museumVIEWS

A quarterly newsletter for small and mid-sized art museums

John Singer Sargent, Simplon Pass: Reading, c.1911. Opaque and translucent watercolor and wax resist with graphite underdrawing. Summer 2013 In “John Singer Sargent Watercolors,” Museum, NY

 1  museumVIEWS

Features Summer 2013 Page 3 • Biennale • From the AAM Page 4 • Notes about an Artist: Left: Reference photo for Norman Rockwell’s Breakfast Table Politcal Arguement Above: Norman Rockwell, Breakfast Table Politcal Arguement, (detail) 1948. Illustration for The Saturday Evening Post. Both in “Norman Rockwell: Behind the Camera,” McNay Art Museum, TX • Building an Emergency Plan Page 5 • African-American Art Hits the Nation’s Museums • Numbers Game: Some Museum Statistics • Research Results in Surprise Findings Page 6 • Baruch and Rubin Pair up for Conference Pages 7 • Tips for Travel Off the Beaten Track Page 8-11 • newsbriefs Pages 12 • Textiles Take Center Stage in Denver Pages 13-19

• summerVIEWS Ridley Howard, Blues and Pink (detail), 2012. Oil on linen. In “Ridley Howard,” Museum of Fine Arts, Boston, MA

Jeffrey Gibson, Much Stronger Than You Know, 2013. Acrylic and oil paint on deer hide stretched over wood panel. In “Jeffrey Gibson: Said the Pigeon museumVIEWS to the Squirrel,” National Academy Museum, NY Editor: Lila Sherman Publisher: Museum Views, Ltd. 2 Peter Cooper Road, , NY 10010 Phone: 212.677.3415 FAX: 212.533.5227 Email: [email protected] On the web: www.museumviews.org MuseumVIEWS is supported by grants from the Horace W. Goldsmith Foundation and Bloomberg. MuseumVIEWS is published 4 times a year: Winter (Jan. 1), Spring (April 1), Summer (July1), and Fall (October 1). deadlines for listings and artwork are Nov. 15, Feb. 15, May 15, and Aug 15.

 2  Biennale

This year’s Venice Bienniale, which runs through Nov. 24, is different. It is about dis- covering and examining, not about conspicu- ous consumption. “Massimiliano [Massimil- iano Gioni, this year’s artistic director] has managed to bring together a surprising and interesting group of artists in an exhibition that is both thought provoking and engag- ing,” said Thomas P. Campbell, director of the Metropolitan Museum of Art (NY). Gioni, in his wisdom, has chosen “The Encyclopedic Palace” as the theme of this enormous exhibition. It is taken from the model of a 136-story cylindrical skyscraper conceived and created in 1950, the era of Futurism, by the self-taught artist Marino Auriti to symbolically house all the knowl- edge of the world. Gioni believed “The Encyclopedic Palace” best reflected the giant scope of the show and “the impossibil- ity of capturing the sheer enormity of the art world today.” The Biennale includes 158 artists this year, almost double the num- Canaletto, Venice - Grand Canal, 1638. Oil on canvas. In the National Gallery, London ber in the previous shows. There are also pavilions from 88 countries, some in the Giardini (home to the Biennale for more than 100 years), and others in the Arsenale (the medieval cluster of shipyards) and else- culture and dispersing images via the Internet whereas this is about where around the city in cloisters, palazzos, medieval warehouses, and exploring the deepest sense of oneself and the genesis of art. It is the unused churches. Appearing for the first time among the 88 countries antidote to Warhol and Koons.” ■ are Angola, the Bahamas, Bahrain, Ivory Coast, Kosovo, Kuwait, the Maldives, Paraguay, Tuvalu, and the Vatican. But the central anchor of the event is Gioni’s exhibition which, divided into two parts, features self-taught and outsider artists together From the AAM with the well known and easily recognizable; some , draw- ings, and sculptures date back a century, some were created this year, Congress has completed work on the Fiscal Year 2013 appropria- perhaps this month. At the Giardini are displayed 40 illuminated pages tions bills, passing a continuing resolution that sets funding levels for of Carl Jung’s Red Book. There are Shaker , miniatures, govenrment agencies that will be in effect until October 1, 2013. While abstract canvases, wood-carved mythical animals. And a first: a legislators made changes to some programs, they effectively left much decommissioned ferry boat was sailed all the way from Portugal to of the federal government on autopilot, extending last year’s funding take its place as the pavilion of that country; transformed into an levels until the start of the next fiscal year. This holds true for many inside-outside work of art, it carries visitors on excursions around of the agencies and programs that support museums, including the In- St. Marks’ Basin. stitute of Museum and Library Services, the National Endowment for the Arts, the National Endowment for the Humanities, and the National A comment Science Foundation. After factoring in the five percent cut to these by Tobias agencies due to sequestration, the end result will be decreased federal Meyer, director support for museums in the coming months. of contempo- Now, with President Obama’s 2014 budget request, the process for rary art at determing next year’s budget is underway. Representatives from the Sotheby’s AAM testified before Congress, urging them to maintain funding for worldwide was the National Science Foundation programs that support museums. a good sum- Congressman Paul Tonko and Senator Kirsten Gillibrand will circulate ming up: letters of support for the IMLS. the show is Regarding the resolution written by House of Representatives “a game Budget Committee Chairman Paul Ryan calling for the elimination changer., It fi- of the NEA and the NEH and questioning whether museum funding nally addresses through IMLS is a national priority, AAM President Ford W. Bell said, the theory of “Although this deeply misguided language has been included in prior contemporary House budgets, it is as disturbing today as ever. Museums are core art that is based educational institutions, economic engines, and community anchors, on Jung, on and these statements profoundly mistake their essential role....” ■ the unearthing of the subcon- scious…. The art world right now is all about Pop and global

Anne Labovitz, Untitled 14, 2013. Woodcut with acrylic on canvas. In “Anne Labovitz,” Tweed Museum of Art, MN

 3  Notes about an Artist: Ellsworth Kelly Born in 1923, Ellsworth Kelly began to develop his distinctive approach to abstraction in the late 1940s in Paris, where he studied the likes of Cézanne, Matisse, and Picasso under the G.I. Bill. In 1954, he returned to the U.S. and continued creating paintings in which the abstract forms, contours, and contrasts of line or tone were based on observations of the built environment and the natural world. By the late 1950s, Kelly was also making sculptures using cut-out forms that he mounted on walls or set outdoors. Working against conventional expectations, he typically made these sculp- tures so they read as flat, whereas the paint- ings (often done on shaped supports) seemed three-dimensional. In 1970, Kelly left and moved upstate, where he found inspiration in this new rural environment, and where his artistic practice began to include the creation of large-scale outdoor sculptures in metal. Over the years, his sculptures have tended to take either the form of reliefs or free-standing totems. He has made public com- missions for sites and institutions in cities such James Turrell, Rendering for Aten Reign, 2013. Daylight and LED light. as New York, Paris, Barcelona, Washington D.C., Boston, Chicago, St. Site-specific installation. In “James Turrell,” Guggenheim Museum, NY Louis, Houston, and Dallas. Kelly continues to exhibit and work in his studio and has forthcoming exhibitions at Institute of Arts (MI), the Phillips Collection (DC), and the (NY). building an emergency plan Suddenly, and unexpectedly, an electrical wire inside a wall has shorted out sending sparks out that ignite inflam- mable materials, and soon, before anyone is aware, an en- tire wall is engulfed in flame. That wall could be the wall of your main exhibit hall. The paintings hanging there, the entire collection—and your life—are at risk. Your institution is equipped with smoke alarms, naturally. But have the batteries been checked and replaced recently? How long will it take before smoke from the fire triggers an alarm? If flames block a hallway or stairway near your office, how will you escape? Do you have a mask to protect your lungs from the smoke? Is a flashlight handy? Where are the emergency telephone numbers? Does the maintenance crew know what to do or whom to call? Do local firefighters know what special techniques to use to protect the collection? Are up-to-date copies of institution records stored off-site? Who is going to handle the news media? Building an Emergency Plan: A Guide for Museums and Other Cultural Institutions, published by the Getty Conservation Institute, gives all the particulars, in more that 200 pages, of what to do and when and how to do it. To begin with, museums can take some steps to plan for emergencies or disasters. For example: Create a team or committee to develop the disaster plan. Include different functions of the museum to create a comprehensive plan. The more people planning, the more staff members are empowered to

Ellsworth Kelly, Chatham VI: Red Blue. 1971. Oil on canvas, respond. In “Ellsworth Kelly: Chatham Series,” Museum of Modern Art, NY Read materials that refer specifically to emergency planning. Assess and document risks and The exhibition of his work—“Ellsworth Kelly: Sculpture on the Wall” hazards specific to the museum (Sept. 2)—at the Barnes Foundation (PA) marks the foundation’s first (consider natural disasters, man-made threats, and mechanical failures). anniversary in , its first exhibition in 90 Establish preventative measures; monitoring hazards can prevent them years, and Kelly’s 90th birthday. ■ from morphing into real disasters. [Biographical information supplied by the Barnes Foundation.] Learn more from resources provided by the American Alliance of Museums. ■

