Registration Philadelphia Museum of Art. Morton Livingston Schamberg, Presenters Initiatives Registration confirmations are sent via e-mail. in Art and Culture current project is “Charles White: A Retrospective” Fordham University Graduate School of To register on-line: (opening June 8, 2018), the first major retro- Business, Schoelkopf is a past member of the www.modernities.eventbrite.com spective of this important African-American board of directors of the Private Art Dealers VIII (Mechanical Abstraction), in several decades. She received her PhD in Association of America and sits on the Art Multiple Modernities By e-mail: Fill in the registration form and send to: American Art from and her Show Committee of the Art Dealers Association [email protected]. BA in History from Yale University. of America. The gallery is a member of both in American Art By mail: Return form at least 10 days before the Keely Orgeman, The Alice and Allan Kaplan the Private Art Dealers Association of America conference start date with a check or money order Associate Curator, Department of American and the Art Dealers Association of America. payable to Initiatives in Art and Culture or complete 23RD ANNUAL AMERICAN ART CONFERENCE the credit card information on the form, and mail to and Sculpture, Yale University Art Nancy Rivard Shaw, Curator Emerita of Initiatives in Art and Culture, 333 East 57th Street, Suite Gallery. She received her PhD from Boston American Art, Detroit Institute of Arts (DIA) and 13B, New York, NY 10022 University (BU) in 2014, writing her disser- 1916. Oil on canvas, 30 an independent scholar specializing in late 19th- FRIDAY – SATURDAY, MAY 18 – 19, 2018 By phone: Using American Express®, Visa® Card, tation on representations of radioactivity in and early 20th-century American art. Among the Discover®, or MasterCard®, call (646) 485-1952. postwar American art. At BU, she received a major exhibitions Shaw has contributed to are: Presidential Fellowship and a Jan and Warren “John Singer Sargent and the Edwardian Age” Fee: The conference fee is $350 with single-day registration options available. Educators and museum Adelson Fellowship in American Art, organized (1979), “The Quest for Unity: American Art

professionals rate $160 (with ID). Student rate $100 1 � the exhibition “Atomic Afterimage: Cold War 8 Between World’s Fairs” (1983), and “American Art

(with ID). To receive a discounted rate, you must provide x 20 Imagery in ” (2008) at the from the Manoogian Collection” (1989). She proof of status. ¼ in. in. BU Art Gallery, and authored the accom- co-organized “From the to Logan Maxwell Hagege, The Rain Falls, The Sun Shines, 2018. Oil on linen, 32 x 43 in. Gerald Peters Gallery, Withdrawal and refunds: Notice of withdrawal must be panying catalogue. Since coming to Yale in : American Art from the New York, NY. made in writing to: Initiatives in Art and Culture, 333 fall 2008, she has contributed entries and Manoogian Collection” (1997) and prepared the East 57th Street, Suite 13B, New York, NY 10022 or to the Conference location: This conference will take place at Jessica Todd Smith, Susan Gray Detweiler she completed her doctoral dissertation Nature articles to several museum publications scholarly catalogue that accompanied it. She has Program Office via e-mail at [email protected]. Sotheby’s New York, 1334 York Avenue with events at Curator of American Art and Manager of the and Nostalgia in the Art of Mary Nimmo Moran No refunds will be made after May 1, 2018. Gerald Peters Gallery and Questroyal Fine Art. including collection catalogues and the Yale published extensively on the DIA’s collections, Center for American Art, Philadelphia Museum of (1842 – 1899). She has held curatorial research University Art Gallery Bulletin. In 2017, she and has published and lectured widely on a Art (PMA). Prior to her arrival at the PMA, she positions at the Frick Collection, the Morgan Program subject to change. organized the traveling exhibition “Lumia: variety of subjects in American art. Recent was the Virginia Steele Scott Chief Curator of Library & Museum, and The New-York Historical Thomas Wilfred and the Art of Light,” at the publications include contributions to Calm in the Single-day registration options available; please send inquiries to: American Art at The Huntington Library, Art Society and has taught courses on American art

Yale Art Gallery and the Smithsonian American Shadow of the Palmetto & Magnolia: Southern – 1919. ca. 1917 [email protected] or call (646) 485-1952. Collections, and Botanical Gardens in San Marino, at Baruch College and Seton Hall University. Art Museum in Washington, DC. The Art from the Charleston Gallery California. During her tenure at The Huntington, exhibition’s accompanying scholarly catalogue, (2003), American Paintings in the Detroit Karen Wilkin, a New York-based curator and Smith worked on three major expansions of the Please register me for “Multiple Modernities in American Art.” for which Orgeman was the lead author, Institute of Arts, vol. III (2005), and Spot: critic specializing in 20th-century .

American galleries, in addition to exhibitions, Abstraction, The conference fee is $350 with single-day registration options available. featured a foreword by the contemporary light Southern Works on Paper (2008). She is the author of monographs on Stuart publications, and collection development. She Davis, David Smith, Anthony Caro, Kenneth Please send inquiries to: [email protected] or call (646) 485-1952. artist James Turrell. Suzanne Smeaton, independent frame in Art and Culture earned a BA summa cum laude from Harvard Noland, Helen Frankenthaler, Isaac Witkin, Andrew Schoelkopf, co-founder and partner, historian and consultant, Suzanne Smeaton, Thomas Cole, View from Mount Holyoke, Educators and museum professionals rate $160 (with ID). Student rate $100 University and a PhD from Yale University. Giorgio Morandi, , and Hans Menconi + Schoelkopf. Schoelkopf literally LLC. A certified member of the Appraiser’s Northampton, Massachusetts, after a Thunderstorm (with ID). Paul Staiti, Alumnae Foundation Professor of Hofmann, and has organized exhibitions and John Storrs, 16 x 13 4½ in. Stone with black enamel inlay, . —The Oxbow, 1836. Oil on canvas, 51½ x 76 in. grew up in an American painting gallery; his Association of America, Smeaton has been The Metropolitan Museum of Art, New York; gift studying American frames and framing works Fine Arts at Mount Holyoke. He is the author of lectured on the work of these inter- of Mrs. Russell Sage, 1908 (08.228). Image © The father, Robert Schoelkopf, opened an art nitiatives in Art and Culture I Suite 13B East 57th Street, 333 10022 New York New York, books and essays on John Singleton Copley, Initiatives gallery on Madison Avenue in 1958 and ran of art for over 35 years. She was formerly nationally. She was a contributing editor, with Metropolitan Museum of Art. Name______Gilbert Stuart, Samuel F. B. Morse, William the business—which Andrew joined in 1989— Director, Eli Wilner & Co., and through her work William C. Agee, of Stuart Davis: A Catalogue Michael Harnett, and Winslow Homer. He has Address______until his passing in 1991. After the closing of at that gallery, curated many exhibitions Raisonné (Yale University Press, 2007) and the dedicated to American frames, consulted for lectured at the Louvre and The Metropolitan Hans Hofmann Catalogue Raisonné of Paintings City ______State ______Zip______the Robert Schoelkopf Gallery, Schoelkopf joined Christie’s auction house as a specialist numerous private and public collections, and Museum of Art and has been awarded fellowships (Lund Humphries, 2014). Contributing Editor for Affiliation______in American paintings and became director of framed artworks for many institutions including from the National Endowment for the Art, the Hudson Review and a regular The White House, The Metropolitan Museum of Humanities on three occasions. His last book, Of contributor to The New Criterion and The Wall Day-time phone______the American Paintings Department in 1995. He subsequently held a number of senior Art, the Yale University Art Gallery, and the Arms and Artists, is concerned with the ways in Street Journal, Wilkin teaches in the New York E-mail address______positions with Christie’s including director of Smithsonian American Art Museum. She is a which Stuart, Copley, West, Trumbull and Peale Studio School’s MFA program. Recent projects frequent lecturer on the topic of frames and business development for North and South responded, both as citizens and painters, to the include “American Vanguards: John Graham, American frame history and author of related America; in his final position with the firm, he American Revolution; the book will be published Stuart Davis, Arshile Gorky, Willem de Kooning articles and essays in The Gilded Edge: The Art served as president of Christie’s Internet by Bloomsbury in October 2018. and their Circle, 1927 – 1942” (with W. C. Agee METHOD OF PAYMENT of the Frame (2000), The Magazine ANTIQUES, auction business. He was also a member of Shannon Vittoria, Research Associate, The and I. Sandler; Addison Gallery of American Art and Picture Framing Magazine. She contributed Payment is enclosed (check or money order made payable to Initiatives in Art and Culture), or American Wing, The Metropolitan Museum of and other US venues), and “Hans Hofmann: Christie’s Business Development and Operating an essay on frames of the Ashcan painters to Art. She specializes in 18th– and 19th–century Magnum Opus” (with W. C. Agee; Museum I authorize you to charge my credit card ______Committees. In April 2001, Andrew and his Life’s Pleasures: The Ashcan Artists’ Brush With American painting and works on paper with a Pfalzgalerie Kaiserslautern, 2012), a 2017 Signature partner Susan Menconi opened their doors as Leisure 1895 – 1925 (2007), collaborated with Charles Sheeler, Pertaining to Yachts Visa® American Express® Mastercard® Discover® private dealers specializing in American Lisa Koenigsberg on an essay on frames in the focus on landscape art and . She retrospectives of Hofmann’s works on paper, and Yachting, 1922. Oil on canvas, 20 x paintings, drawings, and sculpture of the 18th, is a member of the curatorial team that seen at the Museum of Contemporary Art, 241/16 in. Philadelphia Museum of Art. Card number ______catalogue Auspicious Vision: Edwin Wales Root 19th, and early 20th centuries; they have sold and (2007) for the organized the exhibition “Thomas Cole’s Jacksonville, FL and the Portland (Maine) Art works of art to leading private collectors and Munson–Williams Proctor Arts Institute, and Journey: Atlantic Crossings,” on view at The Met Museum and, with Alicia G. Longwell, of John Expires______CVC code Florine Stettheimer, Portrait of museums including the Museum of Fine Arts, wrote an essay about the re-creation of the through May 13, 2018 and traveling to The Graham’s work for the Parrish Museum of Art. and Rrose Selavy, 1923. Oil on canvas, 26 x 30 in. Boston; The Metropolitan Museum of Art; and National Gallery, London in June 2018. Vittoria Educated at Barnard College and Columbia CONFERENCE ART AMERICAN ANNUAL Private collection. Billing address______original frame on Emanuel Leutze’s

The Art Institute of Chicago. The recipient of a received her PhD in from University, she was awarded a Woodrow Wilson “Washington Crossing the Delaware” for The 1950-134-519. 1950; Collection, Arensberg Walter and Louise Art; of Museum

11�16

in.; frame 20½ × 9½ in. Philadelphia Philadelphia in. 9½ × 20½ frame in.; 8 x 20 glass, on Oil 1917. ca. Chinatown, BA from Denison University and an MBA from Metropolitan Museum of Art Bulletin. University of New York’s Graduate Center where Fellowship and a Fulbright Scholarship to Rome. Stella, Joseph 23RD 23RD City ______State ______Zip______Multiple Modernities in American Art 2018 19, – 18 MAY SATURDAY, – FRIDAY

IAC_Brochure_AmericanArt_2018_Prnt.indd 1 4/2/18 3:24 PM Multiple Modernities in American Art Friday, May 18, 2018 Saturday, May 19, 2018 Presenters

