museumVIEWS A quarterly newsletter for small and mid-sized art museums Summer 2012

Basket by Embera-Wounaan Indian of Panama’s Darien Rain Forest. In “Quest for the World’s Best Baskets,” Goldstein Museum of Design, MN  1  museumVIEWS

Features Summer 2012 Page 3 Taking Over, Filling Shoes, Moving On Page 4 Museums Fulfill Teaching Mission Race For Zodiac Reenacted In China

Page5 Jean-Marie Haesslé, Black Odalisque, 2012. Barnes Foundation Opens In New Home In “Haesslé,” Hillwood Museum of Art, NY U.S. Government Returns Stolen Work Page 6 Definitions: Expressionism; Genizah Munch’s Scream And Climate Change Pages 7–8 What’s Out There for Summer Travelers? Page 9-12 newsbriefs Pages 13 NOTES about an artist: Edouard Vuillard Pages 14-21 summerVIEWS

Michael Velliquette, Chromasoul. Acrylic, gator board, glue, paper. In “To Become Day,” Villa Terrace Decorative Arts Museum, WI museumVIEWS Editor: Lila Sherman Publisher: Museum Views, Ltd. 2 Peter Cooper Road, New York, NY 10010 Phone: 212.677.3415 FAX: 212.533.5227 Email: [email protected] On the web: www.museumviews.org MuseumVIEWS is supported by grants Dwayne Wilcox, from the Horace W. Goldsmith Foundation Custer and Bloomberg. Eating Crow. Mixed media on ledger paper. In MuseumVIEWS is published 4 times a year: “Dwayne Wilcox,” Missoula Art Winter (Jan. 1), Spring (April 1), Summer Museum, MT (July1), and Fall (October 1). deadlines for listings and artwork are Nov. 15, Feb. 15, May 15, and Aug 15.

 2  TAKING OVER, FILLING SHOES, MOVING ON The day a new director takes the reins from an established, well- seum in 2010 from John Bullard, a 37-year veteran in the job. Her arrival loved old hand is daunting—a long day to say the least. In 2008, 20-year came five years after Hurricane Katrina had devastated the city, and only veteran Lewis Sharp of the Denver Art Museum chose his own successor, two years after the 2008 financial crisis. “Thirty-seven years ago,” she Christoph Heinrich—an unusual case, but nonetheless daunting. After said, “it was about building the collection, making sure it was housed intensive interviews, on-the-job observing, one-on-one discussions with properly,” to attract touring megashows. Today’s directors “respond dif- all trustees, and a stint as deputy director, Heinrich finally took the vener- ferently to defining what a program should be.” The new focus, she and able Sharp’s seat some two years later. many of her colleagues believe, is on expanding the audience, enhancing A spate of retirements and demises in the past several years have the visitor experience, developing educational programs, and partner- opened major museum directorships for new occupancy: in 2009, ing with other arts organizations—transforming the museum into a civic Phillipe de Montebello of the Metropolitan Museum of Art (NY) retired gathering place. after 31 years, ceding his place to Thomas Campbell; in 2008, Anne “Our goal,” said Heinrich, “is to fill it [the new Daniel Libeskind d’Harnoncourt died suddenly leaving the Philadelphia Museum of Art building] up with energy and interaction and new ideas and new content. (PA) without a director for the year until Timothey Rub took her place Lewis [his longtime predecessor] built the building, and now we get to in 2000; in 2010, Marc Wilson, 28 years at the Nelson-Atkins Museum play with it.” ■ of Art (MO), left Julián Zugazagoitia in charge; that same year, Peter C. Marzio died after having served 28 years at the Museum of Fine Arts, [Carol Kino’s article for The New York Times, “Meet the New Boss, in Houston (TX), leaving a place for Gary Tinterow. the Shadow of the Old Boss,” deals with this topic.] Starting Up Most new directors claim that their first steps must be made with care; an intensive getting-to- know process is critical. “To put a human face,” said Zugazagoita, “to the intellectual knowledge I had of the Atkins and its collections.” Talks with curators, gathering anecdotes from veteran trustees and other old friends of the museum helped; “getting to know peoples memories and then to start building from there.” Said Rub, whose predecessor had estab- lished a stable institutional culture, “Learning to understand that culture and to do the things required to nurture and sustain it was very important.” In the beginning, his way forward was to “do no harm.” Yet change and growth was needed to keep up with the already launched Frank Gehry expansion. The museum is now planning new ways to develop its audience, and how to meet its role as a “great civic institution.” Another start-up strategy is the immediate formation of a strategic plan. Hope Alswang put hers in motion soon after she arrived at the Norton Museum of Art (FL) in 2010. “It’s really about giving people a shared language, ener- gizng them around the core values and under- standing that we want to participate in a national discussion in art,” she explained. Under her guidance the museum is changing; although predecessor Christina Orr-Cahall, in her 19-year incumbency, had moved the Norton from local gallery into a full-fledged museum, Alswang determined to push to another level by giving her curators the freedom to create their own shows. New directors=new museums As a result of changes being made by new directors, changes are occurring as well in mu- seums themselves. Complexities inherited from ex-directors must be pared down to meet leaner times. “Financially we aren’t capable of doing a major blockbuster,” said Susan M. Taylor, direc- tor of the New Orleans Museum of Art (LA). “Many museums aren’t. I think that is a genera- tional definer.” Taylor took over the directorship of the mu-

Marlene Miller, Bag Lady of the Night, n.d., Cray-Pas, mixed media. In “I Look, I Listen,” Michener Art Museum, PA

 3  MUSEUMS FULFILL TEACHING MISSION These days, education in museums is about innovation and experimental learning. In front of the Whitney Museum of American Arts’ Marcel Breuer building on Madison Avenue in Manhattan stands a collection of tall black shipping containers looking perhaps like another installation for the traditionally cutting-edge Whitney Biennial. Not at all. It is the first ever, anywhere, pop-up education center—the Whitney Studio— a 600-square-foot space made up of 6 packing containers that form a 17-foot-tall studio and storage mezzanine. It will remain in the Whit- ney’s sculpture court until the much anticipated move to Manhattan’s meat-packing district on the lower West Side. For this unique solution to the space problem created by its prospective move, the museum turned to LOT-EK, architects known for their original uses of recycled materials. Duke Riley, the rematch At the Metropolitan Museum of Art on Fifth Avenue a few blocks north of An Eastern Tale: the Whitney, groups gather for “Drop in Drawing,” a program that convenes in a different section of the museum every two weeks. Clipboards, paper, and colored pencils (provided by the Met) in hand, students, young and old, RACE FOR ZODIAC listen to artists explain why their colleagues do what they do—how can- vases are composed, the effect of color or form, the meaning of a particular REENACTED IN CHINA painting. Members of the group (could be 6 years old or 60) then proceed to According to Chinese mythology, the Jade Emperor initiated the zodiac produce their own works of art, inspired by the surrounding paintings. in order to organize the measurement of time. The first twelve animals to “Programs like this are amazing,” said one observing parent, the principal cross the mighty river in a competitive race would each receive a year of the of a public school. “Schools have cut back a lot, so you don’t get much arts zodiac. The rat and the cat, both poor swimmers, persuaded the gullible ox education these days.” to carry them across. As the ox began to lead the pack, the rat pushed the cat overboard and jumped off the ox to win the race alone. Hence, the first year of the zodiac was bestowed upon the cheating rat. High- vs. low-tech learning In the spirit of art, community, and competition, Brooklyn (NY) artist According to an article by Carol Vogel in The New York Times: In the Duke Riley organized a rematch, commissioned by smARTpower, an initia- world of museum educators, learning today is all about do-it-yourself, tive of the U.S. Department of State’s Bureau of Educational and Cultural sometimes called free-choice learning. “More and more people are directing Affairs and administered by the Bronx Museum of the Arts (NY). Early their own learning experience,” says Peggy Fogelman, the Met’s chairper- this spring, a river race and performance took place on the Caogang River son of education. There is still the choice between on-line courses that have in the historic water village of Zhujiajiao. A singer performed songs from been available for years and the on-site experience offered by museum staff the “first animal” perspective, making a musical case for why that animal and in-residence artists. “It’s no longer either/or, but and/and,” says Fogel- should have won the original race. man. “Technology is a part of our everyday life, and museums are getting According to Riley, who has a history of staging epic water-based battles smarter about using it. But it’s our collections and exhibitions that make us and performances, “No calendars will be reset at the finish line nor will any unique….This is what defines us.” closer understanding of that mythical day be realized. The only realization Some educators, like Lynn Pearson Russell at the National Gallery of Art will be a brief moment of divine absurdity between two shores.” (DC), believe that there is “a bigger return to teaching from original objects and less of a high-tech approach.” In fact, her programs have committed to a smART power slowing down—participants spending hours looking at and investigating one work of art—an alternative to fast-paced computer learning—not depending SmARTpower sends 15 U.S. artists abroad to work with local artists on technology, but doing it oneself. Slowing-down has become a precept of and young people around the world to create art projects in situ. Selected education at the Walker Art Center (MN). “The more virtual we’ve become, artists design and implement programs within a 45-day period in coopera- the more we need to touch,” says director of education Sarah Schultz. n tion with local arts organizations in China, Ecuador, Egypt, Ghana, India, Kosovo, Lebanon, Nepal, Nigeria, Paki- stan, the Philippines, Kenya, Sri Lanka, Turkey, and Venezuela. The artists are encouraged to create a tangible legacy of the work, to remain in the country, through a variety of visual arts media—painting, sculpture, drawing, video, installation, photography, public art, and interdisciplin- ary projects. The projects should empha- size participatory work and address a full range of relevant subjects including, but not limited to, women’s empowerment, the environment, health, education, and civic engagement. ■

Left: Anton Mauve, Cattle at River. Oil on canvas. In “Mesdag to Mondrian,” Academy Art Museum, MD