 4  African-American Research Results Art Hits the in Surprise Findings A collaboration between the Georgia Museum of Art at the Univer- Nation’s Museums sity of Georgia, the university’s Franklin College of Arts and Sciences, Many of today’s museums around the country are increasingly and the University of Mississippi Museum in a research project on the focusing their purchase power on African-American art. In order to paint colors of reflect the rich African-American history of creativity, and to more ancient sculpture closely reflect the communities in which they are located, museums has resulted in have enlarged their holdings of African-American art significantly. findings that sur- In 2002, there were no African-American works in the Walters Art prised all the ex- Museum (MD). That year the museum set up a $1 million fund to buy perts. The object African-American art from the 18th, 19th, and 20th centuries. There under inquiry, were donations by board members as well as a $500,000 gift from a a marble relief local philanthropist, which the museum then matched, all of which replica of the went toward accomplishing the goal of creating an African-American ancient Greek presence on the walls and in the galleries of the Walters. Since 2006, Orpheus Relief, the number of African-American visitors to the museum has tripled, thought to be and as of now, the number comes to 20 percent of the annual from classical attendance figure. Rome, is very John Biggers, Shotgun, Third Ward #1, 1966. Tempera and oil. At the Museum of Modern Art (NY), the effort is underway to likely a relatively In “In Conversation,” Peabody Essex Museum, MA increase the number of artworks by African-Americans. Chief Curator modern creation. in the Department of and Sculpture Ann Temkin says, “In “Object in Focus: The Orpheus Relief Project,” ongoing since Sept. the past decade, it has become a curatorial priority to look at whether 2012, has involved the public exhibition and interdisciplinary study of our holdings are reflecting the history of art made by African-Amer- the marble relief sculpture. The technical portion of the project focused icans.” In fact, some of the museum’s most recent acquisitions were on the materials of the relief, the marble, and remnants of pigment on included in the exhibition “Now Dig This! Art and Black Los Angeles the surface. By spectroscopically analyzing the chemical composition 1950-1980.” of the pigments, experts hoped to determine the original colors. The The Museum of Fine Arts, Boston, had only three works by African- result of both traditional studies by connoisseurs and scientific inves- Americans in 2001. The museum now has 108. The number of African- tion was evidence that both paint and carving date from somewhere American visitors “has increased dramatically since 2010,” when the between the 1880s and the 1920s. art of the Americas wing opened, says Elliot Davis, chair of the art of Since the original composition, dating to 450-400 B.C., inspired the Americas department. ■ many replicas, both early (between the 1st century B.C. and the 2nd century A.D.) and later (in modern times), it is not surprising that the relief in question could be a copy. The relief was acquired by the presi- dent of the Archaeological Institute of America in Rome before 1948. Numbers Game: Robinson assumed that its weathering resulted from burial, but instead it is believed that it was displayed outdoors, which would produce simi- Some Museum Statistics lar effects. The investigating group grew suspicious when the piece Museums worldwide are finding that the Old Masters are was found to have no evidence of its having been underground. extraordinary crowds, especially when they come from distant shores. Instead, evidence of modern industrial paints were found. The A show of Dutch Old Masters that started a world tour in Japan won the marble, on the other hand was found to come from Mt. Tentelikon in “most popular exhibition” survey. Not so in New York, London, and Paris, Greece, which served as the source for the Parthenon’s material. But, where contemporary art dominated the list. in fact, such marble was easy to come by even in modern times. And, the breaks in the sculpture are relatively fresh and less weathered than The top ten in attendance: the surface, indicating that it was broken more recently. In addition, the carving is flattened, indicating that the carver was working from a 1 , Paris later plaster cast in which 2 Metropolitan Museum of Art, New York detail and depth was lost 3 British Museum, London through repeated duplica- 4 Tate Modern, London tion. 5 National Gallery, London “This project is a 6 Vatican Museum, Vatican City perfect example of how 7 National Palace Museum, Taipei the museum serves as a 8 National Gallery of Art, Washington, DC hub for interdisciplinary 9 Centre Pompidou, Paris research and teaching, 10 Musée D’Orsay, Paris almost every step of which has been conduct- The Most Popular Exhibitions ed in public view,” said (top 10) Lynn Boland, curator Masterpieces from the Mauritshuis, Tokyo of European Art at the The Amazon: Cycles of Modernity, Rio de Janeiro Georgia Museum of Art. Nineteenth-century Italian Painting, St. Petersburg ■ Colourful Realm: Ito Jakuchu (1716-1800), Washington, DC David Hockney RA: A Bigger Picture, London Japanese Masterpieces from the MFA Boston, Tokyo Antony Gormley, Still Being, Rio de Janeiro Little Black Jacket, London Dale Chihuly, Green Stem Form Golden Flashes, Florence with Blue and Red Wrapped Persians, 1989. In “Tradition and Monumenta: Daniel Buren, Paris ■ Transformation in Glass,” Jundt Art Museum, WA

 5  Baruch & Rubin Pair up for Conference

The Baruch College (NY) and the Rubin Museum of Art (NY) combined The Workbook: Exploring the parallels forces to present a symposium entitled “Museums and Higher Education in the 21st Century: Collaborative Methods & Models for Innovation.” between the Mandala and real life After the keynote address by Bruce Payne, executive director of the Rubin The Outer Mandala traditionally has six rings. In the workbook each ring Foundation, the program began with “Arts Integration Overview.” The over- is assigned a theme that supports a student’s goal in finding a fulfilling future view was followed by “New Pedagogies Using Museums in the Curriculum career: the Wisdom Ring (self-awareness), the Space Ring (happiness), the Panel” in which several presentations covered new areas of exploration—the Wind Ring (power), the Fire Ring (energy), the Water Ring (change), the symmetry of the Mandala as a starting off place for the study of mathemat- Earth Ring (confidence). ics; connecting the study of The Four Gates help to map sociology with exhibitions of the journey to a fulfilling career. Himalayan art and culture; en- Each gate leads the way to hancing self-awareness by in- evaluate experience and skills, cluding the study of Himalyan research career opportunities, art in a career planning class. create resume, practice inter- Other subjects were covered. views. Durning the segment “Utiliz- The inner Kalachakra has ing Museums for University three parts: body, speech, and Activities Panel,” one pre- mind, representing physical sentation disussed success awareness, verbal expression, stories of students and faculty and mind awareness consecu- in the archives, and another tively. described the process of using At the innermost Kalachakra, the college museum in courses great bliss is achieved. Bliss is across the disciplines. experienced by making peace Museums and technology, with one’s own self. museum and university col- laboration, museum education and the university student Some of experience were all topics of the gods discussion during the course of the program. defined: Illustrating the subject of career planning, Dr. Michelle Buddha Wang, assistant professor at The term Buddha, meaning the Borough of Manhattan to “awaken” was first used to Community College, produced refer to a gifted teacher who a career search workbook lived sometime between the 4th entitled Finding Your Way in and 5th century B.C. in north- Life through the Mandala, ern India, and whose teachings written with Laufa Lombard became the foundation of Bud- of the Rubin Museum of Art. dhism. Siddhartha Gautama, as According to the authors, “The he was once called, became the objective of this workbook is Mandala of Kalachakra, Tibet, 17th century. Ground mineral pigment on cotton. Rubin Museum of Art, NY Buddha, or awakened one, by to help students discover and explore achieving a complete understanding their interests, skills, talents, and pas- of the nature of reality, and by free- sions inspired by a unique work of art: the Kalachakra Mandala, a symbolic ing himself from the endless cycle of suffering represented by birth, death, representation of world peace.” The workbook asks two questions: To what and rebirth. The Buddha is said to have possessed distinct physical features, extent can a sacred work of art, such as the Kalachakra mandala, empower most notably, a cranial protuberance, a tuft of hair between the eyebrows, students to seek their true vocations in life? How does object-based learning and long earlobes. He is usually shown wearing the robes of a monk. influence students in their career search preparation? “World peace,” claim the authors, “arises from individual peace gener- ated by having a clear-sighted understanding of the self….” More from the Jambhala workbook follows: Jambhala is the lord of wealth and protector of the dharma. He helps prac- tioners to be generous by bringing wealth into their lives. Financial freedom Kalachakra Mandala provides the opportunity to practice the dharma by eliminating financial concerns. Jambhala holds a blue mongoose in his hand that has devoured the “Kalachakra is a Sanskrit term that means ‘time-wheel’ or ‘time-cycle.’ snake of greed. The mongoose transforms the snake’s poison in his belly into Mandala in Sanskrit means ‘circle,’ which is the symbol of eternity, unity, wish-fulfilling gems of generosity. He then disgorges the gems for spiritual and completeness. Combined together, the Kalachakra Mandala revolves practitioners. around the concept of time and its cycles. For Tibetan Buddhists, visualizing this complex form provides opportunities to access subtle energies within body and mind, clearing the path to enlightenment. Durga “The Kalachakra Mandala can be divided into four sections: 1) the outer section represents the external universe; 2) the four gates symbolize Durga, a Hindu goddess, was created when each of the male Hindu gods four boundless thoughts: loving-kindness, compassion, sympathy, and gave her a weapon with which to defeat the demon Mahisha, who was endan- equanimity; 3) the inner section relates to human processes; and 4) the gering the order of the world. Durga not only represents clarity, calm, innermost section represents great bliss.” and strength to defeat external enemies, she also represents the power to defeat the inner demons of anger, greed, and selfishness. ■