23RD ANNUAL AMERICAN ART CONFERENCE Formal sessions take place at Sotheby’s New York, 1334 Formal sessions take place at Sotheby’s New York, 1334 Lisa Koenigsberg, conference director; (2003), Dove/O’Keeffe: Circles of Influence of Washington, she completed research York Times from 1961 – 1964) and, after a York Avenue (at 72nd Street). York Avenue (at 72nd Street). Informal opportunities to view President, Initiatives in Art and Culture; she (2009), After Many Springs: , fellowships at the Amon Carter Museum of hiatus, began making art again. In 1966, he the American Paintings and Sculpture Exhibition begin on In this conference, Initiatives in Art and Culture will challenge launched the series of annual conferences on Modernism and the Midwest (2009), John American Art in Fort Worth, TX, the Buffalo had his first solo exhibition at the Byron 9:00 – 9:30 a.m. Registration and continental this day. the prevailing cognitive approach to art history in which breakfast American art in 1996. Formerly: Director, Storrs: Machine-Age Modernist (2010), and Bill Center of the West in Cody, WY, and the Gallery in New York. Since, O’Doherty has different expressions of the modern, even those that are 9:30 – 10:00 a.m. Coffee Programs in the Arts and Adjunct Professor of John Marin: Modernism at Midcentury (2011). Harry Ransom Center at the University of continued to write, edit, teach, and make art inarguably contemporaneous, succeed one another in a more- 9:30 – 9:45 a.m. Introduction. Lisa Koenigsberg. Arts, NYU/SCPS; Assistant Director for Project Her exhibition, “Mark Tobey, Threading Light,” in Austin. Her curatorial and collections in a career of astonishing breadth and or-less linear fashion. Instead, we propose a different 10:00 – 10:10 a.m. Welcome. Lisa Koenigsberg. Funding, Museum of the City of New York; organized by the Addison Gallery of American experience includes posts at the Smithsonian productivity. His art has been the subject of 9:45 – 10:30 a.m. Seeing Takes Time: American approach, one that recognizes and celebrates a frequent Executive Assistant, Office of the President, Art, opened at the Peggy Guggenheim American Art Museum, the Morris Graves dozens of solo exhibitions and is held in major Modernism and Philadelphia. 10:10 – 10:50 a.m. Framing Florine: Stettheimer at coexistence of different expressions and which can reshape our Jessica Todd Smith. the Heart of Multiple Modernities. American Museum of Natural History; Collection with the Venice Biennale in May Foundation, the Henry Art Gallery, and the public collections both here and abroad. The understanding of the history of American art. Nancy Rivard Shaw in conversation with Architectural Historian, 2017. The recipient of an inaugural Clark Victoria & Albert Museum. Most recently, she second of his three novels, The Deposition of 10:35 – 11:20 a.m. Grant Wood: American Gothic Suzanne Smeaton. Landmarks Preservation Commission; and Fellowship at the Clark Art Institute (2001), a co-curated “Backstory: Father McGreevy (1999) was short-listed for Early examples of multiple modernities in American art are and Other Fables. Barbara Haskell. guest curator, Worcester Art Museum and Yale Senior Fellowship from the Dedalus Foundation in Context,” a collaborative exhibition of the Booker Prize in 2000. In 1976, he Grant Wood, Parson Weems’ Fable, Trumbull and Morse who document the history of a new Stuart Davis, Report from Rockport, 1940. Oil on canvas, 24 x 30 in. 1939. Oil on canvas. Amon Carter The Metropolitan Museum of Art. 10:55 – 11:35 a.m. Stettheimer Frames: Florine’s University Art Gallery. She contributed a (2002), and a Rockefeller Foundation Fellowship western American art and artifacts at the published “Inside the White Cube: The Museum of American Art, Fort nation, while artists like Allston, Vanderlyn, and Rembrandt 11:20 – 11:35 a.m. Break Imaginative, Modern Surrounds. Thomas Wilfred, Unit #50, Elliptical Prelude and Chalice, chapter to The Art of Collecting: An Intimate (2006), she is completing a study of the History Colorado Center. Her interdisciplinary Ideology of the Gallery Space,” a series of Worth, Texas, t1970.43. Peale broaden the narrative tradition to include literary and Suzanne Smeaton. 11:35 a.m. – 12:30 p.m. The Long Run: Stuart Davis. from the First Table Model Clavilux (Luminar) Series, Tour Inside Private Art Collections with Advice American midcentury art critic Harold transatlantic research, which has taken her three articles in Artforum that is likely his religious subjects. A rapid multiplication of approaches to the 1928. Metal, fabric, glass, and electrical and lighting William C. Agee, Brian O’Doherty, and Karen Wilkin in conversation. elements on a maple table. Yale University Art Gallery; on Starting Your Own (2010), and she Rosenberg for the University of Chicago Press from the wilds of the American West to the best-known work of criticism. In 1972, modern ensued, ranging from Quidor’s trailblazing depiction of American literary subjects to the 11:35 – 11:55 a.m. Break and book signings gift of Thomas C. Wilfred. collaborated with Suzanne Smeaton on an with grants from the Getty Research Institute streets of London and New York, reflects her protesting the Bloody Sunday killings in Derry, radical approach to depicting nature pursued by Cole and others. The problem or challenge is ours: 12:30 – 2:00 p.m. Lunch (on your own) 11:55 a.m. – 12:40 p.m. Collecting Modernism. essay for the catalog for Auspicious Vision: (2002), Creative Capital, and the Andy Warhol upbringing on a cattle ranch in and he began signing his art work “Patrick Ireland”; to accept that multiple expressions of the modern existed simultaneously. Andrew Schoelkopf in conversation. 2:00 – 2:40 p.m. Modern Subjects for a Modern Republic. Edwin Wales Root and American Modernism, Foundation for the Arts (2008). She has taught her interest in the dominant cultural and 36 years later, on May 20, 2008, he at numerous institutions, among them Brown artistic spheres of the late Victorian era. ceremoniously buried Patrick Ireland in Dublin This phenomenon is manifestly evident in the latter half of the 19th Paul Staiti. 12:40 – 2:10 p.m. Lunch (on your own) an exhibition celebrating the 50th anniversary century, with Tonalism developing along two paths while Homer’s of the Edwin Root Bequest to the Munson– University, the Institute of Fine Arts at New Linda Merrill, authority on the works of James in recognition of the progress that had been 2:45 – 3:25 p.m. continues to be evident in his expressions of unbridled Thomas Cole’s Journey: Atlantic 2:10 – 2:50 p.m. John Storrs: Proto-Modernist. Williams Proctor Art Institute. Other writings York University, and the Rhode Island School of McNeill Whistler; Merrill teaches art history at made for peace in Northern Ireland. His Crossings. Shannon Vittoria. naturalism. Impressionism sweeps the country; yet the American Debra Bricker Balken. have appeared in books and journals, among Design, and has served as the Sterling and Emory University in Atlanta, GA. The recipient of awards include: the Mather Award for Renaissance Movement also thrives. In the early 20th century, the them The Gilded Edge: The Art of the Frame Francine Clark Visiting Professor in the Williams a BA in English from Smith College and a PhD in Criticism from the College Art Association 3:25 – 3:45 p.m. Break 2:55 – 3:40 p.m. Light, Art, Space: Modernist (2000), Architecture: A Place for Women College Graduate Program in the . (1964); the Grand Prix from Montreal creates vital depictions of contemporary life while Dow Constellations. Keely Orgeman. the History of Art from the University of London, employs Japanesque stylization and composition and Dietrich creates 3:45 – 4:25 p.m. Negotiating Impressionism: Whistler (1990), The Architectural Historian in America Barbara Haskell, Curator, Whitney Museum of for many years she served as curator of International Festival of Films on Art for his related flat sculptural compositions. The early abstraction of Marin, & the Tonalist Landscape. 3:45 – 4:30 p.m. Charles White’s Social Modernity. (1991), the Archives of American Art Journal, American Art; Haskell is a well-known scholar American art at the Freer Gallery of Art, one of film, “Hopper’s Silence” (1982), and the Weber, Russell and Macdonald–Wright is complemented by the lyric Linda Merrill. Sarah Kelly Oehler. the Journal of the Society of Architectural on American , and the author of the Smithsonian museums in Washington, DC, Sagittarius Prize from the British Society of modernism of O’Keeffe and Dove. By the second quarter of the 20th Historians, and the Proceedings of the over 20 publications. Among the landmark and subsequently as the Margaret and Terry Authors (1993). In 2003, he was named an 4:30 – 5:15 p.m. Remington as a Modernist. James McNeill Whistler, Nocturne: Blue and Silver—Bognor, 5:00 – 7:00 p.m. Reception and viewing century, multiple modernities exist simultaneously in the work of the 1871 – 1876. Oil on canvas, 1913�16 x 315� in. Freer Gallery American Antiquarian Society. thematic exhibitions she has curated are “The Stent Curator of American Art at the High Honorary Fellow of the Royal College of Jennifer R. Henneman. of Art, Smithsonian Institution, Washington, DC; gift of American Abstract Artists, in that of the Regionalists’ stylized figurative Charles Lang Freer, F1906.103. “Tom Yost: At the Edge of Truth” William C. Agee, Evelyn Kranes Kossak American Century: Art & Culture 1900 – 1950” Museum of Art in Atlanta. She has published Physicians of Ireland. O’Doherty lives and works, in that of the sculptor, John Storrs, and in the more purely 5:30 – 7:30 p.m. Reception and viewing and highlights from the Gallery’s Professor Emeritus of Art History, Hunter (1999) and “BLAM! The Explosion of Pop, several books and articles on Whistler and his works in New York City. abstract work of Duchamp, Stella, and Pollack. The Abstract Charles Willson Peale, inventory of 19th- and 20th-century and Performance 1958 – 1964” contemporaries, including After Whistler: The Sarah Kelly Oehler, Field-McCormick Chair Portrait of Thomas “Logan Maxwell Hagege: College, City University of New York (CUNY). Expressionists, exponents of America’s first truly international style, American paintings Jefferson, 1791. Oil on Where Land Meets Sky” He is founding editor, contributing editor, and (1984). In addition, she has curated retro- Artist and His Influence on American Painting, and Curator of American Art, Art Institute of emerge in the 1950s at the same time Stuart Davis and Edward Hopper canvas. Independence co-author of the essays in Stuart Davis: A spectives and authored accompanying The Peacock Room: A Cultural Biography (1998), Chicago, where she focuses on the modern National Historical Park, The artist will be present for the evening. QUESTROYAL FINE ART continue on their own, distinct paths, with all powerfully influencing scholarly monographs on a range of early and A Pot of Paint: Aesthetics on Trial in Whistler American art collection. Her most recent Philadelphia, Pennsylvania. 903 Park Avenue Catalogue Raisonné (three volumes, 2007); American art and underscoring the synchronicity of multiple GERALD PETERS GALLERY (at the corner of 79th Street) formerly Director, The Museum of Fine Arts, 20th-century and post-war American artists, v. Ruskin (1993). She is currently writing a book projects include “Whistler’s Mother: An expressions of the modern. 19 East 74th Street including H.C. Westermann (1978), Marsden (between Fifth and Madison Avenues) Houston and Pasadena Art Museum. Among on Whistler’s “Ten O’Clock” lecture. American Icon Returns to Chicago” (2017), and his publications are works on , Hartley (1980), Milton Avery (1982), Ralston Brian O’Doherty, artist, novelist, art critic, “America After the Fall: Painting in the 1930s” Leadership funding has been provided by The Richard and Jane Manoogian Foundation Charles White, Birmingham Totem, 1964. Duchamp–Villon, painting and sculpture of the Crawford (1985), (1987), Red (2016), which explored the art and culture of Ink and charcoal on paper, 717�16 x 401�16 in. television presenter, film-maker, physician; and The Louis and Lena Minkoff Foundation. High Museum of Art, Atlanta; purchased with Grooms (1987), (1988), Burgoyne the Depression decade. In 2015, she funds from Edith G. and Philip A. Rhodes and 1930s, Bruce, Daugherty, Schamberg, born in County Roscommon, Ireland, We gratefully acknowledge funding from Collisart, LLC; Debra Force Fine Art, Inc.; D. Wigmore Fine Art; the National Endowment for the Arts, 1978.3. Crawford, Diller, Davis, Dove, Francis, Judd, Diller (1990), (1992), Joseph O’Doherty received his medical degree from co-curated “Shatter Rupture Break: The Freeman’s; George Jeffords; The Gerald Peters Family Art Foundation; Hollis Taggart Galleries; Jonathan Marin, Noland, Porter, and Arnold Friedman. In Stella (1994), Edward Steichen (2000), Elie the University of Dublin in 1952 and until Modern Series I” (2015) which united diverse Boos; Menconi + Schoelkopf Fine Art; Questroyal Fine Art; and anonymous donors, as well as support Spring 2011 he was a fellow at the Georgia Nadelman (2003), Oscar Bluemner (2005 – 1957 practiced medicine. Between 1950 and aspects of the Art Institute’s collection of received from, Christie’s, Shannon’s, and Sotheby’s. O’Keeffe Museum Research Center in Santa Fe, 2006), Georgia O’Keeffe (2009), Lyonel 1957, he exhibited his paintings at the Royal modern art. In 2013, she curated “They Seek a . His most recent publication is Feininger (2011), Reginald Marsh (2013), Hibernian Academy, the Oireachtas (the Irish City: Chicago and the Art of Migration, 1910 – We are deeply grateful to Sotheby’s New York for hosting IAC’s 23rd Annual American Art conference. Modern Art in America, 1908 – 1968: A (2013), Stuart Davis (2016), and legislature), and in the Irish Exhibition of 1950,” an exhibition and catalogue that Critical and Thematic History (2016), and he is Grant Wood (2018), with “Grant Wood: focused on immigrant and migrant artists in This conference is dedicated to Harry L. Koenigsberg (1921 – 2002). Living Art and, at the same time, published art at work on a book about Brancusi in America. American Gothic and Other Fables” now on criticism and poetry in journals such as Dublin the city and was co-curator of “Art and Debra Bricker Balken, independent curator view at the Whitney. In 2005, she was awarded Magazine, Dublin Review, and University Appetite: American Painting, Culture, and and writer; she has organized numerous the Lawrence A. Fleischman Award for Review. In 1957, O’Doherty left Dublin for Cuisine,” which explored the connections exhibitions on subjects relating to American Scholarly Excellence in the Field of American Cambridge, MA where, in 1958, he received an between art and food in the . Modernism and contemporary art for major Art History by the Smithsonian Institution’s MS from the Harvard School of Public Health. She has contributed to numerous other museums internationally. Balken’s books Archives of American Art. He then left medicine, landing a job at exhibitions and publications at the museum, include Philip Guston’s Poor Richard (2001) Jennifer R. Henneman, Assistant Curator, Boston’s WGBH-TV hosting a half-hour weekly including “The Age of American and Abstract : Movements in Petrie Institute of Western American Art, show “Invitation to Art,” taking over from Impressionism” (2011), “American Modernism Modern Art (2005), as well as exhibition Denver Art Museum. While pursuing her Barbara Novak (whom he would marry in at the Art Institute of Chicago from Frederic Remington, A Dash for the Timber, 1889. Oil on canvas, 48¼ x 841� 8 in. Amon Carter Museum of American Art, Tom Yost, Storm Approaching Painter Ridge, 2016. Oil on linen, 30 x 35 in. catalogues such as Arthur Dove, A doctorate on 19th-century British and 1960). He continued to lecture and write on to 1955” (2009), and “Apostles of Beauty: Arts Fort Worth, TX, Amon G. Carter Collection. Image: courtesy Questroyal Fine Art, New York. Sponsors and program are correct as of March 24, 2018. Retrospective (1997), The Park Avenue Cubists American Art and Visual Culture at University the arts (not least as an art critic for The New and Crafts from Britain to Chicago” (2009). Her

IAC_Brochure_AmericanArt_2018_Prnt.indd 2 4/3/18 9:34 AM Multiple Modernities in American Art Friday, May 18, 2018 Saturday, May 19, 2018 Presenters

