. J Metropolitan Museum of Art” (Feb. 3) acquired in recent years. “Barkley L. Through Jan. 31: “Alfred Stieglitz and J “Bridging East and West: The Chinese Hendricks: Birth of the Cool” (February Pennsylvania the Philadelphia Museum of Art” A wide Diaspora and Lin Yutang” (Feb. 10) 7, 2008) First career retrospective. Allentown Art Museum J “Rhythmic range of photographs; “Antonio Mancini Painting and calligraphies by leading Coils: Sweetgrass Baskets by Debora and the Vance Jordan Collection” 19th- Chinese artists of the mid-20th century. Greenville Museum of Art J “Leland Muhl” Asymmetrical coiled grass and century Italian artist’s paintings and pas- Wallin: Child’s Tables: Reflections on free-form constructions. tels. J “Particulars of Place: Photo Museum of Modern Art, New York City the Adult World” (Nov. 4) Groupings of Portfolios from the Collection” (Nov. 4) J Through Nov. 5: “Present Tense: toys on canvas. Lehigh University Art Galleries, Series of prints by six artists. Photographs by JoAnn Verburg” Bethlehem J “Michael A. Smith: Composed and “found” still lifes, por- Waterworks Visual Arts Center, Tuscany” (Nov. 21) B/W gelatin silver Print Center, Philadelphia J “Black traits, and landscapes, frequently in dip- Salisbury J Through Nov. 3: “Discover prints. J “Vernacular to the Masters: Pulse: 2000-2007” (Nov. 21) Twins tych and triptych formats; “Repicturing Craft NC” Works from the Governor’s Photography of the Anonymous and the Doug & Mike Starn’s constructions that the Past/Picturing the Present” Late 19th executive mansion; “Sculptural Books” Celebrated” (Nov. 14-Jan. 27) Images of combine photography, painting and century to the present: artists explore Visual records of the artist’s life and the everyday from the collection. J sculpture, art and science, reality and contemporary issues and personalize work; “Carnival” Ceramic installation of “Lehigh Art Alliance: Annual Juried metaphor, nature and technology. J historical subjects. “New Photography amusement park pastimes; “Wind Exhibition” (Dec. 14) Mixed media by J 2007: Tanyth Berkeley, Scott McFarland, Instruments” Steel interacts with the regional artists. Carnegie Museum of Art, Pittsburgh Berni Searle” (Jan. 1) Latest installment environment in this outdoor sculpture. Through Jan. 13: “On a Grand Scale: of the annual fall showing of contempo- Trout Gallery, Dickinson College, The Hall of Architecture at 100” Plaster rary photography highlighting less Ohio Carlisle J “Changing Places: The Army, architectural casts that Andrew Carnegie familiar artists and their accomplish- Akron Art Museum J “Women at an The Indians, and Carlisle Barracks” created specifically for this space; draw- ments. J Through Jan. 7: “Georges Exhibition” (Nov. 9) Images of women (Jan. 27) Historic photographs, ings, period photographs, antique molds Seurat: The Drawings” Conté crayon by artists such as Chase, Close, Evans, weapons, and equipment illustrating from which the casts were made; and drawings on handmade textured paper Levitt, and Stieglitz with sounds of U.S. Army operations at Carlisle correspondence with Rodin and Saint- that predict 20th-century art and abstrac- women singing in the background. J Barracks. J “A Kiowa’s Odyssey: A Gaudens; “Picturing Childhood: tion; “Focus: Alexander Calder” Early “Picturing the African American Sketchbook from Ft. Marion” (Jan. 12) Pictorialist Family Photography, c. wire sculptures and mobiles created Experience: Children’s Book Drawings by a Native American cap- 1890-1940” Family life in Pittsburgh by J three city photographers: Spencer, between the 1920’s and ’40’s. “Martin Illustrations by Kadir Nelson” (Jan. 6) tured during the Plains Wars, transported J Puryear” (Jan. 14) Retrospective: wood Historic figures and contemporary folk to Florida, and imprisoned for years at Breed, and Munhall. “Rachel sculptures of forms derived from every- tales. J Through Jan. 27: “Masumi Fort Marion. Whiteread” (Jan. 20) First installment of day objects. Hayashi, Meditations: Two Pilgrimages” large-scale sculpture that was cast from an interior staircase of a 3-story, 18th- Memorial exhibition explores the artist’s Westmoreland Museum of American J Pelham Art Center J “Twist & Shout: Japanese heritage; “Close to Home: Art, Greensburg J “Holiday Toy and century building. Through Jan. 21: The New Needle Arts” (Nov. 2) Works Watercolors by William Sommer and Train Exhibition” (Jan. 20) Both antique “Associated Artists of Pittsburgh 97th by artists who have revolutionized the Raphael Gleitsmann” Northeast Ohio in and modern. Annual Exhibition” Juried survey exhi- traditional techniques of embroidery, the 1930’s and ’40’s. J “American bition; “Popular Salon of the People: needlepoint, cross stitch, Knitting, and Chronicles: The Art of Norman Lancaster Museum of Art J “28th Associated Artists of Pittsburgh crocheting. Rockwell” (Feb. 3) Rarely circulated Pennsylvania Watercolor Society Annuals, 1910-2006” Historical survey of artists who have participated in past original pieces. International Exhibit” (Oct. 28) J Loeb Art Center, Vassar College, Showcasing the many techniques annual juried shows. “Designed to Be Poughkeepsie J “Saul Steinberg: Taft Museum of Art, Cincinnati J and materials used. Lit” (Feb. 10) Lighting objects, from