 6  Tips for Travel Off the Beaten Track

Montreal Copenhagen Montreal Mu- Parkmuseerne seum of Fine Arts: A new museum district in Copenhagen; “Dale Chihuly: Mas- its opening in March was followed by six ter of Contemporary coordinated exhibitions sharing the common Glass” (Oct. 20) theme: flowers, considered from widely dif- Inspired by nature, fering points of view. colors, reflections, The David Collection: “Flora Islamica; and organic shapes, Plant Motifs in the Art of Islam: (Oct. 27) Chihuly explores the The Hirschsprung Collection: “A Flower- potential of blown ing Season” (June 23) glass. The Filmhouse: Still photography and films about flowers. Rosenborg Castle: “From Science to Art: Abu Dhabi Flowers at Rosenborg Castle” (June 23) The Louvre Abu Natural History Museum of Denmark: Dhabi: “Birth of a “Flora Danica” Museum” (July 20) The National Gallery: “Flowers and World On Saadiyat Island, Views” (Oct. 20). the exhibition showcases 130 artworks (including Dubai the never-before- Barjeel Art Foundation: “RE: Orient: exhibited Portrait Investigating Modernism in the Arab World of a Lady by Pablo 1950s-1970s” A challenge to the narrow Picasso) that reflect perceptions of Arab societies often tied to the universal narra- Western perspectives of “the Orient”: art- tive of the museum- ists fuse a traditional artistic approach with to-be. Construction elements of avant-garde movements such as is to begin immedi- , , and Fauvism. ately; opening in the Saadiyat Cultural District in 2015. Paris Saadiyat is a natural Fondation Custodia: Paintings by Carl island 10 minutes Belchen and Corot enhance the collection of away from down- oil sketches from the 18th and 19th centuries. town Abu Dhabi, The Fondation’s holdings include French, Danish, German, and Dutch paintings, as Otto Skowranek, Olga Desmond: Sword Dance, 1908. being developed to In “The Naked Truth and More Besides,” Museen für Fotografie, Berlin accommodate cultural well as an ensemble of drawings (da Vinci, institutions, residences, Rubens, Van Dyck, , Watteau), Berlin office space, educational institutions, luxury prints, rare books, paintings, and some Museum für Fotografie: “The Naked hotels, golf courses, marinas, and more. 50,000 artists’ autographs. It is housed in the Truth and More Besides: Nude Photography 18th-century hôtel Turgot, one the home of around 1900” (Aug. 25) the minister of finance for Louis XVI. At the dawn of the last century, photographs Düsseldorf n of nudes could be found everywhere. This NRW Forum: “Azzedine Alaïa: Couture exhibition presents the astonishing diversity in the 21st Century” (Sept. 8) of photographic depictions of the disrobed Featuring the iconic fashion designer to the human body that existed around this time. stars, the last of the greaat old-school coutu- riers, dubbbed “King of Cling” for his revo- lutionary 1980s stretch designs. The exhibit Venice is structured by materials: silk garments, The Bauers: “Straight” Works by fur, leather, wool, linen, and more. Alaïa still Ai Weiwei (Sept. 15) at Zuecca Gallery lives and works in his old Paris studio in the “Seguso Glasswork” (Sept. 29) Marais district. at Bauers L’Hotel Among the myriad Biennale exhibitions at various venues around the city are these two gems. The name Seguso was synonymous with quality glasswork during th 1950s and 60s. Decorative objects made for a Bauers hotel at the time were stored until this unique showing. Ai Weiwei is well known internationally for his work reflecting present day China and his concern with human rights and freedom of expression. For this biennale Ai has created a site-specific assemblage using steel bars retrieved from the schools destroyed during the Sichuan earthquake of 2008. Louvre Abu Dhabi.

 7  news BRIEFS Honors Bestowed by Kress Seven museums around the country have been awarded Interpretive Fellowships at Art Museums by the Samuel H. Kress Foundation. They are The Cornell Fine Arts Museum (FL), the Metropolitan Museum of Art (NY), the Frick Collection (NY), the Blanton Mu- seum of Art (TX), the Philadelphia Museum of Art (PA), and the Portland Museum of Art (ME). Kress Interpretive Fellowships provide competitive grants of $30,000 to American art museums that sponsor supervised internships in museum education. The awards are intended to encourage students, to strengthen the ties between museum educators and curators and, in fact, the profession of museum educator within the museum community, and to expand the range of career options available to art history students.

NEH Bestows $$$ The Walters Art Museum (MD) has been awarded $340,000 by the National Endow- ment for the Humanities. The grant provides Olu Oguibe, From the Totem Series, 1990. Watercolor on paper. implementation to support the international In “The Art of Translation,” The Newark Museum, NJ traveling exhibition “Pearls on a String: Art Amtrak Celebrates and Biography in the Islamic World.” It also Train Day provides funding for “Access to Art in Ency- ence participation and engagement. PNC Arts clopedic Context,” a two-year planning project On May 11, special events were held at Alive has funded more than 120 arts programs to enhance already voluminous information on Amtrak stations and railroad museums across since its inception five years ago. the web about the Walter’s holdings. the country to celebrate National Train Day. Those who received grants in the Philadel- Streaming views were shown of the Steam- phia/Southern New Jersey regions offered free town National Historic Site in Scranton, and discounted arts programming for whole , a landmark located within a families; free public events that introduced the working railroad yard. arts in unexpected ways; ticket subsidy pro- The holiday was started by Amtrak in 2008 grams that fill houses; innovative programs that as a way of spreading information about rail engage and build young audiences; mobile and travel and the history of trains in the U.S. It pop-up art making. is held each year on the Saturday closest to The fine arts recipients in Pennsylvania/ May 10th, the anniversary of the pounding of Southern New Jersey are: the Golden Spike in Promontory, Utah, which African American Museum of Philadelphia marked the completion of the first transconti- “Come See About Me” (Aug. 18) is an nental railroad. exhibit that celebrates the Supremes’ imprint on fashion, music, civil rights, and female em- powerment. New programming such as design Grants to the Over-Forties workshops, meet-and-greets with Mary Wilson, The Provincetown Art Association and karaoke events, line dancing parties, and free Museum announced the recipients of the Lil- admission on Wednesday evenings will increase lian Orlowsky and William Freed Foundation accessibility and visibility among diverse Grant: Steve DeFrank of Brooklyn, NY, and audiences. Donald Beal of Provincetown, MA. Together James A. Michener Art Museum they were awarded $30,000 and an exhibition “From Philadelphia to Monaco: Grace Kelly in the fall of 2014 at the museum. an American Icon” (Jan. 26, 2014) is an These special grants are offered to American interactive experience illustrating the profound painters aged 45 or older who demonstrate influence of Grace Kelly, Philadelphia-born financial need. This year, its fourth year, appli- actress, stage and screen star, fashion icon, cants hailed from 41 states and seven coun- princess, United Nations advocate for children, tries, ranged in age from 45 to 88, and were and international spokesperson for art and cul- 67% female and 33% male. ture. The exhibition illustrates her life through letters, photographs, awards, jewelry, couture fashion, costumes, and other personal artifacts. PNC Arts Alive Ignites Pennsylvania Academy of Fine Arts New Audiences A “Families Make Art” program kicks off with a Family Arts Festival in Lenfest Plaza in In PENNSYLVANIA: October, 2013. Free art-making events continue PNC Arts Alive is a five year, $5 million in PAFA’s studios and at dozens of locations grants initiative that challenges visual and in underserved communities. The program performing arts organizations to put forth their ends with an exhibition in PAFA’s galleries of Wari, Standing Dignitary 600-1000 A.D. Wood with shell-and-stone inlay and silver. best, most original thinking in expanding audi- artwork created by participating families. In “Wari: Lords of the Ancient Andes,” Kimbell Art Museum, TX Continued next page