 4  U.S. GOVERNMENT BARNES RETURNS FOUNDATION STOLEN WORK OPENS IN A 400-year-old masterpiece taken illegally from its owners in Nazi-occupied France during WWII was NEW HOME returned to the family from which it was stolen more Doubters can rest easy. The Barnes is back! than 70 years ago. The painting, Cristo Portacroce Abutting the lovely garden strips coming off (Christ Carrying the Cross), depicts Christ, crowned Benjamin Franklin Parkway in downtown Phila- with thorns and wearing a copper-colored silk robe, delphia, one comes upon the new Barnes Founda- carrying the cross on his right shoulder while being tion campus. Set in its own serene, Parisian-style dragged with a rope by a soldier. gardens (by Olin), the building is modern yet not The painting was on display at the Mary Brogan aggressively so, majestic yet simply and cleanly Museum of Art and Science (FL) in a temporary designed. Covering 4.5 acres, it was designed by exhibition of 50 Baroque paintings on loan from the the New York firm of Tod Williams and Billie Tsien Pinacoteca di Brera in Milan. Following a lead from Architects (TWBTA) with a love of mission that Girolamo de’ Romani, Christ Carrying the Cross Dragged Interpol that called the painting’s ownership into ques- by a Rascal (detail), c. 1538 becomes obvious at each new vantage point and tion, Homeland Security Investigations (HSI) special on every wall. agents consulted the U.S. Attorney’s office and seized the painting some On opening day for the press, the architectural team was eager to show eight months later. the results of its five-year journey to this day; other guides, including It was among many works of art and other valuable items taken in a forced Executive Director and President Derek Gillman, explained the materials sale from the estate of Federico Gentili di Giuseppe. Gentili died of natural used (woods from Mexico, limestone from the Negev), the lighting (com- causes in Paris in April 1940, just months before the Nazi army invaded bining filtered natural with artificial light), and the painstaking adherence to the designs of the founder, Dr. Albert C. Barnes. Barnes’s galleries, in France in 1941. After receiving advance warning of the impending Nazi fact, are present within the TWBTA building, intact, exact, hung precisely invasion, Gentili’s children and grandchildren fled from France, escaping to as they were in Merion down to the last curlicued hinge and elaborate Canada and the United States. Other family members, unable to flee, died in doorstop. African masks and Pennsylvania Dutch painted furniture are all concentration camps. placed lovingly to within a 16th of an inch of their former positions. Gentili’s grandchildren took legal steps to find and reclaim works illegally It’s the same as it was, but better. Because of the new ambient lighting, taken from their family during the Nazi occupation. In a landmark 1999 decision the works of art look brighter and clearer than they did in their old habitat. relating to WWII plunder, a Paris Court of Appeals forced the Louvre to return The great meeting/event spaces outside the collection galleries are also lit five paintings to the Gentili family, and ruled that the auction of the Gentili indirectly from above. Visitor Naomi Birnbach wrote her instant impres- estate in Nazi-occupied France was an illegal forced sale and a “nullity.” sions: “It was a treat to be bathed in the same light of those wonderful, Earliest records about the painting indicate that it dates to c. 1538. It then ample, pink and orange Renoir nudes with their half-moon semi-smiles. appears in the collection of Antonio and Cesare Averoldi, and then in the But most impressive of all was the precise hanging of the artworks as they Crespi Galerie. In 1914, after legally exporting a portion of the Crespi Col- had been in their original Barnes home in Merion, Pennsylvania. Astonish- lection from Italy, the Crespi Galerie put the painting in question and others ing was the fantastic symmetry of the hangings! One could almost think up for auction in Paris, where it was purchased by Federco Gentili. After that the paintings were sometimes purchased for their dimensions only, Gentili’s demise, his estate was auctioned by French Vichy authorities, acting except that they were all so excellent.” in concert with the Nazi occupiers; the Gentile heirs were prohibited by law Post Impressionist and early modern paintings are the soul of this from returning to claim the painting. Several anti-Semitic laws had been astounding collection: works by Cézanne, Matisse, Picasso, and Renoir are imposed, depriving French nationals who had left France of the nationality in multiples of 40; van Gogh, Modigliani, Rousseau, and Soutine are also and arranging for confiscation of their property. In another German order of represented; old master paintings are in evidence as are African sculptures, 1940, “Jews who had fled from the occupied zone were banned from return- Pennsylvania German furniture, Native American ceramics, jewelry and ing there.” As a result the painting was sold in the illegal forced sale of 1941. textiles, American paintings, antiquities from the Mediterranean region Thereafter it was acquired by the Pinacoteca di Brera in 1998. ■ and Asia, and wrought iron objects from Europe and the U.S. All are placed, as the meticulous founder insisted, to teach students how to look at art, to “see” paintings as light, line, color, and space— compositional building blocks used by artists and artisans everywhere. The added features A new mantra bespeaks the attention to landscaping: the Barnes is now a gallery in a garden and a garden within a gallery–within the new building is a central courtyard open to the sky. And the central gallery opens out onto two separate, sheltered outdoor spaces–a garden and a paved open terrace. Water is prominent in the approaches to and around the building, and a plethora of benches among the trees and shrubbery allows for enjoyment of the surroundings. Gallery classrooms underscore Barnes’s intentions for the gallery–that it be a place to educate, a school. Supplementing these spaces is a lower level lobby and a library, a 150- seat auditorium, seminar rooms, and lounging and discussion areas. ■

A gallery at the Barnes Foundation

 5  DEFINITIONS

DEFINITIONS: GENIZAH It has been announced that “the Bodleian Libraries EXPRESSIONISM [Oxford University, Oxford, England] have digitized Abstract Expressionism encompasses a and made available for the first time their collection diverse range of postwar American painting that of the Cairo Genizah fragments (http://genizah.bodleian. challenged the tradition of vertical easel painting. ox.ac.uk). The website launch is marked by a bequest Beginning in the late 1940s, Jackson Pollock of five Genizah fragments from the library of the late placed his canvases on the floor to pour, drip, Eli Weinberg.” and splatter paint onto them. This gestural act, The Cairo Genizah is an accumulation of almost with variations practiced by William Baziotes, 280,000 medieval Jewish manuscript fragments, mostly de Kooning, Adolph Gottlieb, and others, was written in Hebrew and Judeo-Arabic. They were discov- termed “Action Painting” by American critic ered in the late 19th century in an annex of the Ben Ezra Harold Rosenberg, who considered it a product Synagogue in Fustat, now Old Cairo, Egypt. Documents of the artist’s unconscious outpouring or the accumulated there from the 9th to the 14th centuries, enactment of some personal drama. The New and remained there until their value for scholarship was York School, as these artists were called due discovered in the 19th century. to the city’s postwar transformation into an The name of the collection, “Genizah,” comes form the international nexus for vanguard art, expanded in Hebrew for “store room.” The members of the medieval the 1950s with the unique contributions of such Jewish communities considered the Hebrew alphabet so painters as James Brooks and Grace Hartigan, sacred that anything written in it was placed in a Genizah, as well as energetic collagist-assemblers Conrad literally “store,” rather than discarded. Marca-Relli and Robert Rauschenberg. Other The Bodleian was the first major library outside the Middle East to acquire fragments from the Cairo Genizah painters eliminated the gestural stroke altogether. Peter Meller, Son of William Tell, nd. Photocopy with Mark Rothko used large planes of color, often to ex- correction fluid, red and gray paint. In “The Zodiac of Wit” at the end of the 19th century. Acquisition policies Art, Design & Architecture Museum, press universal human emotions and inspire a sense University of California (CA) resulted in the purchase taking place over the years until of awe for a secular world. Welder-sculptors such as the beginning of the 20th century when the total aggregate Herbert Ferber and Theodore Roszak are also counted among the decade’s included texts focused on specific subjects and large fragments numbering pioneering artists. some 25,000 folios. The postwar European avant-garde in many ways paralleled the expres- Of particular significance are the rare Talmud fragments of which so sive tendencies and untraditional methods of their transatlantic counter- few survive because of the mass burnings of Talmud manuscripts in parts, though their cultural contexts differed. For artists in Spain, abstract 16th-century Europe. The liturgical material sheds light on the little art signified political liberation. Dissenting Italian artists correspondingly known beginnings of Jewish prayer. ■ turned to abstraction against the renewed popularity of politicized realism. French artist Jean Dubuffet’s spontaneous approach, Art Brut (Raw Art), retained figurative elements but radically opposed official culture, instead favoring the spontaneous and direct works of untrained individuals. His MUNCH’S work influenced the Cobra group (1948-51), which was founded by Karel Appel, Asger Jorn, and other artists from Copenhagen, Brussels, and “THE SCREAM” AND Amsterdam. The Cobra artists preferred thickly painted surfaces that mar- ried realism to lively color and CLIMATE CHANGE expressive line in a new form of primitivism. Climate change law expert Michael Gerrard, Andrew Sabin Profes- Eventually taking root in sor of Professional Practice, and director, Center for Climate Change Law, France, Germany, Italy, Japan, makes the following observation about Edvard Munch’s 1895 painting and Spain, Art Informel refers to The Scream. the antigeometric, antinatural- “Yesterday Edvard Munch’s 1895 painting The Scream sold for a record istic, and nonfigurative formal $119.9 million at auction. The painting is famous—not so its potential link preoccupations of many Europe- to climate change. an avant-garde artists, and their “Mount Krakatoa in Indonesia erupted in 1883. It was one of the largest pursuit of spontaneity, loose- volcanic explosions in recorded history and it reddened the skies around the ness of form, and the irrational. world. Munch is know to have been struck and been rendered melancholy Art Informel is alternatively by the appearance of these skies. The sky in The Scream has been likened known by several French terms: to what followed Krakatoa, and some have theorized—and others Abstraction Lyrique (Lyrical disputed—that Munch painted the sky Abstraction), Art Autre (Art of Another Kind), Matiérisme (Matter Art), that way in recollection of what he and Tachisme (from tache, meaning blot or stain). The movement includes had seen after Krakatoa. the work of Alberto Burri and Michel Tapié, who employed unorthodox “The matter that Krakatoa dumped materials like burlap or sand and focused on the transformative qualities of into the atmosphere blocked out so matter. Asian émigré artist Kumi Sugaï was likewise central to the postwar much sunlight that global tempera- École de Paris (School of Paris) and melded native traditions with modern tures dropped more than one degree painting styles. Celsius for more than a year. Today, By the end of the 1950s, artists such as Lucio Fontana, Franz Klein, as the earth warms because of un- and Piero Manzoni were exploring scientific, objective, and interactive controlled greenhouse gases, serious approaches, and introduced pure monochrome surfaces. Other abstraction- thought is being given to intentionally ists engaged viewers’ senses and explored dematerialization, focusing on dumping sulfate aerosols into the up- optical transformations as opposed to the art object itself, and investigating per atmosphere—perhaps using a fleet the effects of motion, light, and color. of 747s—to replicate the Krakatoa effect. The skies then would more [The information above was supplied by the Guggenheim Museum (NY) likely be white than red, but it would where “Art of Another Kind: International Abstraction and the still make many people scream.” ■ Guggenheim, 1949-1960” is on view through Sept. 12] One of four extant versions of Edvard Munch’s Above left: Gerald L. Brockhurst, West of Ireland, 1928. Etching on paper. In “Prints and Drawings,” painting The Scream Georgia Museum of Art, GA

 6  What’s Out There FOR SUMMER TRAVELERS?

PHOTOGRAPHY IN K20 Museum, Düsseldorf, Germany: “Fresh THE BIENNIALS: THE NETHERLANDS: Widow—Window Paintings since Matisse and Biennial of Sydney, Hermitage, Amsterdam: “Impressionism: Duchamp” (Dec. 8) Australia: Sensation & Inspiration” (Jan. 2013) Named after Duchamp’s 1920’s work Fresh “All Our Relations” (Sept. 16) Paintings from the State Hermitage Museum Widow, the exhibition showcases a variety of In its 18th incarnation, it is the largest con- in St. Petersburg: Monet, Pissarro, Renoir, 20th-century artists with an isolated window temporary visual arts event in Australia: the and Sisley, as well as their predecessors and as their main motif: Ellsworth Kelly, Christo, work of more than 100 artists from Australia, successors. Gerhard Richter, Eva Hesse, Robert Mother- New Zealand, Asia Pacific, the Americas, Eu- well, and many more. Huis Marseille, Museum for Photography, rope, South Africa, and the Middle East can be Amsterdam: “Chino Otsuka—A World of seen here, much of it created specifically for National Museum, Lagos, Nigeria: this occasion. Collaboration informs the prem- Memories” (Sept. 9) “Dynasty and Divinity: Ife Art in Ancient Japanese born, London resident photographer ise of the exhibition, while the larger theme Nigeria” (ongoing) addresses current local and global issues such seeks her personal identity through an auto- The art of Ife, the ancient city-state of the biographical oeuvre of self portraits. as migration, contamination, corruption, and Yoruba people of West Africa, returns to coercion. Particular projects invite the public Nigeria after its tour in Europe and the U.S.: to engage and thus expand the creation. Jewish Historical Museum, Amsterdam: brass, terra-cotta, and stone sculptures (9th- “Emmy Andriesse: Photographs of Jewish There are four major venues: the Art 15th centuries) from the collections of the Gallery of New South Wales, the Museum Amsterdam, War, and Liberation” (Sept. 30) Nigerian National Commission for Museums Penetrating images of the Dutch Hunger of Contemporary Art Australia, Pier 2/3, and and Monuments. Cockatoo Island. Winter of 1944-45, the marketplace at Continued next page Waterlooplein, the 17th-century Portuguese Synagogue, and, after the Occupation, human suffering on the streets and in homes. The Hague Museum of Photography: “Antoine d’Agata” Photographs that describe the difference between day and night: realistic journalistic daytime images show portraits, shots taken in the Middle East, bombed cities, and mass graves: grainy and indistinct nighttime images show dimly lit brothels, prostitutes, junkies, and outcasts. Nederlands Fotomuseum, Rotterdam: “Julian Germain,The Future is Ours—Class- room Portraits 2004-2012” (Sept. 2012) Contemporary British photographer docu- ments children in their classrooms—the traditional class photo reinterpreted—from northeast England to South America, Europe, and the Middle East. ELSEWHERE: Fotomuseum Winterthur, Zurich, Swit- zerland: “Rosângela Rennó: Strange Fruits” (Aug. 26) Brazilian artist is fighting against the collec- tive loss of memory by appropriating found al- bums and photographs from private and public archives. Her sculptural and installation works reposition Appropriation Art in a political and cultural context.