23RD ANNUAL AMERICAN ART CONFERENCE Formal sessions take place at Sotheby’s New York, 1334 Formal sessions take place at Sotheby’s New York, 1334 Lisa Koenigsberg, conference director; (2003), Dove/O’Keeffe: Circles of Influence of Washington, she completed research York Times from 1961 – 1964) and, after a York Avenue (at 72nd Street). York Avenue (at 72nd Street). Informal opportunities to view President, Initiatives in Art and Culture; she (2009), After Many Springs: Regionalism, fellowships at the Amon Carter Museum of hiatus, began making art again. In 1966, he the American Paintings and Sculpture Exhibition begin on In this conference, Initiatives in Art and Culture will challenge launched the series of annual conferences on Modernism and the Midwest (2009), John American Art in Fort Worth, TX, the Buffalo had his first solo exhibition at the Byron 9:00 – 9:30 a.m. Registration and continental this day. the prevailing cognitive approach to art history in which breakfast American art in 1996. Formerly: Director, Storrs: Machine-Age Modernist (2010), and Bill Center of the West in Cody, WY, and the Gallery in New York. Since, O’Doherty has different expressions of the modern, even those that are 9:30 – 10:00 a.m. Coffee Programs in the Arts and Adjunct Professor of John Marin: Modernism at Midcentury (2011). Harry Ransom Center at the University of continued to write, edit, teach, and make art inarguably contemporaneous, succeed one another in a more- 9:30 – 9:45 a.m. Introduction. Lisa Koenigsberg. Arts, NYU/SCPS; Assistant Director for Project Her exhibition, “Mark Tobey, Threading Light,” Texas in Austin. Her curatorial and collections in a career of astonishing breadth and or-less linear fashion. Instead, we propose a different 10:00 – 10:10 a.m. Welcome. Lisa Koenigsberg. Funding, Museum of the City of New York; organized by the Addison Gallery of American experience includes posts at the Smithsonian productivity. His art has been the subject of 9:45 – 10:30 a.m. Seeing Takes Time: American approach, one that recognizes and celebrates a frequent Executive Assistant, Office of the President, Art, opened at the Peggy Guggenheim American Art Museum, the Morris Graves dozens of solo exhibitions and is held in major Modernism and Philadelphia. 10:10 – 10:50 a.m. Framing Florine: Stettheimer at coexistence of different expressions and which can reshape our Jessica Todd Smith. the Heart of Multiple Modernities. American Museum of Natural History; Collection with the Venice Biennale in May Foundation, the Henry Art Gallery, and the public collections both here and abroad. The understanding of the history of American art. Nancy Rivard Shaw in conversation with Architectural Historian, New York City 2017. The recipient of an inaugural Clark Victoria & Albert Museum. Most recently, she second of his three novels, The Deposition of 10:35 – 11:20 a.m. Grant Wood: American Gothic Suzanne Smeaton. Landmarks Preservation Commission; and Fellowship at the Clark Art Institute (2001), a co-curated “Backstory: Western American Art Father McGreevy (1999) was short-listed for Early examples of multiple modernities in American art are and Other Fables. Barbara Haskell. guest curator, Worcester Art Museum and Yale Senior Fellowship from the Dedalus Foundation in Context,” a collaborative exhibition of the Booker Prize in 2000. In 1976, he Grant Wood, Parson Weems’ Fable, Trumbull and Morse who document the history of a new Stuart Davis, Report from Rockport, 1940. Oil on canvas, 24 x 30 in. 1939. Oil on canvas. Amon Carter The Metropolitan Museum of Art. 10:55 – 11:35 a.m. Stettheimer Frames: Florine’s University Art Gallery. She contributed a (2002), and a Rockefeller Foundation Fellowship western American art and artifacts at the published “Inside the White Cube: The Museum of American Art, Fort nation, while artists like Allston, Vanderlyn, and Rembrandt 11:20 – 11:35 a.m. Break Imaginative, Modern Surrounds. Thomas Wilfred, Unit #50, Elliptical Prelude and Chalice, chapter to The Art of Collecting: An Intimate (2006), she is completing a study of the History Colorado Center. Her interdisciplinary Ideology of the Gallery Space,” a series of Worth, Texas, t1970.43. Peale broaden the narrative tradition to include literary and Suzanne Smeaton. 11:35 a.m. – 12:30 p.m. The Long Run: Stuart Davis. from the First Table Model Clavilux (Luminar) Series, Tour Inside Private Art Collections with Advice American midcentury art critic Harold transatlantic research, which has taken her three articles in Artforum that is likely his religious subjects. A rapid multiplication of approaches to the 1928. Metal, fabric, glass, and electrical and lighting William C. Agee, Brian O’Doherty, and Karen Wilkin in conversation. elements on a maple table. Yale University Art Gallery; on Starting Your Own (2010), and she Rosenberg for the University of Chicago Press from the wilds of the American West to the best-known work of criticism. In 1972, modern ensued, ranging from Quidor’s trailblazing depiction of American literary subjects to the 11:35 – 11:55 a.m. Break and book signings gift of Thomas C. Wilfred. collaborated with Suzanne Smeaton on an with grants from the Getty Research Institute streets of London and New York, reflects her protesting the Bloody Sunday killings in Derry, radical approach to depicting nature pursued by Cole and others. The problem or challenge is ours: 12:30 – 2:00 p.m. Lunch (on your own) 11:55 a.m. – 12:40 p.m. Collecting Modernism. essay for the catalog for Auspicious Vision: (2002), Creative Capital, and the Andy Warhol upbringing on a cattle ranch in Montana and he began signing his art work “Patrick Ireland”; to accept that multiple expressions of the modern existed simultaneously. Andrew Schoelkopf in conversation. 2:00 – 2:40 p.m. Modern Subjects for a Modern Republic. Edwin Wales Root and American Modernism, Foundation for the Arts (2008). She has taught her interest in the dominant cultural and 36 years later, on May 20, 2008, he at numerous institutions, among them Brown artistic spheres of the late Victorian era. ceremoniously buried Patrick Ireland in Dublin This phenomenon is manifestly evident in the latter half of the 19th Paul Staiti. 12:40 – 2:10 p.m. Lunch (on your own) an exhibition celebrating the 50th anniversary century, with Tonalism developing along two paths while Homer’s of the Edwin Root Bequest to the Munson– University, the Institute of Fine Arts at New Linda Merrill, authority on the works of James in recognition of the progress that had been 2:45 – 3:25 p.m. modernity continues to be evident in his expressions of unbridled Thomas Cole’s Journey: Atlantic 2:10 – 2:50 p.m. John Storrs: Proto-Modernist. Williams Proctor Art Institute. Other writings York University, and the Rhode Island School of McNeill Whistler; Merrill teaches art history at made for peace in Northern Ireland. His Crossings. Shannon Vittoria. naturalism. Impressionism sweeps the country; yet the American Debra Bricker Balken. have appeared in books and journals, among Design, and has served as the Sterling and Emory University in Atlanta, GA. The recipient of awards include: the Mather Award for Renaissance Movement also thrives. In the early 20th century, the them The Gilded Edge: The Art of the Frame Francine Clark Visiting Professor in the Williams a BA in English from Smith College and a PhD in Criticism from the College Art Association 3:25 – 3:45 p.m. Break 2:55 – 3:40 p.m. Light, Art, Space: Modernist (2000), Architecture: A Place for Women College Graduate Program in the History of Art. (1964); the Grand Prix from Montreal Ashcan School creates vital depictions of contemporary life while Dow Constellations. Keely Orgeman. the History of Art from the University of London, employs Japanesque stylization and composition and Dietrich creates 3:45 – 4:25 p.m. Negotiating Impressionism: Whistler (1990), The Architectural Historian in America Barbara Haskell, Curator, Whitney Museum of for many years she served as curator of International Festival of Films on Art for his related flat sculptural compositions. The early abstraction of Marin, & the Tonalist Landscape. Linda 3:45 – 4:30 p.m. Charles White’s Social Modernity. (1991), the Archives of American Art Journal, American Art; Haskell is a well-known scholar American art at the Freer Gallery of Art, one of film, “Hopper’s Silence” (1982), and the Weber, Russell and Macdonald–Wright is complemented by the lyric Merrill. Sarah Kelly Oehler. the Journal of the Society of Architectural on American modern art, and the author of the Smithsonian museums in Washington, DC, Sagittarius Prize from the British Society of modernism of O’Keeffe and Dove. By the second quarter of the 20th Historians, and the Proceedings of the over 20 publications. Among the landmark and subsequently as the Margaret and Terry Authors (1993). In 2003, he was named an 4:30 – 5:15 p.m. Remington as a Modernist. Jennifer James McNeill Whistler, Nocturne: Blue and Silver—Bognor, 5:00 – 7:00 p.m. Reception and viewing century, multiple modernities exist simultaneously in the work of the 1871 – 1876. Oil on canvas, 1913�16 x 315� in. Freer Gallery American Antiquarian Society. thematic exhibitions she has curated are “The Stent Curator of American Art at the High Honorary Fellow of the Royal College of R. Henneman. of Art, Smithsonian Institution, Washington, DC; gift of American Abstract Artists, in that of the Regionalists’ stylized figurative Charles Lang Freer, F1906.103. “Tom Yost: At the Edge of Truth” William C. Agee, Evelyn Kranes Kossak American Century: Art & Culture 1900 – 1950” Museum of Art in Atlanta. She has published Physicians of Ireland. O’Doherty lives and works, in that of the sculptor, John Storrs, and in the more purely 5:30 – 7:30 p.m. Reception and viewing and highlights from the Gallery’s Professor Emeritus of Art History, Hunter (1999) and “BLAM! The Explosion of Pop, several books and articles on Whistler and his works in New York City. abstract work of Duchamp, Stella, and Pollack. The Abstract Charles Willson Peale, inventory of 19th- and 20th-century Minimalism and Performance 1958 – 1964” contemporaries, including After Whistler: The Sarah Kelly Oehler, Field-McCormick Chair Portrait of Thomas “Logan Maxwell Hagege: College, City University of New York (CUNY). Expressionists, exponents of America’s first truly international style, American paintings Jefferson, 1791. Oil on Where Land Meets Sky” He is founding editor, contributing editor, and (1984). In addition, she has curated retro- Artist and His Influence on American Painting, and Curator of American Art, Art Institute of emerge in the 1950s at the same time Stuart Davis and Edward Hopper canvas. Independence co-author of the essays in Stuart Davis: A spectives and authored accompanying The Peacock Room: A Cultural Biography (1998), Chicago, where she focuses on the modern National Historical Park, The artist will be present for the evening. QUESTROYAL FINE ART continue on their own, distinct paths, with all powerfully influencing scholarly monographs on a range of early and A Pot of Paint: Aesthetics on Trial in Whistler American art collection. Her most recent Philadelphia, Pennsylvania. 903 Park Avenue Catalogue Raisonné (three volumes, 2007); American art and underscoring the synchronicity of multiple GERALD PETERS GALLERY (at the corner of 79th Street) formerly Director, The Museum of Fine Arts, 20th-century and post-war American artists, v. Ruskin (1993). She is currently writing a book projects include “Whistler’s Mother: An expressions of the modern. 19 East 74th Street including H.C. Westermann (1978), Marsden (between Fifth and Madison Avenues) Houston and Pasadena Art Museum. Among on Whistler’s “Ten O’Clock” lecture. American Icon Returns to Chicago” (2017), and his publications are works on Synchromism, Hartley (1980), Milton Avery (1982), Ralston Brian O’Doherty, artist, novelist, art critic, “America After the Fall: Painting in the 1930s” Leadership funding has been provided by The Richard and Jane Manoogian Foundation Charles White, Birmingham Totem, 1964. Duchamp–Villon, painting and sculpture of the Crawford (1985), Charles Demuth (1987), Red (2016), which explored the art and culture of Ink and charcoal on paper, 717�16 x 401�16 in. television presenter, film-maker, physician; and The Louis and Lena Minkoff Foundation. High Museum of Art, Atlanta; purchased with Grooms (1987), Donald Judd (1988), Burgoyne the Depression decade. In 2015, she funds from Edith G. and Philip A. Rhodes and 1930s, Bruce, Daugherty, Schamberg, born in County Roscommon, Ireland, We gratefully acknowledge funding from Collisart, LLC; D. Wigmore Fine Art; Freeman’s; George Jeffords; the National Endowment for the Arts, 1978.3. Crawford, Diller, Davis, Dove, Francis, Judd, Diller (1990), Agnes Martin (1992), Joseph O’Doherty received his medical degree from co-curated “Shatter Rupture Break: The The Gerald Peters Family Art Foundation; Hollis Taggart Galleries; Jonathan Boos; Menconi + Schoelkopf Marin, Noland, Porter, and Arnold Friedman. In Stella (1994), Edward Steichen (2000), Elie the University of Dublin in 1952 and until Modern Series I” (2015) which united diverse Fine Art; Questroyal Fine Art; and anonymous donors, as well as support received from, Christie’s, Spring 2011 he was a fellow at the Georgia Nadelman (2003), Oscar Bluemner (2005 – 1957 practiced medicine. Between 1950 and aspects of the Art Institute’s collection of Shannon’s, and Sotheby’s. O’Keeffe Museum Research Center in Santa Fe, 2006), Georgia O’Keeffe (2009), Lyonel 1957, he exhibited his paintings at the Royal modern art. In 2013, she curated “They Seek a New Mexico. His most recent publication is Feininger (2011), Reginald Marsh (2013), Hibernian Academy, the Oireachtas (the Irish City: Chicago and the Art of Migration, 1910 – We are deeply grateful to Sotheby’s New York for hosting IAC’s 23rd Annual American Art conference. Modern Art in America, 1908 – 1968: A Robert Indiana (2013), Stuart Davis (2016), and legislature), and in the Irish Exhibition of 1950,” an exhibition and catalogue that Critical and Thematic History (2016), and he is Grant Wood (2018), with “Grant Wood: focused on immigrant and migrant artists in This conference is dedicated to Harry L. Koenigsberg (1921 – 2002). Living Art and, at the same time, published art at work on a book about Brancusi in America. American Gothic and Other Fables” now on criticism and poetry in journals such as Dublin the city and was co-curator of “Art and Debra Bricker Balken, independent curator view at the Whitney. In 2005, she was awarded Magazine, Dublin Review, and University Appetite: American Painting, Culture, and and writer; she has organized numerous the Lawrence A. Fleischman Award for Review. In 1957, O’Doherty left Dublin for Cuisine,” which explored the connections exhibitions on subjects relating to American Scholarly Excellence in the Field of American Cambridge, MA where, in 1958, he received an between art and food in the United States. Modernism and contemporary art for major Art History by the Smithsonian Institution’s MS from the Harvard School of Public Health. She has contributed to numerous other museums internationally. Balken’s books Archives of American Art. He then left medicine, landing a job at exhibitions and publications at the museum, include Philip Guston’s Poor Richard (2001) Jennifer R. Henneman, Assistant Curator, Boston’s WGBH-TV hosting a half-hour weekly including “The Age of American and : Movements in Petrie Institute of Western American Art, show “Invitation to Art,” taking over from Impressionism” (2011), “American Modernism Modern Art (2005), as well as exhibition Denver Art Museum. While pursuing her Barbara Novak (whom he would marry in at the Art Institute of Chicago from World War I Frederic Remington, A Dash for the Timber, 1889. Oil on canvas, 48¼ x 841� 8 in. Amon Carter Museum of American Art, Tom Yost, Storm Approaching Painter Ridge, 2016. Oil on linen, 30 x 35 in. catalogues such as Arthur Dove, A doctorate on 19th-century British and 1960). He continued to lecture and write on to 1955” (2009), and “Apostles of Beauty: Arts Fort Worth, TX, Amon G. Carter Collection. Image: courtesy Questroyal Fine Art, New York. Sponsors and program are correct as of March 24, 2018. Retrospective (1997), The Park Avenue Cubists American Art and Visual Culture at University the arts (not least as an art critic for The New and Crafts from Britain to Chicago” (2009). Her

IAC_Brochure_AmericanArt_2018_Prnt.indd 2 4/2/18 3:24 PM Multiple Modernities in American Art Friday, May 18, 2018 Saturday, May 19, 2018 Presenters

23RD ANNUAL AMERICAN ART CONFERENCE Formal sessions take place at Sotheby’s New York, 1334 Formal sessions take place at Sotheby’s New York, 1334 Lisa Koenigsberg, conference director; (2003), Dove/O’Keeffe: Circles of Influence of Washington, she completed research York Times from 1961 – 1964) and, after a York Avenue (at 72nd Street). York Avenue (at 72nd Street). Informal opportunities to view President, Initiatives in Art and Culture; she (2009), After Many Springs: Regionalism, fellowships at the Amon Carter Museum of hiatus, began making art again. In 1966, he the American Paintings and Sculpture Exhibition begin on In this conference, Initiatives in Art and Culture will challenge launched the series of annual conferences on Modernism and the Midwest (2009), John American Art in Fort Worth, TX, the Buffalo had his first solo exhibition at the Byron 9:00 – 9:30 a.m. Registration and continental this day. the prevailing cognitive approach to art history in which breakfast American art in 1996. Formerly: Director, Storrs: Machine-Age Modernist (2010), and Bill Center of the West in Cody, WY, and the Gallery in New York. Since, O’Doherty has different expressions of the modern, even those that are 9:30 – 10:00 a.m. Coffee Programs in the Arts and Adjunct Professor of John Marin: Modernism at Midcentury (2011). Harry Ransom Center at the University of continued to write, edit, teach, and make art inarguably contemporaneous, succeed one another in a more- 9:30 – 9:45 a.m. Introduction. Lisa Koenigsberg. Arts, NYU/SCPS; Assistant Director for Project Her exhibition, “Mark Tobey, Threading Light,” Texas in Austin. Her curatorial and collections in a career of astonishing breadth and or-less linear fashion. Instead, we propose a different 10:00 – 10:10 a.m. Welcome. Lisa Koenigsberg. Funding, Museum of the City of New York; organized by the Addison Gallery of American experience includes posts at the Smithsonian productivity. His art has been the subject of 9:45 – 10:30 a.m. Seeing Takes Time: American approach, one that recognizes and celebrates a frequent Executive Assistant, Office of the President, Art, opened at the Peggy Guggenheim American Art Museum, the Morris Graves dozens of solo exhibitions and is held in major Modernism and Philadelphia. 10:10 – 10:50 a.m. Framing Florine: Stettheimer at coexistence of different expressions and which can reshape our Jessica Todd Smith. the Heart of Multiple Modernities. American Museum of Natural History; Collection with the Venice Biennale in May Foundation, the Henry Art Gallery, and the public collections both here and abroad. The understanding of the history of American art. Nancy Rivard Shaw in conversation with Architectural Historian, New York City 2017. The recipient of an inaugural Clark Victoria & Albert Museum. Most recently, she second of his three novels, The Deposition of 10:35 – 11:20 a.m. Grant Wood: American Gothic Suzanne Smeaton. Landmarks Preservation Commission; and Fellowship at the Clark Art Institute (2001), a co-curated “Backstory: Western American Art Father McGreevy (1999) was short-listed for Early examples of multiple modernities in American art are and Other Fables. Barbara Haskell. guest curator, Worcester Art Museum and Yale Senior Fellowship from the Dedalus Foundation in Context,” a collaborative exhibition of the Booker Prize in 2000. In 1976, he Grant Wood, Parson Weems’ Fable, Trumbull and Morse who document the history of a new Stuart Davis, Report from Rockport, 1940. Oil on canvas, 24 x 30 in. 1939. Oil on canvas. Amon Carter The Metropolitan Museum of Art. 10:55 – 11:35 a.m. Stettheimer Frames: Florine’s University Art Gallery. She contributed a (2002), and a Rockefeller Foundation Fellowship western American art and artifacts at the published “Inside the White Cube: The Museum of American Art, Fort nation, while artists like Allston, Vanderlyn, and Rembrandt 11:20 – 11:35 a.m. Break Imaginative, Modern Surrounds. Thomas Wilfred, Unit #50, Elliptical Prelude and Chalice, chapter to The Art of Collecting: An Intimate (2006), she is completing a study of the History Colorado Center. Her interdisciplinary Ideology of the Gallery Space,” a series of Worth, Texas, t1970.43. Peale broaden the narrative tradition to include literary and Suzanne Smeaton. 11:35 a.m. – 12:30 p.m. The Long Run: Stuart Davis. from the First Table Model Clavilux (Luminar) Series, Tour Inside Private Art Collections with Advice American midcentury art critic Harold transatlantic research, which has taken her three articles in Artforum that is likely his religious subjects. A rapid multiplication of approaches to the 1928. Metal, fabric, glass, and electrical and lighting William C. Agee, Brian O’Doherty, and Karen Wilkin in conversation. elements on a maple table. Yale University Art Gallery; on Starting Your Own (2010), and she Rosenberg for the University of Chicago Press from the wilds of the American West to the best-known work of criticism. In 1972, modern ensued, ranging from Quidor’s trailblazing depiction of American literary subjects to the 11:35 – 11:55 a.m. Break and book signings gift of Thomas C. Wilfred. collaborated with Suzanne Smeaton on an with grants from the Getty Research Institute streets of London and New York, reflects her protesting the Bloody Sunday killings in Derry, radical approach to depicting nature pursued by Cole and others. The problem or challenge is ours: 12:30 – 2:00 p.m. Lunch (on your own) 11:55 a.m. – 12:40 p.m. Collecting Modernism. essay for the catalog for Auspicious Vision: (2002), Creative Capital, and the Andy Warhol upbringing on a cattle ranch in Montana and he began signing his art work “Patrick Ireland”; to accept that multiple expressions of the modern existed simultaneously. Andrew Schoelkopf in conversation. 2:00 – 2:40 p.m. Modern Subjects for a Modern Republic. Edwin Wales Root and American Modernism, Foundation for the Arts (2008). She has taught her interest in the dominant cultural and 36 years later, on May 20, 2008, he at numerous institutions, among them Brown artistic spheres of the late Victorian era. ceremoniously buried Patrick Ireland in Dublin This phenomenon is manifestly evident in the latter half of the 19th Paul Staiti. 12:40 – 2:10 p.m. Lunch (on your own) an exhibition celebrating the 50th anniversary century, with Tonalism developing along two paths while Homer’s of the Edwin Root Bequest to the Munson– University, the Institute of Fine Arts at New Linda Merrill, authority on the works of James in recognition of the progress that had been 2:45 – 3:25 p.m. modernity continues to be evident in his expressions of unbridled Thomas Cole’s Journey: Atlantic 2:10 – 2:50 p.m. John Storrs: Proto-Modernist. Williams Proctor Art Institute. Other writings York University, and the Rhode Island School of McNeill Whistler; Merrill teaches art history at made for peace in Northern Ireland. His Crossings. Shannon Vittoria. naturalism. Impressionism sweeps the country; yet the American Debra Bricker Balken. have appeared in books and journals, among Design, and has served as the Sterling and Emory University in Atlanta, GA. The recipient of awards include: the Mather Award for Renaissance Movement also thrives. In the early 20th century, the them The Gilded Edge: The Art of the Frame Francine Clark Visiting Professor in the Williams a BA in English from Smith College and a PhD in Criticism from the College Art Association 3:25 – 3:45 p.m. Break 2:55 – 3:40 p.m. Light, Art, Space: Modernist (2000), Architecture: A Place for Women College Graduate Program in the History of Art. (1964); the Grand Prix from Montreal Ashcan School creates vital depictions of contemporary life while Dow Constellations. Keely Orgeman. the History of Art from the University of London, employs Japanesque stylization and composition and Dietrich creates 3:45 – 4:25 p.m. Negotiating Impressionism: Whistler (1990), The Architectural Historian in America Barbara Haskell, Curator, Whitney Museum of for many years she served as curator of International Festival of Films on Art for his related flat sculptural compositions. The early abstraction of Marin, & the Tonalist Landscape. Linda 3:45 – 4:30 p.m. Charles White’s Social Modernity. (1991), the Archives of American Art Journal, American Art; Haskell is a well-known scholar American art at the Freer Gallery of Art, one of film, “Hopper’s Silence” (1982), and the Weber, Russell and Macdonald–Wright is complemented by the lyric Merrill. Sarah Kelly Oehler. the Journal of the Society of Architectural on American modern art, and the author of the Smithsonian museums in Washington, DC, Sagittarius Prize from the British Society of modernism of O’Keeffe and Dove. By the second quarter of the 20th Historians, and the Proceedings of the over 20 publications. Among the landmark and subsequently as the Margaret and Terry Authors (1993). In 2003, he was named an 4:30 – 5:15 p.m. Remington as a Modernist. Jennifer James McNeill Whistler, Nocturne: Blue and Silver—Bognor, 5:00 – 7:00 p.m. Reception and viewing century, multiple modernities exist simultaneously in the work of the 1871 – 1876. Oil on canvas, 1913�16 x 315� in. Freer Gallery American Antiquarian Society. thematic exhibitions she has curated are “The Stent Curator of American Art at the High Honorary Fellow of the Royal College of R. Henneman. of Art, Smithsonian Institution, Washington, DC; gift of American Abstract Artists, in that of the Regionalists’ stylized figurative Charles Lang Freer, F1906.103. “Tom Yost: At the Edge of Truth” William C. Agee, Evelyn Kranes Kossak American Century: Art & Culture 1900 – 1950” Museum of Art in Atlanta. She has published Physicians of Ireland. O’Doherty lives and works, in that of the sculptor, John Storrs, and in the more purely 5:30 – 7:30 p.m. Reception and viewing and highlights from the Gallery’s Professor Emeritus of Art History, Hunter (1999) and “BLAM! The Explosion of Pop, several books and articles on Whistler and his works in New York City. abstract work of Duchamp, Stella, and Pollack. The Abstract Charles Willson Peale, inventory of 19th- and 20th-century Minimalism and Performance 1958 – 1964” contemporaries, including After Whistler: The Sarah Kelly Oehler, Field-McCormick Chair Portrait of Thomas “Logan Maxwell Hagege: College, City University of New York (CUNY). Expressionists, exponents of America’s first truly international style, American paintings Jefferson, 1791. Oil on Where Land Meets Sky” He is founding editor, contributing editor, and (1984). In addition, she has curated retro- Artist and His Influence on American Painting, and Curator of American Art, Art Institute of emerge in the 1950s at the same time Stuart Davis and Edward Hopper canvas. Independence co-author of the essays in Stuart Davis: A spectives and authored accompanying The Peacock Room: A Cultural Biography (1998), Chicago, where she focuses on the modern National Historical Park, The artist will be present for the evening. QUESTROYAL FINE ART continue on their own, distinct paths, with all powerfully influencing scholarly monographs on a range of early and A Pot of Paint: Aesthetics on Trial in Whistler American art collection. Her most recent Philadelphia, Pennsylvania. 903 Park Avenue Catalogue Raisonné (three volumes, 2007); American art and underscoring the synchronicity of multiple GERALD PETERS GALLERY (at the corner of 79th Street) formerly Director, The Museum of Fine Arts, 20th-century and post-war American artists, v. Ruskin (1993). She is currently writing a book projects include “Whistler’s Mother: An expressions of the modern. 19 East 74th Street including H.C. Westermann (1978), Marsden (between Fifth and Madison Avenues) Houston and Pasadena Art Museum. Among on Whistler’s “Ten O’Clock” lecture. American Icon Returns to Chicago” (2017), and his publications are works on Synchromism, Hartley (1980), Milton Avery (1982), Ralston Brian O’Doherty, artist, novelist, art critic, “America After the Fall: Painting in the 1930s” Leadership funding has been provided by The Richard and Jane Manoogian Foundation Charles White, Birmingham Totem, 1964. Duchamp–Villon, painting and sculpture of the Crawford (1985), Charles Demuth (1987), Red (2016), which explored the art and culture of Ink and charcoal on paper, 717�16 x 401�16 in. television presenter, film-maker, physician; and The Louis and Lena Minkoff Foundation. High Museum of Art, Atlanta; purchased with Grooms (1987), Donald Judd (1988), Burgoyne the Depression decade. In 2015, she funds from Edith G. and Philip A. Rhodes and 1930s, Bruce, Daugherty, Schamberg, born in County Roscommon, Ireland, We gratefully acknowledge funding from Collisart, LLC; D. Wigmore Fine Art; Freeman’s; George Jeffords; the National Endowment for the Arts, 1978.3. Crawford, Diller, Davis, Dove, Francis, Judd, Diller (1990), Agnes Martin (1992), Joseph O’Doherty received his medical degree from co-curated “Shatter Rupture Break: The The Gerald Peters Family Art Foundation; Hollis Taggart Galleries; Jonathan Boos; Menconi + Schoelkopf Marin, Noland, Porter, and Arnold Friedman. In Stella (1994), Edward Steichen (2000), Elie the University of Dublin in 1952 and until Modern Series I” (2015) which united diverse Fine Art; Questroyal Fine Art; and anonymous donors, as well as support received from, Christie’s, Spring 2011 he was a fellow at the Georgia Nadelman (2003), Oscar Bluemner (2005 – 1957 practiced medicine. Between 1950 and aspects of the Art Institute’s collection of Shannon’s, and Sotheby’s. O’Keeffe Museum Research Center in Santa Fe, 2006), Georgia O’Keeffe (2009), Lyonel 1957, he exhibited his paintings at the Royal modern art. In 2013, she curated “They Seek a New Mexico. His most recent publication is Feininger (2011), Reginald Marsh (2013), Hibernian Academy, the Oireachtas (the Irish City: Chicago and the Art of Migration, 1910 – We are deeply grateful to Sotheby’s New York for hosting IAC’s 23rd Annual American Art conference. Modern Art in America, 1908 – 1968: A Robert Indiana (2013), Stuart Davis (2016), and legislature), and in the Irish Exhibition of 1950,” an exhibition and catalogue that Critical and Thematic History (2016), and he is Grant Wood (2018), with “Grant Wood: focused on immigrant and migrant artists in This conference is dedicated to Harry L. Koenigsberg (1921 – 2002). Living Art and, at the same time, published art at work on a book about Brancusi in America. American Gothic and Other Fables” now on criticism and poetry in journals such as Dublin the city and was co-curator of “Art and Debra Bricker Balken, independent curator view at the Whitney. In 2005, she was awarded Magazine, Dublin Review, and University Appetite: American Painting, Culture, and and writer; she has organized numerous the Lawrence A. Fleischman Award for Review. In 1957, O’Doherty left Dublin for Cuisine,” which explored the connections exhibitions on subjects relating to American Scholarly Excellence in the Field of American Cambridge, MA where, in 1958, he received an between art and food in the United States. Modernism and contemporary art for major Art History by the Smithsonian Institution’s MS from the Harvard School of Public Health. She has contributed to numerous other museums internationally. Balken’s books Archives of American Art. He then left medicine, landing a job at exhibitions and publications at the museum, include Philip Guston’s Poor Richard (2001) Jennifer R. Henneman, Assistant Curator, Boston’s WGBH-TV hosting a half-hour weekly including “The Age of American and Abstract Expressionism: Movements in Petrie Institute of Western American Art, show “Invitation to Art,” taking over from Impressionism” (2011), “American Modernism Modern Art (2005), as well as exhibition Denver Art Museum. While pursuing her Barbara Novak (whom he would marry in at the Art Institute of Chicago from World War I Frederic Remington, A Dash for the Timber, 1889. Oil on canvas, 48¼ x 841� 8 in. Amon Carter Museum of American Art, Tom Yost, Storm Approaching Painter Ridge, 2016. Oil on linen, 30 x 35 in. catalogues such as Arthur Dove, A doctorate on 19th-century British and 1960). He continued to lecture and write on to 1955” (2009), and “Apostles of Beauty: Arts Fort Worth, TX, Amon G. Carter Collection. Image: courtesy Questroyal Fine Art, New York. Sponsors and program are correct as of March 24, 2018. Retrospective (1997), The Park Avenue Cubists American Art and Visual Culture at University the arts (not least as an art critic for The New and Crafts from Britain to Chicago” (2009). Her