Edgar Matisse, The Serpentine. In “Matisse,” Baltimore Museum of Art, MD 7 autumnVIEWS continued 18th century candlesticks to Modernist McNay Art Museum, San Antonio J Piedmont Arts Association, Martinsville to Asian Pacific Americans. aluminum lamps. “Once Upon a Stage: Fairy Tales and J Through Dec. 28: “A Soldier’s Life: Other Childhood Favorites from the Selections from the Charles J. Brown Jundt Art Museum, Gonzaga Frick Art & Historical Center, University, Spokane J “Robert Sperry” J Tobin Collection” (Dec. 31) Designs for Trust” Miniature hand-painted figures; Pittsburgh “From J.P. Morgan to musical theater including scale models, “Lori Nix: Photographs” Work that (Nov. 17) Ceramic plates from private Henry Clay Frick” (Feb. 3) Parallel col- costumes, and drawings inspired by blends truth and illusion. collections. lecting by the two men with select children’s stories and historic legends. J Wisconsin acquisitions displayed together for the J “Mexico and Modern Printmaking: A Chrysler Museum of Art, Norfolk J first time. “Barton Myers: Norfolk Visionary” Kenosha Public Museum “Tales and Revolution in the Graphic Arts, 1920 to Legends: Oriental Ivory Sculpture” J 1950” (Jan. 6) Rare prints and posters (Dec. 30) Objects and images that high- Mattress Factory, Pittsburgh “India: light the life of one of Norfolk’s may- (Dec. 31) Carvings, many from 17th- New Installations Part I” (Nov. 25) from the period following the Mexican J 18th centuries, depicting Chinese myths Revolution. J “Homer to Hockney: ors. Through Jan. 6: “The Secret Works created on-site by artists from Lives of Frames: 100 Years of Art and and legends dating back to 2697 Fifty Master Drawings and Watercolors B.C.E.; Ivory Head of PU’-SA (1368- India. Artistry from the Lowry Collection” from the McNay Collection” (Jan. 21) 1643) is the centerpiece. J Through Antique frames from the 16th through South Carolina Work from the last two centuries: Nov. 4: “Eric Houghton—Kenosha Columbia Museum of Art J “Seeing Homer, Seurat, O’Keeffe, Marin, 20th centuries; “Cecil Beaton: Stories” A personal, historical, and Ourselves: Masterpieces of American Picasso, Twombly, Jacquette, and Photographs from the National Portrait mystical look at the city through time; Photography from the George Eastman Hockney, among others. Gallery” Portraits of Audrey Hepburn, “Lois Mogensen Edge to Edge—A House Collection” (Jan. 6) 150 years of Marlon Brando, Marilyn Monroe, and J Retrospective” Prints, drawings, and American life: Stieglitz, Weston, Adams, Victoria Regional Museum Through many others. paintings. Nov. 18: “Painted Memory: Fidencio Avedon, and Parks, among others. Art Museum, Radford University, Durán” Works by rural Texas painter, J Charles Allis Art Museum, Milwaukee Tennessee printmaker, and muralist; “Oaxacan Radford “SI-LA-GI: New Art from J “The Permanent Collection: Works Knoxville Museum of Art J “Jun Sand Paintings by Santa Barraza and Hungary” (Nov. 10) Artist and film- on Paper” (Dec. 9) International selec- Kaneko” (Nov. 11) Monumental ceram- Eloy Jimenez” Life-size installation in maker creates positive energy; tion of lithographs, prints, and etchings. ic sculptures, some weighing over 1000 “Bucharest Modernism” (Nov. 28) Pre- J the tradition of El Dia de los Muertos J “Wisconsin Masters Series: H.S. pounds, by sculptor who combines (Day of the Dead). war Romanian art and design. Moynihan (1902-1994)” (Dec. 16-Jan. Japanese traditions with American “Silenzio: Etchings from the Veneto” J 20) Still-life, portraits, and landscapes. abstract glaze patterns. Utah (Dec. 20) Work by Livio Ceschin. J “Wisconsin Masters Series: Charles Brigham Young University Museum, “In the Fullness of Light: Janet Fish” J J Dix (1940-2005)” (Dec. 10-Jan. 28) Brooks Museum of Art, Memphis Provo “Cliché and Collusion: Video (Nov. 2-28) Artist associated with Images of unknown planets. “Pissarro: Creating the Impressionist Works by Grant Stevens” (Feb. 9) 12 Photo-Realist movement. J “Vetro e Landscape” (Jan. 3) The transformation video installations that explore the lan- Verita” (Nov. 16) Contemporary Italian Villa Terrace Decorative Arts Museum, from traditional landscapes to guage and communication of popular photography and Murano glass. Milwaukee J “Celestial Images: Impressionism culture with successive flashes of white University of Richmond Museums J At Antiquarian Astronomical Charts and . text on black screens that draw atten- Maps from the Mendillo Collection” Frist Center for the Visual Arts, tion to the meaningless nature of popu- the Robins Gallery of Design from Nature: “Castings in Contemporary (Nov. 11) A time, a Golden Age of Nashville J “The Société Anonyme: lar communication. J “Splendor and astronomical charts, when simple sys- Modernism for America” (Feb. 3) Spectacle: Images of Dance from Court Ceramics” (Dec. 16) Works that address personal and social issues. J “The tems explained the universe; some of Selections from America’s first “experi- Ballet to