museummuseumVIEWSVIEWS A quarterly newsletter for New Year 2005 small and mid-sized art museums

facts is imperative—a responsibility to the stantial part of its activities consist of 1) community, to your own institution, and to attempts to influence legislation by propagan- MUSEUMS AND cultural institutions in general. da or otherwise, and/or 2) participation or intervention in any political campaign on POLITICAL Getting Information behalf of or in opposition to any candidate for ADVOCACY Find out about scheduled meetings of public office.” Court cases have suggested that government officials from the League of the word “substantial” should be defined thus: [The following advice is contained in a Women Voters, the American Association of less than 5% of an organization’s time and "Technical Insert" for the Illinois Heritage Museums, or the government scheduling effort spent on lobbying is not to be consid- Association publication. The insert was office itself. ered substantial; 16% to 19% is substantial. written by Patricia L. Miller, executive Two types of lobbying come into director of the association.] Disseminating question: Information 1) Grassroots lob- Organizations—museums and other bying: The attempt cultural organizations—which boast a Establish personal to influence legisla- 501(c)(3) status in the spectrum of profit/non- contact with local offi- tion through profit don’t have to be dull, noncommittal, cials: put them on your appeals to the gen- gray. They can be advocates, advancing their mailing list; invite them eral public. That is, own interests as well as that of the public, tak- to the museum’s activi- sending a letter, for ing stands, being proactive—but they must do ties; let them know example, to mem- it carefully. about the educational bership asking There are two requisites for a politically and economic benefits them to influence active organization: it must gather information, the museum contributes non-members to and it must disseminate it. to the community. take action for or Do not imagine that to ignore government Let your con- against pending is to escape the thousands of ordinances that gresspersons and sena- legislation. Not affect your non-profit organization. You need tors as well as your local good. to know what they are, and then, act. Some and state representatives 2) Direct museums are impacted by local zoning and know about your con- lobbying: building codes, some by regulations on fund- cerns. Send a personal Communicating raising activities, others on laws regarding letter as opposed to a directly with legis- handicap access, unrelated business income form letter. Contact lators, employees tax, or repatriation of Native American relevant committees of legislators, or artifacts; some may be eligible for several vari- such as the House Ways other government eties of tax exemption, bulk mailing and Means, Interior officials. The privileges, tax deductions for contributions, Appropriation, or organization can even financial support. Committee on Indian Affairs. write directly, or encourage its members to Knowledge of what the laws are and of write directly. However, records of these activ- what perks are available must precede the dis- Lobbying ities and the amount of time spent are essen- semination of information from your institu- The tax-exempt status of a museum is not tial: keep photocopies of letters and the tion to government officials, whose sources of jeopardized by lobbying if it is done with amount of time spent writing them. information about your activities may be limit- attention to certain cautions. According to A ed to the facts that you supply. They cannot Layman’s Guide to Lobbying without Losing Non-lobbying Lobbying know how to proceed in their decision making Your Tax-Exempt Status,” A 501(c)(3) organi- 1) Send direct mailings to members to inform without facts from the field. Supplying these zation will lose its tax-exempt status if a sub- them of pending legislation that affects the organization. 2) Invite local legislators to social functions, FROM THE WEB TO THE STREET: STICKER ART especially if public funding is involved. Media should be invited by skateboarders looking for the means to cover the event. GraffitiÐnow aerosol art—has edged its to enhance their equipment way onto the art scene (see article “Can 3) Send newspaper articles about with stickers. Now stickers the organization to legislators. Walls Alone Constitute a can be seen pasted anywhere Museum?” in the Fall 4) Use the building as a venue from a shirtfront to a lamp- for public debate on important 2004 issue of post, a mailbox, a street museumVIEWS). Now a issues; include all sides of sign, in the subway (or the debate. new phenomenon—sticker underground), at the airport art—emerges along the 5) Testify before legislative bodies or the train station—anywhere. when requested to do so. edges of our conscious- Due to the ubiquitous internet ness. It comes from the and the speed of e-mail, sticker Web: small designs, graph- art can go from country to Top left: H.O. Hoffman,“Cheers! An Art Deco New Year,” drawing ics, Warhol-style por- country in a matter of seconds, from the New Yorker magazine, 1920. traits, and icons and minutes later appear on Center: Bronzino, Portrait of Cosimo I de’Medici as Orpheus, can be down- c. 1538-’40. Oil on panel. In “Pontormo, Bronzino, and the the streets of cities oceans and Medici,” Philadelphia Museum of Art, PA loaded in color continents apart. or B&W. It was Left: Think, Peace, and Searching. Stickers. Courtesy Wooster “It works particularly well in walk- Collective Gallery, New York City made visible first ing cities,” says Alice continued on page 4 DIRECTORS’ CORNER In a letter to museum friends urging them prices have risen putting across the university, encour- to renew their membership, Fiona M. great objects out of reach aging them to incorporate Dejardin, interim director of the Yager of all but a very few muse- teaching from original works Museum at Hartwick College in Oneonta, ums. This situation does, of art in their classroom work New York wrote: however, have a positive and guiding them in tech- side. Museums are paying niques for doing so. …The Yager Museum’s primary objective is to more attention to the treas- The museum’s commit- help people learn about or be connected to their ures already in their col- ment to enhancing the univer- heritage: their past, their present, and their lections…. Over the past sity’s core mission of teach- future. A year ago, I was asked, “Why do muse- several months our cura- ing and research has strongly ums matter?” At that time I gave an impas- tors have been spending a influenced the choices we sioned response about the importance of our good deal of time in our have made as we prepare to museum and its collection, and I proudly store rooms studying expand our facility. The addi- emphasized that we were a teaching museum on works of art that for one tion of an auditorium, two a college campus full of those who wish to reason or another have classrooms and two seminar learn, and those who are willing to assist in the been neglected or over- rooms in which works of art learning process. I spoke of our stunning collec- looked. The result is that can be studied in the original tions of Native American baskets, pots, and they have rediscovered are perhaps the most visible local history. I mentioned our small but fine art some wonderful things that signs of this commitment, collection, and I boasted about our strong will soon find their way while all the gallery spaces— changing exhibition schedule that brings to the into the galleries…. [In present and future—support community challenging and unique ways of see- many instances,] reevaluation began with a good this academic purpose…. We are now seeking ing and knowing the world. What I didn’t cleaning by our conservator…. Once scholars to provide a physical home to a vital academic address was the heart of the matter: Why do can see what a painting really looks like they program, the Museum Studies Program (MSP), museums matter?... Perhaps the answer lies…in can begin the process of identifying the artist in a structured relationship that will help to one [particular] exhibit: “Friends, One who created the work and assess its ensure teaching use of our collections and allow Day…One Wrong Turn.” This moving exhibit significance. our talented professional staff to more fully explored the last hours of four young college Discoveries [in basements and store rooms] engage with faculty colleagues and students. students who died when they were passengers in are a wonderful reminder both of the skill and …From the 1960’s to the early 1990’s, a car driven by a drunken driver…. The impact knowledge of the museum’s staff…. Michigan was home to one of the nation’s most of the message went way beyond the local com- influential museum studies programs, then munity. And the message was important, James Christen Steward, director of known as the Museum Practice Program (MPP). reminding us of the fragility of things, of hopes the Museum of Art at the University of The program began from the premise of broad- and possibilities, what it means to be human. It Michigan wrote of the museum’s academ- based interdisciplinary humanities. Over time, created an opportunity for people to remember, ic commitment in the member magazine the program evolved into one with more applied to speak, and to move forward. By melding Insight: components…. [A faculty working group, gath- ideas, facts, memory, and experience, an exhib- ered to explore ways in which a museum’s con- it—a museum—matters because it connects the One of the Museum of Art’s most impor- centration might be redeployed, recommended past to the future. As a cultural institution, a tant roles is its contribution to the academic that the new program, the MSP, should] focus museum matters because its messages are mission of the University of Michigan. From the again on cross-disciplinary engagement and on empowering. A research and the intellectual and philosophical considerations museum matters study uses of of museum work—a legacy of its predecessor, because it provides the extraordi- the MPP. ❏ numerous ways to nary works of address what it art in our col- [The University of Michigan Museum of Art means to be good lections, to the announced a major new academic initiative as citizens and teaching impli- part of its building expansion project—the guardians of the cations of all of creation of the Charles Sawyer Center for world…. our temporary Museum Studies. Sawyer was UMMA director exhibitions, the and founder of the Center for Museum Studies In a note to museum plays where the Museum Studies Program will find the museum’s an increasingly its administrative home.] central role in members and Above: Jiri Balcar, (Madame) X, 1968. Intaglio print. friends, William the academic In “Behind the Curtain,” Jundt Art Museum, WA life of the uni- J. Hennessey, Left: Jonathan Green, Boat Men, 1985. Oil on masonite. versity, even as In “Rhythms of Life,” Columbia Museum of Art, SC director of the we connect to Chrysler broad regional Museum of Art and national museumVIEWS in Norfolk, community audiences. Editor: Lila Sherman Virginia, wrote: Too many obstacles have existed in the past Publisher: Museum Views, Ltd. to making this teaching and Ask most museum directors to name the 2 Peter Cooper Road New York, NY 10010 curricular role an easy one to fulfill, from the 212-677-3415 part of their job they like best and they will lack of dedicated classroom space…to the sim- almost invariably answer, “Collecting.” The ple fact that the museum is itself not a teaching museumVIEWS is supported by grants from the chase and capture, the process of finding and unit. However, we have already seen evidence Horace W. Goldsmith Foundation acquiring a great work of art, brings out our of the kind of impact that will become deeper and Bloomberg. competitive spirit. And when the hunt is suc- and more regular in the future in the form of the cessful, we carry home the best sort of trophy— academic theme semesters derived from major a work of art that brings joy and inspiration to museumVIEWS is published 4 times a year: temporary exhibitions that the museum has led Winter (January 1), Spring ( April 1), Summer museum visitors. and motivated…. Further evidence can be found Unfortunately, as the supply of top quality (July 1), and Fall (October 1), Deadlines for in the increased outreach the museum has made listings and art work are November 15, works of art on the market has diminished, to faculty and graduate student instructors February 15, May 15, and August 15. 