IAC_Brochure_AmericanArt_2018_Prnt.indd 2 4/2/18 3:24 PM Multiple Modernities in American Art Friday, May 18, 2018 Saturday, May 19, 2018 Presenters

23RD ANNUAL AMERICAN ART CONFERENCE Formal sessions take place at Sotheby’s New York, 1334 Formal sessions take place at Sotheby’s New York, 1334 Lisa Koenigsberg, conference director; (2003), Dove/O’Keeffe: Circles of Influence of Washington, she completed research York Times from 1961 – 1964) and, after a York Avenue (at 72nd Street). York Avenue (at 72nd Street). Informal opportunities to view President, Initiatives in Art and Culture; she (2009), After Many Springs: Regionalism, fellowships at the Amon Carter Museum of hiatus, began making art again. In 1966, he the American Paintings and Sculpture Exhibition begin on In this conference, Initiatives in Art and Culture will challenge launched the series of annual conferences on Modernism and the Midwest (2009), John American Art in Fort Worth, TX, the Buffalo had his first solo exhibition at the Byron 9:00 – 9:30 a.m. Registration and continental this day. the prevailing cognitive approach to art history in which breakfast American art in 1996. Formerly: Director, Storrs: Machine-Age Modernist (2010), and Bill Center of the West in Cody, WY, and the Gallery in New York. Since, O’Doherty has different expressions of the modern, even those that are 9:30 – 10:00 a.m. Coffee Programs in the Arts and Adjunct Professor of John Marin: Modernism at Midcentury (2011). Harry Ransom Center at the University of continued to write, edit, teach, and make art inarguably contemporaneous, succeed one another in a more- 9:30 – 9:45 a.m. Introduction. Lisa Koenigsberg. Arts, NYU/SCPS; Assistant Director for Project Her exhibition, “Mark Tobey, Threading Light,” Texas in Austin. Her curatorial and collections in a career of astonishing breadth and or-less linear fashion. Instead, we propose a different 10:00 – 10:10 a.m. Welcome. Lisa Koenigsberg. Funding, Museum of the City of New York; organized by the Addison Gallery of American experience includes posts at the Smithsonian productivity. His art has been the subject of 9:45 – 10:30 a.m. Seeing Takes Time: American approach, one that recognizes and celebrates a frequent Executive Assistant, Office of the President, Art, opened at the Peggy Guggenheim American Art Museum, the Morris Graves dozens of solo exhibitions and is held in major Modernism and Philadelphia. 10:10 – 10:50 a.m. Framing Florine: Stettheimer at coexistence of different expressions and which can reshape our Jessica Todd Smith. the Heart of Multiple Modernities. American Museum of Natural History; Collection with the Venice Biennale in May Foundation, the Henry Art Gallery, and the public collections both here and abroad. The understanding of the history of American art. Nancy Rivard Shaw in conversation with Architectural Historian, New York City 2017. The recipient of an inaugural Clark Victoria & Albert Museum. Most recently, she second of his three novels, The Deposition of 10:35 – 11:20 a.m. Grant Wood: American Gothic Suzanne Smeaton. Landmarks Preservation Commission; and Fellowship at the Clark Art Institute (2001), a co-curated “Backstory: Western American Art Father McGreevy (1999) was short-listed for Early examples of multiple modernities in American art are and Other Fables. Barbara Haskell. guest curator, Worcester Art Museum and Yale Senior Fellowship from the Dedalus Foundation in Context,” a collaborative exhibition of the Booker Prize in 2000. In 1976, he Grant Wood, Parson Weems’ Fable, Trumbull and Morse who document the history of a new Stuart Davis, Report from Rockport, 1940. Oil on canvas, 24 x 30 in. 1939. Oil on canvas. Amon Carter The Metropolitan Museum of Art. 10:55 – 11:35 a.m. Stettheimer Frames: Florine’s University Art Gallery. She contributed a (2002), and a Rockefeller Foundation Fellowship western American art and artifacts at the published “Inside the White Cube: The Museum of American Art, Fort nation, while artists like Allston, Vanderlyn, and Rembrandt 11:20 – 11:35 a.m. Break Imaginative, Modern Surrounds. Thomas Wilfred, Unit #50, Elliptical Prelude and Chalice, chapter to The Art of Collecting: An Intimate (2006), she is completing a study of the History Colorado Center. Her interdisciplinary Ideology of the Gallery Space,” a series of Worth, Texas, t1970.43. Peale broaden the narrative tradition to include literary and Suzanne Smeaton. 11:35 a.m. – 12:30 p.m. The Long Run: Stuart Davis. from the First Table Model Clavilux (Luminar) Series, Tour Inside Private Art Collections with Advice American midcentury art critic Harold transatlantic research, which has taken her three articles in Artforum that is likely his religious subjects. A rapid multiplication of approaches to the 1928. Metal, fabric, glass, and electrical and lighting William C. Agee, Brian O’Doherty, and Karen Wilkin in conversation. elements on a maple table. Yale University Art Gallery; on Starting Your Own (2010), and she Rosenberg for the University of Chicago Press from the wilds of the American West to the best-known work of criticism. In 1972, modern ensued, ranging from Quidor’s trailblazing depiction of American literary subjects to the 11:35 – 11:55 a.m. Break and book signings gift of Thomas C. Wilfred. collaborated with Suzanne Smeaton on an with grants from the Getty Research Institute streets of London and New York, reflects her protesting the Bloody Sunday killings in Derry, radical approach to depicting nature pursued by Cole and others. The problem or challenge is ours: 12:30 – 2:00 p.m. Lunch (on your own) 11:55 a.m. – 12:40 p.m. Collecting Modernism. essay for the catalog for Auspicious Vision: (2002), Creative Capital, and the Andy Warhol upbringing on a cattle ranch in Montana and he began signing his art work “Patrick Ireland”; to accept that multiple expressions of the modern existed simultaneously. Andrew Schoelkopf in conversation. 2:00 – 2:40 p.m. Modern Subjects for a Modern Republic. Edwin Wales Root and American Modernism, Foundation for the Arts (2008). She has taught her interest in the dominant cultural and 36 years later, on May 20, 2008, he at numerous institutions, among them Brown artistic spheres of the late Victorian era. ceremoniously buried Patrick Ireland in Dublin This phenomenon is manifestly evident in the latter half of the 19th Paul Staiti. 12:40 – 2:10 p.m. Lunch (on your own) an exhibition celebrating the 50th anniversary century, with Tonalism developing along two paths while Homer’s of the Edwin Root Bequest to the Munson– University, the Institute of Fine Arts at New Linda Merrill, authority on the works of James in recognition of the progress that had been 2:45 – 3:25 p.m. modernity continues to be evident in his expressions of unbridled Thomas Cole’s Journey: Atlantic 2:10 – 2:50 p.m. John Storrs: Proto-Modernist. Williams Proctor Art Institute. Other writings York University, and the Rhode Island School of McNeill Whistler; Merrill teaches art history at made for peace in Northern Ireland. His Crossings. Shannon Vittoria. naturalism. Impressionism sweeps the country; yet the American Debra Bricker Balken. have appeared in books and journals, among Design, and has served as the Sterling and Emory University in Atlanta, GA. The recipient of awards include: the Mather Award for Renaissance Movement also thrives. In the early 20th century, the them The Gilded Edge: The Art of the Frame Francine Clark Visiting Professor in the Williams a BA in English from Smith College and a PhD in Criticism from the College Art Association 3:25 – 3:45 p.m. Break 2:55 – 3:40 p.m. Light, Art, Space: Modernist (2000), Architecture: A Place for Women College Graduate Program in the History of Art. (1964); the Grand Prix from Montreal Ashcan School creates vital depictions of contemporary life while Dow Constellations. Keely Orgeman. the History of Art from the University of London, employs Japanesque stylization and composition and Dietrich creates 3:45 – 4:25 p.m. Negotiating Impressionism: Whistler (1990), The Architectural Historian in America Barbara Haskell, Curator, Whitney Museum of for many years she served as curator of International Festival of Films on Art for his related flat sculptural compositions. The early abstraction of Marin, & the Tonalist Landscape. Linda 3:45 – 4:30 p.m. Charles White’s Social Modernity. (1991), the Archives of American Art Journal, American Art; Haskell is a well-known scholar American art at the Freer Gallery of Art, one of film, “Hopper’s Silence” (1982), and the Weber, Russell and Macdonald–Wright is complemented by the lyric Merrill. Sarah Kelly Oehler. the Journal of the Society of Architectural on American modern art, and the author of the Smithsonian museums in Washington, DC, Sagittarius Prize from the British Society of modernism of O’Keeffe and Dove. By the second quarter of the 20th Historians, and the Proceedings of the over 20 publications. Among the landmark and subsequently as the Margaret and Terry Authors (1993). In 2003, he was named an 4:30 – 5:15 p.m. Remington as a Modernist. Jennifer James McNeill Whistler, Nocturne: Blue and Silver—Bognor, 5:00 – 7:00 p.m. Reception and viewing century, multiple modernities exist simultaneously in the work of the 1871 – 1876. Oil on canvas, 1913�16 x 315� in. Freer Gallery American Antiquarian Society. thematic exhibitions she has curated are “The Stent Curator of American Art at the High Honorary Fellow of the Royal College of R. Henneman. of Art, Smithsonian Institution, Washington, DC; gift of American Abstract Artists, in that of the Regionalists’ stylized figurative Charles Lang Freer, F1906.103. “Tom Yost: At the Edge of Truth” William C. Agee, Evelyn Kranes Kossak American Century: Art & Culture 1900 – 1950” Museum of Art in Atlanta. She has published Physicians of Ireland. O’Doherty lives and works, in that of the sculptor, John Storrs, and in the more purely 5:30 – 7:30 p.m. Reception and viewing and highlights from the Gallery’s Professor Emeritus of Art History, Hunter (1999) and “BLAM! The Explosion of Pop, several books and articles on Whistler and his works in New York City. abstract work of Duchamp, Stella, and Pollack. The Abstract Charles Willson Peale, inventory of 19th- and 20th-century Minimalism and Performance 1958 – 1964” contemporaries, including After Whistler: The Sarah Kelly Oehler, Field-McCormick Chair Portrait of Thomas “Logan Maxwell Hagege: College, City University of New York (CUNY). Expressionists, exponents of America’s first truly international style, American paintings Jefferson, 1791. Oil on Where Land Meets Sky” He is founding editor, contributing editor, and (1984). In addition, she has curated retro- Artist and His Influence on American Painting, and Curator of American Art, Art Institute of emerge in the 1950s at the same time Stuart Davis and Edward Hopper canvas. Independence co-author of the essays in Stuart Davis: A spectives and authored accompanying The Peacock Room: A Cultural Biography (1998), Chicago, where she focuses on the modern National Historical Park, The artist will be present for the evening. QUESTROYAL FINE ART continue on their own, distinct paths, with all powerfully influencing scholarly monographs on a range of early and A Pot of Paint: Aesthetics on Trial in Whistler American art collection. Her most recent Philadelphia, Pennsylvania. 903 Park Avenue Catalogue Raisonné (three volumes, 2007); American art and underscoring the synchronicity of multiple GERALD PETERS GALLERY (at the corner of 79th Street) formerly Director, The Museum of Fine Arts, 20th-century and post-war American artists, v. Ruskin (1993). She is currently writing a book projects include “Whistler’s Mother: An expressions of the modern. 19 East 74th Street including H.C. Westermann (1978), Marsden (between Fifth and Madison Avenues) Houston and Pasadena Art Museum. Among on Whistler’s “Ten O’Clock” lecture. American Icon Returns to Chicago” (2017), and his publications are works on Synchromism, Hartley (1980), Milton Avery (1982), Ralston Brian O’Doherty, artist, novelist, art critic, “America After the Fall: Painting in the 1930s” Leadership funding has been provided by The Richard and Jane Manoogian Foundation Charles White, Birmingham Totem, 1964. Duchamp–Villon, painting and sculpture of the Crawford (1985), Charles Demuth (1987), Red (2016), which explored the art and culture of Ink and charcoal on paper, 717�16 x 401�16 in. television presenter, film-maker, physician; and The Louis and Lena Minkoff Foundation. High Museum of Art, Atlanta; purchased with Grooms (1987), Donald Judd (1988), Burgoyne the Depression decade. In 2015, she funds from Edith G. and Philip A. Rhodes and 1930s, Bruce, Daugherty, Schamberg, born in County Roscommon, Ireland, We gratefully acknowledge funding from Collisart, LLC; D. Wigmore Fine Art; Freeman’s; George Jeffords; the National Endowment for the Arts, 1978.3. Crawford, Diller, Davis, Dove, Francis, Judd, Diller (1990), Agnes Martin (1992), Joseph O’Doherty received his medical degree from co-curated “Shatter Rupture Break: The The Gerald Peters Family Art Foundation; Hollis Taggart Galleries; Jonathan Boos; Menconi + Schoelkopf Marin, Noland, Porter, and Arnold Friedman. In Stella (1994), Edward Steichen (2000), Elie the University of Dublin in 1952 and until Modern Series I” (2015) which united diverse Fine Art; Questroyal Fine Art; and anonymous donors, as well as support received from, Christie’s, Spring 2011 he was a fellow at the Georgia Nadelman (2003), Oscar Bluemner (2005 – 1957 practiced medicine. Between 1950 and aspects of the Art Institute’s collection of Shannon’s, and Sotheby’s. O’Keeffe Museum Research Center in Santa Fe, 2006), Georgia O’Keeffe (2009), Lyonel 1957, he exhibited his paintings at the Royal modern art. In 2013, she curated “They Seek a New Mexico. His most recent publication is Feininger (2011), Reginald Marsh (2013), Hibernian Academy, the Oireachtas (the Irish City: Chicago and the Art of Migration, 1910 – We are deeply grateful to Sotheby’s New York for hosting IAC’s 23rd Annual American Art conference. Modern Art in America, 1908 – 1968: A Robert Indiana (2013), Stuart Davis (2016), and legislature), and in the Irish Exhibition of 1950,” an exhibition and catalogue that Critical and Thematic History (2016), and he is Grant Wood (2018), with “Grant Wood: focused on immigrant and migrant artists in This conference is dedicated to Harry L. Koenigsberg (1921 – 2002). Living Art and, at the same time, published art at work on a book about Brancusi in America. American Gothic and Other Fables” now on criticism and poetry in journals such as Dublin the city and was co-curator of “Art and Debra Bricker Balken, independent curator view at the Whitney. In 2005, she was awarded Magazine, Dublin Review, and University Appetite: American Painting, Culture, and and writer; she has organized numerous the Lawrence A. Fleischman Award for Review. In 1957, O’Doherty left Dublin for Cuisine,” which explored the connections exhibitions on subjects relating to American Scholarly Excellence in the Field of American Cambridge, MA where, in 1958, he received an between art and food in the United States. Modernism and contemporary art for major Art History by the Smithsonian Institution’s MS from the Harvard School of Public Health. She has contributed to numerous other museums internationally. Balken’s books Archives of American Art. He then left medicine, landing a job at exhibitions and publications at the museum, include Philip Guston’s Poor Richard (2001) Jennifer R. Henneman, Assistant Curator, Boston’s WGBH-TV hosting a half-hour weekly including “The Age of American and Abstract Expressionism: Movements in Petrie Institute of Western American Art, show “Invitation to Art,” taking over from Impressionism” (2011), “American Modernism Modern Art (2005), as well as exhibition Denver Art Museum. While pursuing her Barbara Novak (whom he would marry in at the Art Institute of Chicago from World War I Frederic Remington, A Dash for the Timber, 1889. Oil on canvas, 48¼ x 841� 8 in. Amon Carter Museum of American Art, Tom Yost, Storm Approaching Painter Ridge, 2016. Oil on linen, 30 x 35 in. catalogues such as Arthur Dove, A doctorate on 19th-century British and 1960). He continued to lecture and write on to 1955” (2009), and “Apostles of Beauty: Arts Fort Worth, TX, Amon G. Carter Collection. Image: courtesy Questroyal Fine Art, New York. Sponsors and program are correct as of March 24, 2018. Retrospective (1997), The Park Avenue Cubists American Art and Visual Culture at University the arts (not least as an art critic for The New and Crafts from Britain to Chicago” (2009). Her