State Hermitage Museum, St. Petersburg, Russia: “Enrique Martínez Celaya” (Nov. 2012) Celaya’s monumental sculpture The Tower of Snow is installed at the entrance to the Great Courtyard of the Winter Palace, backed by the Baroque columns of the former state residence of Russian emperors. Cast in bronze, it rises 15 feet in height depicting a boy on crutches bearing a home on his back.

BMW Guggenheim Lab, Berlin, Germany: A mobile laboratory led by emerging experts in urbanism, architecture, art, design, science, technology, education, and sustainability. Is- sues of contemporary urban life are addressed through programs and public discourse. Mary-Russell Ferrell Colton, Navajo Shepherdess, c. 1916. In “Mary-Russell Ferrell Colton,” Museum of Northern Arizona, AZ  7  FOR SUMMER TRAVELERS ontinued contemporary visual artists; one of the lead- Aargauer Kunsthaus, Aarau: ing art events in Europe. Previous editions “Kris Martin: Every Day of the Weak” (Aug. have taken place in Rotterdam, Luxembourg, 12); “Light Sensitive” (Aug. 12); “Caravan Ljubljana, Frankfurt, San Sebastian, Nicosia, 2/2012: Niklaus Wenger” (Aug. 12) Trentino-South Tyrol, and Murcia. Kunsthalle Bern: Hedendaage Kunst, Antwerp: “Josephine Pryde: Miss Austen Still Enjoys “Extra Muros” (Dec. 30) Photography” (Aug. 12) Royal Museum of Fine Arts, Antwerp: Kunstmuseum Bern: “The Moderns: Art from the Netherlands” “Fly Over the Border: The Painter Hermann (Aug. 19) Hesse” (Aug. 12); “Zarina Bhimji” (Sept. 2) Le Botanique, Brussels: “Behind the Curtain: Kunstmuseum Luzern, Lucerne: The Aesthetics of the Photobooth” (Aug. 19) “The Studio: Places of Production” (July 29) Musée Royaux des Beaux-Arts de Belgique, Kunsthalle St. Gallen, St. Gallen: Brussels: “Surrealism in Paris” (July 15) “Pipilotti Rist” (Nov. 25)