 8  news BRIEFS continued critical thinking, and innova- seums Advocacy Day, the effort was enhanced by tion. the nearly 2,000 contacts received by legislators from their constituents urging them to sign on. In MISSOURI: Says American Alliance of Museums President Believing that engagement Ford W. Bell, “With record support in the House in the arts enriches lives and and Senate for Office of Museum Services fund- builds stronger, more vibrant ing, museum advocates are building momentum communities, the PNC organi- in Congress. These legislators have stepped up zation tripled its commitment publicly to support our cause, so it is absolutely to the visual and performing critical that we let them know we’re watching arts in the 9-county Greater St. and we’re grateful.” Louis region with PNC Arts Alive, a six-year, multi-million dollar program. The new pro- African Art Arrives gram builds upon the success of Andrew Wyeth, Soaring, 1942. Tempura. in Newark In “Wyeth Vertigo,” Shelburne Museum, VT Grow Up Great, an early childhood education The Newark Museum (NJ) announced a funding program, and advances the mission of Philadelphia Museum of Art major gift of modern and contemporary African community development. art from the collection of Dr. Simon Otten- The “Every Family Party,” is an annual The Saint Louis Art Museum was on the celebration of the arts for children ages one to berg, emeritus professor of anthropology at list of PNC grant winners. A “2013 Outdoor the University of Washington in Seattle. The eleven and the launch of “Art Splash: Sum- Music Series” will turn the museum into an mer of Families.” This three-month exhibition gift includes some 145 works of art: paintings, outdoor music venue featuring eight free sculpture, and works on paper. It more than will transform the Perelman Building into a concerts on Art Hill Plaza and the new South summer-long center for intergenerational arts doubles the museum’s existing collection, and Terrace. The concerts will include diverse is especially strong in pre- and post-indepen- experiences, creating a hands-on learning music styles highlighting performers through- environment and highlighting an abundance of dence period works by Nigerian artists, with out the St. Louis community — from folk to additional works by artists from South Africa, artistic and cultural traditions. experimental jazz. Philadelphia Photo Arts Center Sierra Leone, and Ghana. A selection from this The center’s annual “Philly Photo Day” is gift is on exhibit at the museum for the first expanded with 20 new neighborhood murals, Biennial in Denver time in “The Art of Translation: The Simon ensuring participation among traditionally The Museum of Contemporary Art Den- Ottenberg Gift of Modern and Contemporary underserved constituents and 10 satellite ver (CO) presents four solo shows of works by Nigerian Art.” exhibitions in collaboration with neighborhood artists from throughout the Americas. Thus, the cultural centers around the city. Everyone in museum will serve as the lead cultural partner Youth Programs that the city is invited to take photos, which are in the2013 Biennial of the Americas, an inter- exhibited to present a day in the life of national festival of art, culture, and ideas. An Inspire are Recognized Philadelphia. inaugural forum on July 16 will run through The President’s Committee on the Arts and Wheaton Arts and Cultural Center Labor Day, while the Biennial brings together the Humanities, and its cultural partners, the “Wheaton Wide Open,” is a month-long leaders from politics, business, education, and National Endowment for the Arts, the Na- open house offering free admission for all the arts in a cross cultural festival of forums tional Endowment for the Humanities, and the children and adults six days a week during and exhibitions. Institute of Museum and Library Services have the entire month of July 2013. Enhanced recognized 50 programs across the country for programming will include glass bubble their work in presenting rich arts and humani- blowing, guest artist demonstrations, and Alumnus Receives ties learning opportunities to young people. hands-on workshops. Doctoral Degree From small towns to big cities, the 2013 Eric Fischl, painter, sculptor, and printmaker National Arts and Humanities Youth Program In OHIO: was the 2013 recipient of an honorary Doctor Award finalists reflect the diversity of disci- The PNC Foundation has always believed of Arts degree, presented by President Steven plines and settings of these programs that are engagement in the arts enriches lives and D. Lavine of the California Institute of the taking place from coast to coast. builds stronger, more vibrant communities. Arts. An alumnus of the institute Fischl’s In recognizing the finalists, First Lady Mi- Therefore, the foundation has doubled its degree honors his originality, creativity, and chelle Obama, honorary chairman of the commitment to the visual and performing arts dedication to the art of painting as well as his President’s Committee on the Arts and the Hu- in the 14-county Central Ohio region with commitment to the social good. He joins a manities said, “These outstanding programs are PNC Arts Alive, a multi-year, $2.5-million roster of past recipients of honorary degrees Continued next page program that challenges visual and perform- that includes actress Annette Bening, ing arts organizations to put forth their best, sitar virtuoso Ravi Shankar, visual most original thinking in expanding audience artist Ed Ruscha, composer John participation and engagement. This new invest- Cage, choreographer Anna Halperin, ment builds upon the success of PNC Grow Up and free jazz pioneer Ornett Coleman. Great, an early childhood education funding program, and advances the mission of commu- nity development. Congressional The Columbus Museum of Art received a Support for Funding PNC grant and citation. Free Sundays through 2014 will continue to increase accessibility Museum supporters in Congress are to broad and diverse audiences. Free Sundays leading the effort to support funding have served more than 60,000 visitors of all for the Office of Museum Services ages, nearly 35% of annual CMA attendance. (OMS) at the Institute of Museum and Free Sundays is the museum’s commitment Library Services (IMLS). Recently, to increasing its public value by encouraging a record 95 Representatives and 24 lifelong learning while fostering the important Senators signed letters in support of 21st century skills of creativity, imagination, robust funding for OMS. In addition to requests made on Mu-

Jane Alexander, Convoy, 2008. Pigment print on cotton paper. In “Jane Alexander,” Museum for African Art, NY  9  news BRIEFS continued expanding horizons, changing lives, and help- of years. It was an historic crossroads ing young people fulfill their dreams—across of travel and trade in northwestern America and around the world. Each of these New Mexico and their presence and programs is using achievement in the arts and influence on the Colorado Plateau was humanities as a bridge to achievement in life.” substantial throughout George Stevens, Jr., co-chairman of the history.” President’s Committee on the Arts and the Hu- manities remarks, “The President’s Commit- tee on the Arts and the Humanities is pleased Wisconsin “Hall of to present the National Arts and Humanities Famers” Announced Youth Program Awards to outstanding after- The 10th annual Wisconsin Visual school and out-of-school programs that are Art Lifetime Achievement Awards transforming the lives of young people. Pro- ceremony was held at the Museum of grams that receive the award exemplify how Wisconsin Art. Sometimes referred arts and humanities programs outside of the to as the in-state “Hall of Fame” for regular school day enrich the lives of young individuals, groups, and organizations people throughout the country by teaching who have supported the visual arts with new skills, nurturing creativity, and building distinction, the awards were founded self-confidence. These programs offer high- in 2004 as a collaboration between the quality and intensive instruction on weekends, Museum of Wisconsin Art, the Wiscon- afternoons, and summer vacations, providing a sin Painters and Sculptors/Artists in All safe and productive space for young people in Media (now Wisconsin Visual Artists), Manierre Dawson, Mother and Child, 1912. Oil on canvas. the hours when they are often the most vulner- and the Wisconsin Academy of Sciences, In “For and Against Modern Art,” Kalamazoo Institute of Arts, MI able. Their carefully focused projects supple- Arts and Letters. ment in-school curricula with exposure to a This year’s recipients included Renwick Renovation wide variety of artistic and scholastic pursuits. one museum, the Charles Allis Arts and humanities education has always been Art Museum (WI). Planned a priority for the President’s Committee and After a design competition among interior is a major focus of the Committee’s ongo- designers, artists, and architects, five finalist ing efforts. We are proud of the National Arts Pass the Passport Please were selected to compete for the renovation and Humanities Youth Program Award’s long Through the summer, until Labor Day, the of the Grand Salon in the Renwick Gallery record of success in acknowledging and sup- “Treasure Trail Passport Program” offers ad- (DC), home of the Smithsonian American porting these inspiring programs.” mission discounts to eleven Brandywine Valley Art Museum’s craft and decorative art pro- Among the 50 finalists were several (DE) attractions, all members of the Brandy- gram since 1972. Competitors were admon- museums: the Provincetown Art Association wine Museums & Gardens Alliance. For $35 ished to make no structural changes because and Museum (MA) for Art Reach, the Studio per adult, or $75 for a family of two adults and of the building’s status as a National Historic Museum in Harlem (NY) for Expanding up to three children, visitors receive a Brandy- Landmark. The new design will be part of a the Walls, and the Contemporary Art Mu- wine Treasure Trail Map and a passport good forthcoming major renovation on which work seum St. Louis (MO) for New Art in for one-time admission at each of the eleven will begin in 2014. the Neighborhood. participants: the Brandywine River Museum, The winner of the competition, announced the Delaware Art Museum, the Delaware in June, is Applied Minds, an interdisciplinary Center for the Contemporary Arts, the company based in Los Angeles. Applied Minds Zunis Occupy Spotlight in Delaware Historical Society & Read House, presented a technology solution that uses state- Flagstaff (AZ) Festival the Delaware Museum of Natural History, of-the-art high-definition projectors and audio the Hagley Museum and Library, Long- speakers to create an immersive and interactive The Museum of Northern Arizona pre- wood Gardens, Mt. Cuba Center, Nemours environment. The concept proposes unlimited sented its 23rd Annual Zuni Festival of Arts Mansion & Gardens, Rockwood Park & opportunities to transform the Grand Salon and Culture in May. This year, four cultural Museum, and Winterthur Museum, Garden with different looks that could range from a interpreters shared how they perpetuate tradi- & Library. The sites are all within a ten-mile woodland forest to an aerial tour of Washing- tional Zuni identity, speaking on Zuni history radius centered near Wilmington, Delaware. ton, D.C., to a distinctive historic interior. The of emergence and The passport design gives artists the opportunity to design migration, farming program is funded, in new digital artworks to fill the space in creative expertise, and the part, by the Greater and inspiring ways. history of Zuni art. Wilmington Con- The gallery is an elegant example of Second Artists, perform- vention & Visitors Empire architecture. It was designed in 1859 ers, and educators Bureau. “Whether by James Renwick Jr., who also designed traveled from Zuni, you’re looking for a the Smithsonian’s “Castle” and St. Patrick’s New Mexico, to creative gift, plan- Cathedral in New York City. Inspired by the share their talents ning a summer get- Louvre’s Tuileries in Paris, he modeled the and culture. away, or simply want gallery in the French style that was popular at Program Man- to spend the summer the time. ager Anne Doyle enjoying the gems in explained, “This your own backyard, annual showcase this is a sweet deal,” For the Kids, by George of Zuni language, says Alliance Chair A new children’s museum, for the kids, by lifeways, traditional Sara Teixido. George Children’s Museum (WV) opened music, and dances in Martinsburg in May. Located at the heart is vital to under- of a 136-mile scenic byway that goes through standing the Zuni several counties where more than 40 historic culture. They have Tony Foster, Spider Rock and tourist sites attract sizable audiences, the lived at Zuni Pueb- from Spider Rock Overlook, museum is designed to focus on the connec- lo for thousands c. 2012. Watercolor on Continued next page paper. In “Sacred Places,” tions to George Washington’s Museum of Northern Arizona, AZ