IAC_Brochure_AmericanArt_2018_Prnt.indd 2 4/2/18 3:24 PM Multiple Modernities in American Art Friday, May 18, 2018 Saturday, May 19, 2018 Presenters

23RD ANNUAL AMERICAN ART CONFERENCE Formal sessions take place at Sotheby’s New York, 1334 Formal sessions take place at Sotheby’s New York, 1334 Lisa Koenigsberg, conference director; (2003), Dove/O’Keeffe: Circles of Influence of Washington, she completed research York Times from 1961 – 1964) and, after a York Avenue (at 72nd Street). York Avenue (at 72nd Street). Informal opportunities to view President, Initiatives in Art and Culture; she (2009), After Many Springs: Regionalism, fellowships at the Amon Carter Museum of hiatus, began making art again. In 1966, he the American Paintings and Sculpture Exhibition begin on In this conference, Initiatives in Art and Culture will challenge launched the series of annual conferences on Modernism and the Midwest (2009), John American Art in Fort Worth, TX, the Buffalo had his first solo exhibition at the Byron 9:00 – 9:30 a.m. Registration and continental this day. the prevailing cognitive approach to art history in which breakfast American art in 1996. Formerly: Director, Storrs: Machine-Age Modernist (2010), and Bill Center of the West in Cody, WY, and the Gallery in New York. Since, O’Doherty has different expressions of the modern, even those that are 9:30 – 10:00 a.m. Coffee Programs in the Arts and Adjunct Professor of John Marin: Modernism at Midcentury (2011). Harry Ransom Center at the University of continued to write, edit, teach, and make art inarguably contemporaneous, succeed one another in a more- 9:30 – 9:45 a.m. Introduction. Lisa Koenigsberg. Arts, NYU/SCPS; Assistant Director for Project Her exhibition, “Mark Tobey, Threading Light,” Texas in Austin. Her curatorial and collections in a career of astonishing breadth and or-less linear fashion. Instead, we propose a different 10:00 – 10:10 a.m. Welcome. Lisa Koenigsberg. Funding, Museum of the City of New York; organized by the Addison Gallery of American experience includes posts at the Smithsonian productivity. His art has been the subject of 9:45 – 10:30 a.m. Seeing Takes Time: American approach, one that recognizes and celebrates a frequent Executive Assistant, Office of the President, Art, opened at the Peggy Guggenheim American Art Museum, the Morris Graves dozens of solo exhibitions and is held in major Modernism and Philadelphia. 10:10 – 10:50 a.m. Framing Florine: Stettheimer at coexistence of different expressions and which can reshape our Jessica Todd Smith. the Heart of Multiple Modernities. American Museum of Natural History; Collection with the Venice Biennale in May Foundation, the Henry Art Gallery, and the public collections both here and abroad. The understanding of the history of American art. Nancy Rivard Shaw in conversation with Architectural Historian, New York City 2017. The recipient of an inaugural Clark Victoria & Albert Museum. Most recently, she second of his three novels, The Deposition of 10:35 – 11:20 a.m. Grant Wood: American Gothic Suzanne Smeaton. Landmarks Preservation Commission; and Fellowship at the Clark Art Institute (2001), a co-curated “Backstory: Western American Art Father McGreevy (1999) was short-listed for Early examples of multiple modernities in American art are and Other Fables. Barbara Haskell. guest curator, Worcester Art Museum and Yale Senior Fellowship from the Dedalus Foundation in Context,” a collaborative exhibition of the Booker Prize in 2000. In 1976, he Grant Wood, Parson Weems’ Fable, Trumbull and Morse who document the history of a new Stuart Davis, Report from Rockport, 1940. Oil on canvas, 24 x 30 in. 1939. Oil on canvas. Amon Carter The Metropolitan Museum of Art. 10:55 – 11:35 a.m. Stettheimer Frames: Florine’s University Art Gallery. She contributed a (2002), and a Rockefeller Foundation Fellowship western American art and artifacts at the published “Inside the White Cube: The Museum of American Art, Fort nation, while artists like Allston, Vanderlyn, and Rembrandt 11:20 – 11:35 a.m. Break Imaginative, Modern Surrounds. Thomas Wilfred, Unit #50, Elliptical Prelude and Chalice, chapter to The Art of Collecting: An Intimate (2006), she is completing a study of the History Colorado Center. Her interdisciplinary Ideology of the Gallery Space,” a series of Worth, Texas, t1970.43. Peale broaden the narrative tradition to include literary and Suzanne Smeaton. 11:35 a.m. – 12:30 p.m. The Long Run: Stuart Davis. from the First Table Model Clavilux (Luminar) Series, Tour Inside Private Art Collections with Advice American midcentury art critic Harold transatlantic research, which has taken her three articles in Artforum that is likely his religious subjects. A rapid multiplication of approaches to the 1928. Metal, fabric, glass, and electrical and lighting William C. Agee, Brian O’Doherty, and Karen Wilkin in conversation. elements on a maple table. Yale University Art Gallery; on Starting Your Own (2010), and she Rosenberg for the University of Chicago Press from the wilds of the American West to the best-known work of criticism. In 1972, modern ensued, ranging from Quidor’s trailblazing depiction of American literary subjects to the 11:35 – 11:55 a.m. Break and book signings gift of Thomas C. Wilfred. collaborated with Suzanne Smeaton on an with grants from the Getty Research Institute streets of London and New York, reflects her protesting the Bloody Sunday killings in Derry, radical approach to depicting nature pursued by Cole and others. The problem or challenge is ours: 12:30 – 2:00 p.m. Lunch (on your own) 11:55 a.m. – 12:40 p.m. Collecting Modernism. essay for the catalog for Auspicious Vision: (2002), Creative Capital, and the Andy Warhol upbringing on a cattle ranch in Montana and he began signing his art work “Patrick Ireland”; to accept that multiple expressions of the modern existed simultaneously. Andrew Schoelkopf in conversation. 2:00 – 2:40 p.m. Modern Subjects for a Modern Republic. Edwin Wales Root and American Modernism, Foundation for the Arts (2008). She has taught her interest in the dominant cultural and 36 years later, on May 20, 2008, he at numerous institutions, among them Brown artistic spheres of the late Victorian era. ceremoniously buried Patrick Ireland in Dublin This phenomenon is manifestly evident in the latter half of the 19th Paul Staiti. 12:40 – 2:10 p.m. Lunch (on your own) an exhibition celebrating the 50th anniversary century, with Tonalism developing along two paths while Homer’s of the Edwin Root Bequest to the Munson– University, the Institute of Fine Arts at New Linda Merrill, authority on the works of James in recognition of the progress that had been 2:45 – 3:25 p.m. modernity continues to be evident in his expressions of unbridled Thomas Cole’s Journey: Atlantic 2:10 – 2:50 p.m. John Storrs: Proto-Modernist. Williams Proctor Art Institute. Other writings York University, and the Rhode Island School of McNeill Whistler; Merrill teaches art history at made for peace in Northern Ireland. His Crossings. Shannon Vittoria. naturalism. Impressionism sweeps the country; yet the American Debra Bricker Balken. have appeared in books and journals, among Design, and has served as the Sterling and Emory University in Atlanta, GA. The recipient of awards include: the Mather Award for Renaissance Movement also thrives. In the early 20th century, the them The Gilded Edge: The Art of the Frame Francine Clark Visiting Professor in the Williams a BA in English from Smith College and a PhD in Criticism from the College Art Association 3:25 – 3:45 p.m. Break 2:55 – 3:40 p.m. Light, Art, Space: Modernist (2000), Architecture: A Place for Women College Graduate Program in the History of Art. (1964); the Grand Prix from Montreal Ashcan School creates vital depictions of contemporary life while Dow Constellations. Keely Orgeman. the History of Art from the University of London, employs Japanesque stylization and composition and Dietrich creates 3:45 – 4:25 p.m. Negotiating Impressionism: Whistler (1990), The Architectural Historian in America Barbara Haskell, Curator, Whitney Museum of for many years she served as curator of International Festival of Films on Art for his related flat sculptural compositions. The early abstraction of Marin, & the Tonalist Landscape. Linda 3:45 – 4:30 p.m. Charles White’s Social Modernity. (1991), the Archives of American Art Journal, American Art; Haskell is a well-known scholar American art at the Freer Gallery of Art, one of film, “Hopper’s Silence” (1982), and the Weber, Russell and Macdonald–Wright is complemented by the lyric Merrill. Sarah Kelly Oehler. the Journal of the Society of Architectural on American modern art, and the author of the Smithsonian museums in Washington, DC, Sagittarius Prize from the British Society of modernism of O’Keeffe and Dove. By the second quarter of the 20th Historians, and the Proceedings of the over 20 publications. Among the landmark and subsequently as the Margaret and Terry Authors (1993). In 2003, he was named an 4:30 – 5:15 p.m. Remington as a Modernist. Jennifer James McNeill Whistler, Nocturne: Blue and Silver—Bognor, 5:00 – 7:00 p.m. Reception and viewing century, multiple modernities exist simultaneously in the work of the 1871 – 1876. Oil on canvas, 1913�16 x 315� in. Freer Gallery American Antiquarian Society. thematic exhibitions she has curated are “The Stent Curator of American Art at the High Honorary Fellow of the Royal College of R. Henneman. of Art, Smithsonian Institution, Washington, DC; gift of American Abstract Artists, in that of the Regionalists’ stylized figurative Charles Lang Freer, F1906.103. “Tom Yost: At the Edge of Truth” William C. Agee, Evelyn Kranes Kossak American Century: Art & Culture 1900 – 1950” Museum of Art in Atlanta. She has published Physicians of Ireland. O’Doherty lives and works, in that of the sculptor, John Storrs, and in the more purely 5:30 – 7:30 p.m. Reception and viewing and highlights from the Gallery’s Professor Emeritus of Art History, Hunter (1999) and “BLAM! The Explosion of Pop, several books and articles on Whistler and his works in New York City. abstract work of Duchamp, Stella, and Pollack. The Abstract Charles Willson Peale, inventory of 19th- and 20th-century Minimalism and Performance 1958 – 1964” contemporaries, including After Whistler: The Sarah Kelly Oehler, Field-McCormick Chair Portrait of Thomas “Logan Maxwell Hagege: College, City University of New York (CUNY). Expressionists, exponents of America’s first truly international style, American paintings Jefferson, 1791. Oil on Where Land Meets Sky” He is founding editor, contributing editor, and (1984). In addition, she has curated retro- Artist and His Influence on American Painting, and Curator of American Art, Art Institute of emerge in the 1950s at the same time Stuart Davis and Edward Hopper canvas. Independence co-author of the essays in Stuart Davis: A spectives and authored accompanying The Peacock Room: A Cultural Biography (1998), Chicago, where she focuses on the modern National Historical Park, The artist will be present for the evening. QUESTROYAL FINE ART continue on their own, distinct paths, with all powerfully influencing scholarly monographs on a range of early and A Pot of Paint: Aesthetics on Trial in Whistler American art collection. Her most recent Philadelphia, Pennsylvania. 903 Park Avenue Catalogue Raisonné (three volumes, 2007); American art and underscoring the synchronicity of multiple GERALD PETERS GALLERY (at the corner of 79th Street) formerly Director, The Museum of Fine Arts, 20th-century and post-war American artists, v. Ruskin (1993). She is currently writing a book projects include “Whistler’s Mother: An expressions of the modern. 19 East 74th Street including H.C. Westermann (1978), Marsden (between Fifth and Madison Avenues) Houston and Pasadena Art Museum. Among on Whistler’s “Ten O’Clock” lecture. American Icon Returns to Chicago” (2017), and his publications are works on Synchromism, Hartley (1980), Milton Avery (1982), Ralston Brian O’Doherty, artist, novelist, art critic, “America After the Fall: Painting in the 1930s” Leadership funding has been provided by The Richard and Jane Manoogian Foundation Charles White, Birmingham Totem, 1964. Duchamp–Villon, painting and sculpture of the Crawford (1985), Charles Demuth (1987), Red (2016), which explored the art and culture of Ink and charcoal on paper, 717�16 x 401�16 in. television presenter, film-maker, physician; and The Louis and Lena Minkoff Foundation. High Museum of Art, Atlanta; purchased with Grooms (1987), Donald Judd (1988), Burgoyne the Depression decade. In 2015, she funds from Edith G. and Philip A. Rhodes and 1930s, Bruce, Daugherty, Schamberg, born in County Roscommon, Ireland, We gratefully acknowledge funding from Collisart, LLC; D. Wigmore Fine Art; Freeman’s; George Jeffords; the National Endowment for the Arts, 1978.3. Crawford, Diller, Davis, Dove, Francis, Judd, Diller (1990), Agnes Martin (1992), Joseph O’Doherty received his medical degree from co-curated “Shatter Rupture Break: The The Gerald Peters Family Art Foundation; Hollis Taggart Galleries; Jonathan Boos; Menconi + Schoelkopf Marin, Noland, Porter, and Arnold Friedman. In Stella (1994), Edward Steichen (2000), Elie the University of Dublin in 1952 and until Modern Series I” (2015) which united diverse Fine Art; Questroyal Fine Art; and anonymous donors, as well as support received from, Christie’s, Spring 2011 he was a fellow at the Georgia Nadelman (2003), Oscar Bluemner (2005 – 1957 practiced medicine. Between 1950 and aspects of the Art Institute’s collection of Shannon’s, and Sotheby’s. O’Keeffe Museum Research Center in Santa Fe, 2006), Georgia O’Keeffe (2009), Lyonel 1957, he exhibited his paintings at the Royal modern art. In 2013, she curated “They Seek a New Mexico. His most recent publication is Feininger (2011), Reginald Marsh (2013), Hibernian Academy, the Oireachtas (the Irish City: Chicago and the Art of Migration, 1910 – We are deeply grateful to Sotheby’s New York for hosting IAC’s 23rd Annual American Art conference. Modern Art in America, 1908 – 1968: A Robert Indiana (2013), Stuart Davis (2016), and legislature), and in the Irish Exhibition of 1950,” an exhibition and catalogue that Critical and Thematic History (2016), and he is Grant Wood (2018), with “Grant Wood: focused on immigrant and migrant artists in This conference is dedicated to Harry L. Koenigsberg (1921 – 2002). Living Art and, at the same time, published art at work on a book about Brancusi in America. American Gothic and Other Fables” now on criticism and poetry in journals such as Dublin the city and was co-curator of “Art and Debra Bricker Balken, independent curator view at the Whitney. In 2005, she was awarded Magazine, Dublin Review, and University Appetite: American Painting, Culture, and and writer; she has organized numerous the Lawrence A. Fleischman Award for Review. In 1957, O’Doherty left Dublin for Cuisine,” which explored the connections exhibitions on subjects relating to American Scholarly Excellence in the Field of American Cambridge, MA where, in 1958, he received an between art and food in the United States. Modernism and contemporary art for major Art History by the Smithsonian Institution’s MS from the Harvard School of Public Health. She has contributed to numerous other museums internationally. Balken’s books Archives of American Art. He then left medicine, landing a job at exhibitions and publications at the museum, include Philip Guston’s Poor Richard (2001) Jennifer R. Henneman, Assistant Curator, Boston’s WGBH-TV hosting a half-hour weekly including “The Age of American and Abstract Expressionism: Movements in Petrie Institute of Western American Art, show “Invitation to Art,” taking over from Impressionism” (2011), “American Modernism Modern Art (2005), as well as exhibition Denver Art Museum. While pursuing her Barbara Novak (whom he would marry in at the Art Institute of Chicago from World War I Frederic Remington, A Dash for the Timber, 1889. Oil on canvas, 48¼ x 841� 8 in. Amon Carter Museum of American Art, Tom Yost, Storm Approaching Painter Ridge, 2016. Oil on linen, 30 x 35 in. catalogues such as Arthur Dove, A doctorate on 19th-century British and 1960). He continued to lecture and write on to 1955” (2009), and “Apostles of Beauty: Arts Fort Worth, TX, Amon G. Carter Collection. Image: courtesy Questroyal Fine Art, New York. Sponsors and program are correct as of March 24, 2018. Retrospective (1997), The Park Avenue Cubists American Art and Visual Culture at University the arts (not least as an art critic for The New and Crafts from Britain to Chicago” (2009). Her