Broadway” (Jan. 1) The evolu- the world’s earliest artistic images, illus- mental museum,” a society founded by tion of ballet in prints and objects of Inner Eye: Folk Art of India from the William and Ann Oppenhimer trations of the cosmologies and heaven- Katherine Dreier with Duchamp and art. J “Some Want It All: Video Works ly phenomena that entered a new phase Man Ray: works by Duchamp, Ernst, by Grant Stevens” (Feb. 9) Flashing Collection” (Dec. 2) Drawings of daily J life in rural India. J At the Harnett during the Renaissance. “A Stitch in Stella, Kandinsky, Klee, Leger, text, film clips, and audio monologues Time: 18th and 19th Century Children’s Museum of Art: “Figures of Thinking: Mondrian, Schwitters, Albers, and oth- in a series of video installations. Samplers” (Jan. 12) Needlework used to Convergences in Contemporary ers. J “Life’s Pleasures: The Ashcan instruct and entertain children. Artists’ Brush with Leisure, 1895-1925” Salt Lake Art Center J “SF Recycled” Culture” (Feb. 10) Contemporary (Oct. 28) Henri, Bellows, Luks, Shinn, women artists question the differences J (Jan 26) Art created from materials col- J Kohler Arts Center, Sheboygan Sloan, and others look at American pas- lected at the recycling center in San and commonalities in identity. “Artist Through Jan: “Sublime Spaces & times at the turn of the 20th century. Francisco. J “Masters of West Coast at Work: The Art and Commerce of J.J. Visionary Worlds: Built Environments Lankes” (Dec. 9) Book illustrator, best Assemblage and Collage” (Jan. 26) J of Vernacular Artists” Large scale mul- Texas Master artists’ work serve as inspiration known for woodcut prints. At the tifaceted works originally created in Dallas Museum of Art J Through Nov. for the younger generation of “SF Harnett Print Study Center: “‘Of artist’s homes, yards, or other available 18: “A Tribute to Pauline Gill Sullivan” Recycled.” Human Bondage’: Etchings by John spaces; “James Tellen: Messages in the Rarely seen European and American Sloan Illustrating W. Somerset Woods” Concrete figurative sculptures; paintings, including work by Cassatt, Virginia Maugham’s Novel” (Feb. 16) “Fred Smith: Not Just Another Sisley, Manet, and Pissarro, donated to University of Virginia Art Museum, Roadside Attraction” Sculpture park. Charlottesville J Through Oct. 28: Virginia Museum of Fine Arts, the museum by Sullivan, or on loan Richmond J “Mystery” (Dec. 30) The from the collection; “Lone Star Legacy: “Photography from the Collection” J Woodson Art Museum, Wausau J “Big Hollywood portraits, street photogra- strange and inexplicable in art. “The The Barrett Collection of Early Texas First Impressionist: Eugéne Bodin” Red: Carved in Stone” (Nov.) Sculptors Art” J “When Gold Blossoms: Indian phy, landscape, and new acquisitions; transform massive pieces of locally “Arshile Gorky: Drawings, The Early (Jan. 28) Paintings and drawings by a J Jewelry from the Susan L. Beningson Monet mentor. quarried granite into art. “Birds in Collection” (Jan. 27) Jewelry from Years” Work from the late 1920’s- Art” (Nov. 11) A variety of painting South India. 1930’s, when the artist was influenced Washington styles focus on a variety of birds. J by Miró, Cézanne, and Picasso. J J J Henry Art Gallery, Seattle “An-My Through Jan. 27: “Rivers, Sea and Modern Art Museum of Fort Worth Through Dec. 23: “William Lê: Small Wars” (Nov. 4) Photos, taken Shore: American Reflections on Water” “Declaring Space” (Dec. 30) Abstract Christenberry: Site/Possession” in Virginia, of reenactments of Vietnam Study of life on the water: ship portraits painting and its evolution seen through Drawings, many rarely exhibited battles, and shots of a California train- and seascapes, seaside towns, riverboats the work of Rothko, Klein, Newman, before, and how they form the basis and ing camp that prepares soldiers for and barges, and more; “Sailing and Fontana. inspiration for all his other work; also tours in Iraq and Afghanistan. J Wisconsin’s Blue Jewel: Photographs paintings, photographs, constructions, Rice Gallery, Houston J “Kirsten “Rebeca Bollinger: Fields” (Nov. 11) by Bruce Thompson” Images of classic dream buildings, and the Klan Room Random digital images of the artist’s boats on Lake Geneva. J Hassenfeld: New Installation” (Dec. 9) Tableau; “The Dresser Trunk Project” Six- to eight-foot structures resembling surroundings scroll across a video Display trunks designed by architects screen. J “Viewfinder” (Dec. 30) gigantic droplets draped in gem-like across the country, telling stories of forms. Photos, videos, installation, prints, and places of refuge during segregation; paintings that suggest that we see the Michelson Museum of Art, Marshall J photographs, maps, hotel registers, and world photographically and that artists “Rooted in Tradition: Art Quilts from computer-generated models; “What a assimilate that fact as they create. Family!” What constitutes family in the Rocky Mountain Quilt Museum” J (Nov. 18-Jan. 20) various cultures, today and in the past. Wing Luke Asian Museum, Seattle “How the Soy Sauce was Bottled: Noel Art Museum, Odessa J “The Art Danville Museum of Fine Arts & Uncommon Stories of Common of Fashion: What Women Wore, History J “A Celebration of Rural Objects” (Nov. 30) New works inspired 1760–1960” (Dec. 30) Vintage fashion America” (Oct. 28) Works by Wood, and influenced by artifacts, photos, and from the Steven Porterfield collection. Benton, Grant, Nesbitt, Davenport. documents in the collection, all relating 8 Anzola Fuga, Butterfly Vase. In “Vetro e Verita,” Radford University Art Museum, VA NEWSBRIEFS continued from page 3 “The Content,” or collections in the historic lottery had another opportunity to borrow: art- house environment; and in 2009 (Jan 26), “The Curatorial Leadership Sought works that remained unclaimed by the end of the Container,” the house itself and the surrounding A Center for Curatorial Leadership was day were distributed to students the next day on a site and landscape. formed by Agnes Gund, president emerita of the first-come basis. Bleary-eyed hopefuls appeared The 2008 session will tackle standards and Museum of Modern Art, and Elizabeth Easton, outside the gallery early the next morning for a fresh thinking on the content of historic house former chairwoman of the European paintings second chance to acquire, if only temporarily, a museums: the collections and the house “works,” department at the Brooklyn Museum, to train work of art. with special emphasis on the care of domestic tex- prospective museum directors. “There is clearly a tiles and the choice of appropriate lighting with a need of an 40th Anniversary view toward shedding 21st-century solutions. organization to teach curators Spells Free Days “Better-than-ever” to embrace the The Museum of Contemporary larger adminis- Art (IL) celebrated its 40th anniversary Guggenheim in the Works trative concerns After two years of assessing the condition of by inviting the public to enjoy 40 Free of museums Frank Lloyd Wright’s 1959 G uggenheim Days, 40 days without admission. across the Museum building, the Guggenheim Foundation During the free days the museum pre- country,” says announced that “The exterior and infrastructure sented the usual program of events: Ms. Easton. will be restored, requiring only limited structural exhibitions, concerts, family programs, Based in interventions.” Thomas Krens, director of the store and membership giveaways, and Manhattan, and foundation said: “Our team of leading experts in opportunities for the public to engage financed with the field of landmark restoration and preservation with artists. $500,000 a formulated a methodology—using the latest tech- year by Ms. niques and materials unavailable to Wright in the Gund, the cen- New Gallery Shows 1950’s—to undertake the restoration….” ter will operate With a total budget reaching $29 million, the New Collection through December 2009. Money will go toward restoration team projects a completion date by curators expenses (especially those from out-of- The new Baron and Ellin Gordon Art late spring of 2008. NYC venues) and professors’ salaries (they will Galleries at Old Dominion University (VA) come from Manhattan business schools). opened to the public in September, exhibiting AMM Joins Ten curators a year will receive four weeks of for the first time a portion of the 300-item Baron Federal Grant Coalition instruction during a six-month period, a residency and Ellin Gordon Self-Taught Art Collection. At a summer board meeting the Association at an institution other than the curator’s employ- “Collective Wisdom”: will continue through the of Midwest Museums voted to join the Federal er, and a six-month mentorship. Directors of summer of 2008. The collection of 20th- and Formula Grant Coalition, a program that is pursu- institutions from across the country have offered 21st-century American folk art, donated by the ing a new initiative to provide federal formula to serve as hosts to participants. Gordons, is counted among a handful of top grants for museums. The program is administered collections in the world of recent American art by by the states and is modeled after a similar pro- Rappaport self-trained artists. It is the largest ever received gram for libraries. According to AMM’s newslet- by the university—pieces by more than 70 artists ter Newsbrief, efforts by the Coalition, the Prize Winner Announced include paintings, sculptures, jugs, canes, and The DeCordova Museum and Sculpture American Association of Museums, and the carvings. Park (MA) announced that Boston-based artist Institute of Museum and Library Services are Gordon Galleries Director Katherine Huntoon Maria Magdalena Campos-Pons has won the underway to attempt to gain an increase of fund- faces the challenge of building academic study Rappaport Prize, which is a collaborative initia- ing for museums during the reauthorization of the around a collection of works by self-taught tive of the Jerome Lyle Rapport Charitable IMLS in 2009. artists: “This presents stimulating opportunities Foundation and the museum. The prize is for pedagogical research and for recontextualiz- $25,000, one of the largest awards in New ing contemporary art.” She sees the potential for England. scholarly investigation of