 10  news BRIEFS continued ventures in the three-county panhandle. strengths of each entity in order to enhance curato- Berolzheimer, died in 1942 after escaping Hands-on, fun and engaging interactive rial studies and encourage a new generation of stu- from Germany and settling in Westchester exhibits reveal prominent history-making dents who seek careers in the field of art museums. County. events that followed. To finish off the seminar, the 13 students enrolled The recent return to the Berolzheimers fol- lows the recovery of three others of their confiscated works; 26 Cubism Arrives more are being investigated. at the Met Leonard A. Lauder, Inness and Others philanthropist and cosmet- ics tycoon, has promised the Take Up Residence Metropolitan Museum of in MA Art (NY) his collection of 78 The Sterling and Fran- Cubist paintings, drawings, cine Clark Art Institute (MA) and sculptures, one of the recently received a gift of art that most significant gifts in the includes a group of eight paint- history of the museum. ings by George Inness. In addi- Picassos (33), Braques tion to the Inness group there are (17), Légers (14), and Gris paintings by Eastman Johnson, (14), valued at more then Gaston Latouche, Piet Mondrian, $1 billion, tell the story of a and five works by 10th-century movement that revolutionized genre painter Mosè Bianchi. The modern art and fill a gap in Inness acquisition as well as two the Met’s collection. In fact, works in the museum’s collec- the works, already starting to tion are on view in the exhibition arrive, are scheduled for an “George Inness: Gifts from Frank exhibition in the fall of 2014. Reginald Marsh, Twenty Cent Movie, 1936. Egg tempera on and Katherine Martucci” (Sept. 8). Says Thomas Campbell, director of the composition board. In “Swing Time,” New York Historical Society, NY Met, “In one fell swoop this puts the Met presented their research at a graduate student col- at the forefront of early-20th-century art. It Debate Stirs Experts loquium and roundtable discussion. is an unreproducible collection, something Is it an authentic Van Gogh, or is it not? In museum directors only dream about.” 1947, William Geotz, Hollywood producer Artists Create and Lead and head of Universal Pictures purchased The Museum of Modern Art (NY) announced it from a reputable artdealer who said it Mayan Sculptures Have “Artists Experiment,” a new initiative that brings was a bonafide Van Gogh. Nevertheless, a New Home together four contemporary artists to create and debate about the painting’s authenticity has The Kimbell Art Museum (TX) has lead experimental public programs in the museum. embroiled the art world since its purchase. acquired two rare Maya Palenque-style Working closely with MoMA educators each artist Study by Candlelight has been in absentia ceramic censer stands typical of the Maya contributes to a series of events, interactions, and for decades; only a few people know of its late Classic period (600-900 A.D.). These experiences that use the museum as a space for whereabouts. stands (incensarios) are among the larg- public engagement, creative collaboration, and Today the Goetz family heirs want to learn est and most sophisticated freestanding artist interaction. more about their painting. In its current exhi- sculptures created by Maya artists. “The Says Director of Adult and Academic Programs bition “A Real Van Gogh? An Unsolved Art sculptures’ monumental scale and wealth Pablo Helguera, “As the nature of artistic prac- World Mystery,” the Nevada Museum of Art of symbolic detail command the viewer’s tice expands, artists are engaging with a range of makes no attempt to settle the decades-old attention” commented Director Eric M. disciplines and increasingly looking to people and conundrum. Rather, the show tells the story Lee. Since their documented importation the spaces around them to serve as partners in an of the provenance of the painting through into the U.S. from Mexico in 1968, the ongoing creative collaboration.” archival documents, correspondence, photo- two censers have been in private collec- graphs, and press materials that have never tions in Europe and the U.S. From 1985 to before been brought together. Thus viewers 1999, they were on view in the galleries of U.S. Agency Returns Nazi’s and scholars can draw their own conclusions n the Detroit Institute of Arts as a long-term Ill-Gained Assets on the great debate. loan. Superintendent Benjamin M. Lawsky of the De- partment of Financial Services’ (DFS) Holocaust “Not About Face” Claims Processing Office (HCPO) reported that The Zimmerli Art Museum (NJ) since its creation in 1997 to help Holocaust victims launched its first online publication, a and their heirs recover lost assets (dormant bank book entitled Not About Face: Identity and accounts, unpaid proceeds of insurance policies, Appearance, Past and Present. The book, artworks stolen or sold under duress), the office the result of a multi-year collaboration has helped return over $163 million in assets to between the Zimmerli and the Depart- victims’ families and 67 works of art. The HCPO ment of Art History at , is the only government entity in the world that pro- features interpretations of more than two vides such comprehensive services free of charge dozen portraits, as well as contributions or commission. by graduate students. All this will lead to Recently, Mr. Lawsky announced that two works the next phase of the collaboration: a 2014 of art that were once part of the 800-piece art col- exhibition and another publication, both lection of a prominent lawyer who was subjected with the title “Striking Resemblance: The to Nazi persecution are being returned to his heirs Changing Art of Portraiture.” more than 70 years after he was forced to sell in The collaboration, starting with a gradu- pre-WWII Germany. The collector, Dr. Michael ate seminar titled: “Not About Face,” was Attributed to Vincent Van Gogh, Study by Candlelight, 1888. designed originally to capitalize on the In “A Real Van Gogh?” Nevada Art Museum, NV  11  Textiles Take Center Stage in Denver

In a campus-wide exhibition called temporary artists, from recycled plastics and bound “Spun: Adventures in Textiles” (Sept. clothing to woven silks and charred tree limbs. It 22), the Denver Art Museum (CO) takes a also illustrates the inventiveness of both emerging wide-ranging look at textiles from pre- and well known artists from many cultures and Columbian weavings to Navajo blankets to geographies who push traditional notions of textile an examination of clothing in art and pho- art, sculpture, painting, photography, and instal- tography. “Spun” is the inaugural show in lation art to new limits. These are the artists who the museum’s newly opened and renovated address issues such as natural disasters, environ- textile art galleries. mental waste, urban sprawl, and gender inequality The museum has covered nearly all of as they further challenge our concepts of what art its public spaces with fabric, yarn, and can be. Mama Occollo, Inca Rulers (detail, set of sixteen), Peru, late 1800s. Oil on canvas. nedlework—a four-story quilt, a crocheted In “Spun, Adventures in Textiles,” Denver Art Museum, CO. coral reef, and a massive blanket sculpture “Bruce Price: Works on Paper, 2007–2012” is a are among the features. And, there are ten selection from this Denver-based artist’s body of West. From blue jeans to serapes, western related exhibitions, all part of the campus- work, which consists of drawings and paintings that “duds” are as recognizably western as the wide exhibition “Spun: Adventures in focus on materialism, the distortion of patterns, and iconic characters who wore them. Four paint- Textiles.” ordered chaos. Many of the works use cut, layered, ings paired with the uniquely western textiles and reordered garments collected from family and they portray celebrate western clothing and friends, which are then applied to the drawings. accessories as sources of artistic inspiration. Others are painted to resemble garmemt patterns. More recent selections are distortions: twisted, cut, “Irresistible: Multicolored Textiles from and folded drawings that then becom three-dimen- Asia” highlights textiles from various cultural sional objects called “follies.” traditions, including weavings from Uzbeki- stan and Japan. Several of the garments in the “Fashion Fusion: Native Textiles in Spanish Co- exhibition are made with ikat—fabrics with lonial Art” draws from the Denver Art Museum’s patterns created by dyeing the threads before extensive Spanish colonial art collection, and looks they are woven into cloth. While a woman’s at the influence textile motif’s have had on other ikat robe from Uzbekistan used many colors artistic mediums. The collection includes numerous of dye, another from Japan employed only in- colonial paintings that depict native textiles or tex- digo. In addition to ikat, the Japanese created tile motifs such as geometric designs reminiscent of textile patterns by applying a resist paste to Inca tocapu panels and capes and huipiles similar cloth that was then colored with dye. Resist- Shawl (detail), France, 1860s. Wool. In “Spun, Adventures in to those worn by Aztec men and women. Textiles,” Denver Art Museum, CO. dye textiles often conveyed a cultural mes- sage about the persons who possessed them. “Common Threads: Portraits by August Sander & The time and cost of producing them gave “Cover Story” is at the heart of the Seydou Keïta” features the work of two 20th-cen- them standing as high status items. The selec- campus-wide exhibition. The objects on tury photographers, August Sander (German, 1876- tion of patterns and designs were culturally display here reflect the diverse geographi- 1964) and Seydou Keïta (Malian, 1921-2001), significant, and the hangings, coverings, and cal areas and range of textiles found in the whose work documented transformations in their garments in this exhibition connoted prestige Denver Art Museum’s permanent collec- respective countries through portraiture of everyday within their cultural framework. tion. This display explores the myriad ways citizens. Although the intentions of these two artists that textiles envelop, embellish, and enrich were quite different, connections can be drawn to In addition to the special exhibitions related human lives across centuries, continents, their similar conceptions of the portrait and use of to “Spun,” there are programs encouraging and cultures. clothing and environment as important markers of visitors to explore the medium, among them identity and societal change. a drop-in Quilt Studio, collaborative projects “Red, White and Bold: Masterworks of Na- with artists and creative groups, in-gallery vajo Design, 1840-1870” takes an in-depth “Cuppetelli and Mendoza: Transposition” is a col- opportunities supported by a grant from the look at the masterpieces of design created laborative site-specific installation that explores the Institute of Museum and Library Services, the in the middle of the 1800s, a time con- intersection between traditional craft and digital Institute For Figuring’s Crochet Coral Reef sidered the hightpoint of Navajo weaving technology. The artwork consists of elastic ropes project, a dye garden, and an artist-in- when artusts used a limited color palette of that are illuminated by software-driven video pro- residency. n red, white, and blue in elaborate and bold jections. Interacting with this artwork, visitors can designs. discover the relationship between textile, move- ment, and technology. Annica Cuppetelli “Pattern Play: The Contemporary Designs and Cristobal Mendoza come from two of Jacqueline Groag” follows the public completely different backgrounds artisti- appetite for color and pattern that flour- cally—Mendoza from programming and ished in Britain after the trauma of World Cuppetelli from fiber arts. Thus, their War II, and designers’ responses to the work consists of several such interfaces: freedom of the post-war period. Dynamic between the viewer and the piece (a and stimulating patterns were inspired by human/computer interface), between art, science, and everyday life. Czech-born the real and the virtual (the physical Jacqueline Groag was one of the most ver- structure), and between the foreground satile women designers, her work ranging and the background (as the projection in- from the colorful and playful to the abstract terferes with its shadow)—a hybridized and representational and contributing to language of art that suggests innovative Britain’s spirit of renewal in the popular ways of interpreting contemporary ideas “contemporary” style. and technology.