Palais des Beaux-Arts, Brussels: Fotomuseum Winterthur, Winterthur: “Sense of Place: European Landscape Photog- “New Paintings from the Collection” raphy” (Sept. 16); “Panos Kokkinias” (Sept. (Aug. 19); “Verena Lewensberg” (Aug. 5); 16); “Mapping Cyprus: Crusaders, Traders and “Wunderbar” (Aug. 26) Explorers” (Sept. 23) Haus Konstruktiv, Zurich: Av Van Volxemlaan, Wiels: “Klaus Lutz: In the Universe” (Sept. 2); “Jeremy Deler: Joy in People” (Aug. 19); “Visionary Collection Vol. 18: The Artist’s “Un-Scene II” (Aug. 26) House” (Sept. 2) Kunsthaus Zurich: Charles Barth, Atras De Cada Hombre Fuerte Hay Una Stedelijk Museum voor Actuele Kunst, Mujer Mas Fuerte (Behind Every Strong Man There Is “Aristide Maillol” (Dec. 16); “Adrian Singg: A Stronger Woman), 2004. Intaglio. In “Works by Charles Ghent: “Daniel Buren” (Nov. 4); Barth,” Waterloo Center for the Arts, IA “Vincent Geyskens” (Sept. 2) Precursor of Romanticism” (Aug. 12); “Riotous Baroque: From Cattelan to Zurbaran” (Sept. 2); Museum Leuven, Leuven: “Rosa Barba: Time as Perspective” (Sept. 9) Documenta, Kassel, “Sol Le Witt: Colors” (Oct. 14); “Ines Lechleitner” (Sept. 2) Vitra Design Museum, Wiel am Rhein: Germany: “Gerrit Rietveld: the Revolution of Space” Kunst-un Ausstellungshalle der Budesrepub- Bonnefantenmuseum, Maastricht: “Martin (Sept. 16); “Confrontations: Contemporary lik Deutschland, Bonn: “Anselm Kiefer: Works Visser” (Sept. 9); “Different Impressions, Dutch Design” (Sept 2) n from the Gans Grothe Collecton” (July 29) Changing Traditions” (Aug. 28) Museum Ludwig, Cologne: “Yvonne Rainer: Space, Body Language” (July 29); Art Basel, Switzerland Clockwise from top: Julian Germain, Kuramo Junior College, “Claes Oldenburg” (Sept. 30) Victoria Island, Lagos, Nigeria, 2009; De Margriet, Rotterdam, The Fondation Beyeler, Basel: “Jeff Koons” Netherlands. 3rd year, music. 2012; Omar bin AlKahabab Science (Sept. 2); “Philippe Parreno” (Sept. 30) Secondary School for Boys, Qatar. Grade 10, Religion, 2007; Al Kunstsammlung Nordrhein-Westfalen, Ishraq School, Akamat Al Me’gab, Manakha District, Yemen. Mixed K21, Düsseldorf: Haus für Elektronische Künste, Basel: Primary Class (Year 1 to 6), 2007: Surovi School, Dhanmondi, Dhaka, “Thomas Schütte: Wattwanderung” (Sept. 16); Bangladesh. Year 6, Examination, 2009. “Gateways” (Aug. 19) In “The Future is Ours, Classroom Portraits 2004-2012,” Nederlands “Tomás Saraceno” (Jan. 20) Fotomuseum, The Netherlands. Kunsthalle Museum Kunstpalast, Düsseldorf: Basel: “El Greco and Modernism” (Aug. 12) “Paul Sietsema” Liebieghaus, Frankfurt: “Jeff Koons” (Sept.23) (Aug. 26); “Craigie Hors- Schirn Kunsthalle, Frankfurt: field” (Aug. 26) “Jeff Koons” (Sept. 23) Kunstmuseum Hamburger Knusthalle, Hamburg: Basel: “Alice in the Wonderland of Art” (Sept. 30) “Renoir: Be- tween Bohemia Deichtorhallen-Sammlung Falckenberg, and Bourgeoi- Hamburg-Harburg: “Wim Wenders: sie” (Aug. 12); Places, Strange and Quiet” (Aug. 5) “Measured Kestnergesellschaft, Hanover: Worlds: “Made in Germany Two” (Aug. 19) Panorama” (Oct. 7) Kunstverein Hannover, Hanover: “Made in Germany Two” (Aug. 19) Museum für Gegen- ZKM Centre for Art and Media, Karlsruhe: wartskunst, “Bernhard Sanfort” (Sept. 9) Basel: “Hilary Lloyd” Manifesta 9, Genk, (Sept. 16) Limburg, Belgium: Museum “The Deep of the Modern” (Sept 30) Tinguely, Basel: The roving European Biennial of Contempo- “Bladimir Tat- rary Art, often placing new focus on peripheral, lin: New Art for lesser known regions whose geography, history, a New World” or socio-economic context suggest themes for (Oct. 14)  8  news BRIEFS Off-site Exhibition Series Public Participation: Large Donation Results in 4th Edition Collaboration is Key in New Name Two artists, Justin Bennett, artist and com- An exhibition collectively created by the The University of Virginia Art Museum poser, and poet Matthea Harvey, have taken the public (“Public Property,” Aug. 19) “aims to be has honored Cynthia and W. Heywood Fralin, Guggenheim Museum’s (NY) programming socially engaging and work with the public in longtime supporters of the arts in the common- out into the streets for this summer, the fourth a collaborative manner as an experiment and wealth of Virginia and donors to the museum of in a series of site-specific commissions that experience for both the participants and the their 40-piece of American art, by renaming the have taken place in all five of New York City’s museum itself,” says Director of the Walters museum the Fralin Musum of Art. Included in boroughs. This summer, for “stillspotting nyc: Art Museum (MD) Gary Vikan. this largest ever gift to the museum are works staten island,” the artists present “Telettro- “At a time of increasing concern about by Sargent, Cassatt, and Henri. fono,” an audio walking tour that combines equity and democracy within society, from According to university President Teresa A. history with fantasy along and around the the Occupy Wall Street movement to the Arab Sullivan: “This marks a transformative leap waterfront during the weekends July 14-15, Spring, I’ve been thinking more about the role forward for our museum and a great milestone 21-22, 28-29, and Aug. 4-5, starting from a of museums not only to act as expert but also in the growth of the arts at U. VA.” kiosk near the Staten Island Ferry Terminal in to encourage civic participation in our exhibi- Bruce Boucher, museum director, reiterated St. George. tion process.” This was the thinking of the the president’s gratitude: “Besides bolstering In previous years, improv programming by Walters’ director who then implemented the our collection across this period, the Fralin the Improv Everywhere group explored the process. collection will serve as a notable teaching themes of stillness, silence, and noise in the The first stage of the planning took almost instrument for future generations of faculty urban environment through a series of perfor- three weeks. The public used the museum’s and students.” mances in public spaces. For sample viewings works of art site to curate collections of of the projects, see youtube.com/Guggenheim, artworks and tag them with keywords. The where undercover actors stage unexpected museum exhibition team analyzed collection CA Museum Honored scenes for a surprised and delighted public. tags to determine some popular themes that by AAM emerged from the online collections, including The Oakland Museum (CA) is the win- Public Participates adornment, military, creatures, and death. A ner of Special Distinction for the Exemplary vote lasting another 16 days was taken, both Inclusion of Community Voices Award, one of in Professional Process: online and at the museum, to determine that four presented by the American Association of Can the Public Curate? the exhibition theme would be “Creatures,” Museums at its meeting in Minneapolis in May. having received the most votes. The museum The exhibition, “Coming to California” was They think so at the Francine and Sterling team then selected a group of artworks related chosen by a peer review for its commitment to Clark Art Institute (MA). In a program called to creatures for the public to choose to put on addressing community needs and for including uCurate, the museum is testing crowd-sourcing display. More than 100 works were selected by community voices. “This permanent exhibi- on a limited scale. the public to be part of the exhibition. tion provides a history of California’s people In the fall, one gallery will be arranged At each stage of the process, the museum from pre-contact Native cultures to today. The based on the design of a non- overall goal of the exhibition professional visitor. The gallery is to provide a new type of will be reinstalled several more public space within the mu- times during the following two seum—an inclusive place of years based on other proposals inquiry, reflection, and public from the public. Guest curators conversation about the his- will work with the Clark staff tory of California, with room on wall texts. for ongoing contributions by uCurate computer terminals the museum’s communities are available for visitors to over time.” design a virtual arrangement in 3-D. Saved on the museum’s website, they automatically West Texas become eligible for use as real Triangle installations. Other computer terminals designated uExplore, Creates offer interactive information on Region-wide the collection, but not a curating option. Together, the two pro- Exhibition grams are components of an exhibition entitled encouraged and supported public contribution The West Texas Triangle (WWT), a col- “Clark Remix.” and decision making. Responsive elements in laboration of five art museums, announced a The curating programs come out of the the exhibition ask visitors to make choices that region-wide exhibition of sculpture, painting, necessities of a museum caught in the throes may impact future museum decisions, as well prints, and ceramics, all by contemporary artist of a total renovation (one new building and a as give greater insight into public preference. Catherine Lee, featuring works created between makeover of the two existing buildings). Says the early 1980s to the present. Director Michael Conforti, “Closing was not Sign-language Tours The alliance was formed in 2006 to an option. So what do you do?” define West Texas as a “Space for Art,” and to Selections from the French Impressionist Offered promote each institution and its collections and collection went on tour. Some important No reservations are needed for the 45-min- exhibitions to a wider audience. Among the masterpieces were installed into a small exhi- ute scheduled sign-language tours at the partners are the Grace Museum in Abilene, the bition called “Clark Classic.” The most radical George Eastman House (NY); they are also Old Jail Art Center in Albany; the Museum move came with the start of the uCurate pro- available by appointment. The tours focus on of the Southwest in Midland, the Ellen Noël gram. Says Conforti: “In a world of blogging Eastman and his historic home in Rochester, Art Museum in Odessa, and the San Angelo and Wikipedia, we realized that we can learn NY, now the home of Eastman House. Roch- Museum of Fine Art in San Angelo. Every from our audience, and from multiple ester has one of the largest deaf populations in year the alliance exhibits the work of a single interpretations.” the country. sculptor with a Texas connection. Yonia Fain, Prisoners. Oil on canvas. In “Yonia Fain,” Continued next page Hofstra University Museum, NY  9  news BRIEFS continued University and Museum A Remake: Renew Partnership Art San Diego Northern Arizona University and the Mu- Art San Diego Contem- seum of Northern Arizona have renewed a porary Art Fair returns in its longstanding partnership that provides learning fourth edition on September opportunities for the university and the com- 6-9, 2012 in a new form and munity. NAU’s anthropology professor and the with a new focus: a “hyperlo- museum’s anthropology expert will continue cal approach” that appeals to a to work together to further students’ studies of national audience. One new highlight to be Jeroen Diepenmaat, Pour des dents d’un blanc éclatant et saines the Colorado Plateau. (detail), 2005. In “The Record,” Henry Art Gallery, WA In addition to granting students access to introduced is New Art City, a forum for art, internships, educational training, and graduate design, and creative ideas that draws inspira- assistant