the collection from Campos-Pons uses aspects of personal many perspectives; sociology, anthropology, psy- and collective memories to reflect on her own chology, African American studies, American his- heritage as a woman of Nigerian descent, now tory, Southern studies, religion, folklore, wom- exiled from Cuba and living as a black woman ens’ studies, and more. in North America. Says essayist and gallery owner (NY) Randall Morris about the Gordon Collection: “We take Popular Student Loan Art for granted that we are looking at art, but there Program Continues are no ‘movements’ in this art, no ‘art about art,’ and yet these works participate fully in the expe- The MIT List Visual Arts Center (MA) pre- rience that is art. They are a form of communica- sented its annual Student Loan Art Program tion to be perceived and interpreted and in the Exhibition and Lottery in September. The exhibi- process evoke the experience that is art. They tion, free to both students and the general public, provide us with profound insights on the human featured some 400 framed prints and photographs condition. Each of these works convey to us the by leading modern and contemporary artists. essence of the culture in which they were pro- During the exhibition, students were given the duced and the substance of the shared human opportunity to select up to three works to borrow experience. Within every narrative whimsy, there for the school year for display in their living exists profound meaning, and within the narrowly spaces. A random lottery then assigned work to personal, there are universalizing truths. the students. Selected students receive one of “Aside from the sheer visual pleasure these their three choices for the duration of the aca- objects provide, there is much more to be consid- demic year. ered…. The artist typically uses the work to Students who do not receive art through the convey meaning—in a very personal fashion: preaching, warning, remembering, seducing, Above: George B. Luks, Edward W. Root, 1909. Oil on canvas. In “The Best Kind of Life,” Emerson Gallery, NY or protecting…. J Left: SunKoo Yuh, Family Union (detail), 2007. Glazed porcelain. “There is genius here….” In “SunKoo Yuh,” Philadelphia Art Alliance,PA 9 abstraction and adherence to the traditions of FRAME GAME continued from page 4 • As the home theater experience becomes ever- illusion and representation (“Art and Illusion: A more sophisticated, and ultimately more private, “The exchanges are not like a one-day sympo- Study in the Psychology of Pictorial museums will have to offer more sophisticated sium. What is produced is different from what Representation,” 1960), Varnedoe’s thesis sets possibilities for group and individual consump- any one of us would have done on our own. You out to prove the value, and history, of abstract art tion and reinforce the importance of experiencing meet people whose approaches are different, so through the half century following the death of an original work of art firsthand. you end up doing something completely new. It’s Jackson Pollock. • Museums immersion in a very dynamic way.” He propos- will need to The Rohatyn group, although beleaguered es that history address the with requests from museums in England, of abstract art increased Germany, and Belgium to join, stands with was not an customization France alone—a cultural link between the two undifferentiat- of the media J countries. ed series of experience nay-sayings or (“on demand” calls away Wendy Richmond, Museum. Video loop. In “Public Privacy,” Museum of Photographic Arts, CA TV, custom BOOK REVIEW from order, but online music rather it was a series of unique and individual channels) as well as the continuing interest in the PICTURES OF inventions imbedded in the history of the times, “blockbuster.” much the same as the history of illusion since the • Museums will need to fit into the pattern of NOTHING: ABSTRACT Renaissance. He wants to show, says Gopnick in overscheduled people, both adults and children, his preface, that “like the history of representa- by offering “on demand” availability while also ART tion, the real history of abstract painting shows offering a place that fosters relaxation and the continuous evolution of a new language for winding down. SINCE art that, through the slow growth and accretion of • Museums will have to face the fact that young symbolic meaning—so that a splash might come people are developing habits that involve short POLLOCK to suggest freedom, and a scrawl the Self— attention spans while at the same time (through would capture truths about the world, and about video games) are also developing skills in “A bstract art is a modern existence. This language might be coded extended focus, attention, and reflection. symbolic game, and it and ‘corrected,’ changed, in ways very different • Museums will need to attend to the fact that is akin to all human from the ways that the Renaissance language of ethnic and African American groups seek out games: you have to art had been changed and corrected, but it was in cultural events that celebrate their heritage. get into it, risk and