“Material World” illustrates the wide range “Western Duds” explores the importance of materials and techniques used by con- of textiles in the history of the American

Katharina Grosse, One Floor Up More Highly, 2010. Styrofoam, acrylic on wall, floor, soil, and reinforced plastic. Installation. Nasher Sculpture Center, TX

 12  summer VIEWS Arizona D. Reilly Collection” (Sept 29) Works that block prints, and contemporary photographs Museum of Northern Arizona, Flagstaff illustrate the history of French drawing from by a Chinese artist. ❑ “Wood, Metal, Paint: ❑ “Tony Foster—Sacred Places, Watercolor before the foundation of the Académie Royale Sculpture from the Fisher Collection” (Oct. 13) Diaries from the American Southwest” (Oct. de Peinture et de Sculpture in 1646 through the Works by Puryear, LeWitt, Oldenburg, Andre, 13) The wilderness regions with sacred as- French Revolution of 1789 and its subsequent and Chamberlain. sociations, some to ancient peoples, others to reforms of the 1800s—the first three centuries contemporary Native Americans. of the Royal Academy. ❑ “An Opening of the District of Columbia Field: Jess, Robert Duncan, and Their Circle” National Building Museum ❑ “Palaces for California (Sept. 1) A couple’s (Jess the artist, and Dun- the People: Guastavino and America’s Great Berkeley Art Museum and Pacific Film can, his partner, the poet) artistic production, Public Spaces” (Sept. 2) Historic draw- Archive, University of Cali- ings, photographs, and objects that illustrate fornia, Berkeley ❑ “Ballet of Guastavino’s revolutionary Heads: The Figure in the Col- tiling system (patented in the lection” (Aug. 25) Paintings, 1880s) based on a centuries- sculptures, and works on paper old Spanish method; his that demonstrate the variety and new system led to a vaulting texture of the human form in art: technique that transformed Rubens, William Blake, Marsh, the American architectural Grosz, Beckmann, Daumier, landscape, the prime ex- and Philip Guston. ❑ amples of which are Grand “Gazing Into Nature: Early Central Terminal, the Cathe- Chinese Painting” (Oct. 20). ❑ dral of St. John the Divine, “Zarouhie Abdalian” (Sept 29) the Boston Public Library, the U.S. Supreme Court, and El Segundo Art Museum ❑ the Nebraska State Capitol, to “Truth” (Aug. 25) Selection of name a few. artworks in oil, acrylic, watercol- or, porcelain, wood, paper, and Renwick Gallery ❑ “Thomas metal from the Eva and Brian Day: Master Craftsman and Sweeney Collection: Alma-Tade- Free Man of Color” (July 28) ma, Rivera, Grosz, Klimt, Map- A free African American, plethorpe, Muybridge, Picasso, Day owned and operated one among many others. of North Carolina’s most successful cabinet ships Irvine Museum ❑ “Mastering prior to the Civil War; his the Medium: Works on Paper” style, shown here, included (Sept. 19) Drawings, study paint- undulating shapes, fluid lines, ings, watercolors, pastels, and and spiraling forms, unique etchings created in the 1920s to motifs combined with popular 40s by California artists. designs.

St. Mary’s College Museum Smithsonian American Art of Art, St. Mary’s College of Museum ❑ “Nam June Paik: ❑ Norman Rockwell, Going and Coming, 1947. Tear Sheet, Cover illustration for the Global Visionary” (Aug. California, Moraga “Points Saturday Evening Post, August 30, 1947. In “Norman Rockwell: Behind the Camera,” of View: Mary Lou Correia and Paul Kratter” McNay Art Museum, TX 11) A detailed look at key (Sept. 22) Paintings worked en plein air after artworks that detail the artist’s hikes or rides deep into natural settings. and their influence as precursors of Post- creative method: his sculp- modernism. ❑ “Folding Paper: The Infinite tures, installations, videotapes, and television Monterey Museum of Art ❑ “Return to the Possibilities of Origami” (Sept. 29) Seen as a projects transforming video into an artist’s me- Sea, Saltworks by Motoi Yamamoto, Orga- sophisticated art form that inspires concepts in dium embodied in his own radical new vision. nized by the Halsey Institute of Contemporary math and design and inventions in engineering, Art, College of Charleston School of the Arts” architecture, and technology. Florida (Aug. 25) Site-specific, ephemeral exhibition Frost Art Museum, Miami ❑ Through Aug. created of salt, comparable to sand mandalas: San Jose Museum of Quilts & Textiles ❑ 25: “Spanish Colonial Art: The Beauty of Two the work is destroyed at the end of a predeter- “Collecting New York Beauty Quilts: Bill Traditions” Colonial art from the 16th to 18th mined interval and returned to a body of water. Volckening’s Passion” (Oct. 27) centuries: a synthesis of imagery from Spain and the Americas, a blending of native and Oakland Museum of California ❑ “Inspira- Cantor Center for Visual Arts, Stanford Uni- European traditions; “Borders of Paradise: In tion Points: Masterpieces of California Land- versity, Stanford ❑ “Inspired by Temptation: the Eyes of Explorers” 19th-century maps, scape” (Aug. 11) The inaugural exhibitions in Odilon Redon and Saint Anthony” (Oct. 20) etchings, and engravings that informed Old the museum’s newly transformed Gallery of Three lithographic albums created by Redon World’s perception of the New. ❑ “Six De- California Natural Sciences: work on paper, in response to Gustave Flaubert’s 1874 liter- grees of Separate Nations: Ebony G. Patterson photographs, and paintings by the likes of An- ary work The Temptation of Saint Anthony. ❑ and Peterson Kamwathi” (Sept. 8) Jamaica/ sel Adams, Bierstadt, Thomas Hill, Hockney, “Storied Past: Four Centuries of French Draw- Kenya: two artists from distant places share and many more. ings from the Blanton Museum of Art” (Sept. the influences of colonialism and its repercus- 22) Chronicling the development of drawing in sions as well as their perceptions of themselves Crocker Art Museum, Sacramento ❑ “Rob France from 1500-1900, especially the evolu- and each other. ❑ “Bang by Robert Einbeck” Barnard: Pottery as Pure Art” (Oct. 20) Trained tion of narrative subjects and artists’ changing (Aug. 30) Paintings that focus on the gun bar- by the master of wood-firing in Japan, Barnard engagement with materials and techniques. ❑ rel as a symbol of violence and the fragility of produces objects that celebrate the irregu- “Border Crossings: From Imperial to Popular existence. ❑ “The Drawing Project” (Sept. 3) larities and other accidental effects brought Life” (Aug. 4) The boundaries between social On-line exhibition of works from the perma- about by the anagama kiln. ❑ “The Epic and classes and identities are examined in 18th- nent collection as well as international works the Intimate: French Drawings from the John century Chinese paintings, Japanese wood- from the Drawing Research Network.