2 NOTES ABOUT ARTISTS FERNANDO BOTERO swear loyalty to a civil official. In 1302 he was of dealers, each of whom would have tarted it up fined again, and in the same year he was commis- in one way or another. It’s in a very pure state,” A native of Colombia, South America, sioned to paint a Maesta for the Siena Town Hall. coos Christiansen. Fernando Botero calls New York, Paris, and That picture is now lost. Again and again he was According to the Times report, the Met has Tuscany, home. Starting in the 1960’s he won fined for various civil offences—debts, refusing decided to call the painting the “Stroganoff fame and notoriety with his satirical paintings of military service, activities connected with sorcery. Madonna,” after its first owner, Count Grigorii oversized, fleshy figures with large limbs and And in 1308 he was contracted to paint the great Stroganoff, who died in Rome in 1910. But the small bodies. In 1971 he Maesta for the high altar of the painting has been known as the “Stoclet began to create sculptures cathedral. Madonna,” after its next owner, Adolphe Stoclet, a as well. Man on His only signed work, painted Belgian industrialist and builder of a well known Horseback, was typical: a on both sides, Maesta shows the palace in Brussels. He died in 1949, after which self-assured gentleman in Madonna enthroned and surrounded the painting’s provenance became uncertain while a suit and bowler hat, his by angels, saints, and apostles on the Stoclet’s collection was divided up among his legs as large as those of front, and scenes from the teaching heirs. Finally, in July, the Met received word that the horse, greets visitors and passion of Christ on the reverse. the heirs had decided to sell. along a wooded path that Above and below the main frame, leads to the Nassau front and back, were scenes from the County Museum of Art life of Christ and the Virgin, with WILLIAM HODGES (1744-1797) (NY), where “Fernando small figures of saints. Many of the The son of a London blacksmith, William Botero: Works on Paper” is on view. scenes show a new use of realistic perspective. In The skewing of form—smooth, rounded figures Hodges was apprenticed at age 14 to landscape fact, both sides showed Duccio as a profound painter Richard Wilson, who he considered “the of people and animals—central to his work, innovator whose techniques characterized the greatest modern master of that art.” His own derives from a special mindset: “In art, as long as Sienese School painting for more than two hun- career, as outlined in the exhibition “William you have ideas and think, you are bound to dred years after he was gone: figures with more Hodges,1744-1797: The Art of Exploration,” at deform nature. Art is deformation,” he says. weight, solidity, and characterization; strong pow- the Yale Center for British Art (CT), centered In fact, Botero’s work and vision was formed ers of story-telling; superb craftsmanship (the use around two epic journeys, one as official drafts- during his student years at the Royal Academy of of gold as decoration and a compositional feature man on Captain James Cook’s second voyage to San Fernando, Spain, where he studied art history at the same time); subtle color; outline as surface the Pacific (1772- and the masters of the Renaissance and Baroque pattern as well as description of form. 1775), and the periods. Impressed with the humanity and individ- Maesta was finished in 1311 and carried in other as the first uality of Velazquez, especially his portraits of solemn procession from Duccio’s workshop to the professional land- dwarfs in the court of King Philip IV, he went on cathedral. scape painter to to develop a new satire. visit India (1780). Finally, his still lifes—fruits, flowers, vegeta- Here and Now The subjects of bles, foods of all sorts—embody many of the On November 10, 2004, Duccio di Hodges’ paintings characteristics found in his other subjects: a Buoninsegna’s Madonna and Child, painted in of Tahiti, New marked engagement with sensuality, a sense of the about 1300, took up the entire top half of the front Zealand, and the sacramental or ritual, and a resonance in the page of The New York Times’ Arts section. Why? Pacific Islands context of his native Colombia (likely as not he The headline announced the reason. “The Met were a revelation for audiences in Europe. During paints distinctively Colombian meals, birthdays, Makes Its Biggest Purchase Ever.” More than $45 the three-year voyage with Cook aboard the and celebrations). million was agreed upon as the price of this early Resolution, the crew met with extremes of weath- Renaissance piece, “no bigger that a sheet of typ- er and environment, such as an unprecedented DUCCIO DI BUONINSEGNA ing paper” in its original frame, the bottom edges foray south into Antarctic waters. Hodges Then and There of which had been singed by devotional candles. responded to this range of conditions by impro- Painted in tempera and gold on a wood panel, vising his techniques as necessary. In addition to Duccio di Buoninsegna (1255?-1319?), was it is the first Duccio in the collection of the documenting new lands, he also painted portraits the Italian painter, a precursor of the Renaissance Metropolitan Museum of Art (NY). of his companions, notably Cook and the young style, who brought to perfec- Only a few are known to have survived, Tahitian Omai, who traveled to England on the tion the art of medieval Italy in including the well known huge altarpiece return voyage and was the subject of a famous the Byzantine tradition. Born portrait by Sir Joshua Reynolds. in Siena, Duccio was the Maesta (1308-11), which hangs in the Museum dell’Opera del Duomo in Siena. Hodges arrived in India in 1780 and spent 31/2 founder of the Sienese school years traveling the country under the patronage of of painting. His work, all of it The few paintings by Duccio outside Italy religious, is characterized by are fragments of the Maesta, which is Warren Hastings, a key member of the East India sensitive drawing, skillful composed of some 60 narrative scenes. Company and first Governor-General of India. composition, a decorative qual- The Met’s purchase is one of the very Select Views of India, published in London, 1785- ity akin to that of mosaic, and few paintings that Duccio created as an ’88, consisted of 48 fine prints by Hodges after a more intense emotional tone individual work. “It’s the artists complete his original compositions. The artist’s interest in than that of the Byzantine thought on the subject,” said Keith India was scholarly as well as artistic. He wrote models he followed. Christiansen, a curator of European paint- A Dissertation on the Prototypes of Architecture, He was first recorded in 1278 ing. The Madonna sits behind a parapet Hindo, Moorish, and Gothic, and Travels in and 1279, working for the (this was the “first illusionistic parapet in India, one of the earliest published travel Commune. In 1280 he was heavily fined for an European art,” according to Christiansen and accounts by a professional artist. unspecified offence, probably political, and the British scholar John White in his 1979 monograph Returning to England in 1784, Hodges contin- first of many charged against him. In 1285 he was on Duccio), her eyes downcast in the direction of ued to paint for another decade. Despite exhibit- commissioned to paint a large Madonna for the the child on her lap as he lifts a hand to his moth- ing at the Royal Academy and being elected a Florentine church of Santa Maria Novella—prob- er’s face. Christiansen explains more of what fol- member in 1787, he died bankrupt. His final ably the Rucellai Madonna now at the Uffizi, lowed this innovative use of a parapet: “When you exhibition in 1794 was closed down after the Florence. The picture was probably painted in think of all those famous images by Bellini or the Duke of York perceived sympathy for the Siena, where Duccio is recorded at intervals from common Renaissance Madonna, theirs is an illu- French Revolution in his work. Subsequently, 1285-1299 as having been fined for refusing to sionistic parapet that serves as a go-between so Hodges gave up painting and established a that you pass from the world we inhabit into the banking partnership that soon failed in the Top: Fernando Botero: Dancing in Colombia, 1980. fictional world of the artist.” uncertain climate of the war. He died in 1797, Oil on canvas, Metropolitan Museum of Art, NYC Singed as it is, the painting is nevertheless in possibly by suicide. ❏ Above: Duccio di Buoninsegna, Madonna and Child, Metropolitan good condition. “It’s quite exceptional and very Museum of Art, NYC fortunate that it hasn’t been in the hands of a lot Right: William Hodges, Tomb and Distant View of Rajmahal Hills, 1782. Oil on canvas. Tate Gallery, London 3 A CONVERSATION ON FRENCH LANDSCAPE PAINTING

Ironically, again, they did their best work in waterfalls, there are several important ancient The long-time engagement of Italy. In fact, even in the 18th century, the structures…. French painters with nature was illustrated in French were not especially interested in their Another component to consider is litera- an exhibition that traced landscape painting own countryside. ture. When these artists traveled to various from the later Renaissance when it first sites, especially in Italy, they often had their emerged from the background of narrative rep- JV: I think a key factor that attracted artists to Horace in hand. They expected their audiences resentation, to the eve of Impressionism in the the Italian landscape was the light. to be well-educated in literature, ancient litera- 19th century. “Valenciennes, Daubigny, and ture and poetry in particular. Traveling to and the Origins of French Landscape Painting,” WW: That was certainly true for Valenciennes. sketching these sites involved a combination shown recently at the Mount Holyoke College He was fascinated by weather and light condi- of beautiful landscape, the awareness of histor- Art Museum (MA) was created by a team of tions and wrote about it a lot. He concentrated ical and archaeological monuments, and the curators who, using carefully selected paint- considerable attention on light effects in his sources of classical literature that informed ings, drawings, and prints, showed the many sketches and oil studies. their paintings. choices French artists faced as they made their way through the rural landscape over the MM: There may have been a social compo- JV: They could have their cake and eat it too. course of three centuries. nent as well. French landscape painters were They were painting high-minded subjects that In the following conversation, co-curators away from their families on a fairly regular spoke of intimate knowledge of the most Michael Marlais, James M. Gillespie Professor basis. Being a landscape painter meant going esoteric myths and doing it in beautiful places of Art at Colby College; John Varriano, Idella out into the country and being in the company with fantastic weather. In fact, an artist Plimpton Kendall Professor of Art History at of other men. And French artists felt that they couldn’t make that claim of intellectual Mount Holyoke College; and Wendy Watson, needed to go to Rome to study the great mas- content with still life painting or portraiture. the museum’s curator discuss the origins of ters like Raphael and Poussin. When they got Landscape was the one genre you could deal French landscape painting: there, however, they discovered that they were with and still boast lofty content, even if you were only winking at it, with a JV: Why was it that the cluster of mythological or historical French dominated landscape figures in the lower right hand corner. painting? They approached it with a zeal unrivalled by any MM: I think it was also nationalist in other nation. a conservative way. When French artists painted the Italian landscape WW: It’s an interesting ques- in the 17th and 18th centuries, they tion. Not only did the French were claiming the heritage of the express the first and strongest ancient world. So, Louis XIV interest in landscape—and the became the new Roman Emperor. most consistent over three Poisson and Claude represented that centuries—but what is also for him and for French culture. Then intriguing is that they fre- in the 19th century, artists began to quently traveled to Italy to focus on French sites. We see this find landscapes they wanted to first in printmaking…which invited paint. viewers to look at France.