all, and this takes a certain other ways continuous with that language, or to Museums will have to recognize that young act of faith. But what kind of faith? Not faith in • its underlying assumptions about the role of art, people increasingly are expecting things provid- absolutes, not a religious kind of faith. A faith in and susceptible to the same kind of historical ed to them free of charge. possibility, a faith not that we will know some- criticism and reasoning.” • Museums will have to realize that multitasking thing finally, but a faith in not knowing, a faith in From Pollock through the minimalists, the con- our ignorance, a faith in our being confounded (text messaging while viewing a work of art) and structivists, the modernists and the post-modernists, instant communication (cell phones) are a fact of and dumbfounded, a faith fertile with possible the pop artists, the earth artists, and finally the con- meaning and growth. life and lift strictures on cell phones and cameras summate minimalist Richard Serra, it is said that in order to keep their audiences engaged. “From this field of not knowing, from our Varnedoe’s brilliantly yet un-academic narrative ignorance, from our dumbfoundedness and dis- • Museums will need to provide for another form transported listeners at the National Gallery. This of multitasking—the “all-in-one” experience: orientation, artists get us into the history of our volume had the same effect on this reviewer. culture, make our culture go….They produce our shopping while having coffee, viewing art while fresh understanding of the world of culture as gambling at the casino—by expanding the range separate from nature, as separate from the clock OVERCOMING of offerings under its one roof—performing arts, of events in the rest of history….In this I have film, dining, shopping. faith….I believe in abstract art….” THRESHOLD • As habits of “joining” shift, museums will need With these and a few more incandescent to offer more flexible options for affiliation— words, Kurt Varnedoe ended his series of six RESISTANCE revamping the volunteer program, the member- A.W. Mellon lectures which he called “Pictures ship. of Nothing: Abstract Art Since Pollock,” deliv- “Threshold Resistance is the title given to • Museums will need to capture and hold the ered in 2003 at the National Gallery of Art in the memoirs of A. Alfred Taubman, alumnus and interest of its well-heeled visitors who define Washington, DC. They were to be Varnedoe’s benefactor of the University of Michigan, and a themselves through cosmopolitanism and cultural final brilliant accomplishment. He died three leader in the development of retail environments. consumption by providing multidimensional, The title refers to consumer reluctance to passing J months later after a long fought battle with cosmopolitan, and cultural activities. through the entrance of a retail shop—threshold cancer. resistance. Director of the University of The lectures, given extemporaneously and Michigan Museum of Art James Christen transcribed verbatim with minimal editing, Stewart, on reading the book, reacts: “I was together with a preface by his friend and co- immediately struck by the applicability of this author Adam Gopnick, and many reproductions concept to museums: what resistances must we from slides shown during the talks, were put overcome in convincing the public to overcome together with the same title, Pictures of Nothing: their ‘threshold resistance’ in order to have a Abstract Art Since Pollock, at the Princeton museum experience?” University Press and published in 2006. They In his director’s notes for the museum’s pub- were the coda on a celebrated career as chief lication Insight, he lists some changes in society curator of the department of painting and sculp- that he and his team have had to contemplate ture at the Museum of Modern Art, then during the construction of the museum’s new Professor at the School of Historical Studies at wing—to make it threshold irresistible. the Institute for Advanced Study at Princeton • As more and more Americans commute alone, (NJ), and teacher at the Institute of Fine Arts in live alone, work out alone, even walk alone (iso- New York. lated by their head-phones), a museum could A response to one of his Mellon predecessors, Camille Pissarro, The Corner of the Route de Versailles and the play an important role in both respecting solitary- Chemin de l’Aqueduc, Louveciennes, c. 1896. In “Pissarro,” Austrian-English art historian E.H. Gombrich, habits and in fostering social networking and Brooks Museum of Art,TN whose treatise was based on a rejection of participation. 