employment, the partnership gives tion from great public spaces like the fair’s Nevada Publication faculty access to research in the museum’s new venue—Balboa Park, a 1,200-acre cultural Awarded archives and collections. and recreational oasis in the heart of San Diego The AAM awarded the Nevada Museum of And, says anthropology professor Kelley that is home to museums, exhibitions, perfor- Art its coveted 2012 Frances Smyth-Ravenel Hays-Gilpin, “As professor and curator, having maing arts, gardens, recreational facilities, res- Prize for Excellence in Publication Design for a couple of my fingers in each pie enlivens taurants, and more. In an “urban compound,” the museum’s publication Altered Landscape: my teaching and my research and keeps me both inside and throughout the grounds of the Photographs of a Changing Environment. Only engaged with a wider community.” park, the layout of the show includes several one museum in the U.S. is honored in this way districts, each with its own character, and each each year. dedicated to one discipline: contemporary art, The 150 images reproduced in the book, all Prize Awarded for contemporary product and furniture design, from the museum’s permanent collection of Southern Art mid-century and modern art, and experimental the same name, represent the many ways that The Gibbes Museum of Art (SC) announced works. Each district will have its own social humans interact with natural and built environ- that painter John Westmark won the 2012 Eliza- center—places to sit and talk with artists and/ ments, how they have marked, mined, toured, beth and Mallory Factor Prize for Southern Art or dealers, and to experience art in motion. tested, and developed landscapes over the last as well as the $10,000 that accompanies it. The The 2012 organizers anticipate that more 50 years. prize acknowledges an artist whoe work dem- than 60 galleries from the U.S. Canada, onstrates the highest level of artistic achieve- Europe, Latin America, and Asia will be Walters Joins Wikimedia ment in any media while contributing to a new taking part. Other points of interest include understanding of art in the South. gallery-curated exhibitions, “Spotlight Art- The Walters Art Museum (MD) has ists” (solo exhibitions), “In/To Creating Short uploaded more than 19,000 images of artworks Film Program” highlighting video works, “Art and associated information to Wikimedia. Museums Honor Labs,” or artistic interventions in public spaces, Wikimedia Commons is a media file repository Military Families “Made in San Diego.” The repeat “LaunchPad that makes public domain and freely licensed Program” provides a showcase for a regional educational content available for unrestricted Blue Star Families is an organization that emerging artist. use. It acts as a common repository for various works to raise the awareness of the challenges projects of the Wikimedia Foundation, includ- of military family life among civilian com- ing its collaboratively edited encyclopedia, munities. Among its accomplishments is the NYS Museum Week: Wikipedia. The images are made available for establishment of Blue Star Museums—1,600 A Journey of Discovery use in Wikipedia articles in any language. museums across the country that offer free The Wikimedia project began in February admission to military families. Through a col- Art photography, history, science, pop culture, and more were on display at some 200 2012, part of the Walters’ larger initiative to laboration among the National Endowment for provide free public access to its collection. the Arts, Blue Star Families, the Department of museums across New York State during the first week of June to celebrate the inaugural of The uploads were begun after the details and Defense, and the museums, military person- procedures were established at a meeting with nel and their families will be admitted free of New York State Museum Week with special events, activities and promotions. Among the members of the Wikipedia community. In the charge from Memorial Day (May 28, 2012) weeks that followed, the uploads were conducted, through Labor Day 2012 (September 3). almost 2,000 museums across the state, there was a choice of children’s museums, living monitored, and tested in a collaborative effort. Active duty military personnel and their “By uploading our information in this way,” families may visit www.arts.gov/bluestarmuse- museums, history museums, art museums, sci- ence museums, and transportation museums. said Walters’ Manager of Web and Social Media ums to find a complete list of the participating Dylan Kinnett, “we can share items of cultural museums. Among the art museums participating were: the Albright-Knox Art Gallery (Buffalo); heritage from [around] the globe directly with George Eastman people in those parts of the world….By devel- House (Rochester); oping documentation and tools for this type of The Hyde Collec- work, we hope that our upload project can serve tion (Glens Falls); the as a prototype for other cultural institutions.” Johnson Museum (Ithaca); the Everson Collaboration Benefits Museum of Art (Syra- cuse); the Museum Collaborators of Modern Art (New Two Tacoma (WA) museums, LeMay– York City); the Met- America’s Car Museum and the Museum of ropolitan Museum of Glass have joined forces to showcase custom- Art (New York City); made replica glass hood ornaments. Artists from Bethel Woods Center the Museum of Glass have created hand-blown for the Arts (Bethel). glass sculptures, each inspired by a different vehicle at the Car Museum. They were Judith Turner, Untitled, 1989. influenced by the stylized hood ornaments Gelatin silver print. In “Judith Turner,” University of found on a variety of vehicles made as early as Michigan Museum of Art, MI Continued next page  10  news BRIEFS continued 1929 and ranging over the next decades. discover all of the ways The “Classic Heat Collection,” a name that our faculty, refers to the classic vehicles that inspired the students, visiting artwork and the heat used in the glassmaking artists, and neighbors process, will be on view in the Museum of will make the building Glass Hot Shop. their own,” said Bill In this collaboration, the Museum of Glass Michel, executive is providing the artistry and America’s Car director of the center. Museum is providing the inspiration. Expectations are that the partnership will lead to similar relationships with other cultural Certificate organizations in the community. Program Announced Bricks Raise $$$ The George Eastman The American Labor Museum/Botto House International House National Landmark (NJ) has unveiled Museum of Photog- Asger Jorn, A Soul for Sale (Ausverkauf einer Seele), 1958–59. Oil with sand on canvas. the 17th phase of its “Silk Walk” project. raphy and Film (NY) In “Art of Another Kind,” Guggenheim Museum, NY Begun in 1994, the “Silk Walk is a project announced the launch of a one-year certificate designed to sell engraved bricks for placement program in Photographic Preservation and scores; Eastman House is authorized to issue at the Botto House front walkway and under Collections Management—an intensive J-1 student visas to qualified applicants. its grape arbor. Botto House was the meeting 8-month, graduate-level immersion program Tuition for the 8-month program (Sept.-Apr.) place for over 20,000 silk mill workers during for professionals, students, and independent is $15,000. the 1913 Paterson Silk Strike. Funds are used scholars. Taking place among the extraordinary [For more information: phone 585-271-3361, for the museum’s upkeep, operating expenses, collections of Eastman House, the program ext. 360; email [email protected]; online http:// and educational programs. Bricks are priced begins in September 2012. It will encompass education.eastmanhouse.org/PPCM] from $50 to $200. the history of photography and museum stud- ies, and train students in the practices, not only Art Made Accessible Preview Period for of preservation and management, but also in photographic process identification, digital The Philip and Muriel Berman Museum New Museum Continues preservation, working with conservators, writ- of Art (PA) opened its doors to museum educators, arts education specialists, activities The Reva and David Logan Center for the ing about photographs, photographic catalogu- directors, and social workers from Alzheimer’s Arts at the University of Chicago is giving the ing within museum systems, and exhibition care and assisted living centers to teach them university community as well as the public a development. how to integrate the arts more fully into the first look at a facility that represents a mile- “There is no other program like this any- lives of those with disabilities. stone for the arts in Chicago. The “preview where else,” said Dr. Alison Nordström, senior For a week during the spring, two organiza- period” will last through September, as con- curator of photographs and head of faculty. tions, Art Beyond Sight and ARTZ/Artists for struction is completed; portions of the building “Students who earn this certificate will have a Alzheimer’s, held training sessions using the are complete, so that arts programming such as resumé comparable to one who has been work- exhibitions and collections of the Berman as classes, performances, exhibitions, and confer- ing in the field for years.” In fact, the certificate training materials—the first phase of a Berman ences, have already begun. will prepare participants for positions working Museum project devoted to arts, disability, and The building, designed by Tod Williams with varied collections as an archivist, regis- access. Nina Levent, executive director of Art and Billie Tsien (architects of the new Barnes trar, collections manager, gallery manager, or Beyond Sight led a day-long training intensive, Foundation building in Philadelphia), houses entry-level curator. and Sean Caulfield, co-founder and creative classrooms, studios, rehearsal rooms, and exhi- Applicants must possess an undergraduate director of ARTZ led a workshop for assisted bition and performance spaces. It will be home degree or equivalent experience. Post-second- living and Alzheimer’s.Dementia unit social to academic and extracurricular programs in ary education in the areas of art history and workers and activities directors as well as cinema and media studies, creative writing, photography are preferred but not essential. museum educators. music theater and performance studies, and the Work-related experience in museum and All events and programs were free; training visual arts. “We’re very excited to offer this archive collections is considered an asset. sessions were limited to 20 members. first look at the Logan Center, and to begin to International students must submit TOEFL [For more information: call 610-409-3500; email [email protected]] Uffizi Works Arrive in PA The arrival of major works of Renaissance and Baroque art from the Uffizi to the James A. Michener Art Museum (PA) was an- nounced at a press conference by dignitaries from the museum, the Uffizi Gallery in Flor- ence, Italy, the Italian Consulate in Philadel- phia, and Visit Bucks County. Most of the works are rarely seen because, in Florence, they are hung in the secret rooms of the Uffizi. The Medici art collection was the contemporary art of the 1500s, and the Uffizi began as a museum of contemporary art. “Offering of the Angels: Treasures from the Uffizi” is on view through Aug. 10.