IAC_Brochure_AmericanArt_2018_Prnt.indd 2 4/2/18 3:24 PM Registration Philadelphia Museum of Art. Morton Livingston Schamberg, Presenters Initiatives Registration confirmations are sent via e-mail. in Art and Culture current project is “Charles White: A Retrospective” Fordham University Graduate School of To register on-line: (opening June 8, 2018), the first major retro- Business, Schoelkopf is a past member of the www.modernities.eventbrite.com spective of this important African-American artist board of directors of the Private Art Dealers Painting VIII (Mechanical Abstraction), in several decades. She received her PhD in Association of America and sits on the Art Multiple Modernities By e-mail: Fill in the registration form and send to: American Art from Columbia University and her Show Committee of the Art Dealers Association [email protected]. BA in History from Yale University. of America. The gallery is a member of both in American Art By mail: Return form at least 10 days before the Keely Orgeman, The Alice and Allan Kaplan the Private Art Dealers Association of America conference start date with a check or money order Associate Curator, Department of American and the Art Dealers Association of America. payable to Initiatives in Art and Culture or complete 23RD ANNUAL AMERICAN ART CONFERENCE the credit card information on the form, and mail to Paintings and Sculpture, Yale University Art Nancy Rivard Shaw, Curator Emerita of Initiatives in Art and Culture, 333 East 57th Street, Suite Gallery. She received her PhD from Boston American Art, Detroit Institute of Arts (DIA) and 13B, New York, NY 10022 University (BU) in 2014, writing her disser- 1916. Oil on canvas, 30 an independent scholar specializing in late 19th- FRIDAY – SATURDAY, MAY 18 – 19, 2018 By phone: Using American Express®, Visa® Card, tation on representations of radioactivity in and early 20th-century American art. Among the Discover®, or MasterCard®, call (646) 485-1952. postwar American art. At BU, she received a major exhibitions Shaw has contributed to are: Presidential Fellowship and a Jan and Warren “John Singer Sargent and the Edwardian Age” Fee: The conference fee is $350 with single-day registration options available. Educators and museum Adelson Fellowship in American Art, organized (1979), “The Quest for Unity: American Art

professionals rate $160 (with ID). Student rate $100 1 � the exhibition “Atomic Afterimage: Cold War 8 Between World’s Fairs” (1983), and “American Art

(with ID). To receive a discounted rate, you must provide x 20 Imagery in Contemporary Art” (2008) at the from the Manoogian Collection” (1989). She proof of status. ¼ in. in. BU Art Gallery, and authored the accom- co-organized “From the Hudson River School to Logan Maxwell Hagege, The Rain Falls, The Sun Shines, 2018. Oil on linen, 32 x 43 in. Gerald Peters Gallery, Withdrawal and refunds: Notice of withdrawal must be panying catalogue. Since coming to Yale in Impressionism: American Art from the New York, NY. made in writing to: Initiatives in Art and Culture, 333 fall 2008, she has contributed entries and Manoogian Collection” (1997) and prepared the East 57th Street, Suite 13B, New York, NY 10022 or to the Conference location: This conference will take place at Jessica Todd Smith, Susan Gray Detweiler she completed her doctoral dissertation Nature articles to several museum publications scholarly catalogue that accompanied it. She has Program Office via e-mail at [email protected]. Sotheby’s New York, 1334 York Avenue with events at Curator of American Art and Manager of the and Nostalgia in the Art of Mary Nimmo Moran No refunds will be made after May 1, 2018. Gerald Peters Gallery and Questroyal Fine Art. including collection catalogues and the Yale published extensively on the DIA’s collections, Center for American Art, Philadelphia Museum of (1842 – 1899). She has held curatorial research University Art Gallery Bulletin. In 2017, she and has published and lectured widely on a Art (PMA). Prior to her arrival at the PMA, she positions at the Frick Collection, the Morgan Program subject to change. organized the traveling exhibition “Lumia: variety of subjects in American art. Recent was the Virginia Steele Scott Chief Curator of Library & Museum, and The New-York Historical Thomas Wilfred and the Art of Light,” at the publications include contributions to Calm in the Single-day registration options available; please send inquiries to: American Art at The Huntington Library, Art Society and has taught courses on American art

Yale Art Gallery and the Smithsonian American Shadow of the Palmetto & Magnolia: Southern – 1919. ca. 1917 [email protected] or call (646) 485-1952. Collections, and Botanical Gardens in San Marino, at Baruch College and Seton Hall University. Art Museum in Washington, DC. The Art from the Charleston Renaissance Gallery California. During her tenure at The Huntington, exhibition’s accompanying scholarly catalogue, (2003), American Paintings in the Detroit Karen Wilkin, a New York-based curator and Smith worked on three major expansions of the Please register me for “Multiple Modernities in American Art.” for which Orgeman was the lead author, Institute of Arts, vol. III (2005), and Spot: critic specializing in 20th-century Modernism.

American galleries, in addition to exhibitions, Abstraction, The conference fee is $350 with single-day registration options available. featured a foreword by the contemporary light Southern Works on Paper (2008). She is the author of monographs on Stuart publications, and collection development. She Davis, David Smith, Anthony Caro, Kenneth Please send inquiries to: [email protected] or call (646) 485-1952. artist James Turrell. Suzanne Smeaton, independent frame in Art and Culture earned a BA summa cum laude from Harvard Noland, Helen Frankenthaler, Isaac Witkin, Andrew Schoelkopf, co-founder and partner, historian and consultant, Suzanne Smeaton, Thomas Cole, View from Mount Holyoke, Educators and museum professionals rate $160 (with ID). Student rate $100 University and a PhD from Yale University. Giorgio Morandi, Georges Braque, and Hans Menconi + Schoelkopf. Schoelkopf literally LLC. A certified member of the Appraiser’s Northampton, Massachusetts, after a Thunderstorm (with ID). Paul Staiti, Alumnae Foundation Professor of Hofmann, and has organized exhibitions and John Storrs, 16 x 13 4½ in. Stone with black enamel inlay, Vilcek Foundation. —The Oxbow, 1836. Oil on canvas, 51½ x 76 in. grew up in an American painting gallery; his Association of America, Smeaton has been The Metropolitan Museum of Art, New York; gift studying American frames and framing works Fine Arts at Mount Holyoke. He is the author of lectured on the work of these artists inter- of Mrs. Russell Sage, 1908 (08.228). Image © The father, Robert Schoelkopf, opened an art nitiatives in Art and Culture I Suite 13B East 57th Street, 333 10022 New York New York, books and essays on John Singleton Copley, Initiatives gallery on Madison Avenue in 1958 and ran of art for over 35 years. She was formerly nationally. She was a contributing editor, with Metropolitan Museum of Art. Name______Gilbert Stuart, Samuel F. B. Morse, William the business—which Andrew joined in 1989— Director, Eli Wilner & Co., and through her work William C. Agee, of Stuart Davis: A Catalogue Michael Harnett, and Winslow Homer. He has Address______until his passing in 1991. After the closing of at that gallery, curated many exhibitions Raisonné (Yale University Press, 2007) and the dedicated to American frames, consulted for lectured at the Louvre and The Metropolitan Hans Hofmann Catalogue Raisonné of Paintings City ______State ______Zip______the Robert Schoelkopf Gallery, Schoelkopf joined Christie’s auction house as a specialist numerous private and public collections, and Museum of Art and has been awarded fellowships (Lund Humphries, 2014). Contributing Editor for Affiliation______in American paintings and became director of framed artworks for many institutions including from the National Endowment for the Art, the Hudson Review and a regular The White House, The Metropolitan Museum of Humanities on three occasions. His last book, Of contributor to The New Criterion and The Wall Day-time phone______the American Paintings Department in 1995. He subsequently held a number of senior Art, the Yale University Art Gallery, and the Arms and Artists, is concerned with the ways in Street Journal, Wilkin teaches in the New York E-mail address______positions with Christie’s including director of Smithsonian American Art Museum. She is a which Stuart, Copley, West, Trumbull and Peale Studio School’s MFA program. Recent projects frequent lecturer on the topic of frames and business development for North and South responded, both as citizens and painters, to the include “American Vanguards: John Graham, American frame history and author of related America; in his final position with the firm, he American Revolution; the book will be published Stuart Davis, Arshile Gorky, Willem de Kooning articles and essays in The Gilded Edge: The Art served as president of Christie’s Internet by Bloomsbury in October 2018. and their Circle, 1927 – 1942” (with W. C. Agee METHOD OF PAYMENT of the Frame (2000), The Magazine ANTIQUES, auction business. He was also a member of Shannon Vittoria, Research Associate, The and I. Sandler; Addison Gallery of American Art and Picture Framing Magazine. She contributed Payment is enclosed (check or money order made payable to Initiatives in Art and Culture), or American Wing, The Metropolitan Museum of and other US venues), and “Hans Hofmann: Christie’s Business Development and Operating an essay on frames of the Ashcan painters to Art. She specializes in 18th– and 19th–century Magnum Opus” (with W. C. Agee; Museum I authorize you to charge my credit card ______Committees. In April 2001, Andrew and his Life’s Pleasures: The Ashcan Artists’ Brush With American painting and works on paper with a Pfalzgalerie Kaiserslautern, 2012), a 2017 Signature partner Susan Menconi opened their doors as Leisure 1895 – 1925 (2007), collaborated with Charles Sheeler, Pertaining to Yachts Visa® American Express® Mastercard® Discover® private dealers specializing in American Lisa Koenigsberg on an essay on frames in the focus on landscape art and women artists. She retrospectives of Hofmann’s works on paper, and Yachting, 1922. Oil on canvas, 20 x paintings, drawings, and sculpture of the 18th, is a member of the curatorial team that seen at the Museum of Contemporary Art, 241/16 in. Philadelphia Museum of Art. Card number ______catalogue Auspicious Vision: Edwin Wales Root 19th, and early 20th centuries; they have sold and American Modernism (2007) for the organized the exhibition “Thomas Cole’s Jacksonville, FL and the Portland (Maine) Art works of art to leading private collectors and Munson–Williams Proctor Arts Institute, and Journey: Atlantic Crossings,” on view at The Met Museum and, with Alicia G. Longwell, of John Expires______CVC code Florine Stettheimer, Portrait of Marcel Duchamp museums including the Museum of Fine Arts, wrote an essay about the re-creation of the through May 13, 2018 and traveling to The Graham’s work for the Parrish Museum of Art. and Rrose Selavy, 1923. Oil on canvas, 26 x 30 in. Boston; The Metropolitan Museum of Art; and National Gallery, London in June 2018. Vittoria Educated at Barnard College and Columbia CONFERENCE ART AMERICAN ANNUAL Private collection. Billing address______original frame on Emanuel Leutze’s

The Art Institute of Chicago. The recipient of a received her PhD in Art History from the City University, she was awarded a Woodrow Wilson “Washington Crossing the Delaware” for The 1950-134-519. 1950; Collection, Arensberg Walter and Louise Art; of Museum

11�16

in.; frame 20½ × 9½ in. Philadelphia Philadelphia in. 9½ × 20½ frame in.; 8 x 20 glass, on Oil 1917. ca. Chinatown, BA from Denison University and an MBA from Metropolitan Museum of Art Bulletin. University of New York’s Graduate Center where Fellowship and a Fulbright Scholarship to Rome. Stella, Joseph 23RD 23RD City ______State ______Zip______Multiple Modernities in American Art 2018 19, – 18 MAY SATURDAY, – FRIDAY