MM: Perhaps an explanation JV: There is also the nationalism that can be found [if you look at some] individuals. enjoying themselves enormously—and of essentially expresses the idea that French soil Claude and Poussin really made it happen in course, the landscape is beautiful. is better than the soil of other nations. the 17th century. They were among the first French artists to gain international recogni- WW: There must have been an adventure MM: A clear example is… comparing tion—and they were landscape painters. component as well. Travel in Italy was Valenciennes’ Greek Landscape with Others wanted to emulate them. dangerous at that time. Daubigny’s The Hamlet, Optevoz…. In the former, a variety of sites including Tivoli and STICKER ART continued MM: Daubigny tells us as much in his letters. the Parthenon are thrown together in an artistic Twernlow, program director at the American He liked to travel across the Alps. Even after invention that exemplifies the neoclassical Institute of Graphic Arts. “Walking brings crossing that perilous terrain, he went back to mindset. The latter shows a very specific intimate encounters with the stick paint St. Jerome in the Wilderness. When you place, a village in the French countryside. This ers that could not be experienced while driv- think of it, of course, the St. Jerome subject in painting was actually a government commis- ing. There is also an immediacy with which itself was another great pretext for painting sion because Napoleon III wanted to show that people can respond.” landscape. he supported the rural communities. So both Media maven Scott Rettberg says “Cheap are quite nationalistic in different ways. printers give artists the ability to mass-pro- JV: Early European landscape painting is also duce work intended for public consumption, tied to the concept of the marvelous, the spec- WW: Valenciennes’ theoretical method was to and stickers are easier to place than tradition- tacular. Landscapes appear in the background work out of doors—sur le motif—gathering al graffiti.” of 16th-century northern art like the Joos van elements from various sites. Later in the stu- “You develop a kind of ‘sticker sense,’” Cleve in the exhibition, where a big rock rises dio, he would combine them in a highly fin- says Paul Burgess of Brighton, England, dramatically out of a valley. It seems imagi- ished and formal work, in a sense “improving” “and you spot more and more.” ❏ nary, but he could have seen such a phenome- on nature or, to use his word, “adjusting” it to non. It was a marvel. When Bruegel painted make it even more perfect. [Samantha Storey took on the subject of stick- the Bay of Naples or Vesuvius, he clearly er art for the New York Times (9/26/94). More admired the drama of the sites. JV: That follows up on the Cartesian notion of can be found on the Web at: www.bomit.com; bringing order out of nature. The English www.woostercollective.com; www.20mg.com; WW: Historical nuance was extremely impor- would say that they are imposing order on www.obeygiant.com;www.streetstickers.co.uk] tant too. Besides natural sites…the attraction nature, but the French would Continued on page 9 in many cases also had to do with the ruins. In Pierre Henri de Valenciennes , Classical Greek Landscape with Girls Sacrificing Their Hair to Diana on the Bank of a River. Tivoli, for example, in addition to spectacular 1790. Oil on canvas. Mount Holyoke College Art Museum, MA. 4 winterVIEWS Alabama Contemporary Jewish Museum, San Connecticut Sea Captain’s Journey” Birmingham Museum of Art ❏ Francisco ❏ “The Jewish Journey: (through March 6) Spoils of the voyages “Eighteenth-Century English Ceramics Frédéric Brenner’s Photographic of Captain Abraham Gold Jennings from the Catherine H. Collins Collection” Odyssey” (through Feb. 27) The Jewish (1781-1852): paintings, wallpaper, furni- (through Feb. 6) From early salt-glazed Diaspora in 40 countries and 5 continents. ture, lacquer ware, silver, ivory, textiles, stoneware objects to delicately modeled and porcelain. porcelain figures. ❏ Through Apr. 24: Bowers Museum, Santa Ana ❏ “Queen “Kerry James Marshall: One True Thing: of Sheba: Legend & Reality” (through Wadsworth Atheneum Museum of Art, Meditations on Black Aesthetics” March 13) The splendor of the mythical Hartford ❏ “Traditions/Transitions: The Painting, sculpture, video, and photogra- Queen and her domains in paintings, Changing World of Fiber Art” (through printing plates, including the portfolio phy illustrating the ambiguity in represen- drawings, and sculpture. Mar. 6) Weaving freed from the loom and created in Paris. tations of African Americans; “Bill from two-dimensionality; crochet trans- Traylor and William Edmondson: African- University Art Museum, University of formed into sculpture; and more. ❏ “For National Museum of Women in the American Art and the Modernist Impulse” California, Santa Barbara ❏ “Out of Site: Women: Icons of Struggle, Strength, and Arts ❏ “Pueblo Pottery: A Living First major exhibition on these two Selections from the Marsha S. Glazer Dignity” (through Mar. 13) Work by Tradition. Selections from the Permanent early-20th-century artists. Collection” (through Feb. 27) Significant Catlett celebrating art “for liberation and Collection” (through May 15) Works by ❏ 20th-century works: Picasso, Giacometti, for life.” “Contemporary Art: Floor to women from pueblos in New Mexico. Mobile Museum of Art ❏ “An Dubuffet, Gorky, de Kooning, Pollack, Ceiling, Wall to Wall” (through Apr. 24) International Legacy: Selections from Krasner, Johns, Frankenthaler, Gursky, Judd, LeWitt, Lichtenstein, Textile Museum ❏ “A Garden of Shawls: Carnegie Museum of Art” (through Apr. 3) Lichtenstein, Rauschenberg, Bourgeois, Ligon, Morris, Segal, Sherman, Stella, The Buta and Its Seeds” (through Mar. 6) ❏ Dominant trends of last 30 years: Hockney, and others. Warhol, and others. “Theater, Dance, Design origins of Kashmir shawls; tapes- Minimalism, Conceptualism, New- and Porcelain in the Eighteenth Century” try-woven linen and wool from pre- Expressionism, and Postminimalism. Cantor Arts Center, Stanford University (through Apr. 10) Sculpture and painted Islamic Egypt, silk textiles from Iran, ❏ “Women on the Verge: The Culture of decoration based on 18th-century enter- resist-dyed cotton from India. ❏ “Floral ❏ California Neurasthenia in 19th-Century America” tainment. “Ellen Carey/Matrix 153” Perspectives in Carpet Design” (through Berkeley Art Museum, University of (through Feb. 6) How women were per- (through spring) Abstract photography. Feb. 6) 17th- to 19th-century carpets from California, Berkeley ❏ “Painting in ceived and portrayed at the end of 19th India, China, Central Asia, Persia, and Everyday Life in Traditional Japan” century: Eakins, Weir, Dewing and others. Yale Center for British Art, Yale Turkey. (through Feb. 27) Scrolls and screens. ❏ “The ‘Horrible Imaginings’ of John University, New Haven ❏ Through Apr. ❏ Through Apr. 10: “Matrix 214: Mark Hamilton Mortimer” (through Mar. 27) 24: “William Hodges, 1744-1797: The Art Florida Manders” Everyday objects and architec- 18th-century British painter, draftsman, of Exploration” 18th-century landscape Boca Raton Museum of Art ❏ Jan. 26- tural fixtures used to create puzzling and printmaker’s monsters and bandits. painter whose work took him to India, April 17: “Andrew Wyeth: American tableaux; “Matrix 215: Althea Polynesia, Antarctica, New Zealand, and Master” Landscapes, interiors, and Thauberger” Vancouver-based artist Colorado to the South Pacific with Captain James portraits in oil, watercolor, drybrush and working in video. ❏ “Acting Out: Claude Aspen Art Museum ❏ Through Feb. 6: Cook; “Nobleness and Grandeur: Forging tempera, starting in the 1930’s; Cahun and Marcel Moore” (through Mar. “Dirk Skreber” Large scale, exaggerated Historical Landscape in Britain, 1760- “Buccellati: The Art of the Goldsmith” 6) Photographs: from the 1920’s-’40’s, perspective, and nontraditional painting 1850” A complementary exhibition chart- The 20th-century work of this Italian many never exhibited before. techniques evoking a sense of eerie ing the development of historical land- house of jewelry and silver; “Boca Raton silence; “From Pollock to Marden: Post- scape painting in Britain from the mid- Collects, A Visual Feast of Promised Gifts Magnes Museum, Berkeley ❏ War Works on Paper from the Collection 18th century to the Romantic period: and Bequests” Works that will enter the “Revisions: Ann Chamberlain” (through of Susan and Larry Marx” Major draw- Wilson, Hodges, Gainsborough, J.M.W. museum's permanent collections in the Feb. 27) Installation: the relationship ings dating from end of WW II to 1990’s, Turner, Constable, and others. coming years: Rivers, Nevelson, between cemeteries and museums. ❏ in pastel, watercolor, gouache, ink, col- Frankenthaler, and others. “Surviving Suprematism: Lazar Khidekel” ored pencil, charcoal, and oil paint. ❏ Aldrich Contemporary Art Museum, ❏ (through Mar. 20) Watercolors, drawings, Through Apr. 10: “Kendell Geers: Hung, Ridgefield “Bottle: Contemporary Art Morikami Museum and Japanese gouaches, and period photos from avant- Drawn and Quartered” White South and Vernacular Tradition” (through Apr. Gardens, Delray Beach ❏ Through Mar. garde pioneer, 1920-1965. African conceptual artist and political 10) Exploration of meaning and aesthetics ❏ 13: “Japanese Armor of the 16th and 17th activist; “Carlos Garaicoa” Architectural of the bottle. Through Mar. 27: Centuries” Armor from a period of Hearst Art Gallery, Saint Mary’s models by Cuban installation artist and “Michael Rees: Putto 4 Over 4” endemic warfare; “Ningyoø: Antique College, Moraga ❏ “Sandow Birk: photographer. Installation extracted from digital anima- Japanese Dolls from the Collection of Mr. Paradiso” (through Feb. 27) Los Angeles tion: a 3-dimensional snapshot; “Jonathan and Mrs. Joel Rosen” 18th- and 19th-cen- artist invents a visual language and Colorado University Art Museum, Seliger: Main Street Sculpture Project” tury selection, including hina dolls, palace screenplay-speak for Dante. University of Colorado, Boulder ❏ Seven-foot-tall brown grocery bag sculpt- dolls, and Takeda dolls. ❏ “Hatsume Fair” “Techno-Sublime” (through Mar. 18) ed from aluminum. (Feb. 26-27) Japanese car show. Oakland Museum of California ❏ Digital artists address the notion of the “What’s Going On?—California and “sublime” in art. District of Columbia Orlando Museum of Art ❏ “Patterns of ❏ the Vietnam Era” (through Feb. 27) The Smithsonian Institution At the Life: Bold and Powerful Ndebele Art of impact of the war on American culture: Center for Visual Art, Metropolitan Arthur M. Sackler Gallery: “Views of South Africa, Selections and Gifts from historical artifacts, photographs, film State College of Denver ❏ “Leaving Chinese Art from the Indianapolis the Norma Canelas and William D. Roth clips, documents, oral histories, Aztlán: Rethinking Contemporary Latino Museum of Art” (through Mar. 20) First Collection” (through June 19) Beaded and music. and Chicano Art” (through Apr. 23) in a series showcasing Asian art from blankets, aprons, and wedding attire; Stereotypical perceptions challenged in museums across the country: bronze, women’s neck, waist, and leg hoops; and Crocker Art Museum, Sacramento ❏ photos, video, painting, installation, and ceramic, cloisonné, jade, and wood items illustrations of Ndebele people. “Neomod: Recent Northern California sculpture. spanning over 4,000 years from Neolithic ❏ Abstraction” (through Jan. 30) Current period to Qing dynasty. “Arts of Museum of Fine Arts, St. Petersburg ❏ work by regional artists. ❏ Through Mar. Sangre de Cristo Arts Center, Pueblo ❏ Mughal India” (through Feb. 6) Works of “Monet’s London: Artists’ Reflections on 13: “The Crocker Kingsley: Northern “Eric Tillinghast & Elliot Norquist: art, detailed manuscript paintings, and the Thames, 1859-1914” (through Apr. California’s Biennial” Juried exhibition Circles and Squares” (through Jan. 29) luxury objects in jade and lacquered wood 24) Monet and his contemporaries. ❏ ❏ for both established and emerging artists; Sculpture: copper, steel, and graphite by 16th- and 17th-century Mughals. “Birds, Beasts, and Blossoms in Asian “Watching the Sacramento King’s: circles; stones paired with welded steel Through April 24; “Iraq and China: Art” (through Feb. 25) Tea wares, scroll Photographs by Vesna Pavlovic” rectangles. ❏ Through Feb. 5: “Kristina Ceramics, Trade and Innovation” 9th-cen- paintings, a fan from the Meiji period, Loggia & EllynAnne Geisel: Apron tury Islamic pottery; “Traveler: and more. Museum of Photographic Arts, San Chronicles” (through Feb. 5) Cibachrome Reflection” Site-specific installation by ❏ Diego Through Mar. 6: “Mariana prints: the lives of people, mostly older Chinese artist Cai Guo-Qiang ponders Georgia Yampolsky’s Mexico” Study of Mexican women, who wear aprons; “Sally Elliott” interactions between past and present Georgia Museum of Art, University of culture as well as desert plant life, Paintings; “Jan Myers” Pastel landscapes. cultures; “Fountains of Light: Islamic Georgia, Athens ❏ “Beauty and the Beast: 1950’s-2002; “Andreas Feininger: Man on Metalwork from the Nuhad Es-Said Animals on Paper” (through Feb. 27) the Street” Gelatin silver prints of New Connecticut Collection” 10th-19th-century ewers, can- Animals as icons and super-heroes. ❏ York City, 1940’s-1950’s. ❏ “Jeff Bruce Museum, Greenwich ❏ “Drawn dlesticks, incense burners, inkwells, and ❏ “Shaping a Collection: Recent Decorative Bridges—Pictures” (through Mar. 13) by the Brush: Rubens Oil Sketches” bowls. At the Freer Gallery of Art: Arts Acquisitions” (through Mar. 20) A Photos of life on the set by the actor. (through Jan. 30) First time in North Through Feb. 20: “Life and Leisure: Masonic apron from 1834, a mid-19th- ❏ Through Apr. 24: “Projecting the Past: America for a Rubens solo, and first time Everyday Life in Japanese Painting” Edo century clock, and more. ❏ “The Spirit of Early 20th Century Newsreels”; ever for the oil sketches. ❏ “A Very period (1615-1868); “The Tea Ceremony the Modern: Drawings and Graphics by “Technology that Revolutionized the Personal Collection: Major Works from as Melting Pot” Utensils imported into Maltby Sykes” (through Mar. 13) World” Early 20th-century cameras and the 20th Century” (through Mar.27) Japan: Chinese tea-leaf storage jars, tea Experimental printmaker. ❏ Through the first large-format picture magazines; Hockney, Beckmann, Beuys, Haring, bowls from Korea and northern Vietnam, ❏ Mar. 20: “High Drama: Eugene Berman “The First 35mm Photographs: Erich Neel, Maillol, Botero, and more. and vases from central Vietnam. and the Legacy of the Melancholic Salomon, Alfred Eisenstaedt, Robert ❏ “New Acquisitions: Photography” “Young Whistler: Early Prints and the Sublime” Study of Russian-American Capa, and David Seymour.” (through Feb. 20) 19th and 20th centuries. French Set” (through Mar. 13) Etchings, artist and links to current artists; ❏ “China Trade in New England: A drawings and watercolors, original copper “Selections from the Eva Underhill