Continued next page Fabrizio Boschi, The Miracle of the Manna, c. 1594-1597. Oil on canvas. In “Offering of the Angels: Treasures from the Uffizi Gallery, Michener Art Museum, PA  11  news BRIEFS continued Museum Mile Held in Milwaukee The Charles Allis and Villa Terrace Art Museums (WI) announced a collabo- ration with the North Point Lighthouse, the Museum of Wisconsin Art, and the Jewish Museum Milwaukee; known as the Milwaukee Museum Mile, the part- nership creates the means for visitors to access multiple museum experiences while promoting the area. At the inaugural event, each museum offered free admission, complimentary refreshments, free docent-led tours, and activities for children as well as a scaven- ger hunt and drawings for prize packages. A continuous shuttle bus carried visitors from one location to another. [For more information: www.milwaukeemuseummile.org] Another Mile in Charleston The cultural sites along Charleston’s (SC) Museum Mile come together for the city’s fourth annual Museum Mile Ilona Sochynsky, Self Portrait with Towel, 1983. Oil. Weekend, Sept. 21-23, 2012. A single pass The Model:NYC Museum In “A Singular Vision,” Ukranian Museum, NY allows visitors complimentary admission to thirteen sites along and around Meeting Mile in 34th Year Passport to the Arts Issued Street in historic downtown Charleston One balmy evening, rain or shine, every June, it over the course of the three-day weekend. happens along Fifth Avenue between 82nd Street on Cape Cod Many sites will also offer special programs and 105th Street—a mile of festivities that includes The 2012/2013 Passport to the Arts, during the weekend. Cost for a weekend nine of the cities cultural institutions, open free to produced by the Arts Foundation of Cape pass is $25 for adults, $10 for children 12 the public. Among the institutions participating are Cod (MA), offers discounts at 55 Cape Cod and under. Museum del Barrio; the Museum of the City of theaters, museums, historical sites, perfor- Begun in 2008 as a cooperative market- New York; the Jewish Museum; Cooper-Hewitt, mances, and restaurants. A handsome booklet ing effort among non-profit organizations, National Design Museum, Smithsonian Institu- with information about each participating the Charleston mile covers the richest tion; National Academy Museum & School; the organization, it serves as both a directory of concentration of cultural sites open to visi- Solomon R. Guggenheim Museum; Neue Galerie the arts venues in the area and a means of tors in the downtown area—six museums, New York; Goethe-Institut New York/German receiving discounts—50% off admission to five nationally important historic houses, Cultural Center; and the Metropolitan Museum select events at each participating venue once four scenic parks and a Revolutionary War of Art. during the course of the year. powder magazine. The avenue is closed to traffic. Special exhibi- The Passport to the Arts is available for tions and works from permanent collections are on purchase online at www.artsfoundation.org. It view inside the museums’ galleries and live music is also distributed by Chambers of Commerce Below: Julia Thecla, Self-Portrait, 1936. Opaque is featured on the street in front of several of the all over the Cape, as well as the Boston and watercolor, charcoal and metallics on gessoed cardboard. In “Skirting Convention,” Tarble Art Center, IL museums. Street entertainers perform. Plymouth areas. Kids Museum Under Construction The National Children’s Museum an- nounced that construction is underway on its new home in Prince Georges County (MD). It will occupy two spaces at National Harbor, a 350-acre mixed-use development on the Potomac River, to create both indoor and outdoor venues—the indoor opening in the winter of 2012; the outdoor in May 2013. A key component of the museum’s indoor experience comes through a partnership with Sesame Workshop, the nonprofit organization behind Sesame Street. The National Chil- dren’s Museum will integrate characters and the workshop’s educational mission into in- teractive exhibits, video segments, and books. The partnership represents Sesame Work- shop’s first permanent home in the national capital area. n

 12  notes about an artist: Edouard Vuillard

Edouard Vuillard (1868- 1940) began his career as a member of the Nabi group of avant-garde artists in Paris in the 1890s. From his fin-de-siè- cle beginnings through the 50 years until the German occu- pation of France, he remained deeply committed to the old masters, maintaining a continu- al tension in his work between the traditional and modernism. During his lifetime, Paris was the capital of the international avant-garde, the laboratory of new styles in art, music poetry, and prose. Vuillard was at the heart of this creative ferment. In those decades, the work of vanguard artists was supported by collectors, gallerists, pub- lishers, and theater impresarios who encouraged modernist cul- tural experiments. Vuillard had unusually close and sustained relationships with his patrons; some became intimate and lifelong friends. In this glitter- ing cultural milieu he became romantically involved with two fascinating women, Misia Na- tanson and Lucy Hessel, each of whom served as both patron and muse. In the 1890s he established his signature themes—interiors and modern life—while one of the groundbreaking Nabis. Tak- ing their inspiration from Paul Gauguin and Odilon Redon, the Nabis (“prophets” in Hebrew) used simplified forms and pure colors to create emotive and decorative pictures. It was during this period that Vuillard produced some of his best Edouard Vuillard, Lucy Hessel Reading, 1912. Oil on canvas. In “Edouard Vuillard,” Jewish Museum, NY known work—paintings of friends and families in domestic interiors. At the same time he was creating posters and graphic strate the expansion of his style and also relationship that was to last a lifetime. works and designing sets and programs the importance of his patrons to his grow- During his post-Nabi years, from for the avant-garde theater. ing success. 1900-1940, Vuillard developed a He soon attracted the interest of After 1900 Vuillard’s style shows personal style of modern naturalism. Thadée and Misia Natanson. Descended increasing refinement. Paint is applied In his later years, he devoted himself to from a family of Polish-Jewish bankers, less thickly, details are less blurred, and portraiture, giving equal attention to the Thadée and his brothers Alexandre and more naturalistic perspectives are intro- sitters and their surroundings, believing Alfred founded and published La Revue duced into his scenes. The change reflects that their surroundings revealed as much Blanche, an important cultural magazine. a change in his life: he joined the Bern- about his subjects as the faces of the The Natansons were prime movers in heim-Jeune gallery, a prestigious venue individuals themselves. Landscapes and Vuillard’s circle, bringing together the for modern art, and began to expand his interiors were still part of his oeuvre, leading intellectuals of Paris and mem- clientele. The gallery manager Jos Hessel especially since he spent much of his bers of the avant-garde, including artists, arranged the first group exhibition of the time at the Chateau des Clayes, the writers, theatrical impresarios, politicians, Nabis. He remained Vuillard’s principal Hessel’s historic estate near Versailles and philosophers. The friendship and pa- dealer and close friend for the rest of during the 1930s. His late style: brushy, tronage of the Natanson’s helped Vuillard his life. gestural, and light in palette. n on the road to success during the 1890s, The Hessels, Jos and his wife Lucy, [“Edouard Vuillard: A Painter and His and it was through their connections that, became a second family for Vuillard. Like Muses, 1890-1940” is on view at the in 1892, Vuillard painted the first of his the Natansons, they were at the center of Jewish Museum (NY) through Sept. 23] interior decorative murals. Such com- a lively social circle. And soon Lucy Hes- missions—large-scale canvases of suites sel replaced Misia as Vuillard’s confidante designed for specific locations—demon- and supporter. They became lovers, a

 13  summer VIEWS Alabama vention, Black Power demon- Tennessee Valley Museum of Art, Tuscumbia strations interrupt the summer q “Art Works 2012” (Sept. 7) Annual multi- Olympics, feminist demonstra- media survey of work by Tennessee Valley Art tions disrupt the Miss America Association members. pageant, and more; “All of Us or None: Social Justice Posters Arizona of the San Francisco Bay Area” Museum of Northern Arizona, Flagstaff q A companion exhibition show- “Mary-Russell Ferrell Colton: Artist and Advo- ing the poster renaissance that cate in Early Arizona” (Oct. 28) Retrospective started in the Bay Area in the of paintings and drawings that reflect the popu- mid-1960s. lar romantic perspective of the Southwest, the artist’s sense of wonder at the natural world, Crocker Art Museum, Sacra- and her interest in and fostering of the Indian mento q “A Chosen Path: The arts and crafts movement, especially among Ceramic Art of Karen Karnes” the Hopi and Navajo. (Sept. 30) Masterworks by a pioneering artist: understated California poetic surfaces, biomorphic Laguna Art Museum, Laguna Beach q forms. q “Mel Ramos: 50 Through Oct. 7: “Clarence Hinkle” Modern- Years of Superheroes, Nudes, ist member of the Group of Eight beginning and Other Pop Delights” (Oct. in the 1920s; “Modern Spirit and the Group 21) Paintings, drawings, and of Eight” Figural works, still lifes, and genre sculptures spanning a 50-year scenes; “ex.pose: Peter Bo Rappmund” The career: early Abstract Expres- first of a series of rotating exhibitions featur- sionist paintings, renderings of ing emerging or mid-career artists, the current superheroes from the 1960s, showcasing films. and commercially inspired nudes. q “Brought to Light: Monterey Museum of Art q “In Sharp Focus: Masterworks of Photography The Legacy of Monterey Photography” (Sept. from the Crocker Art Museum” 30) The Group f/64 photographers (Ansel (Sept. 3) The entire spectrum Adams, Edward Weston, Imogen Cunningham, of photographic work; the Alma Lavenson, and others) and their succeed- move from the darkroom to the q Rick Beck, Reclining Monarch, 2008-09. Cast glass. ing generation (Henry Gilpin, Rod Dresser, digital. “Red Hot and Blown: In “Form, Color, Light,” Vero Beach Museum of Art, FL Alwever, and others). Contemporary Glass from the Crocker’s Col- lection” (Sept. 23) In celebration of the 50th Doisneau, and many more. q “How a Stripe Oakland Museum of California q Through anniversary of America’s studio-glass move- Works: Frank Stella’s Early Gemini Prints, Aug. 19: “The 1968 Exhibit” Multi-media ex- ment: vessels, sculptures, and everything in 1967-1970” (Aug. 5) Monochromatic prints amination of the events of the year that was a between being blown, cast, assembled, and modeled on Stella’s earlier paintings, made in turning point for a generation coming of age, a even painted. collaboration with Kenneth Tyler at Gemini nation at war, and the resulting counterculture G.E.L. q “The Art of the Book in California: that emerged in California. What made it hap- San José Museum of Quilts & Textiles q Five Contemporary Presses” (Aug. 28) Innova- pen? The Vietnam War peaks, Martin Luther “Mark Adams” (July 29) Pictorial tapestries in tive works from Foolscap Press, Moving Parts King Jr. and Robert Kennedy are assassinated, bold design and dramatic scale made over four Press, Ninja Press, Peter Koch Printers, and riots consume the Democratic National Con- decades of the artist’s career. q “ITAB 2nd Bi- Turkey Press. q “Not Wanting to Say Anything ennial” (Oct. 14) International About Marcel: John Cage Plexigrams” (Oct. TECHStyle Art Biennial. 14) Experimental composer creates prints and assembles works as graphic/conceptual puzzles Cantor Center for Visual in bound form. Arts, Stanford University q “Central Nigeria Unmasked: Haggin Museum, Stockton q “57th Stockton Arts of the Benue River Val- Art League Juried Exhibition” (Sept. 2) Com- ley” (Oct. 14) Objects from petition amongst contemporaries, expanded to some 25 little-known ethnic include the whole country. groups along the river that flows across the center of Colorado the country joining the Niger Aspen Art Museum q Through Oct. 7: “Lu- River on its way to the Atlantic cio Fontana: Ceramics” Baroque ceramic work Ocean. q “Adventures in that combines painting and sculpture: figura- the Human Virosphere: The tive battle scenes, flowers, and other diverse Use of Three-Dimensional subjects; “Amelie von Wulffen” Works by the Models to Understand Hu- 2012 Distinguished Artist-in-Residence. man Viral Infections” (Oct.) Three-dimensional representa- Connecticut tions of specific viruses that Bellarmine Museum of Art, Fairfield Univer- demonstrate the beauty of sity, Fairfield q “Everett Raymond Kinstler: the molecular world as well Pulps to Portraits” (Sept. 28) Octogenarian as the extraordinary creativ- portrait artist’s oeuvre, including images of ity of Stanford students well known personalities from government who made them. q “Streets, (Bill Clinton and others), entertainment (Ben- Shops, Signs, and Surrealism” ny Goodman and others), and literature (Tom (Sept. 23) Mid-20th-century Wolfe and others), and a selection of early Yousuf Karsh, Pablo Picasso, 1954. Gelatin silver print. photographs: Atget, Bravo, work as an illustrator of “pulp” fiction book In “Brought to Light,” Crocker Art Museum, CA covers, magazines, and comic book pages.  14  summer VIEWS continued Bruce Museum, Greenwich q “The Olympic Georgia Iowa Games: Art, Culture & Sport” (Sept. 2) A com- Georgia Museum of Art, University of Waterloo Center for the Arts q “Works by parison of the ancient and modern Olympiads Georgia, Athens q “A Divine Light: North- Charles Barth” (Aug. 19) Iowa artist’s paint- through objects, art, science, and technology ern Renaissance Paintings from the Bob ings and prints that explore his dominant inter- and a look at the sports that have endured Jones University Museum & Gallery” (July est: Mexican history and culture since antiquity – footraces, wrestling, box- 29) This collection of devotional art of the ing, and the ancient pentathlon events of long 15th and 16th centuries explores the ways in Kansas jump, javelin, discus, sprints, and wrestling. q which Northern Renaissance artists expressed Mulvane Art Museum, Washburn University, “White on White: Churches of Rural New Eng- the central mysteries of the Christian faith Topeka q “Crafts National Exhibit” (Aug. land” (Sept. 23) B&W photographs of iconic through setting, pose, gesture, and the objects 19) Juried exhibition; works in ceramics, 18th- and 19th-century New England churches, of everyday life. q “Dürer and His Legacy” fiber, glass, wood, metal, and mixed media. q built by local builders, joiners, and itinerant (Aug. 12) In conjunction with “A Divine “Inside ‘Peanuts’: The Life and Art of Charles master carpenters, with no trained architects on Light”: Prints by the master and other Northern M. Schulz” (Sept. 16) Follow Schulz from his hand—beauty from simplicity, order, and light. artists influenced by his methods. q “Gerald Minnesota roots to his life in California, track L. Brockhurst: Works from the Daniel and the development of the characters that make up Mattatuck Museum, Waterbury q “Reflec- Rosalyn Jacobs Collection” (Sept. 16) Prints the unique world of “Peanuts,” and explore the tions and Undercurrents: Ernest Roth and and drawings that have not been seen at the emotional territory of friendship, disappoint- Printmaking in Venice, 1900-1940” (Aug. museum before, despite repeated exhibitions of ment, faith and tolerance, human emotions 26) Prints by the artists who followed J.A.M. Borckhurst’s oeuvre. that fill his artwork with humor, vulnerability, Whistler to Venice to expand and dignity. q “Selections from the on the city’s glories. Permanent Collection” (Aug. 19) Paintings, felt works, prints, assem- Delaware blages, and collages. Hagley Museum and Li- brary, Wilmington q “100 Wichita Art Museum q “Visions Years of Picturing the Na- of Mexican Art” (Aug. 26) Paint- tion’s Business: Photographs ings, sculpture, and photographs, late from the Collection of the 20th-early 21st centuries: Rivera, Chamber of Commerce of Tamayo,and many others. q “Gus- the United States of Ameri- tave Wolff: An Impressionist Eye for ca” (Sept. 30) New York” (Aug. 5) Poetic scenes based on the topography around New District of Columbia York City; the light and dark moods Kreeger Museum q “Joan of urban Manhattan. q “Ed Davison Miró From the Collection of Recent Acquisitions: (Sept. 16) The the Kreeger Museum” (July accomplishments of a native son, 31) The museum’s entire gifted by the family. collection including The Mal- lorca Suite, Makimono, and Louisiana El Vol de l’Alosa (The Flight Paul and Lulu Hilliard of the Lark). University Art Museum, University of Louisiana, Lafayette q “Faith and Florida Form: Art and Decorative Art from Boca Raton Museum of Art Catholics in Acadiana” (Sept. 1) q “Glass Act: The Con- Works gathered together from area temporary Studio Art Glass churches, cathedrals, and private Movement” (Oct. 14) This collections; part of Louisiana’s survey celebrates the 50th bicentennial celebration. anniversary of the movement Maine in America by showcasing Portland Museum of Art q “The the different ways in which Draw of the Normandy Coast (1860- glass is used as a medium 1960)” (Sept. 3) Works created by for contemporary art: objects Realists, Impressionists, Neo-Impres- by Chihuly, Dailey, Fujita, sionists, Fauves, Cubists, and Sur- Littleton, and many others Françoise Gilot, Gordian Knot 1, 2005. Oil on canvas. In “Transitions,” Berman Museum of Art, PA realists through these 100 years in the are included. region on the northern coast of France Illinois (Honfleur, Le Havre, Étretat) that proved to Frost Art Museum, Florida International Tarble Arts Center, Charleston q “Skirt- be an artistic crucible for both American and University, Miami q “Ursula von Rydings- ing Convention: Illinois Woment Artists, European artists. q “Maine Sublime: Fred- vard: Sculpture” (Aug. 5) Abstractions: wall 1840-1940” (Sept. 16) A look at American art eric Edwin Church’s Landscapes of Mount reliefs and monumental works made from history as it was influenced by political and Desert and Mount Katahdin” (Sept. 30) Small cedar beams. cultural events from the Civil War to WWI, and oil sketches of Maine’s glorious landscapes a look at the opportunities open to women dur- inspired by Hudson River School founder Museum of Fine Arts, St. Petersburg q ing that same time period, depicted in a variety Thomas Cole. “Global + Local: Studio and Contemporary of styles: Midwest Impressionism, Expres- Glass on Florida’s West Coast” (Oct. 14) sionism, Modernism, Surrealism, abstraction, Maryland Works from some ten collections including the with variations of academic realism and the Walters Art Museum, Baltimore q “Public museum’s own American Scene/Regionalism. q “Watercolor Property” (Aug. 19) Artworks selected by the Quilts by Rod Buffington” (Aug. 12) Paintings public from the museum’s permanent collec- Vero Beach Museum of Art q “Form, Color, inspired by grandmother’s quilting tradition— tion. (pg. 9. ) q “Hashiguchi Goyo’s Beautiful Light: Cast Glass by Rick Beck” (Oct. 14) a mix of art and geometry. Women” (Aug. 12) Ukiyo-e prints from the pre-war era (1918-1920); twelve prints and two drawings—all 1st edition. q “Paradise