 13  summer VIEWS continued Maryland foothold in California in the 1960s did so Walters Art Museum, Baltimore ❑ “Living through posters—as an advertising medium by the Book: Monks, Nuns and Their Manu- and as an art form—that targeted the youth in scripts” (Sept. 15) The life of the monastery as the Bay Area whose mantra was “peace, love, told through the variety of books that were cre- and rock ‘n’ roll.” ated, used, cherished, glossed, worn down, and palimpsested by those who lived there over the Peabody Essex Museum, Salem ❑ “In centuries. ❑ Site Unseen: Gregory Vershbow” Conversation: Modern African American Art” (Sept. 8) Contemporary photographs of objects (Sept. 2) Paintings, photographs, and sculpture in storage facilities and conservation labs, describe a period of dramatic social change, monuments under restoration, objects wrapped from the Harlem Renaissance in the 1920s to in plastic, protected by foam, nested in boxes, the Civil Rights era of the 1960s, from depic- and other states of privacy. ❑ “The Janet & tions of the agrarian South to Gordon Park’s Walter Sondheim Artscape Prize Finalists Ex- look at urban life. ❑ “Fabergé, From the Col- hibition” (Aug. 11) The end of a competition lection of the Virginia Museum of Fine Arts” among artists living and working in the region (Sept. 29) Treasures created by the House of for top honors and a $25,000 fellowship. Fabergé in the late 19th and early 20th cen- turies: clocks, gold cigarette cases, hardstone Washington County Museum of Fine Arts, carvings, ruby encrusted brooches, and impe- Hagerstown ❑ “Ian Hornak: Transparent Bar- rial eggs made for Nicholas II. ricades” (Oct. 13) Retrospective that covers the artist’s early works influenced by the High Clark Art Institute, Williamstown ❑ “George Renaissance masters, realism that resisted Inness: Gifts from Frank and Katherine the pressures of the non-representationals, Martucci” (Sept. 8) The gift, eight landscapes, landscape paintings transposed from multiple shown with paintings collected by the Clarks; photographs, and painted-frame still lifes. late works with a conceptual approach blend- ing realism with spiritual meaning. ❑ “Win- Robert Delaunay, Rhythme, c. 1932-1937. Oil on artist board. In “Pictures of Nothing,” Loeb Art Center, NY Massachusetts slow Homer: Making Art, Making History” ❑ (Sept. 8) An exploration of the artist’s career ❑ Institute of Contemporary Art, Boston Vero Beach Museum of Art “Along the “Barry McGee” (Sept. 2) Mid-career survey of with special focus on his role in chronicling Road: Paintings of the Highwaymen” (Sept. work that emerged out of street culture includ- scenes of American life—all drawn from one 29) Works by some of the group of African- ing early works on paper; reassembled works of the most comprehensive collections of American self-taught artists that began in the from key installations; a tower of video pieces; Homer’s work in the country. 1950s and painted through the 80s, selling a three-dimensional cluster of drawings, paint- paintings along route U.S.1 from the trunks of ings, and photographs; and other recent works. their cars. ❑ “Visual Systems: The Quilter’s Museum of Art, , Ann Eye” (Sept. 8) Historical and contemporary Isabella Stewart Gardner Museum, Boston Arbor ❑ “Isamu Noguchi/Qi Baishi/Beijing quilts from the International Quilt Study ❑ “Composite Landscapes: Photomontage and 1930” (Sept. 1) Paintings and drawings of two Center and Museum. Landscape Architecture” (Sept. 2) Works by eminent artists seen side-by-side for the first contemporary artists and landscape architects time in a show devoted to the fruits of Nogu- Albin Polasek Museum & Sculpture Gar- that examine the all important montage view. chi’s stay in Beijing in 1930, the impact of the den, Winter Park ❑ “Awakening: The Art of friendship, and the worldwide influences of Ursula Schwartz” (July 30-Oct. 27) Large- Cahoon Museum of American Art, Cotuit both. scale figurative oil paintings with a South Afri- ❑ Through Aug. 18: “Revisiting the Past: can perspective accompanied by poetry written Photographs of Old Cape Cod”; “Historic Per- Flint Institute of Arts ❑ “Modern Dialect: by the artist and her young son. spectives of Cape Cod: Works by South Cape American Paintings from the John & Susan Artists” ❑ “In Praise of Women: How Women Horseman Collection” (Sept. 22) American Cornell Fine Arts Museum, Rollins Col- are Portrayed in American Art” (Sept. 29) scene and Modernist paintings from the 1920’s lege, Winter Park ❑ “Tipi Poles Performing to the 1940’s by artists from every region of as Lines” (Aug. 4) New assemblages that DeCordova Sculpture Park and Museum, the country. encompass themes of appropriation, power, Lincoln ❑Through Oct. 31: “Platform 10: Dan and modern life while using traditional Native Peterman” A sculpture in the museum entrance Kalamazoo Institute of Arts ❑ Through Sept. American motifs. plaza as a platform for spoken performances 15: “Modern Twist: Contemporary Japanese by speakers and visitors; “Platform 12: Aron Bamboo Art” Innovations in bamboo art since Georgia the mid 20th century; “A Precious Artistic ❑ Stephan Secondhand Utopias” Maine-based Georgia Museum of Art, Athens “Fashion artist recreates iconic 20th- Independent: The Original Style of Ann Bon- century sculptures by using foey Taylor” (Sept. 14) Coutour collector’s col- everyday forms such as rail- lection includes master designers of the 1950s ings and trash barrels. ❑ “Tony and 60s: Balenciaga, Givenchy, Madame Grès, Feher” (Sept. 15) Retrospec- Charles James, and Fortuny. tive of reductive sculptures made with common everyday Kansas ❑ ❑ objects. “The Scottish Dane G. Hansen Museum, Logan “Pueblo Colourists” (Aug. 31) Vivid to Pueblo: The Legacy of Southwest Indian Pot- works inspired by Whistler, tery” (Aug. 11) Objects, photographs, and graph- Manet, Matisse, and Cézanne. ics from the mid-19th to mid-20th century. Smith College Museum of Mulvane Art Museum, Washburn University, ❑ ❑ Art, Northampton “The Topeka “The Face and the Mask” (Sept. Summer of Love: Psychedelic 22) A wide variety of masks bespeak cultural Posters from the Collection” rituals, adornment, disguise, playful and joyful (Sept. 15) The counterculture celebrations, and dark and frightening human and psychedelic aesthetic that set a Isamu Noguchi, Peking Drawing (man reclining), 1930. Ink on paper. emotions. In “Isamu Noguchi,” University of Michigan Museum of Art, MI  14  summer VIEWS continued Moment: Paintings by Catherine Hinkle” Ab- New Jersey stract paintings explore the spiritual aspects of Newark Museum ❑ non-objective art. ❑ “For and Against Modern “African Cosmos: Stel- Art: The Armory Show + 100” (Sept. 29) The lar Arts” (Aug. 11) The work, artists, and polarizing effects of the 1913 historic legacy of Afri- Armory Show, especially the Chicago venue. can cultural astronomy and its intersection with Minnesota traditional and con- Tweed Museum of Art, Duluth ❑ “Anne temporary African arts: Labovitz” (Aug. 11) New, densely layered works from all over portraits that combine drawing and painting Africa show inspiration with woodblock print overlays. from the sun, moon, stars, lightning, and Walker Art Center, Minneapolis ❑ “Claes rainbows. ❑ “The Art of Oldenburg: The Sixties” Translation: The Simon Ottenberg Gift of Mod- Mississippi ern and Contemporary Lauren Rogers Museum of Art, Laurel ❑ Nigerian Art” (Aug. 11) Jason Cytacki, Trouble, 2009. Ink on paper. In “Enduring Legend, Through Aug. 25: “American Regionalism: An historical overview of the decades Fragile Myth,” Rockwell Museum of Western Art, NY Works on Paper” Rural life in America in the from the 1940s to 2000 that translate the 1920s and 30s: Wood, Curry, Benton, and meanings, forms, and functions of cultural and Arbus, Kokoschka, Maurer, and Paolozzi. others; “Picasso: Ceramics” Later works of wit aesthetic traditions. and whimsy. Bard Graduate Center, New York City ❑ Zimmerli Art Museum, Rutgers University, “Salvaging the Past: Georges Hoentschel and Montana New Brunswick ❑ “Leningrad’s Perestroika: French Decorative Arts from the Metropolitan Missoula Art Museum ❑ “Jay Schmidt: Crosscurrents in Photography, Video, and Museum of Art” (Aug. 11) Gilt bronze mounts, Warning Shots” (Sept. 15) Refined, mature Music” (Sept. 13) The unofficial art culture furniture (a chair made for Louis XVI and paintings and brutish sculptures that play during the period of glasnost and perestroika: Marie Antoinette), tapestries, sculptures, paint- off one another and result in a fully resolved artists as active members of groups, underscor- ings, paneling, and ceramics. ❑ “Confluences: whole. ❑ Through Sept. 29: “Jared Shear: ing their collective, rather than individual goals An American Expedition to Northern Burma, Cougar Peak-a-Boo” Plein air paintings of the as a larger counter-culture. ❑ “Stars: Con- 1935” (Aug. 3) Objects that the expedition Montana peak, one for every day for a year, temporary Prints by Derrière L’Étoile Studio” carried and collected including clothing, sad- thus cataloging seasonal changes; “Louise (Sept. 29) Survey of prints produced by the dles, weapons, photographs, and film footage. Lamontagne: My Closet Collection” Surreal- famous studio, created by artists who defined ist images made by a displaced Montana artist the American art scene after 1980. ❑ “Henri- Brooklyn Museum, New York City ❑ whose forte had been realist landscapes. ❑ Gabriel Ibels” (Sept. 8) Prints, drawings, “Gravity and Grace: Monumental Works by “Donna H. Gans: It’s What You Don’t See” pastels, posters, and books in the traditions of El Anatsui” (Aug. 4) Large scale works in (Sept. 22) Installation. his friend and collaborator Henri de Toulouse- metal and wood, found materials that form a Lautrec. medium that straddles sculpture and painting. ❑ “John Singer Sargent Watercolors” (July 28) New York Organized in cooperation with the Museum of University Art Museum, State University Fine Arts, Boston, a unique display of works of New York, Albany ❑ Through Sept 14: acquired in the early1900s, many of them not “William Lamson: Recent Work” Videos, on view for decades: The Brooklyn collection photographs, and a site-specific installation includes views of Venice and Mediterranean using multi-colored candles laid horizon- sailing vessels, portraits, and Bedouin subjects; tally in a line across a 60-foot shelf, lighted those from the Boston group include scenes at both ends, producing drippings beneath from the Italian Alps, portraits, and more. and smoke residue above; “Michelle Segre: Recent Works” Freestanding assemblages Guggenheim Museum, New York City ❑ using re-worked armatures and recycled “James Turrell” (Sept. 25) First solo exhibition materials, rocks, shells, milk crates, papier- in New York since 1980 featuring a site- mâché, yarns, and plaster. specific work, Aten Reign, which immerses the rotunda with shifting light and color, as well Wellin Museum of Art, Hamilton College, as other select early works. ❑ “New Harmony: Clinton ❑ “Danielle Tegeder: Painting in the Abstraction between the Wars, 1919-1939” Extended Field” (July 28) Abstract paintings (Sept. 8) Painting, sculptures, and works on that draw inspiration from urban planning, paper: Calder, Giacometti, Léger, Picabia, architecture, world geography, and statisti- Torres-Garcia. cal data. Jewish Museum, New York City ❑ Through Hofstra University Museum, Hempstead Aug. 4: “Six Things: Sagmeister & Walsh” ❑ “We Hold These Truths” (July 26) In Five short films and a sculpture describing the commemoration of the 150th anniversary of six things that the designer Sagmeister believes the Emancipation Proclamation, a showing have increased his happiness. His partner of artists responses to the issues of slavery, Walsh has helped in the project pointing to middle passage, the abolition movement, happiness: If I Don’t Ask I Won’t Get, Keeping emancipation, and American freedom: a Diary Supports Personal Development, Be French, Johnson, Walker, and more. More Flexible, It’s Pretty Much Impossible to ❑ “The Lyon, the Which, and the Warhol: Please Everyone, Now Is Better, Feel Others The Sequel” (Sept. 15) Focus is on themes Feel; “As it were… So to speak: A Museum of gender and identity, highlighting photo- Claes Oldenburg, 7-Up. 1961. Enamel on plaster-soaked cloth on wire. In Collection in Dialogue with Barbara Bloom” “Claes Oldenburg,” Museum of Modern Art (NY) graphs by Lyons and Warhol; also showing Installation drawn from the museum’s works