10 NOTES ABOUT ARTISTS continued from page 1 Using a combination of representational ed to London’s Royal College of Art, the Moccasin has been seen at festivals worldwide, and abstract images, Smith confronts such sub- University of Kansas, and Temple University. and her video The Shirt was shown at the 2003 jects as the environment, Native land rights, His public projects draw attention to living Venice Biennale. government oppression of Native cultures, and native culture and the impact of history on the the domination of Euro-American culture. The contemporary relationships between native and artistic influences in her life, besides traditional mainstream cultures. These works frequently JUDITH LOWRY American Indian art, are such as Picasso, Klee, make use of native symbols combined with the (Maidu/Hamowi Band Rauschenberg, Miro, and Kandinsky. form and language of today’s public culture— Pit River/Washo) She is, she says, “a harbinger, a mediator, signage, billboards, buses, and more. He is best In addition to her and a bridge builder. My art, my life experience, known for his text messages that comment on Native descendants, Lowry and my tribal ties are totally enmeshed. I go social and political subjects. claims Scottish/ from one community with messages to the other, Recently, Heap of Birds has been conduct- Irish and Australian her- and I try to enlighten people.” ing research into the similarities of icons used itage as well. The daughter of a military officer, by indigenous peoples in Australia, Africa, she spent her childhood years traveling the North and South America, and Europe. He con- world with her family. Nevertheless, she has a MARIE WATT tinues to explore the relationships between this BA degree from Humboldt State University and (Seneca) country’s living native cultures, its contempo- an MFA from California State University at Of both Seneca rary society, its history, and the indigenous cul- Chico. She is presently living and working in and Scottish/German tures of other continents. Nevada City, California. ancestry, Marie Watt is She describes her work, in acrylics and currently based in Portland, Oregon. Her studies mixed media, as a contemporary extension of at Willamette University, the Institute of GEORGE storytelling, in which she conveys her family's American Indian Arts, and Yale University LONGFISH history and tribal stories through life-size narra- earned her degrees in fine arts and art history as (Seneca/Tuscarora) tive paintings. Intertwined into the narrative she well as an MFA in painting and printmaking Longfish was born in addresses other issues close to her personal (Yale). Her art investigates “the overlap between Oshweken, Ontario, experience such as her mixed cultural heritage, art and craft, process and object, nature and Canada. He was a professor of Native American injustices against Native peoples, and cultural humans.” She works in pen and ink, printmak- studies at the University of California, Davis, stereotypes. ing, mixed media, and installation art. She is a until his retirement in 2003. professor of art at Portland Community College Working in oil, acrylic, pencil, pen and ink, in Oregon and the gallery coordinator of its mixed media, and printmaking, he emphasizes NORA NARANJO- Northview Gallery. the importance of “owning” one’s cultural infor- MORSE mation and passing it to future generations. His (Pueblo Santa Clara-Tewa) two dimensional paintings deal with spirituality HARRY FONSECA and issues of injustice. Naranjo-Morse was (Nisenan Maidu/ born into a prominent family Hawaiian/Portuguese) of Santa Clara Pueblo potters. arry Fonseca was born in JOE FEDDERSEN She lives in Española, New H (Confederated Colville Tribe) Sacramento, California, in 1946, Mexico. She received her and settled in Santa Fe, New Born in Omak, Washington, bachelor's degree from the College of Santa Fe Mexico. He studied for a time in in 1953, Feddersen received a in 1980 and completed the silversmithing pro- Sacramento City College and with Frank BFA degree in printmaking gram at the Institute of American Indian Arts in LaPena at Cal State University in Sacramento. from the University of Santa Fe in 1991. She was chosen as the 2000 He shortened his formal art education to pursue Washington in Seattle in 1983, Dubin Fellow at the Indian Arts Research his own private vision. and a MFA from the University of Wisconsin in Center, School of American Research in Santa Fe. In his close to twenty-year career as an 1989. Since then, he has taught printmaking at She is well known for her clay sculpture exhibiting artist, Fonseca's work has gone the Evergreen State College in Olympia. that utilizes humor to bring home her commen- through a number of transformations. His earli- He works in many media including oils tary on social issues. Now working in multime- est pieces drew from his Maidu heritage—bas- printmaking, sculpture, basketry, and photogra- dia including metal and video, she creates instal- ketry designs, dance regalia, and the Maidu cre- phy; he is particularly noted for his prints and lations that strive to find a balance between the ation myth. Later he was particularly struck by his contemporary interpretations of traditional Pueblo Santa Clara world and American society. ancient rock art from the Coso Range in the basket making techniques—patterns derived She is also a published poet. high desert country near Owens Lake, north of from the Inland Plateau Region of the Columbia Ridgecrest, California. Basin. His work portrays the landscape revealed Fonseca’s work took a more political turn in simple repetitive design. It bespeaks