IAC_Brochure_AmericanArt_2018_Prnt.indd 1 4/2/18 3:24 PM Registration Philadelphia Museum of Art. Morton Livingston Schamberg, Presenters Initiatives Registration confirmations are sent via e-mail. in Art and Culture current project is “Charles White: A Retrospective” Fordham University Graduate School of To register on-line: (opening June 8, 2018), the first major retro- Business, Schoelkopf is a past member of the www.modernities.eventbrite.com spective of this important African-American artist board of directors of the Private Art Dealers Painting VIII (Mechanical Abstraction), in several decades. She received her PhD in Association of America and sits on the Art Multiple Modernities By e-mail: Fill in the registration form and send to: American Art from Columbia University and her Show Committee of the Art Dealers Association [email protected]. BA in History from Yale University. of America. The gallery is a member of both in American Art By mail: Return form at least 10 days before the Keely Orgeman, The Alice and Allan Kaplan the Private Art Dealers Association of America conference start date with a check or money order Associate Curator, Department of American and the Art Dealers Association of America. payable to Initiatives in Art and Culture or complete 23RD ANNUAL AMERICAN ART CONFERENCE the credit card information on the form, and mail to Paintings and Sculpture, Yale University Art Nancy Rivard Shaw, Curator Emerita of Initiatives in Art and Culture, 333 East 57th Street, Suite Gallery. She received her PhD from Boston American Art, Detroit Institute of Arts (DIA) and 13B, New York, NY 10022 University (BU) in 2014, writing her disser- 1916. Oil on canvas, 30 an independent scholar specializing in late 19th- FRIDAY – SATURDAY, MAY 18 – 19, 2018 By phone: Using American Express®, Visa® Card, tation on representations of radioactivity in and early 20th-century American art. Among the Discover®, or MasterCard®, call (646) 485-1952. postwar American art. At BU, she received a major exhibitions Shaw has contributed to are: Presidential Fellowship and a Jan and Warren “John Singer Sargent and the Edwardian Age” Fee: The conference fee is $350 with single-day registration options available. Educators and museum Adelson Fellowship in American Art, organized (1979), “The Quest for Unity: American Art

professionals rate $160 (with ID). Student rate $100 1 � the exhibition “Atomic Afterimage: Cold War 8 Between World’s Fairs” (1983), and “American Art

(with ID). To receive a discounted rate, you must provide x 20 Imagery in Contemporary Art” (2008) at the from the Manoogian Collection” (1989). She proof of status. ¼ in. in. BU Art Gallery, and authored the accom- co-organized “From the Hudson River School to Logan Maxwell Hagege, The Rain Falls, The Sun Shines, 2018. Oil on linen, 32 x 43 in. Gerald Peters Gallery, Withdrawal and refunds: Notice of withdrawal must be panying catalogue. Since coming to Yale in Impressionism: American Art from the New York, NY. made in writing to: Initiatives in Art and Culture, 333 fall 2008, she has contributed entries and Manoogian Collection” (1997) and prepared the East 57th Street, Suite 13B, New York, NY 10022 or to the Conference location: This conference will take place at Jessica Todd Smith, Susan Gray Detweiler she completed her doctoral dissertation Nature articles to several museum publications scholarly catalogue that accompanied it. She has Program Office via e-mail at [email protected]. Sotheby’s New York, 1334 York Avenue with events at Curator of American Art and Manager of the and Nostalgia in the Art of Mary Nimmo Moran No refunds will be made after May 1, 2018. Gerald Peters Gallery and Questroyal Fine Art. including collection catalogues and the Yale published extensively on the DIA’s collections, Center for American Art, Philadelphia Museum of (1842 – 1899). She has held curatorial research University Art Gallery Bulletin. In 2017, she and has published and lectured widely on a Art (PMA). Prior to her arrival at the PMA, she positions at the Frick Collection, the Morgan Program subject to change. organized the traveling exhibition “Lumia: variety of subjects in American art. Recent was the Virginia Steele Scott Chief Curator of Library & Museum, and The New-York Historical Thomas Wilfred and the Art of Light,” at the publications include contributions to Calm in the Single-day registration options available; please send inquiries to: American Art at The Huntington Library, Art Society and has taught courses on American art

Yale Art Gallery and the Smithsonian American Shadow of the Palmetto & Magnolia: Southern – 1919. ca. 1917 [email protected] or call (646) 485-1952. Collections, and Botanical Gardens in San Marino, at Baruch College and Seton Hall University. Art Museum in Washington, DC. The Art from the Charleston Renaissance Gallery California. During her tenure at The Huntington, exhibition’s accompanying scholarly catalogue, (2003), American Paintings in the Detroit Karen Wilkin, a New York-based curator and Smith worked on three major expansions of the Please register me for “Multiple Modernities in American Art.” for which Orgeman was the lead author, Institute of Arts, vol. III (2005), and Spot: critic specializing in 20th-century Modernism.

American galleries, in addition to exhibitions, Abstraction, The conference fee is $350 with single-day registration options available. featured a foreword by the contemporary light Southern Works on Paper (2008). She is the author of monographs on Stuart publications, and collection development. She Davis, David Smith, Anthony Caro, Kenneth Please send inquiries to: [email protected] or call (646) 485-1952. artist James Turrell. Suzanne Smeaton, independent frame in Art and Culture earned a BA summa cum laude from Harvard Noland, Helen Frankenthaler, Isaac Witkin, Andrew Schoelkopf, co-founder and partner, historian and consultant, Suzanne Smeaton, Thomas Cole, View from Mount Holyoke, Educators and museum professionals rate $160 (with ID). Student rate $100 University and a PhD from Yale University. Giorgio Morandi, Georges Braque, and Hans Menconi + Schoelkopf. Schoelkopf literally LLC. A certified member of the Appraiser’s Northampton, Massachusetts, after a Thunderstorm (with ID). Paul Staiti, Alumnae Foundation Professor of Hofmann, and has organized exhibitions and John Storrs, 16 x 13 4½ in. Stone with black enamel inlay, Vilcek Foundation. —The Oxbow, 1836. Oil on canvas, 51½ x 76 in. grew up in an American painting gallery; his Association of America, Smeaton has been The Metropolitan Museum of Art, New York; gift studying American frames and framing works Fine Arts at Mount Holyoke. He is the author of lectured on the work of these artists inter- of Mrs. Russell Sage, 1908 (08.228). Image © The father, Robert Schoelkopf, opened an art nitiatives in Art and Culture I Suite 13B East 57th Street, 333 10022 New York New York, books and essays on John Singleton Copley, Initiatives gallery on Madison Avenue in 1958 and ran of art for over 35 years. She was formerly nationally. She was a contributing editor, with Metropolitan Museum of Art. Name______Gilbert Stuart, Samuel F. B. Morse, William the business—which Andrew joined in 1989— Director, Eli Wilner & Co., and through her work William C. Agee, of Stuart Davis: A Catalogue Michael Harnett, and Winslow Homer. He has Address______until his passing in 1991. After the closing of at that gallery, curated many exhibitions Raisonné (Yale University Press, 2007) and the dedicated to American frames, consulted for lectured at the Louvre and The Metropolitan Hans Hofmann Catalogue Raisonné of Paintings City ______State ______Zip______the Robert Schoelkopf Gallery, Schoelkopf joined Christie’s auction house as a specialist numerous private and public collections, and Museum of Art and has been awarded fellowships (Lund Humphries, 2014). Contributing Editor for Affiliation______in American paintings and became director of framed artworks for many institutions including from the National Endowment for the Art, the Hudson Review and a regular The White House, The Metropolitan Museum of Humanities on three occasions. His last book, Of contributor to The New Criterion and The Wall Day-time phone______the American Paintings Department in 1995. He subsequently held a number of senior Art, the Yale University Art Gallery, and the Arms and Artists, is concerned with the ways in Street Journal, Wilkin teaches in the New York E-mail address______positions with Christie’s including director of Smithsonian American Art Museum. She is a which Stuart, Copley, West, Trumbull and Peale Studio School’s MFA program. Recent projects frequent lecturer on the topic of frames and business development for North and South responded, both as citizens and painters, to the include “American Vanguards: John Graham, American frame history and author of related America; in his final position with the firm, he American Revolution; the book will be published Stuart Davis, Arshile Gorky, Willem de Kooning articles and essays in The Gilded Edge: The Art served as president of Christie’s Internet by Bloomsbury in October 2018. and their Circle, 1927 – 1942” (with W. C. Agee METHOD OF PAYMENT of the Frame (2000), The Magazine ANTIQUES, auction business. He was also a member of Shannon Vittoria, Research Associate, The and I. Sandler; Addison Gallery of American Art and Picture Framing Magazine. She contributed Payment is enclosed (check or money order made payable to Initiatives in Art and Culture), or American Wing, The Metropolitan Museum of and other US venues), and “Hans Hofmann: Christie’s Business Development and Operating an essay on frames of the Ashcan painters to Art. She specializes in 18th– and 19th–century Magnum Opus” (with W. C. Agee; Museum I authorize you to charge my credit card ______Committees. In April 2001, Andrew and his Life’s Pleasures: The Ashcan Artists’ Brush With American painting and works on paper with a Pfalzgalerie Kaiserslautern, 2012), a 2017 Signature partner Susan Menconi opened their doors as Leisure 1895 – 1925 (2007), collaborated with Charles Sheeler, Pertaining to Yachts Visa® American Express® Mastercard® Discover® private dealers specializing in American Lisa Koenigsberg on an essay on frames in the focus on landscape art and women artists. She retrospectives of Hofmann’s works on paper, and Yachting, 1922. Oil on canvas, 20 x paintings, drawings, and sculpture of the 18th, is a member of the curatorial team that seen at the Museum of Contemporary Art, 241/16 in. Philadelphia Museum of Art. Card number ______catalogue Auspicious Vision: Edwin Wales Root 19th, and early 20th centuries; they have sold and American Modernism (2007) for the organized the exhibition “Thomas Cole’s Jacksonville, FL and the Portland (Maine) Art works of art to leading private collectors and Munson–Williams Proctor Arts Institute, and Journey: Atlantic Crossings,” on view at The Met Museum and, with Alicia G. Longwell, of John Expires______CVC code Florine Stettheimer, Portrait of Marcel Duchamp museums including the Museum of Fine Arts, wrote an essay about the re-creation of the through May 13, 2018 and traveling to The Graham’s work for the Parrish Museum of Art. and Rrose Selavy, 1923. Oil on canvas, 26 x 30 in. Boston; The Metropolitan Museum of Art; and National Gallery, London in June 2018. Vittoria Educated at Barnard College and Columbia CONFERENCE ART AMERICAN ANNUAL Private collection. Billing address______original frame on Emanuel Leutze’s

The Art Institute of Chicago. The recipient of a received her PhD in Art History from the City University, she was awarded a Woodrow Wilson “Washington Crossing the Delaware” for The 1950-134-519. 1950; Collection, Arensberg Walter and Louise Art; of Museum

11�16

in.; frame 20½ × 9½ in. Philadelphia Philadelphia in. 9½ × 20½ frame in.; 8 x 20 glass, on Oil 1917. ca. Chinatown, BA from Denison University and an MBA from Metropolitan Museum of Art Bulletin. University of New York’s Graduate Center where Fellowship and a Fulbright Scholarship to Rome. Stella, Joseph 23RD 23RD City ______State ______Zip______Multiple Modernities in American Art 2018 19, – 18 MAY SATURDAY, – FRIDAY

IAC_Brochure_AmericanArt_2018_Prnt.indd 1 4/2/18 3:24 PM Registration Philadelphia Museum of Art. Morton Livingston Schamberg, Presenters Initiatives Registration confirmations are sent via e-mail. in Art and Culture current project is “Charles White: A Retrospective” Fordham University Graduate School of To register on-line: (opening June 8, 2018), the first major retro- Business, Schoelkopf is a past member of the www.modernities.eventbrite.com spective of this important African-American artist board of directors of the Private Art Dealers Painting VIII (Mechanical Abstraction), in several decades. She received her PhD in Association of America and sits on the Art Multiple Modernities By e-mail: Fill in the registration form and send to: American Art from Columbia University and her Show Committee of the Art Dealers Association [email protected]. BA in History from Yale University. of America. The gallery is a member of both in American Art By mail: Return form at least 10 days before the Keely Orgeman, The Alice and Allan Kaplan the Private Art Dealers Association of America conference start date with a check or money order Associate Curator, Department of American and the Art Dealers Association of America. payable to Initiatives in Art and Culture or complete 23RD ANNUAL AMERICAN ART CONFERENCE the credit card information on the form, and mail to Paintings and Sculpture, Yale University Art Nancy Rivard Shaw, Curator Emerita of Initiatives in Art and Culture, 333 East 57th Street, Suite Gallery. She received her PhD from Boston American Art, Detroit Institute of Arts (DIA) and 13B, New York, NY 10022 University (BU) in 2014, writing her disser- 1916. Oil on canvas, 30 an independent scholar specializing in late 19th- FRIDAY – SATURDAY, MAY 18 – 19, 2018 By phone: Using American Express®, Visa® Card, tation on representations of radioactivity in and early 20th-century American art. Among the Discover®, or MasterCard®, call (646) 485-1952. postwar American art. At BU, she received a major exhibitions Shaw has contributed to are: Presidential Fellowship and a Jan and Warren “John Singer Sargent and the Edwardian Age” Fee: The conference fee is $350 with single-day registration options available. Educators and museum Adelson Fellowship in American Art, organized (1979), “The Quest for Unity: American Art

professionals rate $160 (with ID). Student rate $100 1 � the exhibition “Atomic Afterimage: Cold War 8 Between World’s Fairs” (1983), and “American Art

(with ID). To receive a discounted rate, you must provide x 20 Imagery in Contemporary Art” (2008) at the from the Manoogian Collection” (1989). She proof of status. ¼ in. in. BU Art Gallery, and authored the accom- co-organized “From the Hudson River School to Logan Maxwell Hagege, The Rain Falls, The Sun Shines, 2018. Oil on linen, 32 x 43 in. Gerald Peters Gallery, Withdrawal and refunds: Notice of withdrawal must be panying catalogue. Since coming to Yale in Impressionism: American Art from the New York, NY. made in writing to: Initiatives in Art and Culture, 333 fall 2008, she has contributed entries and Manoogian Collection” (1997) and prepared the East 57th Street, Suite 13B, New York, NY 10022 or to the Conference location: This conference will take place at Jessica Todd Smith, Susan Gray Detweiler she completed her doctoral dissertation Nature articles to several museum publications scholarly catalogue that accompanied it. She has Program Office via e-mail at [email protected]. Sotheby’s New York, 1334 York Avenue with events at Curator of American Art and Manager of the and Nostalgia in the Art of Mary Nimmo Moran No refunds will be made after May 1, 2018. Gerald Peters Gallery and Questroyal Fine Art. including collection catalogues and the Yale published extensively on the DIA’s collections, Center for American Art, Philadelphia Museum of (1842 – 1899). She has held curatorial research University Art Gallery Bulletin. In 2017, she and has published and lectured widely on a Art (PMA). Prior to her arrival at the PMA, she positions at the Frick Collection, the Morgan Program subject to change. organized the traveling exhibition “Lumia: variety of subjects in American art. Recent was the Virginia Steele Scott Chief Curator of Library & Museum, and The New-York Historical Thomas Wilfred and the Art of Light,” at the publications include contributions to Calm in the Single-day registration options available; please send inquiries to: American Art at The Huntington Library, Art Society and has taught courses on American art

Yale Art Gallery and the Smithsonian American Shadow of the Palmetto & Magnolia: Southern – 1919. ca. 1917 [email protected] or call (646) 485-1952. Collections, and Botanical Gardens in San Marino, at Baruch College and Seton Hall University. Art Museum in Washington, DC. The Art from the Charleston Renaissance Gallery California. During her tenure at The Huntington, exhibition’s accompanying scholarly catalogue, (2003), American Paintings in the Detroit Karen Wilkin, a New York-based curator and Smith worked on three major expansions of the Please register me for “Multiple Modernities in American Art.” for which Orgeman was the lead author, Institute of Arts, vol. III (2005), and Spot: critic specializing in 20th-century Modernism.