5 Pipe, c. 1790. Glazed earthenware. In “Eighteenth-Century English Ceramics,” Birmingham Museum of Art, AL 6 winterVIEWS continued Holbrook Memorial Collection of American wallpaper, textiles, embroidery, tapestry, DeCordova Museum and Sculpture Missouri Art” Bellows, Benson, Bierstadt, Hassam, books, and more; “The Greeting” Video by Park, Lincoln ❏ “Pretty Sweet: The Kemper Museum of Contemporary Art, Homer, Kensett, O’Keeffe, Shinn, Bill Viola, based on a painting by Sentimental Image in Contemporary Art” Kansas City ❏ Through Feb. 27: “John Robinson, Whistler, among others. Pontormo, The Visitation. (through Apr. 15) Hearts, flowers, birds, Kalymnios” Kinetic sculptures inspired pri- domestic arts, decorative motifs, and the marily by nature; “Roberto Juarez: They High Museum of Art, Atlanta ❏ “The Art Krannert Art Museum, University of like, some ironic and campy, others emo- Entered the Road” Paintings honoring the of Romare Bearden” (Feb. 5-Apr. 24) Illinois, Urbana-Champaign ❏ “Of Books tional and political. memory of five loved ones who died. Retrospective: collages and photomontages, and Tales: Salvador Dalí and the World of watercolors, monotypes, and book illustra- Imagination” (through Feb. 13) Dalí’s fasci- Beard and Weil Galleries, Wheaton Saint Louis Art Museum ❏ “Ottoman tions. nation with literary and mythological char- College, Norton ❏ “Radical Corpus Embroideries from the Collection” (through acters. ❏ “Opulent Display: Textiles of Cartographies” (through Feb. 23) Sculpture. Feb. 27) Selections from 18th-19th-century Museum of Design, Atlanta ❏ Gold from South East Asia” (through Mar. Greece, Turkey, Morocco, Algeria, and “Recursions: Material Expression of Zeros 27) Brocades woven with gold and gold Peabody Essex Museum, Salem ❏ more. ❏ “Rivane Neuenschwander” & Ones” (through Mar. 26) Textile artists leaf glued to fabrics. ❏ “Apocalypse Then: “Yangtze Remembered: The River Beneath (through Mar. 20) Recent work by this con- mix with digital technology. Images of Destruction, Prophecy, and the Lake” (through Apr. 24) Photographs temporary Brazilian artist. ❏ “Victorian Judgment from Dürer to the Twentieth taken before and after the flooding of the Photographs of Rural England: Benjamin Brenau University Galleries, Gainesville Century” (through Apr. 3) Works inspired Three Gorges Dam. ❏ “Our Land: Brecknell Turner” (through Feb. 6) First ❏ Through Mar. 25: “Southern Trace: by apocalyptic writings and thought: Dürer, Contemporary Art from the Arctic” time out since the 19th century. ❏ “Rococo Telling Stories in the Art of Benny Redon, Manet, Guston, Picasso, Johns, and (through Jan. 30) Sculptures, prints, tex- Prints and Drawings” (through Mar. 13) Andrews, Rebecca Davenport, William others. ❏ “Laws of Abstraction” (through tiles, photography, and more, from Fragonard, Boucher, and Baudouin. Dunlap, Red Grooms, William King, Sally Mar. 27) Viewers interact with abstract art. Canada’s Inuit people. Mann, Ed McGowan, and Faith Ringgold” ❏ “Over and Over, Passion for Process” Springfield Art Museum ❏ “Multi- Pictorial tales of people, families, home- (through Apr. 3) A focus on obsession, Mount Holyoke College Art Museum, Cultural Exhibit: Selections from the towns, and landscapes; “Woodworks: seen through traditional hobbies and craft. South Hadley ❏ “Petals and Plumage: A Permanent Collections of the Springfield Sculpture by Michael Todd” Elemental Collection of Indian Textiles” (through Art Museum” (through Feb. 13) ❏ “SMSU sculptures in shaped and natural wood. Indiana Mar. 11) Techniques including painting, Centenary Exhibition” (Feb. 18-Mar.13) Art Museum of Greater Lafayette ❏ block printing, tie-die, brocade, ikat, tapes- Works by artists from Missouri, Arkansas, Hawaii “Indiana Now!” (through Apr. 10) Juried try, and embroidery. Kansas, and Oklahoma, and a selection of Honolulu Academy of Arts ❏ “Jewelry of exhibition featuring paintings, prints, works from the Southwest Missouri State Hawaii: Art and Artifice in Paradise” drawings, and sculpture. Michigan University archives. (through Feb. 13) 20th-century Hawaiian, University of Michigan Museum of Art, Western, and Asian motifs. ❏ Through Jan. Kansas Ann Arbor ❏ “László Moholy-Nagy: The Montana 30: “Watercolor on the Edge"; “New Works Salina Art Center ❏ “Will Boys Be Late Photographs” (through Feb. 20) Paris Gibson Square Museum of Art, by Jonathan Busse” ❏ “Labor and Leisure” Boys?” (through Jan. 29) Questioning Abstractions, portraits, and sculpture, all in Great Falls ❏ Through Mar. 15: “Bamako (through Feb. 18) Work and play themes adolescent masculinity in contemporary color. ❏ “Agnes Martin: The Islands” to Tomboucto—A Photographic Odyssey explored. ❏ “American Studio Sculpture: paintings, photos, sculpture, installation (through Feb. 13) Suite of paintings previ- Across West Africa” Andrew Geiger’s trav- Early 20th-Century Works from the pieces, and video. ously shown in U.S. only at Whitney els in 2000; “Functional Clay” Ceramics Academy’s Collection (through Feb. 20) ❏ Museum. that combine form and function. Through Feb. 27: “Lono I Ka Makahiki” Ulrich Museum of Art, Wichita ❏ “Ulrich Hawaiian god Lono, as seen through artists’ Project Series: Emily Jacir” (through Mar. Kresge Art Museum, Michigan State Hockaday Museum of Art, Kalispell ❏ work; “Inner Scapes” 20th-century abstract 6) Photography, drawing, video, text, and University, East Lansing ❏ “Masters of “Susan Arthur: Roots of Rhythm II” art by Hawaiian artists. ❏ “Betty Sterling found objects focusing on Middle-East Illusion: 150 Years of American Trompe (through Mar. 4) ❏ “Flathead Celebrates Collection” and “Personal Mythologies: quagmire. L’oeil Painting” (through Mar. 20) Ceramics” (Feb. 3-Mar. 12) ❏ “New Recent Acquisitions and Joseph Cornell” Mid-19th century through 20th-century Artists” (Mar. 17-Apr. 12) ❏ “David (through Mar. 6) Museum’s 15th anniver- Kentucky examples. Shaner—A Retrospective” (through sary tribute: works from collection and bor- University of Kentucky Art Museum, Apr. 26) rowed pieces by Cornell. ❏ Through Mar. Lexington ❏ “Engaging Representation: Center Art Gallery, Calvin College, 18: “Honolulu Printmakers” Annual exhibi- Contemporary Art from the Speed Art Grand Rapids ❏ “Space and Spirit: Artistic Nevada tion; “Deborah Nehmad.” ❏ “Neo Rauch Museum” (through Mar. 6) Weems, Interpretations of a Sacred Place” Nevada Museum of Art, Reno ❏ “The Works 1994-2000: The Leipziger Muñoz, Simpson, Murray, and more. (through Jan. 29) Wynn Collection” (through March 30) Volkszeitung Collection” (through Apr. 19) Picasso, van Gogh, Renoir, Monet, Matisse, Paintings and drawings echoing American Louisiana Grand Rapids Art Museum ❏ “An Gauguin, Rembrandt, Brueghel, Sargent, Pop and Soviet posters. ❏ “The Art of University Art Museum, University of Impressionist Eye: Painting and Sculpture Warhol, Pisssaro, Basquiat, and others. Rice: Spirit and Sustenance in Asia” Louisiana, Lafayette ❏ Through Mar. 20: from the Philip and Janice Levin (through Apr. 24) Ancient ceramics and “Picasso Edition Ceramics: The Edward Foundation” (through Jan. 30) Degas, New Hampshire bronzes, gilded screens, rare textiles, con- Weston Collection” Plates, bowls, pitchers, Monet, Pissarro, Corot, Bonnard, Renoir, Thorne-Sagendorph Art Gallery, Keene temporary paintings, religious posters, and vases and plaques; “Arthur Kern: Vuillard, and others. State College, Keene ❏ “The Biennial more, providing insights into the signifi- Sculpture” Horses and human figures; Regional Jurors’ Choice Competition” cance of rice. “Sally Heller: Hanging by a Thread” Minnesota (through Mar. 6) Local artists. Mundane materials become hallucinatory Tweed Museum of Art, University of Idaho maze. ❏ Through April 30: “Lee Littlefield: Minnesota, Duluth ❏ “Spirals in Space and New Jersey Boise Art Museum, ❏ “Keys to the Koop: Sculpture” Painted sculptures made with Time: The Art of Leslie Bohnenkamp” Monmouth Museum, Brookdale Humor and Satire in Contemporary crape myrtle and hackberry; “Deborah (through Feb. 6) Fiber and paper sculptures. Community College, Lincroft ❏ “Westward Printmaking from the Collections of Jordan Butterfield” Horses created from wood, Ho! The Westward Migration, 1840-1850” D. Schnitzer and the Jordan & Mina found steel, and cast bronze, 1970’s to Weisman Art Museum, Minneapolis ❏ (through Feb. 13) The Oregon Trail. ❏ Schnitzer Foundation” (through Feb. 27) A the present. “Alfred Maurer: The First American “MCAC Juried Exhibition” (through bemused look at contemporary culture. ❏ Modern” (through Apr. 24) Traditional Feb. 20). “2004 Idaho Triennial” (through Mar. 13) Maine beginnings through Modernist maturity, State-wide, juried. Portland Museum of Art ❏ “Mildred 1897 to 1930. Museum of American Glass, Wheaton Burrage: The European Years” (through Mar. Village, Millville ❏ “Paul Stankard: A Illinois 13) Impressionist landscape and portrait Minnesota Museum of American Art, Floating World—Forty Years of an Museum of Contemporary Photography, paintings, sketchbooks, watercolors, and St. Paul ❏ “Louise Nevelson: Selections American Master in Glass” (through Mar. Columbia College, Chicago ❏ copies of Old Masters. ❏ “Margaret Bourke- from the Farnsworth Art Museum” 20) The artist’s interpretation of nature. “Manufactured Self” (through Mar. 3) White: The Photography of Design, 1927- (through Feb. 6). Personal and collective consumption from a 1936” (through Mar. 20) The early years. Aljira, Newark ❏ “The Crystal Land variety of angles. Mississippi Revisited: New Art in New Jersey” Maryland Mississippi Museum of Art, Jackson ❏ (through Feb. 9) Artists working outside Rockefeller Memorial Chapel, University Washington County Museum of Fine Through Jan. 30: “Journey of the Spirit: New York’s art establishment. of Chicago ❏ “Michel Öslund’s Apostles” Arts, Hagerstown ❏ “Whistler and Cassatt: The Art of Gwendolyn A. Magee” Quilts, (through Mar. 31) Interactive exhibit of art, Americans Abroad” (through Feb. 6) Works both abstract and narrative; “Work in Zimmerli Art Museum, Rutgers, State light, music, and architecture. on paper by two expatriates. Progress: Lester Julian Merriweather” University of New Jersey, New Brunswick Drawing with tape and other materials ❏ ❏ “Pastels in Paris: From the Fin-de-Siècle Block Museum of Art, Northwestern Massachusetts “Picture Show: Photographs from the to La Belle Epoque. Selections from the University, Evanston ❏ “How We Might Fitchburg Art Museum ❏ Through Permanent Collection” (through Mar. 27) Zimmerli’s Collection” (through Jan. 30) Live: The Art and Crafts Interior” (through Mar. 13: “Recent Gifts from the Vintage to contemporary photos Turn-of-the-20th-century artists. ❏ Mar. 6) Furniture and decorative objects by Jude Peterson Collection” American artists; and digital images. “Beyond the Border: Picturing Mexico in two designers/manufacturers: Morris and “Picturing Our Past: The Colonies Come Children’s Book Illustrations” (through Stickley. ❏ Through Mar. 13: “The Beauty of Age, 1720 to 1775” Portraits, Feb. 6). Books for browsing and hands-on of Life: William Morris and the Art of furniture, engravings, books, trade activities. Design” Original designs for stained glass, artifacts, and household utensils. 