a mod- RICK BARTOW (Yurok) with the 1992 Discovery of Gold and Souls in ernist aesthetic while maintaining direct ties to California series. This series, he says, "is a the designs of his people. Rick Bartow’s pastel direct reference to the physical, emotional and works and acrylic paintings spiritual genocide of the native people of about personal struggles and California. With the rise of the mission system, SHELLEY NIRO his connection to the environ- and much later the discovery of gold in (Bay of Quinte Mohawk, ment are influenced by his California, the native world was fractured, and Turtle Clan) heritage and other world cul- with it, a way of life and order devastated.” From the Six Nations tures. They show images of animals—often with Reserve, Niro is a graduate anthropomorphic qualities, portraits, and the HACHIVI EDGAR HEAP OF of the Ontario College of Art human figure in stages of transformation, all in BIRDS in Toronto and a master of brilliant color. He was born in Newport, Oregon, (Cheyenne/Arapaho) fine arts from the University of Western Ontario. and lives on family land along the Oregon coast, working in pastel, graphite, charcoal, acrylic, Currently on the Now a resident of Brantford, Ontario, and a teacher at the University of Western Ontario, her mixed media, printmaking, mask making, and faculty of Oklahoma sculpture. University teaching photographs, paintings, and films use parody both Native studies and masquerade to explore the complexities of Honey and art, Heap of Birds’ formal education extend- Native women identities. Her film Continued on back page 11 Non-Profit Org. museumVIEWS U.S. Postage PAID 2 Peter Cooper Road Permit No. New York, NY 10010 9513 New York, NY

Ray Simm, Production design for The 39 Steps, 1935. Graphite and watercolor on paper. In “Casting a Shadow,” Block Museum of Art, IL

Cecil Beaton, Marilyn Monroe (detail), 1945. In “Cecil Beaton,” Chrysler Museum of Art, VA

NOTES ABOUT ARTISTS continued from page 11

[When the National Museum of the American has become a worldwide symbol of peace. Indian (NMAI) opened its doors on the Mall in Washington, D.C., in 2004, its inaugural exhibi- [The Smithsonian National Museum of the tion was a retrospective of the works of two well American Indian is located in three venues: the known contemporary artists: George Morrison NMAI on the National Mall in Washington, DC; and Allan Houser, both of whom served as a the Cultural Resources Center in Suitland, source of inspiration for the 12 artists shown in Maryland; and the George Gustav Heye Center KAY WALKINGSTICK (Cherokee) “Continuum,” which followed.] at the U.S. Custom House at Bowling Green in lower Manhattan.] J WalkingStick was born in Syracuse, New York, her father a Cherokee and her mother GEORGE a non-Native. Nor surprisingly, her work deals Titles of works pictured in “Notes About Artists” with issues of mixed ancestry as well as the bal- MORRISON in order of appearance. ance between land and space, and the relation- (Grand Portage Jaune Quick-to-See Smith, The Silence (series), 2004. ship between the physical and spiritual self. In Band of Chippewa) Watercolor on paper. her series of diptych paintings (also drawings Born in a Marie Watt, Endless Column, 2003. RC Sepia photograph. and prints), a pair of juxtaposed images—one small Chippewa Harry Fonseca, Autumn Sonata #12, 2002. Acrylic on paper. realistic and the other abstract or symbolic—rep- community in Hachivi Edgar Heap of Birds, Monetish , 1998. Marker on resents different aspects of a subject or theme. rag paper. Minnesota, Morrison studied in New York and George Longfish, Winter Still Life Landscape, Europe. The result catapulted him to stardom as South Dakota 1893, 2003. Acrylic on canvas. RICHARD RAY both an American artist and an Indian artist. His Joe Feddersen, High Voltage Tower, 2003. Twined waxed work has been described as abstract expressionist. linen basket. WHITMAN (Yuchi) Shelly Niro, The Shirt 1, 2003. Durotrans. hitman was born in Judith Lowry, K’um De-go-i-dom (Home Place): Reflections W on recurring history and survival, 2004. Mixed media Claremore, Oklahoma, ALLAN (gallery installation). raised in the traditions and HOUSER Nora Naranjo-Morse, In the Landscape of the Same, 2003 language of his grandmoth- (Warm Springs (view 1). Micaceous clay; cones. Installation. er, and now lives in the Rick Bartow, Deer Dancer for Hyacinth, 2001. Detail. Pastel, Chiricahua Apache) charcoal and graphite on paper. Yuchi community of Gypsy, Kay Walkingstick, Bitterroot Mountains #1, 2002. Gouache, Oklahoma. His works— A sculptor and charcoal and encaustic on paper. paintings, photographs, videos, and poetry—are painter, Houser’s Richard Ray Whitman, Fast Horse, 2003. Photograph. bronze Offering of the sociopolitical commentaries: society’s represen- George Morrison, Cube, 1988. Exotic woods. Minnesota tation of indigenous people juxtaposed with the Sacred Pipe, installed Museum of American Art. obscured reality of Native life. at the U.S. Mission to Allan Houser, Offering the Sacred Pipe, 1980. Bronze. the United Nations in Museum of the Southwest. New York in 1985,