American galleries, in addition to exhibitions, Abstraction, The conference fee is $350 with single-day registration options available. featured a foreword by the contemporary light Southern Works on Paper (2008). She is the author of monographs on Stuart publications, and collection development. She Davis, David Smith, Anthony Caro, Kenneth Please send inquiries to: [email protected] or call (646) 485-1952. artist James Turrell. Suzanne Smeaton, independent frame in Art and Culture earned a BA summa cum laude from Harvard Noland, Helen Frankenthaler, Isaac Witkin, Andrew Schoelkopf, co-founder and partner, historian and consultant, Suzanne Smeaton, Thomas Cole, View from Mount Holyoke, Educators and museum professionals rate $160 (with ID). Student rate $100 University and a PhD from Yale University. Giorgio Morandi, Georges Braque, and Hans Menconi + Schoelkopf. Schoelkopf literally LLC. A certified member of the Appraiser’s Northampton, Massachusetts, after a Thunderstorm (with ID). Paul Staiti, Alumnae Foundation Professor of Hofmann, and has organized exhibitions and John Storrs, 16 x 13 4½ in. Stone with black enamel inlay, Vilcek Foundation. —The Oxbow, 1836. Oil on canvas, 51½ x 76 in. grew up in an American painting gallery; his Association of America, Smeaton has been The Metropolitan Museum of Art, New York; gift studying American frames and framing works Fine Arts at Mount Holyoke. He is the author of lectured on the work of these artists inter- of Mrs. Russell Sage, 1908 (08.228). Image © The father, Robert Schoelkopf, opened an art nitiatives in Art and Culture I Suite 13B East 57th Street, 333 10022 New York New York, books and essays on John Singleton Copley, Initiatives gallery on Madison Avenue in 1958 and ran of art for over 35 years. She was formerly nationally. She was a contributing editor, with Metropolitan Museum of Art. Name______Gilbert Stuart, Samuel F. B. Morse, William the business—which Andrew joined in 1989— Director, Eli Wilner & Co., and through her work William C. Agee, of Stuart Davis: A Catalogue Michael Harnett, and Winslow Homer. He has Address______until his passing in 1991. After the closing of at that gallery, curated many exhibitions Raisonné (Yale University Press, 2007) and the dedicated to American frames, consulted for lectured at the Louvre and The Metropolitan Hans Hofmann Catalogue Raisonné of Paintings City ______State ______Zip______the Robert Schoelkopf Gallery, Schoelkopf joined Christie’s auction house as a specialist numerous private and public collections, and Museum of Art and has been awarded fellowships (Lund Humphries, 2014). Contributing Editor for Affiliation______in American paintings and became director of framed artworks for many institutions including from the National Endowment for the Art, the Hudson Review and a regular The White House, The Metropolitan Museum of Humanities on three occasions. His last book, Of contributor to The New Criterion and The Wall Day-time phone______the American Paintings Department in 1995. He subsequently held a number of senior Art, the Yale University Art Gallery, and the Arms and Artists, is concerned with the ways in Street Journal, Wilkin teaches in the New York E-mail address______positions with Christie’s including director of Smithsonian American Art Museum. She is a which Stuart, Copley, West, Trumbull and Peale Studio School’s MFA program. Recent projects frequent lecturer on the topic of frames and business development for North and South responded, both as citizens and painters, to the include “American Vanguards: John Graham, American frame history and author of related America; in his final position with the firm, he American Revolution; the book will be published Stuart Davis, Arshile Gorky, Willem de Kooning articles and essays in The Gilded Edge: The Art served as president of Christie’s Internet by Bloomsbury in October 2018. and their Circle, 1927 – 1942” (with W. C. Agee METHOD OF PAYMENT of the Frame (2000), The Magazine ANTIQUES, auction business. He was also a member of Shannon Vittoria, Research Associate, The and I. Sandler; Addison Gallery of American Art and Picture Framing Magazine. She contributed Payment is enclosed (check or money order made payable to Initiatives in Art and Culture), or American Wing, The Metropolitan Museum of and other US venues), and “Hans Hofmann: Christie’s Business Development and Operating an essay on frames of the Ashcan painters to Art. She specializes in 18th– and 19th–century Magnum Opus” (with W. C. Agee; Museum I authorize you to charge my credit card ______Committees. In April 2001, Andrew and his Life’s Pleasures: The Ashcan Artists’ Brush With American painting and works on paper with a Pfalzgalerie Kaiserslautern, 2012), a 2017 Signature partner Susan Menconi opened their doors as Leisure 1895 – 1925 (2007), collaborated with Charles Sheeler, Pertaining to Yachts Visa® American Express® Mastercard® Discover® private dealers specializing in American Lisa Koenigsberg on an essay on frames in the focus on landscape art and women artists. She retrospectives of Hofmann’s works on paper, and Yachting, 1922. Oil on canvas, 20 x paintings, drawings, and sculpture of the 18th, is a member of the curatorial team that seen at the Museum of Contemporary Art, 241/16 in. Philadelphia Museum of Art. Card number ______catalogue Auspicious Vision: Edwin Wales Root 19th, and early 20th centuries; they have sold and American Modernism (2007) for the organized the exhibition “Thomas Cole’s Jacksonville, FL and the Portland (Maine) Art works of art to leading private collectors and Munson–Williams Proctor Arts Institute, and Journey: Atlantic Crossings,” on view at The Met Museum and, with Alicia G. Longwell, of John Expires______CVC code Florine Stettheimer, Portrait of Marcel Duchamp museums including the Museum of Fine Arts, wrote an essay about the re-creation of the through May 13, 2018 and traveling to The Graham’s work for the Parrish Museum of Art. and Rrose Selavy, 1923. Oil on canvas, 26 x 30 in. Boston; The Metropolitan Museum of Art; and National Gallery, London in June 2018. Vittoria Educated at Barnard College and Columbia CONFERENCE ART AMERICAN ANNUAL Private collection. Billing address______original frame on Emanuel Leutze’s

The Art Institute of Chicago. The recipient of a received her PhD in Art History from the City University, she was awarded a Woodrow Wilson “Washington Crossing the Delaware” for The 1950-134-519. 1950; Collection, Arensberg Walter and Louise Art; of Museum

11�16

in.; frame 20½ × 9½ in. Philadelphia Philadelphia in. 9½ × 20½ frame in.; 8 x 20 glass, on Oil 1917. ca. Chinatown, BA from Denison University and an MBA from Metropolitan Museum of Art Bulletin. University of New York’s Graduate Center where Fellowship and a Fulbright Scholarship to Rome. Stella, Joseph 23RD 23RD City ______State ______Zip______Multiple Modernities in American Art 2018 19, – 18 MAY SATURDAY, – FRIDAY

IAC_Brochure_AmericanArt_2018_Prnt.indd 1 4/2/18 3:24 PM Registration Philadelphia Museum of Art. Morton Livingston Schamberg, Presenters Initiatives Registration confirmations are sent via e-mail. in Art and Culture current project is “Charles White: A Retrospective” Fordham University Graduate School of To register on-line: (opening June 8, 2018), the first major retro- Business, Schoelkopf is a past member of the www.modernities.eventbrite.com spective of this important African-American artist board of directors of the Private Art Dealers Painting VIII (Mechanical Abstraction), in several decades. She received her PhD in Association of America and sits on the Art Multiple Modernities By e-mail: Fill in the registration form and send to: American Art from Columbia University and her Show Committee of the Art Dealers Association [email protected]. BA in History from Yale University. of America. The gallery is a member of both in American Art By mail: Return form at least 10 days before the Keely Orgeman, The Alice and Allan Kaplan the Private Art Dealers Association of America conference start date with a check or money order Associate Curator, Department of American and the Art Dealers Association of America. payable to Initiatives in Art and Culture or complete 23RD ANNUAL AMERICAN ART CONFERENCE the credit card information on the form, and mail to Paintings and Sculpture, Yale University Art Nancy Rivard Shaw, Curator Emerita of Initiatives in Art and Culture, 333 East 57th Street, Suite Gallery. She received her PhD from Boston American Art, Detroit Institute of Arts (DIA) and 13B, New York, NY 10022 University (BU) in 2014, writing her disser- 1916. Oil on canvas, 30 an independent scholar specializing in late 19th- FRIDAY – SATURDAY, MAY 18 – 19, 2018 By phone: Using American Express®, Visa® Card, tation on representations of radioactivity in and early 20th-century American art. Among the Discover®, or MasterCard®, call (646) 485-1952. postwar American art. At BU, she received a major exhibitions Shaw has contributed to are: Presidential Fellowship and a Jan and Warren “John Singer Sargent and the Edwardian Age” Fee: The conference fee is $350 with single-day registration options available. Educators and museum Adelson Fellowship in American Art, organized (1979), “The Quest for Unity: American Art

professionals rate $160 (with ID). Student rate $100 1 � the exhibition “Atomic Afterimage: Cold War 8 Between World’s Fairs” (1983), and “American Art

(with ID). To receive a discounted rate, you must provide x 20 Imagery in Contemporary Art” (2008) at the from the Manoogian Collection” (1989). She proof of status. ¼ in. in. BU Art Gallery, and authored the accom- co-organized “From the Hudson River School to Logan Maxwell Hagege, The Rain Falls, The Sun Shines, 2018. Oil on linen, 32 x 43 in. Gerald Peters Gallery, Withdrawal and refunds: Notice of withdrawal must be panying catalogue. Since coming to Yale in Impressionism: American Art from the New York, NY. made in writing to: Initiatives in Art and Culture, 333 fall 2008, she has contributed entries and Manoogian Collection” (1997) and prepared the East 57th Street, Suite 13B, New York, NY 10022 or to the Conference location: This conference will take place at Jessica Todd Smith, Susan Gray Detweiler she completed her doctoral dissertation Nature articles to several museum publications scholarly catalogue that accompanied it. She has Program Office via e-mail at [email protected]. Sotheby’s New York, 1334 York Avenue with events at Curator of American Art and Manager of the and Nostalgia in the Art of Mary Nimmo Moran No refunds will be made after May 1, 2018. Gerald Peters Gallery and Questroyal Fine Art. including collection catalogues and the Yale published extensively on the DIA’s collections, Center for American Art, Philadelphia Museum of (1842 – 1899). She has held curatorial research University Art Gallery Bulletin. In 2017, she and has published and lectured widely on a Art (PMA). Prior to her arrival at the PMA, she positions at the Frick Collection, the Morgan Program subject to change. organized the traveling exhibition “Lumia: variety of subjects in American art. Recent was the Virginia Steele Scott Chief Curator of Library & Museum, and The New-York Historical Thomas Wilfred and the Art of Light,” at the publications include contributions to Calm in the Single-day registration options available; please send inquiries to: American Art at The Huntington Library, Art Society and has taught courses on American art

Yale Art Gallery and the Smithsonian American Shadow of the Palmetto & Magnolia: Southern – 1919. ca. 1917 [email protected] or call (646) 485-1952. Collections, and Botanical Gardens in San Marino, at Baruch College and Seton Hall University. Art Museum in Washington, DC. The Art from the Charleston Renaissance Gallery California. During her tenure at The Huntington, exhibition’s accompanying scholarly catalogue, (2003), American Paintings in the Detroit Karen Wilkin, a New York-based curator and Smith worked on three major expansions of the Please register me for “Multiple Modernities in American Art.” for which Orgeman was the lead author, Institute of Arts, vol. III (2005), and Spot: critic specializing in 20th-century Modernism.

American galleries, in addition to exhibitions, Abstraction, The conference fee is $350 with single-day registration options available. featured a foreword by the contemporary light Southern Works on Paper (2008). She is the author of monographs on Stuart publications, and collection development. She Davis, David Smith, Anthony Caro, Kenneth Please send inquiries to: [email protected] or call (646) 485-1952. artist James Turrell. Suzanne Smeaton, independent frame in Art and Culture earned a BA summa cum laude from Harvard Noland, Helen Frankenthaler, Isaac Witkin, Andrew Schoelkopf, co-founder and partner, historian and consultant, Suzanne Smeaton, Thomas Cole, View from Mount Holyoke, Educators and museum professionals rate $160 (with ID). Student rate $100 University and a PhD from Yale University. Giorgio Morandi, Georges Braque, and Hans Menconi + Schoelkopf. Schoelkopf literally LLC. A certified member of the Appraiser’s Northampton, Massachusetts, after a Thunderstorm (with ID). Paul Staiti, Alumnae Foundation Professor of Hofmann, and has organized exhibitions and John Storrs, 16 x 13 4½ in. Stone with black enamel inlay, Vilcek Foundation. —The Oxbow, 1836. Oil on canvas, 51½ x 76 in. grew up in an American painting gallery; his Association of America, Smeaton has been The Metropolitan Museum of Art, New York; gift studying American frames and framing works Fine Arts at Mount Holyoke. He is the author of lectured on the work of these artists inter- of Mrs. Russell Sage, 1908 (08.228). Image © The father, Robert Schoelkopf, opened an art nitiatives in Art and Culture I Suite 13B East 57th Street, 333 10022 New York New York, books and essays on John Singleton Copley, Initiatives gallery on Madison Avenue in 1958 and ran of art for over 35 years. She was formerly nationally. She was a contributing editor, with Metropolitan Museum of Art. Name______Gilbert Stuart, Samuel F. B. Morse, William the business—which Andrew joined in 1989— Director, Eli Wilner & Co., and through her work William C. Agee, of Stuart Davis: A Catalogue Michael Harnett, and Winslow Homer. He has Address______until his passing in 1991. After the closing of at that gallery, curated many exhibitions Raisonné (Yale University Press, 2007) and the dedicated to American frames, consulted for lectured at the Louvre and The Metropolitan Hans Hofmann Catalogue Raisonné of Paintings City ______State ______Zip______the Robert Schoelkopf Gallery, Schoelkopf joined Christie’s auction house as a specialist numerous private and public collections, and Museum of Art and has been awarded fellowships (Lund Humphries, 2014). Contributing Editor for Affiliation______in American paintings and became director of framed artworks for many institutions including from the National Endowment for the Art, the Hudson Review and a regular The White House, The Metropolitan Museum of Humanities on three occasions. His last book, Of contributor to The New Criterion and The Wall Day-time phone______the American Paintings Department in 1995. He subsequently held a number of senior Art, the Yale University Art Gallery, and the Arms and Artists, is concerned with the ways in Street Journal, Wilkin teaches in the New York E-mail address______positions with Christie’s including director of Smithsonian American Art Museum. She is a which Stuart, Copley, West, Trumbull and Peale Studio School’s MFA program. Recent projects frequent lecturer on the topic of frames and business development for North and South responded, both as citizens and painters, to the include “American Vanguards: John Graham, American frame history and author of related America; in his final position with the firm, he American Revolution; the book will be published Stuart Davis, Arshile Gorky, Willem de Kooning articles and essays in The Gilded Edge: The Art served as president of Christie’s Internet by Bloomsbury in October 2018. and their Circle, 1927 – 1942” (with W. C. Agee METHOD OF PAYMENT of the Frame (2000), The Magazine ANTIQUES, auction business. He was also a member of Shannon Vittoria, Research Associate, The and I. Sandler; Addison Gallery of American Art and Picture Framing Magazine. She contributed Payment is enclosed (check or money order made payable to Initiatives in Art and Culture), or American Wing, The Metropolitan Museum of and other US venues), and “Hans Hofmann: Christie’s Business Development and Operating an essay on frames of the Ashcan painters to Art. She specializes in 18th– and 19th–century Magnum Opus” (with W. C. Agee; Museum I authorize you to charge my credit card ______Committees. In April 2001, Andrew and his Life’s Pleasures: The Ashcan Artists’ Brush With American painting and works on paper with a Pfalzgalerie Kaiserslautern, 2012), a 2017 Signature partner Susan Menconi opened their doors as Leisure 1895 – 1925 (2007), collaborated with Charles Sheeler, Pertaining to Yachts Visa® American Express® Mastercard® Discover® private dealers specializing in American Lisa Koenigsberg on an essay on frames in the focus on landscape art and women artists. She retrospectives of Hofmann’s works on paper, and Yachting, 1922. Oil on canvas, 20 x paintings, drawings, and sculpture of the 18th, is a member of the curatorial team that seen at the Museum of Contemporary Art, 241/16 in. Philadelphia Museum of Art. Card number ______catalogue Auspicious Vision: Edwin Wales Root 19th, and early 20th centuries; they have sold and American Modernism (2007) for the organized the exhibition “Thomas Cole’s Jacksonville, FL and the Portland (Maine) Art works of art to leading private collectors and Munson–Williams Proctor Arts Institute, and Journey: Atlantic Crossings,” on view at The Met Museum and, with Alicia G. Longwell, of John Expires______CVC code Florine Stettheimer, Portrait of Marcel Duchamp museums including the Museum of Fine Arts, wrote an essay about the re-creation of the through May 13, 2018 and traveling to The Graham’s work for the Parrish Museum of Art. and Rrose Selavy, 1923. Oil on canvas, 26 x 30 in. Boston; The Metropolitan Museum of Art; and National Gallery, London in June 2018. Vittoria Educated at Barnard College and Columbia CONFERENCE ART AMERICAN ANNUAL Private collection. Billing address______original frame on Emanuel Leutze’s

The Art Institute of Chicago. The recipient of a received her PhD in Art History from the City University, she was awarded a Woodrow Wilson “Washington Crossing the Delaware” for The 1950-134-519. 1950; Collection, Arensberg Walter and Louise Art; of Museum

11�16

in.; frame 20½ × 9½ in. Philadelphia Philadelphia in. 9½ × 20½ frame in.; 8 x 20 glass, on Oil 1917. ca. Chinatown, BA from Denison University and an MBA from Metropolitan Museum of Art Bulletin. University of New York’s Graduate Center where Fellowship and a Fulbright Scholarship to Rome. Stella, Joseph 23RD 23RD City ______State ______Zip______Multiple Modernities in American Art 2018 19, – 18 MAY SATURDAY, – FRIDAY

IAC_Brochure_AmericanArt_2018_Prnt.indd 1 4/2/18 3:24 PM