6 New Mexico “The Aztec Empire” (through Feb. 13) Five Angels for the Millennium” New York (through Apr. 17) A Chinese Neolithic stor- Harwood Museum of Art, University of Comprehensive survey of art and culture, premiere of this major video work that age jar dating from 2200 B.C., a modern New Mexico, Taos ❏ Through Feb. 27: including works never seen outside Mexico. explores nature, consciousness, and univer- 19th-century sugar bowl, a 20th-century “Ron Davis”; “Leslie Crespin sal human experiences. The installation was soup tureen, and more. ❏ “The Harry and Retrospective. Grey Art Gallery, New York University, acquired in a partnership between the Mary Dalton Collection: An Anniversary New York City ❏ “Mapping Sitting: On Whitney, the Tate in London, and the Celebration” (through Mar. 20) Paintings New York Portraiture and Photography, A Project by Centre Pompidou in Paris—the first inter- and works on paper. Albany Institute of History & Art ❏ Walid Raad and Akram Zaatari” (through nationally shared museum purchase; “The Greatest Generation Goes to War: Apr. 2) 20th-century Arab portrait photog- “James Lee Byars: The Perfect Silence” Weatherspoon Art Museum, University Images and Memories of World War II” raphy that contradicts prevailing media First solo presentation since 1970: sculp- of North Carolina, Greensboro ❏ “Phoebe (through Feb. 13) Encompassing three con- images. ture, drawings, and a room installation, all Washburn” (through Feb. 20) Room-sized current exhibits: “A Vision of History: expressing death, transformation, and tran- installation made of used cardboard. Images and Memories of World War II”; International Center of Photography, sience. ❏ “Small: The Object in Film, “Navy Waves: The Women of World War New York City ❏ Through Feb. 27: “White: Video, and Slide Installation” (through Feb. Greenville Museum of Art ❏ “Eric II"; “Posters and Persuasion: From the Whiteness and Race in Contemporary Art” 6) Magnified detail addresses sculptural Lawing: Between Earth and Sky” (through Albany Institutes Collections.” ❏ Works that provoke new ways of thinking relationships between material object and Jan. 30) Textured and tactile landscape “Byrdcliffe: An American Arts and Crafts about race: What does it mean to look at moving image. ❏ “American Pictures” paintings. ❏ “In Depth: Five South Colony” (through Feb. 28) Paintings, pho- race in relation to the concept of whiteness (through Feb, 27) Books and photos that Carolina Artists” (through Apr. 24) tographs, prints, furniture, textiles, metal- rather than looking at it from the focus of evoke “American-ness.” ❏ At the Whitney Painting, collage, watercolor, abstraction, work, and ceramics produced in the early people of color?; “The Mysterious Museum of American Art at Altria: prints. days of the colony. Monsieur Bellocq” Streetwalkers in New “Fight or Flight: Kristin Baker, Amy Orleans, early 20th century; “Bill Owens: Gartrell, Rico Gatson, Wangechi Mutu, Gallery of Art & Design, North Carolina Hyde Collection Art Museum, Glens Falls Leisure” People at play in B&W; “Ralph Marc Swanson, and Ivan Witenstein” State University, Raleigh ❏ “North ❏ “Carrie Mae Weems: The Louisiana Eugene Meatyard” Staged scenes of friends (through Feb. 18) Works created in Carolina Pottery Masters: North State Project” (through Apr. 10) Photography, and family in an expressionist style show a response to contemporary discussions of Pottery, Sanford, 1924-1959” (through Mar. sound, and video showing the history of fascination with the uncanniness of ordi- fear and anxiety. 31) Second in a series examining local New Orleans and the Louisiana Purchase. nary life. 20th-century potters. Giordano Gallery, Dowling College, Heckscher Museum of Art, Huntington ❏ Jewish Museum, New York City ❏ Oakdale ❏ “Tabula Rasa ➔ Tabula Plena” Southeastern Center for Contemporary “Feast the Eye, Fool the Eye: Still Life and “Collective Perspectives: New Acquisitions (through Jan. 30) Painting, sculpture, pho- Art, Winston-Salem ❏ Through Apr. 3: Trompe-l’oeil Paintings from the Oscar and Celebrate the Centennial” (through Mar. 6) tography, and mixed media by artists who “The Name Game: Allan McCollum and Maria Salzer Collection” (through Jan. 30) Painting, sculpture, photography, textiles, teach at the college. Mingering Mike” Portfolios of thousands of American and European masters of still metalwork, and ceramics. prints containing the most common names, life. ❏ “A New Narrative: Marden, Yager Museum, Hartwick College, according to the U.S. Census Bureau. Fitzpatrick, Stella, Warhol” (through May Metropolitan Museum of Art,New York Oneonta ❏ “Roy Rowan: China’s Civil 1) Each uses narrative imagery to explore City ❏ Through Mar. 6: “Romare Bearden War” (through Feb. 21) ❏ “Charles William Ohio literature, history, mythology, current at the Met” Highlighting the artist’s versa- Ward: American Industry, Painting and the Kennedy Museum of Art, Ohio events, or personal stories. tility in a variety of media; “Few are New Deal” (through Mar. 25) University, Athens ❏ “Robert Chosen: Street Photography and the Book, Rauschenberg: Scent and Pull” (through Katonah Museum of Art ❏ Through Apr. 1936-1966” Photos by Brandt, Cartier- Neuberger Museum of Art, State Feb. 13) Two prints from well-known 17: “Magdalena Abakanowicz: Backward Bresson, Evans, Frank, Levitt, and more, University of New York, Purchase ❏ Hoarfrost series (1974-75). ❏ “Lesley Dill” Seated Figures” Headless sculptures sug- including copies of the books in which they Through Feb. 13: “April Gornik: Paintings (through Mar. 20) A print tapestry and a gest obeisance; “Clement Greenberg: A were published. ❏ Through Feb. 20: “Klee: and Drawings” Mid-career survey, 1980 to lithograph/intaglio incorporating poetry of Critic’s Collection” Pollock, Frankenthaler, His Years at the Bauhaus (1921-1931)”; present; “The Power of Bronze: Royal Emily Dickinson. ❏ “The Trisolini Print Hofmann, Gottlieb, Olitski, and Noland. “All That Glitters Is Not Gold: The Art, Sculpture from the Kingdom of Benin” Project” (through Apr. 17) Contemporary Form, and Function of Gilt Bronze in the Objects cast in copper alloys, 16th-18th artists with little or no printmaking experi- Hillwood Art Museum, Long Island French Interior” Functional and decorative centuries. ❏ “Robert Rauschenberg: ence explore print media. University, Brookville ❏ “Talkin’:New examples. ❏ “Heritage of Power: Ancient Selections from the Permanent Collection” Yawk City Walls” (through April) Sculpture from West Mexico. The Andrall (through Apr. 10) Work from the1960’s- Taft Museum of Art, Cincinnati ❏ Contemporary works that have been influ- E. Pearson Family Collection” (through ’70’s, including Cantos, a print portfolio of “Frontier Memories: 19th- and 20th- enced by graffiti art: photos of graffiti Apr. 3) Ceramic works representing Dante’s Inferno. Century Art of the American West” artists at work, films, paintings, sculpture, Comala, Ameca-Ezatlán, and Ixtlán del (through Feb. 6) Paintings, watercolors, mixed media. Rio, 300 B.C. to 400 A.D. ❏ Through Feb. Memorial Art Gallery, University of sculptures. 27: “George Washington: Man, Myth, Rochester ❏ “The Paper Sculpture Show” Bard Graduate Center, New York City ❏ Monument: Images from the Metropolitan” (through Apr. 3) Viewers interact with Southern Ohio Museum, Portsmouth ❏ “The Castellani and Italian Archaeological Paintings, drawings, sculpture, and decora- three-dimensional sculptures by internation- “Magnificent Obsessions: Artists in Detail” Jewelry” (through Feb. 6) Three genera- tive arts depicting George; “William al artists. (through Apr. 16) Loom-woven gold and tions of jewelry makers in 19th-century Kentridge” Contemporary look at the cul- silver jewelry, visual diaries, light installa- Rome who revived ancient techniques of tural and sociopolitical issues in South Nassau County Museum of Art, Roslyn tions, and more, all overtly obsessive. the craft. ❏ “The Power of Bronze: Royal Africa. ❏ “Wild: Fashion Untamed” Harbor ❏ “Fernando Botero: Works on Sculpture from the Kingdom of Benin” (through Mar. 13) Pelts, plumes, prints, or Paper” (through Feb. 13) His personal Oklahoma (through Feb. 13) 16th- to 18th-century animal symbolism and faunal apparel. ❏ collection; first time on display. Gil Crease Museum, Tulsa ❏ “Wrapped in copper-alloy sculptures. “Peter Paul Rubens (1577-1640): The Tradition: The Chihuly Collection of Drawings” (through Apr. 3) First major Staten Island Museum ❏ “Richard American Indian Trade Blankets” (through Drawing Center, New York City ❏ retrospective for the drawings. Plunkett: Future Shock: Endangered Feb. 20) Hand woven textiles collected by “Richard Tuttle: It’s a Room for 3 People” Species of Staten Island” (through Feb. 6) the Glass Man. (through Feb. 26) Wall-mounted works and Museum of Arts & Design,New York Sculptures of species that may evolve in the 3-dimensional pieces in graphite, colored City ❏ “The Modernist Sculpture of Ruth future; a continuation of the Artist/Ideas Philbrook Museum of Art, Tulsa ❏ pencil, charcoal, gouache, plywood, string, Duckworth” (through Apr. 3) Ceramic art; Series. ❏ “Opening Doors: Snug Harbor “Hudson River School: Masterworks from sawdust, and glitter. first U.S. retrospective. and the Neoclassical Influence on Staten the Wadsworth Atheneum Museum of Art” Island” (through Apr.) The history of neo- (Feb. 6-Apr. 24) Cole, Church, Bierstadt, El Museo del Barrio, New York City ❏ Museum of Modern Art, New York City classical architecture on the island and the and the rest. “Retratos: 2,000 Years of Latin American ❏ “Projects 82: Mark Dion—Rescue art behind the architecture. Portraits” (through Mar. 20) Examples from Archaeology, A Project for The Museum of Pennsylvania Mexico, Central and South America, the Modern Art” (through Mar. 14) Installation North Carolina Trout Gallery, Dickinson College, Carlisle Caribbean, and the United States, from the based on archeological excavations below Folk Art Center, Asheville ❏ “Lesley Gail ❏ “Prints Since 1950” (through Mar. 5) pre-Columbian period through the Vice- the museum. ❏ “Yoshio Taniguchi: Nine Keeble & Peggy DeBell” (through Feb. 1) Traditional and innovative printmaking. ❏ regal era, Independence, and the modern Museums” (through Jan. 31) Projects by Figurative sculptures and quilted wall “Ward Davenny/Wind Wheels: Serious and contemporary periods. Taniguchi undertaken before his first inter- pieces. Weather of the Midwest” (through Apr. 16) national commission—the expansion of the Videos, charcoal drawings, and photo- Fashion Institute of Technology,New Museum of Modern Art. The Mint Museums, Charlotte ❏ “The graphs of severe weather. York City ❏ “Rico Puhlmann: A Fashion Nature of Craft and the Penland Legacy, 1955-1995” (through Apr. 9) New York Historical Society,New York Experience” (through Jan. 30) Relevance of Berman Museum of Art, Collegeville ❏ Drawings, photographs, sketches, and City ❏ “Alexander Hamilton: The Man craft in a hi-tech era; efforts to sustain the “Visions for a New Millennium: Wilderness more. ❏ “Glamour: Fashion, Film, Who Made Modern America” (through Feb. handmade. ❏ “Pottery American Style” Photography by Clyde Butcher” (through Fantasy” (through Apr. 15) Dresses worn 28) Portraits, documents, artifacts, multime- (through Feb. 20) History of the craft and Jan. 29) Large format B&W. ❏ “Modern by Dietrich, Hayworth, Monroe, Madonna, dia installations. its influences. ❏ “North Carolina Pottery, A Impressions: Japanese Prints from the and others. Restless Tradition” (through Feb. 27) Local Berman and Corazza Collections, 1947- Whitney Museum of American Art,New potters. ❏ “Speaking Volumes: Vessels 1977” (through Apr. 10) ❏ “Sally Larson— Guggenheim Museum, New York City ❏ York City ❏ Through Mar. 6: “Bill Viola: from the Collection of The Mint Museums” Photographs” (through Mar. 4)

Peter Voulkos, Pinatubo, 1993. In “Speaking Volumes,” Mint Museums, NC 7 winterVIEWS continued