 15  summer VIEWS continued Imagined: The Garden in the Islamic and tography in Britain and France” The Christian World” (Sept. 23) The image of the golden age of photography in the two garden in illustrated herbals, poetry, epic, and countries where it was simultaneously sacred texts as expressed in the Islamic and invented. q “Manet in Black” (Oct. Christian worlds in the late medieval and early 28) Prints, drawings and illustrated modern eras. books by this daring printmaker and draftsman. q “Josiah McElheny: Academy Art Museum, Easton q “Mesdag to Some Pictures of Infinity” (Oct. 14) Mondrian: Dutch Art from the Redelé Collec- Glassworks—sculpture, installation, tion” (Sept. 30) Landscapes, seascapes, and film, photographs, performance—that country scenes by artists of the Hague School. attempt to represent the unrepresent- able. Washington County Museum of Fine Arts, Hagerstown q “80th Annul Cumberland Valley Fuller Craft Museum, Brockton q Artists Exhibition” (July 29) Regional artists. “Living Treasures of North Carolina Craft” (Aug. 5) For the 1st time in Massachusetts New England, a selection of work by Institute of Contemporary Art, Boston q artists awarded the North Carolina “Josiah MCElheny: Some Pictures of the Living Treasures award, given by the Infinite” (Oct. 1) Investigations into the repre- University of North Carolina Wilm- sentation of time and space and the concept of ington to boatwrights, potters, luthiers, infinity in glasswork. marqueters, blacksmiths, gunsmiths, weavers, and glass artists. q “Dan q Museum of Fine Arts, Boston “Dancing Dailey: Working Method” (Sept. 3) Gustave Wolff, Walking Along the Hudson by Riverside Park. with Renoir” (Sept. 3) Three full-length paint- Works from 12 different series with sketches Oil on canvas. In “Gustave Wolff,” Wichita Art Museum, KS ings, two from the Musée d’Orsay—Dance and drawings of the final glass artworks by this in the City and Dance in the Country, created student of Dale Chihuly. q “Iron Twenty Ten” the museum and adult non-members who live as a pair—and the third belonging to MFA— (Oct. 7) A survey of contemporary blacksmith- within a 25-mile radius of the museum. Dance at Bougival; all were created in 1883. q ing in the U.S. q “Traditions and Innovations: “Seeking Shambhala” (Sept 30) 17th-century Fuller Craft Museum Collects” (Oct. 22) The De Cordova Sculpture Park and Museum, q paintings mounted as scrolls depicting 22 permanent collection organized thematically. Lincoln Through Aug. 12: “Gary Webb: Mr. mythical Shambhala (think “Shangri-La”) Jeans” British sculptor who utilizes a myriad kings and one Buddha: according to Tibetan Cahoon Museum of American Art, Cotuit q of materials in his work appears solo for the Buddhist scripture there will be 32 kings, and “Come Eat at our Table: Items for the Meal” first time in the U.S.; “PLATFORM 9: Jede- the last (four from the present one) will usher (Sept. 16) From Cape Cod potters and crafts diah Caesar” Video, sculpture, printed matter, q in an age of enlightenment. Also on view: persons, items that are related to a meal. q and a new outdoor installation. “Robert works by Japanese graphic artist’s Shambala “Nantucket Baskets from the Collection of Motherwell: Beside the Sea” (Sept. 30) Works prints and contemporary Tibetan artist’s col- Clara Hayes Barrett” (Sept. 16) Hand-made created in the artist’s Provincetown studio q lage of The Shambala in Modern Times. q baskets that are closely identified with the during the summer of 1942. “Long Point: Through Oct. 8: “Paper Zoo” For children and island and its history. An Artists’ Place” The output of this artists’ families: prints, drawings, and photographs of cooperative gallery, which was founded in the animal kingdom, dating from 1500 to the Cape Cod Museum of Art, Dennis q 1977 by a small group of artists that included present—Calder, Baskin, Dürer, Rembrandt, Through Aug. 26: “The Tides of Provincetown: Robert Motherwell. Picasso; “Silver, Salt, and Sunlight: Early Pho- Pivotal Years in America’s Oldest Continuous q Art Colony 1899- Sandwich Glass Museum “Glass Artist q 2011” Works by Eben Horton” (July 29) “Sandwich Redux, artists who worked In Celebration of the 50th Anniversary of the or lived in Prov- Contemporary Studio Glass Movement” incetown—Av- (Aug. 10-Oct. 31) ery, Hawthorne, q Hensche, Hofmann, Clark Art Institute, Williamstown “Phan- Lazzell, Motherwell, toms of the Clark Expedition” (Aug. 3 at the Webster—and by Explorer’s Club in New York City) Installation others who “passed of a series of dioramas and sculptures repre- through”—Stuart senting objects and specimens that were used Davis, de Kooning, or collected during expeditions that occurred Demuth, Grooms, in that era. Hopper, Pollock, and Warhol—all Michigan inspired by Provinc- University of Michigan Museum of Art, Ann q etown; “200 Years Arbor Through Sept. 2: “Flip Your Field: of Cape Cod Art” Abstract Art from the Collection” A series of A sampling of the exhibitions focusing on subjects removed from art created in the the acting curator’s field of expertise, eg., Ab- region—Cape Cod stract Art is curated by a professor of history and the islands. of art, women’s studies, and art and design, whose main interest is in 17th-century Dutch Fitchburg Art art and culture, and who found unexpected Museum q “77th relationships between artists separated by time; Regional Exhibition “Judith Turner: The Flatness of Ambiguity” of Art and Craft” Abstract B&W photographs of architectural q (Sept. 5) Works by subjects. “Peter Campus: Kiva” (Aug. 12) Closed circuit videos using live feedback. Oscar Bluemner, Red Soil (also known as Barns), 1924. Watercolor and gouache on cream adult members of wove paper. In “Nature in America,” Loeb Art Center, NY  16  summer VIEWS continued distribution, and use of fuel oil, the mechanics of its manufacture, and the effects on our lives and landscapes. New Hampshire Caroll House Galleries, Keene State College, Keene q “By Example: NC Potters and Their Mentors” (Aug. 26) The title refers to the relationship between the artists whose work is on display and their mentors; the new generation of North Carolina ceramic artists reflect a time-honored tradition while incorporating new approaches to surface design and new applica- tions of ancient techniques. New Jersey Monmouth Museum, Lincroft q “More Art from Found Objects: A Juried Exhibition: (Sept. 2) Original works created in the last 5 years from Vita Plume, Soldiers in Progress, 2011. Weavings. In “In Response,” Gregg Museum of Art and Design, NC either discarded, reusable, or found objects Flint Institute of Arts q “The Golden Age immersion in the cultures of the basket makers by a worldwide representation of artists of Painting, 1600-1800, from the Speed Art resulted in revelations about the evolution of (age 18 and over). Museum” (Aug. 19) Rubens, van Dyck, the form, the materials, and the use of baskets. Zimmerli Art Museum, Rutgers University, Rembrandt van Rijn, van Ruisdael, Hogarth, q Gainsborough, and others from Italy, France, Mississippi New Brunswick “Aspects of Architecture: Flanders, the Netherlands, Germany, and Lauren Rogers Museum of Art, Laurel q The Prints of John Taylor Arms” (July 31) England, together illustrate how the changes in “Christo and Jeanne-Claude: Prints and 20th-century American etcher captures details religion and science, coupled with economic Objects” (Oct. 6) More than 40 years of an of Western architectural icons: French Gothic growth in Europe during the 17th and 18th artistic journey by two “environmental” artists churches, Venetian palaces, French and centuries gave way to a period of prolific artis- whose interventions in city- and landscapes Italian towns, and a 1935 view of tic creation. q “Abstract Expressionism: Then impacted the surrounding environment and Manhattan’s skyline. its population. and Now” (Sept. 9) A survey of this American New Mexico art movement from its origins in the postwar q period to the latest developments in the 21st Montana Albuquerque Museum of Art & History century: Motherwell, de Kooning, Pollock, and Missoula Art Museum q “Raku Exhibition” “Exploring Art of the Ancient Americas: Krasner form the first wave; Poons, Good- (Aug. 12) Ceramics made in the tradition of The John Bourne Collection Gift” (Aug. 26) nough, and Olitski continued the experiment; 16th century Japan—the object is loaded into a Precolumbian artworks from Mexiceo to Peru, Lerner, Boxer, and Drapell formed the third hot kiln, removed while still hot: “In the spirit 1200 B.C. to 1520 A.D. wave. q “The Epic and the Intimate: French of raku, there is the necessity to embrace the Drawings from the John D. Reilly Collection element of surprise. There can be no fear of New York losing what was once planned and there must University Art Museum, State University of at the Snite Museum of Art “ (July 29) Works q by Vouet, Watteau, Boucher, Fragonard, David be an urge to grow along with the discovery of New York, Albany “Artists of the Mohawk that illustrate the history of French drawing the unknown. In the spirit of raku: make no Hudson Region Juried Exhibition” (Sept. 8) from before the founding of the Royal Acad- demands, expect nothing, follow no absolute Annual regional, the 76th, provides a bench- emy of Painting in 1648 through the French plan, be secure in change, learn to accept an- mark for contemporary art activity in the Revolution of 1789. other solution and, finally, prefer to gamble on Upper Hudson Valley and Adirondack regions. your own intuition.” – Paul Soldner, ceramicist. q Kalamazoo Institute of Arts q “A Conversa- q “Montana Triennial: 2012” (Aug. 26) Works Derfner Judaica Museum, Bronx Through tion between Monet and Sochi: Digital Video by artists living and working in the state of July 29: Two exhibitions of the work of Art by Lee-nam Lee” (Aug. 18) Historical Montana. q “Purple: Selections from MAM Jonathan Hammer: “Kovno-Kobe” Pastels, paintings infused with sound and motion Collections” An exhibit based on the use of the drawings, etchings, and a screen of animal become contemporary works of art. q “Elliot color purple. q “Dwayne Wilcox: Above Erwitt: Dog Dogs” (Sept. 23) Photographs the Fruited Plains” (Oct. 21) Graphite showing the close relationships between hu- and color pencils on old ledger paper mans and their dogs. perpetuating the Plains Indian tradition of narrative drawing or painting on paper Fredericks Sculpture Museum, Saginaw or cloth (ledger books were a common Valley State University, University Center q source of paper for the Plains people). “Regional Biennial Juried Sculpture Exhibi- tion” (Sept. 22) Nevada Nevada Museum of Art, Reno q “An- Minnesota drew Rogers: Contemporary Geoglyphs” Goldstein Museum of Design, University of (Aug. 26) Land art photographed by the Minnesota, St. Paul q “Quest for the World’s artist from a plane or obtained from com- Best Baskets” (Sept. 9) From the Zulus of mercial satellite imagery. q “Edward South Africa to the Navajo and Hopi tribes in Burtynsky: Oil” (Sept. 23) Photographs, the American Southwest: the collection of and taken during a 12-year international stories told by an avid basket collector whose odyssey, that chronicle the production, Jason Cytacki, Trouble, 2009. Ink on paper. In “Enduring Legend, Fragile Myth,” Rockwell Museum of Western Art, NY  17  summer VIEWS continued skins tooled in capture by Northern cavalry he hastily grabbed artist traveled around the world tracing the liv- precious metals, all his wife’s overcoat instead of his own and was ing ascendants and descendants—the blood- of which reference subsequently reported to have tried to disguise lines—of individuals; subjects include victims events in Lithuania himself in women’s clothing; a panoply of of genocide in Bosnia, the first woman to hijack during the Holo- (false) images appeared to attest to the story. an aircraft, the living dead in India, and more. caust; “Tarnish and q “Alighiero Boetti: Game Plan” (Oct. 1) Shine: Silverpoint Jewish Museum, New York City q “Edouard Retrospective, organized in collaboration with Drawings” Studies Vuillard: A Painter and His Muses, 1890-1940” the Museo Reina Sofía in Madrid and the Tate of twigs and other (Sept. 23) Starting as a member of the Nabi Modern in London, the largest presentation to botanical subjects, group of Parisian avant-garde artists, Vuillard’s date outside Italy of Boetti’s works; he began in meticulously ren- professional and private life was influenced his hometown of Turin in the early 1960s, work- dered. by a group of intimates that included patrons, ing amidst a close community of artists, which Hillwood Art dealers, and muses; this exhibition spans the came to be know as the Arte Povera movement. Museum, Long creative ferment of the half century before q At P.S.1: “Lara Favaretto: Just Knocked Out” Island University WWII. (see story p. 13) q “Sanford Biggers (Sept. 10) New pieces created for this overview, Post, Brookville q and Jennifer Zackin: A Small World….” (Aug. including a gallery-wide installation of a grid “Haesslé: Lyrical 26) Video installation of the artists’ movies of of scaffolding pipes, the design of which was Chromatic Paint- their own families—one African American, inspired by Piet Mondrian. ings” (June 29) one Jewish American—explores the common- Brilliant color, alities of middles-class life across racial lines. New-York Historical Society, New York City Unidentified artist, Jeff Davis’ Last Ditch, 1865. energetic form q “The Pop Shop” (Sept. 15) A rotating display In “President in Petticoats!” International Center Metropolitan Museum of Art, New York of Keith Haring’s Pop Shop items, AIDS aware- of Photography, NY Rockwell Museum City q “Bellini, Titian and Lotto: North Ital- ness designs, and related materials; Haring of Western Art, ian Paintings from the Accademia Carrara, opened the shop to display and sell affordable Corning q Through Oct. 14: “Nancy Bush Bergamo” (Sept. 3) Selections from one of clothing and other items bearing images he had and James Fox: Two Perspectives, Crossing Italy’s most distinguished collections of Ve- created for the fight against AIDS. Paths” The artistic outpourings of a painter and netian painting: Bellini’s Pietà with the Virgin photographer whose yearlong journey through and Saint John (c. 1455-1460) and the later New York Public Library, New York City q Texas and New Mexico took them through Madonna and Child (from the Met collection); “Rock and Roll Icons: Photographs by Patrick an endless variety of scenery and inspiration; Titian’s Orpheus and Eurydice (c. 1508-1512); Harbron” (Aug. 10) Springsteen, Costello, “Enduring Legend, Fragile Myth: Cowboy Lotto’s Lucina Brembati; and other paintings Blondie, Petty, the Police, and Prince as they Paintings by Jason Cytacki” The cowboy as by artists with unfamiliar names whose works rose to prominence in the 1970s and 80s; also symbol, mythic yet tragic, iconic yet fragile, dazzle the eye. the Rolling Stones, Led Zeppelin, Ray Charles, hero yet outcast. David Bowie, and more. Morgan Library & Museum, New York City Hofstra University Museum, Hempstead q q “Ellsworth Kelly: Sculpture” (Sept. 9) Three Studio Museum in Harlem, New York City q “Yonia Fain: Remembrance” (Aug. 3) Paint- free-standing totemic forms—one in bronze, “Caribbean: Crossroads of the World” (Oct, 21) ings and mixed media works that pay tribute to the other two in the memories of those lost during the Holo- mahogany and caust. q “Opportunity and Impact: Works by redwood—with the Émigré Artists” (Sept. 9) An examination of same quiet beauty the role played by emigrating artists in shaping as his brightly col- the American art scene. ored paintings; in addition, a group of Guggenheim Museum, New York City q “Art models and draw- of Another Kind: International Abstraction and ings that show the the Guggenheim, 1949-1960” (Sept. 12) Works artist’s process. created in the decade before the opening of Wright’s iconic building; post WWII develop- Museum of Mod- ments in the art world: Appel, Bourgeois, de ern Art, New York Kooning, Noguchi, Pollock, Soulages, many City q “Ecstatic others among the 70 artists represented. q Alphabets/Heaps of “Rineke Dijkstra: A Retrospective” (Oct. 3) Language” (Aug. Color photographs and videos. 27) A look at some ways contempo- International Center of Photography, New rary artists have York City q Through Sept. 2: “ Weegee: experimented with Murder is My Business” An inventive figure language, freeing it in American photography in the 1930s and from the page and 40s, who established the tradition of tabloid from its commu- journalism; “Christer Strömholm: Les Amies nicative proper- de Place Blanche” Powerful documentation ties. q “Taryn of transsexual “ladies of the night” on Place Simon: A Living Blanche in the red-light district of Paris in Man Declared the 1960s; “A Short History of Photography: Dead and Other From the ICP Collection Honoring Willis E. Chapters” (Sept. Hartshorn, Ehrenkranz Director” A survey of 3) Photographic the center’s collection ranging from the 1840s project produced to the present, Atget, Smith, Sherman, Evans, between 2008-11 and Kertész included; “President in Petticoats! during which the Civil War Propaganda in Photographs” The Romare Beardon, newspaper assaults on former President of the Carolina Morning, 1974. In “From Confederacy: trying to escape the ignominy of Process to Print,” Price Tower, OK  18  summer VIEWS continued More than two centuries of rarely seen works from the Haitian Revolution (c. 1804) to the present, presented in collaboration with the Queens Museum of Art (through Jan. 6) and the organizing museum, El Museum del Bar- rio (through Jan. 6): painting, sculpture, prints, books, photography, film, video, and artifacts.