Michener Art Museum, Doylestown ❏ Contemporary paintings, sculpture, pho- (through Feb 27) American craftwork: Evolution of design from dark brown “Selma Bortner: Body of Work” (through tography, works on paper, film, and video; glass, ceramics, jewelry, and furniture, glaze of Yorkshire potters to distinctly Jan. 30) Prints, 1960’s to 2004. “Kuba” Video installation, winner of a mid-20th century to 2001. ❏ Through American ornamental. ❏ “Verbum Vitae Carnegie Prize, showing soliloquies by Feb. 1: “Grace Graupe-Pillard: The et Lumen Scientiae: 175th Anniversary Westmoreland Museum of American shanty town inhabitants in Istanbul. Manipulation Series” Paintings that com- Print Portfolio” (Feb. 15-Mar. 4) Art, Greensburg ❏ “Man Made” (through ment on mass media; “Golden Children: Contemporary work to celebrate Apr. 17) Male quilters. Frick Art & Historical Center, Four Centuries of European Portraits from university’s birthday. Pittsburgh ❏ “Artistry and Innovation in the Yannick and Ben Jakober Foundation” Lancaster Museum of Art ❏ Through Pittsburgh Glass, 1808-1882: From Images of childhood in Europe, 16th-19th Washington Feb. 6: “A Celebration of Love” Antique Bakewell & Ensell to Bakewell, Pears & century. ❏ “Manuel: A Thank-You to Museum of Northwest Art, La Conner Valentines; “In Search of the Tao” Brush Co.” (through Mar. 26) Table and orna- America” (through Mar. 13) Costume ❏ “Frank Okada: A Retrospective” and ink on rolled rice paper; “Hidden mental glass, free-blown and molded, cut designer creates decorated jackets for (through Apr.) Pacific Northwest artist. Communication” Contemporary take on and engraved, sulphide glasses, and each state. quilt patterns of the Underground pressed glass. ❏ “Marvels of Maiolica: Henry Art Gallery, Seattle ❏ “WOW Railroad. Italian Renaissance Ceramics from the Texas (The Work of the Work)” (through Feb. 6) Corcoran Gallery of Art Old Jail Art Center, Albany ❏ “Vernon Exploration of the ways art—paintings, Collection” (through Apr. 3) Fisher: Notes for a New Novel” (through sculptures, videos, installations, and Painted tin-glazed earthenware. Feb. 27) Objects, text, and images in a photography—engages the viewer. variety of media and styles; 1985 to 2003. Warhol Museum, Pittsburgh ❏ Jundt Art Museum, Gonzaga University, “Jack Mitchell: Icons & Idols” Dallas Museum of Art ❏ “Robert Spokane ❏ “Behind the Curtain: East (through Apr. 15) Photographs that Smithson” (through Apr. 3) Complete European Prints 1960-1984” (through document the late 20th-century survey: sculpture, paintings, works on Feb. 5) Czech, Croatian, Polish, and American scene. ❏ “Seeing paper, manuscripts, objects, photos, and Serbian artists. Double: Ten Encounters with films. ❏ “Something All Our Own: The Warhol” (through May 1) Warhol- Grant Hill Collection of African American Wisconsin inspired works by contemporary Art (through Apr. 17) Collages, paintings, Kenosha Public Museum ❏ “Peter V. artists. prints, and sculpture by renowned and Bianchi: The Art of Science” (through emerging artists collected by national Mar. 31) Paintings and drawings by a Reading Public Museum ❏ basketball star. ❏ “Concentrations 46: National Geographic illustrator. “Berks Now” (through Feb. 6) Daniel Roth” (through Apr. 9) New work Last in a series featuring local by German artist. Madison Museum of Contemporary Institute of Contemporary Art, artists. ❏ “Exploring the Deep—The Art ❏ “Art on Site” (through spring) University of Pennsylvania, Philadelphia History of Diving” (through Mar. 13) El Paso Art Museum ❏ “Tales from the Installations at the Olbrich Botanical ❏ “Accumulated Vision, Barry Le Va” Historic and contemporary diving equip- Easel: Nineteenth- and Twentieth-Century Gardens. (through Apr. 3) Large-scale “distribu- ment in life-size simulated scenes. American Narrative Paintings from tion” sculptures and drawings as well as Southeastern Museums, circa 1800-1950” Haggerty Museum of Art, Marquette works in other media for which he is less Palmer Museum of Art, Pennsylvania (through Apr. 10) Homer, Benton, University, Milwaukee ❏ “The Invented well known. State University, University Park ❏ Hassam, Lawrence, Wyeth, and more. Worlds of J.R.R. Tolkien: Drawings and “Drawings by Kurt Seligman” (through Original Manuscripts from the Marquette Pennsylvania Academy of Fine Arts, Jan. 30) Surrealist’s prints, pastels, water- Kimbell Art Museum, Fort Worth ❏ University Collection” (through Jan. 30). Philadelphia ❏ Through Apr. 10: “In Full colors, and drawings. “Stubbs and the Horse” (through Feb. 6) Works from the famous trilogy. ❏ View: American Painting and Sculpture First exhibition devoted to this 18th-cen- Through Mar. 27: “On The Fence: Keith (1720-2005)” Every era of American art, South Carolina tury painter of horses. Haring’s Mural for the Haggerty”; 18th century to the present; “The Columbia Museum of Art ❏ “Victorian “Recent Gifts from the Allen and Vicki Chemistry of Color: The Harold A. and Visions” (through Apr. 10) Pre-Raphaelite Rice Gallery, Rice University, Houston ❏ Samson Collection.” Ann R. Sorgenti Collection of drawings and watercolors from the “89 Seconds at Alcázar” (through Feb. 27) Contemporary African American Art” National Museums & Galleries of Wales. Video installation bringing Velásquez’s Milwaukee Art Museum ❏ “Eva Zeisel: Bearden, Lawrence, Ringgold, Gilliam, ❏ “Rhythms of Life: The Art of Jonathan Las Meninas to life. The Playful Search for Beauty” (through and others. ❏ “Point of Sight: Thomas Green” (through Feb. 13) Gullah culture Feb. 6) Early pottery designs and some Eakins’ Drawing Manual Reconstructed” of the Carolinas and Georgia. Nave Museum, Victoria ❏ Through late work. ❏ “Mark Lombardi: Global (through Apr. 3) Pen and ink drawings Apr. 3: “Into the West: The Art of Robert Networks” (through Apr. 10) Visual narra- with measurements, scales, geometric Greenville County Museum of Art ❏ Summers” Realist oil painter and tive drawings, some of monumental size, formulae, and additional mechanics. ❏ “Myths and Metaphors: The Art of Leo sculpture; “Victoria’s Master Craftsmen: about money. “Quentin Morris” (Through Feb. 13) Twiggs” (through Mar. 27) Retrospective: Joe Bianchi and C.I. Tibiletti” Spurs Monochromatic black paintings, oil and batik paintings. ❏ “In Depth: Five and saddles. Racine Art Museum ❏ “The Artist drawings, and environment. South Carolina Artists” (through Apr. 24) Responds: Albert Paley and Art Nouveau” Blair, Dreskin, Halsey, McCallum, and Vermont (through Mar. 6) Metal sculptures, works Philadelphia Museum of Art ❏ Through Moseley. Middlebury College Museum of Art ❏ on paper, and objects that influenced the Feb. 13: “Pontormo, Bronzino, and the “Contemporary Photography and the artist. Medici: The Transformation of the Tennessee Garden: Deceits and Fantasies” (through Renaissance Portrait in Florence” 15th- Knoxville Museum of Art ❏ “Chuck Apr. 17) American and European Kohler Arts Center, Sheboygan ❏ “Ruth century masters: paintings, drawings, Close Prints: Process and Collaboration” photographers. Grotenrath and Schomer Lichtner: coins, metals, and prints; “Bill Viola: The (through Mar. 27) Early to contemporary Blooms and Bovines” (through Feb. 27) Greeting” ❏ “Italian Master Drawings: prints and the printmakers, chromists, Virginia Milwaukee’s “first couple of painting.” ❏ 1540 to the Present” (through Feb. 20) block cutters, screen printers, and others, Peninsula Fine Arts Center, Newport “A Bird in the Hand” (through Mar. 20) Major regional schools represented: involved. News ❏ “Rediscovering a Legacy: Artistic Sculptors rendering birds in cotton, steel, Milan, Bologna, Florence, Venice, Genoa, Traditions of West Africa” (through Mar. silver, ceramic, and brass. ❏ “8 Counties” Rome, and Naples. ❏ “Florence Knoll National Ornamental Metal Museum, 27) Textiles, masks, jewelry, currency, (through Apr. 24) Triennial exhibit of art- Bassett: Defining Modern” (through mid- Memphis ❏ “Kettles: Japanese Artistry and and artifacts from Mali, ancient times work from east-central Wisconsin. ❏ Mar.) Furniture designed for Knoll Inc., American Artists” (through Feb. 27) The to present. “Ready to Wear” (through Jan. 30) A look and photos of interiors. ❏ “Lewis and Japanese tea ceremony kettle as a living tra- at the role that clothing and adornment Clark Revisited: A Trail in Modern Day, dition and a source of inspiration to Chrysler Museum of Art, Norfolk ❏ play in revealing personality. ❏ “William Photographs by Greg Mac Gregor” American artists. ❏ “Collection Squared “Photography Speaks” (through Feb. 27) Wood: Emergence” (through Mar. 13) (through Feb. 6) Photographic journey Plus One” (through Feb. 1) American arts & New acquisitions. Large-scale abstract oil paintings. ❏ following explorer’s path. ❏ “Stuart Davis crafts silver, contemporary art jewelry, his- “Double Take” (through Feb. 27) How and American Abstraction: A Masterpiece toric European ironwork, 18th-century Radford Art Museum ❏ “Works by Pam others see you vs. how you see yourself: in Focus” (through Apr.) Swing British silver, and early American craft tools. and Noel Lawson” (through Feb. 13) Two work by artists and the public in paint, Landscape and other paintings, prints, and Professors Emeriti strut their stuff. ❏ clay, metal, wood, and fabric. drawings. ❏ “The Poetry of Clay: The Art Fine Arts Gallery, Vanderbilt University, “Jonathan Cox: Navigations in Time” of Toshiko Takaezu” (through Mar. 6) Nashville ❏ “The 2003 Margaret (through Mar. 11) Large non-objective Woodson Art Museum, Wausau ❏ “Aunt Recent explorations in ceramics, and work Stonewall Woodridge Hamlet Award sculpture in wood. ❏ “Flowing Gladys” (Mar. 12-20) Mobile glassblow- in weaving and bronze. Winner Exhibition” (through Feb. 3) Print Thoughts—Lyrical Line: Paintings by ing studio. ❏ “William Morris: Myth, and mixed-media. ❏ “Southern Graphics Salma Arastu” (through Apr. 1) The Object, and the Animal” (through Apr. 3) Carnegie Museum of Art, Pittsburgh ❏ Council” (through Mar. 17) Intaglio, serenity of meditation. Glass-blown sculptures of life-size ravens, “Kawase Hasui: Landscapes of Modern relief, lithographic, and mixed-media deer heads, and more. ❏ Japan” (through Feb. 27) Print designer of prints. University of Richmond Museums ❏ the shin hanga (“new print”) movement of “‘Fancy Rockingham’ Pottery: The early 20th-century Japan. ❏ Through Mar. Frist Center for the Visual Arts, Modeller and Ceramics in Nineteenth- 20: “2004 Carnegie International” ❏ Above left: Takeda dolls, Two Soga Brothers, c. Nashville “Masters of their Craft” Century America” (through Feb. 27) 18th-19th century. In “Ningyoø,” Morikami Museum, FL

8 65 EXHIBITS EXPLORE NEW PERSPECTIVES SABBATICAL

Sitting” contradicts the widely circulated DESTINATION: At the International Center of homogenous images of the Arab world. In one Photography (NY), the exhibition “The section of a four-part exhibition, a video projec- Florence Mysterious Monsieur Bellocq” focuses on the by Allison Levy realities in the lifetime of legendary photogra- tion based on group portraits of military men pher E.J. Bellocq. According to long held belief, from Iraq and Egypt (1920-1940) conveys the first expounded by John Szarkowski, 1970’s pluralistic and multifaceted Middle Eastern com- Junior sabbatical is truly a gift. Soon I will director of photography at the Museum of munities captured by indigenous photographers. return from a 15-month experience in Florence, Modern Art, in his 1970 exhibition of photo- These are images far different from those we see Italy. Of course, my research on early modern graphs made from Bellocq plates by today in popular Western and visual culture brought me here, but my travels, photographer Lee Friedlander, Bellocq Middle Eastern media. sightings, and meetings—all very much ground- was a skillful primitive who “discov- ed in contemporary Italian culture—have been invaluable and have defined this as a truly ered secrets” but was unaware of the “Will Boys Be Boys?” is an importance or beauty of his work. He unique and exceptional year for me. Although was, Szarkowski claimed, a “hydro- exhibition at the Salina Art writing about Renaissance objects and charac- cephalic semi-dwarf, a good subject for Center (KS) that questions ters has been my primary objective, realizing a caricaturist, who cultivated the com- adolescent masculinity in con- how modern-day Italians relate to those same pany of prostitutes.” temporary art. Works explore historical objects and personalities has given me In fact, Bellocq was a dapper, well the notion of the adolescent a chance to construct multi-layered and produc- recognized commercial photographer in male as a socially deter- tively conflicting narratives. Anyone who has New Orleans, active from 1900, when mined type, and also as a visited Florence, or any other thriving “Old he was twenty-six; his clients included product of the post-feminist World” city, can understand the parallel though age when fluidity of gender and constantly shifting spaces and dialogues prominent businessmen and members of between old and new, tradition and innovation. the church. The photographs of prostitutes ambiguous identity becomes evi- Blurring the boundaries between early modern were taken in 1912 at locations close to his dent. Male adolescence is now seen and postmodern has always been a crucial com- studio in Storyville, the New Orleans red- as sometimes androgynous, some- ponent of my scholarship, but now having truly light district. They were intended as illustra- times arrogant and vulnerable, lived what had been simply a method or philos- tions in a guidebook to the local brothels sometimes threatening, and some- ophy has been immensely important for my And in fact, Bellocq’s prostitutes are not times exuberantly masculine. ❏ writing and thinking and, most importantly, for “pin-ups.” Single portraits, they are simple my teaching. This is my gift that I will share and respectful, taken inside brothels, the with my students. women at ease with themselves, their sexual- It is also a gift when scholarship