Ukranian Museum, New York City q “A Singular Vision: Ilona Sochynsky” (Oct. 7) Retrospective of painting over some four decades. q “Ukrainian Kilims: Journey of a Heritage” (Oct. 21) Examples from the collection, 18-20th centuries.

Yeshiva University Museum, New York City q “Trail of the Magic Bullet: The Jewish Encounter with Modern Medicine, 1860-1960” (Aug. 12) Medical instruments, artifacts, images (including a Rembrandt etching), and documents explore the impact of Jews on modern medicine with reference to the medical establishment’s treatment of Jews. Karen Kluglein, Autumn Magnolia, 2007. Watercolor on vellum. In “Botanicals,” Woodson Art Museum, WI Loeb Art Center, Vassar College, Poughkeep- display during the Democratic National Conven- mon ground; “Francis Upritchard” Small sie q “Nature in America: Taming the Land- tion in Charlotte (Sept. 3-6). q “Hart Truths: The painted figures in nonsensical poses. scape” (Aug. 26) The evolution of landscape Art of Thornton Dial” (Sept. 30) Large-scale painting, from Hudson River School painters paintings, sculptures, and wall assemblages that Ohio Arts Council, Columbus q “Outside in through WWII artists: Cole, Inness, Dove, address the compelling issues of our time in Ohio: A Century of Unexpected Genius” (Oct. Marin, Avery, Bluemner, as well as the pho- found objects, dripped paint, and Expressionistic 12) Traveling outsider art: from the Southern tographers that focused their cameras on the brushwork. q “Matther Weinstein” (Aug. 18) Ohio Museum to the Kentucky Folk Art countryside. q “A Taste for the Modern: Gifts Animated characters accompanied by abstract Center arriving here on July 26; next stop from Blanchette Hooker Rockefeller, Edna paintings. Springfield Museum of Art. Bryner Schwab, and Virginia Herrick Denatel” (Sept. 4) Three faithful alumnae enlarged the Gregg Museum of Art and Design, North Caro- Oklahoma Loeb modern art collection. lina State University, Raleigh q “In Response: Price Tower Art Center, Bartlesville q Contemporary Weavings by Vita Plume and Ann “From Process to Print: Graphic Works by George Eastman House, Rochester q Roth” (Aug. 31) Friends honor the museum’s Romare Bearden” (Sept. 2) Part of a national Through Sept. 23: “See: Untold Stories” A late associate director with their new work: Jac- centennial celebration of Bearden, starting a wide survey of photographs from the Eastman quard textiles inspired by photographs, and ikat three-year national tour: lithographs, etchings, House fabled collection which, for the most textiles inspired by quilts from the museum’s collagraphs, collagraph plates, screen prints, part, is seldom seen; “Ballyhoo: The Art of collection. q “Barkcloth, Bras, and Bulletproof drypoints, monotypes, and engravings. Selling the Movies” q “Ideas in Things” (Oct. Cotton: The Powers of Costume” (Aug. 31) 21) Homecoming of these images, debuted in Photographs, artifacts, jewelry, and an array of Fred Jones Jr. Museum of Art, University Europe, all of which demonstrate photography outfits show the varied purposes of clothing: as of Oklahoma, Norman q “Oklahoma Clay: as cultural artifacts and a vehicle for memory protection, shelter, shield; to lure, seduce, ma- Frankoma Pottery” (Sept. 16) Selection of and meaning. nipulate; and to proclaim individuality or group work from Oklahoma’s favorite potter’s manu- membership. factory, which produced tableware and other Staten Island Museum q “Juried Art Exhibi- objects from local clays, using colors and tion 2012” (Sept. 23) Tri-state artists invited to Ohio designs symbolic of the Southwest and Great present their work—a wide spectrum of media Contemporary Art Center, Cincinnati q Plains. q “A Century of Magic: The Anima- and expression. q At Snug Harbor: “Staten Through Aug. 31: “Flux” An examination ex- tion of the Walt Disney Studios” (Sept. 2) Ani- Island, Rember When?” Watercolors that recall ploring the changing landscape of music video; mation cels from many of the major films from the community’s past. “Jannis Varelas” Stories and art that share com Snow White and the Seven Dwarfs to Fantasia. q “Vernet to Villon: Nineteenth-Century North Carolina French Master Drawings from the National Mint Museum, Charlotte q At the Mint Gallery of Art” (Sept. 8) A first for Okla- Museum Randolph: “Celebrating Queen homa (the loan from the National Gallery): Charlotte’s Coronation” (Oct. 28) Paintings, Ingres, Delacroix, Manet, Degas, Cézanne, works on paper, and decorative arts acclaim Toulouse-Lautrec and others. q “The Cult of the Queen’s accomplishments as a mother, a Personality: Andy Warhol, Harold Stevenson patron of the arts, and a loyal consort: portraits & Portraiture” (Sept. 9) The Polaroids used as by Ramsay and Reynolds, as well as objects preparatory studies for the portraits of the rich from Wedgwood, Chelsea, Worcester, and and famous, and portraits of common people others. q At the Mint Museum Uptown: that Warhol’s colleague Stevenson produced “Colorbind: The Emily and Zach Smith around the same time. Collection” (Aug. 12) Modern and contem- porary art: Johns, Rauschenberg, Thiebaud, Oregon Sol Lewitt, and Sean Scully, among others. q Museum of Contemporary Craft, Portland “Matthew Weinstein: (Aug. 19) Multimedia. q “Generations: Betty Feves” (July 28) Mid- q “Read My Pins: The Madeleine Albright century vanguard artist who helped effect Collection” (Sept. 23) The story of American change in the use of clay in art: figures, dwell- history and foreign policy as told through the The Queen, Snow White and the Seven Dwarfs, 1937. ings, slab structures, pottery, bonfire and raku Ink and gouache on celluloid. In “A Century of Magic,” pots, and large architectural installations. former Secretary of State’s jeweled pins; on Fred Jones Jr. Museum of Art, OK  19  summer VIEWS continued Pennsylvania ment intimating issues of Berman Museum of Art, Ursinus College, environmental justice, land Collegeville q “National Collage Society usage, and eminent domain. Anniversary Exhibition” (Aug. 12) Juried exhibition celebrating the 100th anniversary Mattress Factory, Pitts- of collage. q “Transitions: Works by Fran- burgh q “Gestures: Inti- çoise Gilot” (Sept. 23) A look at the evolu- mate Friction” (Sept. 16) tion of Gilot’s approach to composition and Sixteenth installment in the color beginning with her seminal Labyrinth “Gestures” series brings to- Series and including key works into the 21st gether artists, architects, and century; abstractions in bold palette transition activists to work together. to references to the figure, botanicals, and still life. Everhart Museum of Natural History, National Collage Society, Collegeville q Science, and Art, Scran- “28th Anniversary Juried Exhibition” (Aug. ton q Through Sept. 3: 12) In collaboration with the Berman “BEEyond” A photographic Museum of Art, the society celebrates the exploration of bees’ behav- 100th anniversary of collage, a technique ior and, with the use of an that existed in many forms before Braque electron microscope, the and Picasso incorporated it into their intricate details of the insect; artworks in 1912. “Directing Sunbeams: Beekeeping in Northeast Michener Art Museum, Doylestown q Pennsylvania” The trials, “Offering of the Angels: Treasures from the tribulations, and treasures of Uffizi” (Aug. 10) Renaissance and Baroque beekeeping in the region. masterpieces arrive in PA to begin their first American tour: Botticelli, Titian, Tintoretto, Palmer Museum of Art, and others. q “To Stir, Inform and Inflame: Pennsylvania State Univer- The Art of Tony Auth” (Sept 23) Career- sity, University Park q spanning exhibition of the full range of the “Color My World: Color Danny Lyon, Leslie, Downtown Knoxville, 1967. Gelatin silver Pulitzer Prize-winning cartoonist’s art includ- Photographs from the Permanent Collection” print. In “Streetwise,” Knoxville Museum of Art, TN ing drawings, paintings, sketches, and chil- (Aug. 19) The trajectory toward color from dren’s book illustrations. q “I Look, I Listen: hand-tinted tintypes, to dye-transfer prints, to Semmes: Starcraft” (Sept. 9) Non-functional Works on Paper by Marlene Miller” (Oct. 14) chromogenic methods. q “American Quilts pieces out of traditional materials (fabric, Printmaker and draftsperson, adept with ink, from the Terasaki Collection” (Aug. 26) 19th- clay and glass), lush silk and velvet dresses, pencil, charcoal, and other two-dimensional and 20th-century pieced quilts from this stellar ceramic and crystal pots. techniques, whose whole aim is to focus on private collection. the juxtaposition of beauty and the horrors Memphis Brooks Museum of Art, Memphis wrought by human hands. South Carolina q “The Soul of a City: Memphis Collects Gibbes Museum of Art, Charleston q Through African American Art” (Sept. 2) Paintings, Print Center, Philadelphia q “Emma Wil- Sept. 9: “Mary Whyte: Working South” photographs, drawings, sculptures, and mixed cox: Where it Falls” (July 28) Photographs of Charleston native captures the essence of van- media works by the stars of the American art texts painted in 12-foot-high letters on roof- ishing blue-collar professions in the South— scene, with sections devoted to landscape, tops, taken from helicopters—the incorpora- in watercolor; Places for the Spirit: Traditional genre, still life, portraits, folk art, abstraction, tion of text-based work into an urban environ- African American Gardens of the South” religion, music, the Civil Rights movement, Photographs show and contemporary art. q “If I Can Dream” folk gardens and (Sept. 16) An International Art Competition their creators. during Elvis Week 2012: works inspired by Elvis displayed in his home town Tennessee Knoxville Museum Frist Center for the Visual Arts, Nashville of Art q “Street- q “Constable: Oil Sketches from the Victoria wise: Masters of and Albert Museum” (Sept. 30) An explora- 1960s Photography” tion of the role oil sketches played in the (Aug. 5) The output artist’s working process. q Through Sept. 3: of eight American “Edward Burtynsky: The Industrial Sublime” photographers who Photographs that address environmental focused on social destruction caused by human intervention as and political changes well as the beauty of the resulting topogra- during the turbulent phy; Two exhibitions that explore parallels 1960s: the “outlaw between folk and self-taught artists in the culture” of bikers and South: “Creation Story: Gee’s Bend Quilts chain gangs, Boston’s and the Art of Thornton Dial” (the work of “Combat Zone,” the women of Gee’s Bend, and paintings Black Panthers, the and assemblages by Dial) and “Bill Traylor: grit of New York Drawings from the Collections of the High streets and neighbor- Museum of Art and the Montgomery Museum hoods, the politically of Fine Arts” (self-taught artist’s oeuvre). charged South, fringe communities and subcultures around the q Ernesto Neto, Kink (detail), 2012. In “Ernesto Neto,” country. “Beverly Nasher Sculpture Center, TX  20  summer VIEWS continued “Zoltan Szabo: Land That I Love” (Aug. 26) Uncompleted series of watercolors depicting scenes from 43 states.

Villa Terrace Decorative Arts Museum, Milwarukee q “To Become Day: Joey Fauerso & Michael Velliquette” (Sept. 16) Large-scale paintings on historic wallpaper by Fauerso in- vestigate the human body, nature, and culture; paper sculptures by Velliquette—bold images that are cut, layered, and glued form ornamen- tal abstractions

Woodson Art Museum, Wausau q Through Aug. 26: “Botanicals: Environmental Expres- sions in Art” (Aug. 26) Aesthetic forms found in nature: the beauty of plants, accurately portrayed by artists from around the world; “Rhythm of Life: Watercolors by Richard Bolingbroke” A merging of Asian and Western themes and styles to create intricate composi- tions of contrasting elements: flowers and thorns, organic forms with geometric contain- ers, printed fabrics and hard stones. Wyoming Nicolaysen Art Museum, Casper q “Tracy Linder—The Obligation to Endure” (Aug. 5) Ernest David Roth, Ca d’Oro, 1913. In “Reflections and Undercurrents,” Mattatuck Museum, CT Animal, plant, human, and machine remnants Texas Virginia transformed into hybrid sculptures that address q q our connection to the land, a disappearing way Nasher Sculpture Center, Dallas “Ernesto Chrysler Museum of Art, Norfolk “The of rural life on the farm, and our food sources. Neto: Cuddle on the Tightrope” (Sept. 9) A South in Black and White: Photographs by q “Abbie Miller: Zipped” Abstract sculptures, newly designed work for one of the Renzo Baldwin Lee” (Aug. 19) made from vinyl and zippers, that reference Piano-designed galleries incorporates elevation geologic forms. n and crochet. Washington Henry Art Gallery, University of Ellen Noël Art Museum, Odessa q “Grass Washington, Seattle q “In Ruin: Roots: African Origins of an American Art” Architectural Photographs from the (Aug. 12) Baskets from the low country of Permanent Collection” (Sept. 30) South Carolina and Georgia and from diverse A selection of historical and con- regions of Africa trace the story of coiled bas- temporary photos (1860s to1990s) ketry from the domestication of rice in Africa highlights the appeal of architectur- through the trans-Atlantic slave trade and the al ruins. q “Gary Hill: glossodelic Carolina rice plantations, and then to the attractors” (Sept. 16) A sampling present day. of works assembled over a decade investigate how visual and verbal Utah communication are experienced. Utah Museum of Fine Arts, Salt Lake City q “The Record: Contemporary Art q “Salt 5: Daniel Everett” (July 29) Fifth in and Vinyl” (Oct. 7) The intersec- a series of exhibitions featuring innovative tion between visual art and music: contemporary art: works in various mediums works that employ records as their focusing on space, points of transition, and subject or medium—sculptures, personal meaning in public areas. q “Photo installations, drawings, paintings, Finish” (Sept. 9) Various ways in which artists photography, videos, and have imaged the automobile, with all its performances. dichotomous implications (masculinity/ femininity, speed/leisure). Jundt Art Museum, Gonzaga University, Spokane q “Japanese Prints from the Collection” (July 31) Intaglio, screen, relief, and lithographic prints by 20th- and 21st-century artists. Wisconsin Kenosha Public Museum q “Transparent Watercolor Society of America 36th Annual National Juried Exhibition” (Aug. 4) q

Right: Pierre-Auguste Renoir, Leaving the Conservatory (La Sortie du Conservatoire) (detail). In room 23 at the Barnes Foundation, PA Elliot Erwitt, Amagansett, New York, 1990. Gelatin silver print. In “Elliot Erwitt,” Kalamazoo Institute of Arts, MI  21 