directly ity, and their photographer. Bellocq, through informs teaching, and vice-versa…. In late spring, as I began to realize that my his portraits, gives a unique look into the sabbatical year would soon be coming to a world of Storyville. close, I started to think about how I would infuse my courses next year to better reflect my At New York University’s Grey Art experiences in Florence…. I will take advantage Gallery (NY), the exhibition “Mapping of new technology…to offer students an expanded and critical look into the complexities of art and ritual, historical places and figures, CONVERSATION continued space and spectatorship, politics and patronage in Florence. My current book project is on male contend that they are cultivating nature and about what landscape painting could be. and female Florentine portraiture, and I can expressing its harmony and balance. So when JV: After all, the entire basis of the Academy’s think of no better way to introduce students to they get to Italy, they don’t choose to paint teaching method assumed that art was funda- such concepts as individualism, personality, nature unmediated but instead view it through a mentally didactic: paintings must tell stories. identity, representation, and likeness than to lens, finding and emphasizing vertical and hori- Landscape provided the background for that introduce them to a few familiar faces: my zontal lines. They discover structure that storytelling. It became subversive when friends and “fam- becomes the essential foundation of their com- artists concentrated their attention ily” in Florence positions. increasingly on the landscape elements …. I will present so that the figures seem almost like an my students (via MM: In addition to gathering elements and afterthought. still photographs combining them in a way that conveyed the and video) with a underlying structure of the natural order, WW: The figures are there to legitimize fresh understand- Valenciennes evoked Greece in the title of [his] the painting, but in the work of ing of and a new painting…. Valenciennes and the other Neoclassical appreciation for painters, the figures get smaller and the study of por- WW: Yes, clearly he felt it was important to smaller in relation to their setting. traiture: not as identify the landscape as Greek—following the aloof but alive, path of Enlightenment figures like MM: Of course, narration continued to not as distant but Winckelmann—even though only one of the be a very strong tradition for a few cen- dynamic, not as structures depicted is truly Greek. turies, but in the 17th century landscape framed but famil- began a movement toward painting that iar—complicated JV: That would add another layer of resonance aims primarily to be aesthetically satisfy- and multi-layered to the landscape. The idea of painting landscape ing, without being uplifting or telling a story, yet accessible for its own sake was radical, after all. which was indeed radical. ❏ and approachable. This is just one of the ways in which my sabbatical gift will continue to Landscape without a connection to narration ❏ was merely “Art,” with a capital “A.” Claude give back to my students…. often gave his paintings titles that called up no Above: Jose Campeche y Jordan, Infanteria Fijo de Puerto Rico [Allison Levy is assistant professor of Italian mythological or historical heritage at all. (An Ensign in a Regiment of the Permanent Infantry of Puerto Rico, 1789. Oil on canvas. In “Retratos,” El Museo del Barrio, NY Renaissance and Baroque Art History at Right: John Hamilton Mortimer, Two Banditti, 1770. Wheaton College in Norton, MA] MM: That could be considered subversive Oil on panel. In “The ‘Horrible Imaginings’ of John Hamilton because Claude was stretching the notions Mortimer,” Cantor Arts Center, CA 9 NEWS FROM NEW YORK TWO MUSEUMS PREEMPT contemporary lexicon. In smaller galleries the old friends—Matisse, Picasso, Pollack, Johns— WORLD NEWS IN NYC look stunningly new. Other galleries show the PRESS designs of our modern era, the architecture, the prints, the drawings, the video, the sculpture, and For two weeks in November, two events cap- the temporary, innovative ideas of the curators. tured the blasé,we’ve-seen-it-all public of New It all began in 1929 in a small building on York City and its media star, The New York 57th Street. By 1939, after several moves, the Times. Page 1, above-the-fold stories told of the museum opened at 11 West 53rd Street, the At the Met opening of the astonishing new, double-the-size address it still maintains to this day. The subse- The other phenomenon, the purchase of Museum of Modern Art on 53rd Street (with an quent expansions through the years by Phillip Duccio’s Madonna and Child, swept the news alternative entrance on 54th) and of the breath- Johnson and Cesar Pelli have been incorporated media in a paroxysm of admiration. (See article taking, first-time, once-in-a-museum’s-lifetime, into the newest, by Yoshio Taniguchi, who is on Duccio on p.3) In what Metropolitan Museum $45 million purchase by the Metropolitan happy with the outcome of his first project out- Director Philippe de Montebello described as Museum of Art of Duccio di Buoninsegna’s side Japan. “one of the great single acquisitions of the last Madonna and Child, one of the very rare extant As is the proactive board of the museum. In half century,” the museum announced the pur- canvases by this early Renaissance artist. the view of Robert B. Menschel, president of the chase of this rare and uniquely important early board, architecture is a creative art, but not a soli- Renaissance masterpiece by the 13/14th-century At the Modern Italian painter Duccio di Buoninsegna (active by Having gone through more than $850 million tary one. The museum’s success, he believes, can be measured through the help and cooperation of 1278; died 1319). Says de Montebello, “Filling a on its new face and image, MoMA surely has gap in our Renaissance collection that even the established its place as the brightest light in the the many people involved. And the building, he says, speaks for itself, as it should. The museum Metropolitan had scant hopes of ever closing, the firmament of New York City museums. Its glass addition of the Duccio will enable visitors for the portals open onto a spectacular atrium that reach- is new, while it maintains tradition. And the art is paramount. first time to follow the entire trajectory of es to daylight 110 feet above. Level by level, in European painting from its beginnings to the addition to the art, which unfolds in perimeter Glenn D. Lowry, director, positions his muse- um in the realm of a laboratory, investigating present. Moreover, the Duccio Madonna and galleries, a visitor experiences dizzying vistas— Child is a work of sublime beauty. This was a below, above, and how to think about our times and provisional ways of looking at art. An experiment, a trial, unique opportunity not only to add a masterpiece across the central to the museum’s holdings but to give its collec- space. Huge an inspiration. Descriptive words—“serene,”“like a cathe- tions a new dimension.” galleries accom- The Duccio painting is on view modate the huge dral,”“majestic”—pervade the public media and personal comments about this new New York in Gallery 3 of the museum’s European works of art that Paintings Galleries. ❏ have become phenomenon. It is there to see and absorb— common in the at $20 per visit. NEW MINDSET AT the NEW MoMA the fray of more usual developments, and instal- the product of individual artists, styles, and “The lation only of masterpieces cannot represent the movements. Displayed in individual galleries, greatest museum development of modern art, but neither can an they function as the arguments and counter-argu- of modern art in installation without masterpieces. In planning ments in the continually disputed history of what the world,” the this display, we chose a wider pool than before, it means to make modern art. Of course, the gal- Museum of but, having enlarged the pool, we were stricter leries must be coherent when taken as a whole; Modern Art than before in our choices: a lesser artist will be the coherence that we have sought is, however, (MoMA), now represented if the historical account demands it, one with the excitement of a debate in progress, 75 years old, has articulated a new set of princi- but only if that artist can be represented by his or not of things settled, determined or impervious ples by which it displays its collections in its her best work." to change.” spectacular new building. Each curatorial depart- ment—painting and sculpture, drawings, prints 4) To adopt the same criteria for deciding which 6) To ensure that the contents of a single gallery, and illustrated books, photography, film and works in other media should be shown in the in affording an account of a single subject, be media, and architecture and design—has adapted painting and sculpture galleries. “We enlarged amenable to change. “The installation of every its own variations, but there are seven principles the pool, recognizing that some modern move- subject gallery can be changed periodically, to that govern and guide the display of art: ments cannot be represented properly without offer differing interpretations of its subject, and the inclusion of prints or drawings or photo- the very subjects of some of the galleries will 1) “To honor our founding direction and provide, graphs, yet held these to the same, rigorous change on occasion, within their historical peri- as conscientiously as we can, an historical selection process.” od, to offer differing interpretations of their his- overview of modern art through the best possible torical period.” works.” 5) To provide an historical account of modern art that draws attention to its diversity as much as to 7) To afford the best possible experience of the 2) To display the art of roughly the last 30 years its unity. “Therefore, this display will replace the individual work of art. “The previous principles in a more reportorial way. “Being conscientious old “beads-on-a chain" gallery sequence, which are mainly concerned with the educational func- means acknowledging the inappropriateness of allowed the inference that everything flowed tion of the display in providing a new account of attempting an historical overview of contempo- along a single path. Now, the galleries are not the history of modern art. In the experience of a rary art. Therefore, art will be displayed in gal- laid out in a prescribed order, but are set side-by- work of art, it is impossible to separate the leries that suggest sampling rather than synopsis; side along the north and south wings of each of pleasure and the understanding, but curators that rotate in their entirety fairly frequently; and the two floors devoted to painting and sculpture have to be far more careful about preserving that mingle paintings and sculptures with works before 1970. Moreover, each gallery is con- the pleasure than about urging the understanding. in other mediums, now characteristic of contem- ceived autonomously, being devoted to a single This re-installation is pledged, without porary art.” subject, explored over the period of its greatest qualification, to give to individual works the flowering. Rather than suggesting that modern places and the companions that will cause us, 3) To strike a balance between works of greater not only to think about them, but to delight in and lesser artists, “since masterpieces rise above art is one thing, this display implies that it is a ❏ composition made of individual achievements, them as well.” Above: Reginald Marsh, Subway—14th Street. Egg tempera on canvas. In “Tales from the Easel,” El Paso Art Museum, TX 10 Left: Margaret Bourke-White, USSR: Dneiperstol, Man on a Turbine Shell. In “Margaret Bourke-White,” Portland Museum of Art, ME NOTES AND NEWS Ed Ruscha to Represent the U.S. in inception—to projects in 96 countries. The of this 5-level venue is thangkas (religious Venice 2005 administration of the grants is overseen by the paintings) and sculptures from the ranges of West coast artist Ed Ruscha has been respective U.S. embassies, often in collabora- Tibet—Tibetan Buddhist art interspersed with selected to represent the United States at the tion with local nonprofit organizations. work from other parts of Asia and a sprinkling 2005 Venice Biennale. He was chosen by a of other continents. committee of representatives from the Restoration Assured by NYC Pledge It becomes obvious quickly that the Guggenheim Museum, the Hirshhorn Museum, The proffer of funds from Guggenheim museum is not specifically nationalistic or the Whitney Museum, and the San Francisco Museum (NY) Chairman Peter B. Lewis ($15 singularly Buddhist; there are no altars, fliers, Museum of Modern Art, and then ratified by the million) and other trustees, totaling $20 million or endorsements. Art is the point; the museum State Department. were the catalyst for the City of New York’s displays its demons, Gods, lamas, monks, and The selection committee specified that the Department of Cultural Affairs to pledge anoth- sages in an uncluttered, Western mode, eschew- artist selected should choose a curator, one that er $4.5 million toward the realization of plans ing all the cultural content—the heat and pas- was not associated with any of the museums to restore the exterior of the building and recon- sion—with which they were created. Yet the represented on the committee. Ruscha’s selec- figure the interior. Inside improvements will paintings dance and jig, flex and snarl, gesture tion, Linda Norden of Harvard University’s include a café/bookshop, restaurant, access to and grimace, luring the viewer to the mysteri- Fogg Art Museum, will become the U.S. com- the roof, and upgraded climate control and ous Himalayas. missioner for Venice in 2005. computers. A basement gallery displays contemporary Since the government has designated only art while upper-level temporary displays investi- $170,000 for the Biennale, additional funding Dutch Paintings Go to LACMA gate the subtleties and cross-overs of Himalayan must be found. The Los Angeles County Museum of Art art: the inaugural show titled “Demonic Divine: (CA) announced a gift of 11 Dutch Golden Age Himalayan Art and Beyond” explores the notion Wholesale Collecting a Boon to MoMA paintings from trustee Hannah L. Carter and her that the fiercest looking Himalayan divinities Harvey S. Shipley Miller has become man late husband Edward W Carter, the museum’s are often the staunchest defenders and protec- of the hour in the universe of art-acquisitions. A founding president and first chairman. The tors of the innocent. Looking evil, they scare off Harvard-trained lawyer and investor, whose paintings, valued at some $60 million, include evil—a phenomenon that can be seen in many close friendship with abstract artist Judith works by Jacob van Ruisdael, Aelbert Cuyp, other areas and religions, the Tantric art of Rothschild (d. 1993) caused his appointment as Aert van der Neer, Pieter Saenredam, and Nepal, India, and China, for example. executor of her $42 million estate and head of Emanuel de Witte. a foundation that benefits under-recognized Educator Resource Center Opens; artists, he recently and in short order amassed Chinese Sculpture Gallery Revamped a collection of some 2,500 drawings by 400 The Nelson-Atkins Museum of Art (MO) contemporary artists from 20 countries. He announced the opening of the Educator plans to offer the entire assemblage—mostly Resource Center (ERC), a special resource post-1980—to the Museum of Modern Art for area educators that will connect the muse- (NY). um collection to classroom curriculum In addition to disbursing grants promot- throughout metropolitan Kansas City and a ing under-recognized artists, Miller engages in four-state region. It is the first component of “discretionary initiatives” that benefit muse- a Ford Learning Center, an education facility ums. He has become a patron of the in progress, funded by the Ford Motor Metropolitan Museum, the Whitney Museum, Company Fund and the Greater Kansas City the National Gallery, and the Philadelphia Community Foundation. Museum, among others, serving on various Portland Museum Acquires The ERC will enable educators in schools committees and donating art and money. In Homer Studio and youth-serving agencies to connect class- 2001, after giving MoMA a $6.5-million collec- In launching a two-year capital campaign room curricula to the collection by providing: tion of 1,400 Russian avant-garde artist books, for the acquisition, preservation, and endow- ¥circulating classroom materials: books, he was made a trustee. ment of The Winslow Homer Studio at Prout’s videos, posters, cd’s; The list of artists that comprise the draw- Neck on the rocky coast of Maine, 12 miles ¥access to museum educators with knowledge ings collection is panoramic: from Philip from home, “the Portland Museum of Art of curriculum development as well as the muse- Guston, Andy Warhol, Jasper Johns, Ellsworth (ME) will create a prominent center for the um’s collection; Kelly, Cy Twombly, Richard Serra, and Vija study of Homer’s artwork,” said Director Daniel ¥classes, workshops, and opportunities for pro- Celmins to Ray Johnson, Franz West, Hanna E.O. Leary. “As one of the most important fessional development; Wilke, Sherri Levine, Jim Hodges, Mike Kelly, places in the history of American art, this pre- ¥specially designed workshops for schools and Paul McCarthy, Paul Noble, and scores of cious landmark is key to understanding school districts. emerging artists. Homer’s genius and his affinity for the rocky Other programs are planned for the future: coast of Maine.” In fact, Homer lived here and ¥an educator network; US Ambassadors Support Local Cultures painted many of his masterpieces from 1883 to ¥online curriculum units; The Ambassador’s Fund for Cultural his death in 1910. It was originally built as a ¥an annual curriculum development seminar Preservation, an outgrowth of the Department carriage house, and then renovated. and school year follow-up; of State, established in 2001, awards money The Winslow Homer Studio will be used to ¥an annual regional conference focused on grants in response to proposals by U.S ambas- celebrate the artist’s life, to encourage scholar- themes related to museum collections; sadors for funds to support local cultural her- ship on Homer, and to educate audiences to ¥accredited graduate classes offered in partner- itage projects in 121 countries, all of which are appreciate the artistic heritage of Winslow ship with the University of Missouri, Kansas City. rated medium and low in the UN human devel- Homer and of Maine. An advisory committee [For more information: Cammi Downing, 816- opment index. Recently 41 awards, sharing a will determine how the studio will be preserved 751-1312, or email [email protected]] budget of $1.2 million, were announced. and utilized. “The Glory of the Law: Treasures of Early Two of the largest grants went toward Chinese Buddhist Sculpture” is a reinstallation establishing a National Archives in Kabul, Eastern Gods Get New Residence of the Nelson-Atkins’ well known collection of Afghanistan ($31,202) and toward the renova- The Rubin Museum of Art (NY), a new works from the 5th-10th centuries. It is the first tion of the bazaar of the Wazir Khan Mosque in presence in the constellation of New York City change in the museum’s presentation of this Lahore, one of Pakistan's finest Islamic build- museums, is devoted to the Buddhist art of collection since 1941. ings ($31,015). The largest award was $39,095, Himalayan Asia. Its home, the former Chelsea The new installation illuminates more given towards the restoration of the St. headquarters of Barneys department store, clearly how Chinese art responded to the needs Augustine Basilica in Annaba, Algeria. retains some of the architectural elements of the Continued on back page The Ambassador's Fund has awarded 205 former up-scale shop, but none of the wares that Winslow Homer, Fox Hunt, 1893. Oil on grants—some $4.2 million in all since its attracted its wealthy customers. Rather, the stuff canvas. In “In Full View,” Pennsylvania Academy of Fine Arts, PA 11 Non-Profit Org. museumVIEWS U.S. Postage PAID 2 Peter Cooper Road New York, NY 10010 Permit No. 9513 New York, NY

Above: George Stubbs, Whistlejacket, c. 1762. Oil on canvas. In “Stubbs and the Horse,’ Kimbell Art Museum, TX

Right: Deborah Butterfield, Rondo, 1994. Found steel. In “Deborah Butterfield,” University Art Museum, LA

NOTES AND NEWS continued

of a complex foreign religion (Buddhism) that work was created with the participation of stu- tutions: 1) by building partnerships with com- arrived and spread along the trade route linking dents and residents of the community and gen- munity organizations and by increasing visibili- China with India and the Middle East. All the erated a sense of pride and ownership in the ty through world-class exhibitions, a museum elements of display have been upgraded: the participants. Volunteers had to be willing to increases its attendance, becomes a cultural des- structural design of the gallery; the thematic climb 6-foot ladders and be able to carry heavy tination and an economic engine; 2) this eco- selection of works; even the lighting—all under- loads; only students over 13 years old were nomic activity suggests opportunities for retail taken to illustrate more clearly the increasing permitted to participate. and cultural tourism packages. complexity and sophistication in the arts as a “Public art,” says Ellen Keiter, exhibition result of the spread of Buddhism in China. coordinator, “is a wonderful way of bringing Arts and Education Initiative people together and engaging them in the world “Transcultural New Jersey: An Arts and Academy Celebrates its 200th they occupy. It is especially thrilling to see art Education Initiative" is a statewide project The Pennsylvania Academy of the Fine in unexpected places.” documenting the contributions of Arts has been in the business of educating Latino/Hispanic/Caribbean, African American, artists, collecting their work, and exhibiting it Communities Reap Benefits from Asian-American, and Native-American New for 200 years. It is the oldest art school and Expansion and Exhibition Jersey artists through more than 20 exhibitions museum of fine arts in the nation. On December The expansion and historic renovation at museums, galleries, and arts organizations. 26, 1805, Charles Wilson Peale and 70 other underway at the Heckscher Museum of Art Some 20 museums, among them the Newark prominent Philadelphians gathered at (NY) is expected not only to transform the Museum, the Jersey City Museum, and the Independence Hall to sign the Pennsylvania museum itself into a major cultural destination, Aljira Gallery, are initiative venues. The pro- Academy charter. Since that time, the academy but also to have a strongly positive impact on gram is designed to highlight the achievements has amassed one of the fine collections of the economy of the community. “The museum of artists from historically underrepresented American painting, sculpture, and works on currently contributes approximately $5.5 million populations and provide insight into the state’s paper in the world. Included in the collection to the local economy,” says Executive Director diverse population, foster cross-cultural dia- are works by West, Stuart, Homer, Eakins, Beth Levinthal. “This number is projected to logue and understanding, and impact curriculum Hassam, Cassatt, Hopper, O’Keeffe, Davis, significantly increase when the expansion and development and education. and Lawrence. renovation is completed.” The program was developed by Rutgers Major American artists have taught or stud- University’s Office of the Associate Vice ied here, among them Eakins, Cassatt, Beaux, The economic impact on the community of President for Academic and Public Partnerships Parrish, Henri, Sloan, Marin, Sheeler, and the Bruce Museum’s (CT) exhibition “Love in the Arts & Humanities and the Jane Demuth. Letters: Dutch Genre Paintings in the Age of Voorhees Zimmerli Art Museum in partner- Lately, with space provided by an added Vermeer” was substantial. The museum’s atten- ship with New Jersey Network Public building—the Samuel M.V. Hamilton Building— dance was the highest since 1999; more than Television. It is supported by foundations, cor- the academy is expanding its $1.2 million was generated; $440,000 was spent porations, the New Jersey State Council on the contemporary holdings, among which is Vincent on food, entertainment, transportation, retail Arts, and the New Jersey Council for the Desiderio’s recently acquired triptych Pantocrator. purchases, and lodging. 1,000 visitors were sur- Humanities, as well as Rutgers University. veyed during the exhibition. On average, they The new Numina Gallery in Princeton 50th Anniversary Celebrations spent $43 per person on food, $79 in communi- developed its inaugural exhibition, “’Til Every Go Outside ty retail establishments. Other money-raising Art be Thine,” as part of the initiative. The focus Coinciding with its year-long anniversary activities added to the totals: almost $500,000 of the exhibition is a 1939 mural, Under the celebrations, the Katonah Museum of Art was raised in support of the exhibition; Palms, which has occupied one wall of (NY), in cooperation with the Katonah Village $100,000 was earned through admissions; over Princeton’s Palmer Square post office for more Improvement Society, has undertaken a public $150,000 came through gift shop sales. than 60 years. ❏ art project of wrapping trees on the island The Bruce Museum came to certain conclu- greens along one of the main roads in town. The sions that apply as well to other expanding insti-