 15  summer VIEWS continued of ceremonial, decorative, and drawings from the in a studio in nearby Chatham, the 14 paint- fine art, offering visitors new Renaissance to the ings are all inverted el’s, in different colors, on ways to view the museum and 19th century: French two joined canvases. ❑ “Projects 100: Akram its holdings. ❑ “Jack Goldstein drawings by Manet, Zaatari” (Sept. 23) Two video installations. ❑ x 10,000” (Sept. 29) Retrospec- Cézanne, Vuillard, “Bill Brandt: Shadow and Light” (Aug. 12) tive of works by this central and Redon among Retrospective of a founding figure in pho- figure in the Pictures Generation others; Danish draw- tography’s modernist traditions. ❑ Through of the 1970s and 80s. ❑ “R.B. ings including several Aug. 5: “Claes Oldenburg: The Street and The Kitaj: Personal Library” (Aug. by Golden Age mas- Store” Two 11) Screen prints from a suite of ters; watercolors by major bodies 50 that reproduce the covers of British artists Martin of work: The books from his library that had and Palmer, among Street, an special meaning to him. others; and much installation more. ❑ Through that conjures Metropolitan Museum of Art, Sept 2: “Illuminating the chaotic New York City ❑ “The Civil Faith: The Eucharist atmosphere War and American Art” (Sept. in Medieval Life and of downtown 2) Paintings and photographs by Art” How the artists New York American artists responding to of the period depicted City, and the Civil War (during the war) the celebration of the The Store, and its aftermath: landscapes sacrament and its hold handmade, and genre scenes by Winslow on society: on view brightly Homer, Eastman Johnson, are Books of Hours, colored Frederic Chruch, and Sanford private prayer books, sculptures Gifford. ❑ “PUNK: Chaos to Couture” (Aug. Missals; “Subliming Vessel: The Drawings of that depict 14) Punk’s impact on high fashion from the Matthew Barney” (Sept. 2) First ever showing commercial early 1970s through the present including of Barney’s works on paper; also a selection original garments and recent fashion showing of storyboards for films and videos. how haute couture and ready-to-wear borrow commodi- the movement’s visual symbols. ❑ Through Museum for African Art, New York City ❑ ties; “Claes Aug. 4:“Making the Invisible Visible: Conser- “Jane Alexander: Surveys (from the Cape of Oldenburg: vation and Islamic Art” Exciting discoveries; Good Hope)” (July 29) Tableaux, sculptures, Mouse Muse- “Objects from the Kharga Oasis” Roman and and photomontages from South Africa: a site- um/Ray Gun Byzantine period objects. ❑ Through Aug. specific exhibition presented at the Cathedral Wing” Self- 18: “Search for the Unicorn: An Exhibition in of St. John the Divine. contained Honor of The Cloisters’ 75th Anniversary” See museums that the Unicorn Tapestries anew; “Land Marks” Museum of Modern Art, New York City ❑ house the art- Artworks made of and upon the earth; “Plain “Le Corbus- ist’s personal or Fancy? Restraint and Exuberance in the ier: An Atlas archives. ❑ Decorative Arts” Contrasting austere with or- of Modern nate. ❑ “Drawings and Prints: Selections from Landscapes” At MoMA the Permanent Collection” (Aug. 25) Works (Sept 21) An PS 1: related to the Civil War to commemorate the all encom- “EXPO 1” 150th anniversary of the Battle of Gettysburg. passing look An explo- ❑ Through Sept. 2: “Photography and the at his work ration of American Civil War” The evolving role of the as architect, ecological camera during the nation’s bloodiest conflict; interior challenges in the context of the economic “African Art, New York, and socio-political instability of the and the Avant Garde” early 21st century. Imagining a museum Artifacts acquired by the dedicated to ecological concerns, the New York avant-garde dur- exhibition takes place in several modules, ing the 1910s and 1920s. interventions, solo projects, and group ❑ “Bashford Dean and the exhibitions including a school, a colony, a Creation of the Arms and cinema, a geodesic dome, and New York. Armor Department” (Sept. For example, “Rain Room” (July 28) A 29) A survey of the career large-scale environment: a field of falling of the founder of the water that pauses wherever a human body department on its 100th is detected—visitors control the rain. birthday. designer, artist, city planner, New-York Historical Society, New York City Morgan Library and writer, and photographer. ❑ ❑ “Swing Time” (Sept. 1) Depression-era New Museum, New York City “Ellsworth Kelly: Chatham York through the eyes of Reginald Marsh and ❑ “Treasures from the Series” (Sept. 8) Celebrat- his contemporaries in five thematic groups: Vault” (Oct. 6) A continu- ing Kelly’s 90th birthday, a Street Life on Parade, Star Burlesque, Wonder- ing series: diverse works reunion of the first series of land Circus, Depression New York, and Coney drawn from the museum’s paintings made after leaving Island. ❑ “AIDS in New York: The First Five collections of items related New York City for Spencer- Years” (Sept. 15) Drawn from the archives of to founder Pierpont Mor- town (NY) in 1970; created the New York Public Library, NYU, and the gan’s life as well as original music, medieval manuscripts, printed books, literary manu- Clockwise from top: Adolph Menzel, Three Studies of Elderly Women, 1899. Graphite. Francisco Goya, Just Because She Is Asked if Her Mother Is Well She Acts Like a Tigess, 1796-97. Gray wash. scripts, and private letters. ❑ “Old Masters, Paul Gouguin, Study for Breton Girls Dancing, Pont Aven, 1888. Pastel and charcoal with watercolor and gouache. Newly Acquired” (Aug. 11) Major gifts that Joseph Ducreux, Portrait of a Gentleman, c. 1802. Black, brown, red, and white chalk. have increased the museum’s collection of Benedetto Luti, Head of the Virgin, 1714, Pastel. All in “Old Masters, Newly Acquired,” Morgan Library & Museum, NY

 16  summer VIEWS continued Parrish Art Museum, Water Mill ❑ Through landscapes, and human tableaux. ❑ “Form, Oct. 27: “Michelle Stuart: Drawn from Nature” Rhythm, Song” (Sept. 29) Second part of the (Oct. 27) Redefining the medium of draw- two-part “Creative Hand, Discerning Heart” ing by incorporating photographs, creating exhibition of contemporary Philadelphia-area scrolls from nature’s resources (soil, graphite artists: the artist as designer and dancer; art as rubbings), drawing maps of real and imaginary movement and visual melody. ❑ “Harry Ber- landscapes as backdrops for sculpture, hand- toia: Structure and Sound” (Oct. 13) While most making books with natural materials; “Angels, often associated with tonal sculpture (pieces Demons, and Savages: Pollock, Ossorio, made with swaying metal rods that emit sounds Dubuffet” Cross-cultural artistic dialogue from as they move), this artist is shown in a diversity an American painter, a Filipino-American art- of media including sculpture, furniture, jewelry, ist, and a French painter focused on the period and monoprints. ❑ “The Breath Within: from 1948-1952. Ceramic Sculpture by Marian Pritchard” (Oct. 13) Regional ceramic artist focuses on the North Carolina medium’s earliest archetype, the vessel, and her Nasher Museum of Art, Durham ❑ “The Hu- desire to breathe form and life into clay. man Position: Old Master Works from the Col- lection” (Aug. 18) Religious scenes, portraits, Barnes Foundation, Philadelphia ❑ “Ellsworth landscapes, and still lifes by the likes of Dürer, Kelly: Sculpture on the Wall” (Sept. 2) The Carducho, Gérard, and others. Barnes first contemporary art exhibition in 90 years: wall sculptures by Ellsworth Kelly who Ohio turned 90 in May; the featured monumental Contemporary Arts Center, Cincinnati ❑ sculpture is composed of 104 anodized alumi- “The Living Room Fireplace” (Sept. 2) Instal- num panels. lation of a fireplace of Rookwood tile, created by the Rookwood Pottery Co. in collaboration Pennsylvania Academy of the Fine Arts, with artists from the University of Cincinnati’s Philadelphia ❑ “Jennifer Bartlett: History of College of Design. the Universe—Works 1970-2011” (Oct. 13) 40-year survey includes major paintings, related Oklahoma sculptures, word paintings, garden paintings, Henri-Gabriel Ibels, Au Cirque (At the Circus), 1893. Color lithograph. In “Henri-Gabriel Ibels,” Zimmerli Art Fred Jones Jr. Museum of Art, University of and much more. Museum, NJ Oklahoma, Norman ❑ Through July 28: National Archive of LGBT History, images “Stirring the Fire: A and objects that describe the impact of the Global Movement epidemic on personal lives, health and medical to Empower Women practices, culture, and politics in New York and and Girls” The work the nation. of photographer Phil Borges whose Neue Galerie, New York City ❑ “Koloman intention it is to throw Moser: Designing Modern Vienna 1897-1907” light on gender is- (Sept. 2) A survey of Moser’s arts career: sues while revealing interior design commissions, graphic designs, pathways for women furniture, textiles, jewelry, metalwork, glass, and girls to achieve and ceramics, many illustrated by preparatory equality; “Into the drawings and prints. Void” Prints from the permanent collection. Hudson Valley Center for Contemporary ❑ “Hopituy: Kachinas Art, Peeksville ❑ “The New Hudson River from the Permanent School” (July 28) contemporary artists address Collection” (Sept. 15) the regional landscape. Wood Hopi figures, basketry, and paint- Loeb Art Center, , Poughkeep- ings. sie ❑ “Pictures of Nothing: Abstract Art from the Permanent Collection” (Sept. 8) Trac- Pennsylvania ing the evolution of abstract art through nine Trout Gallery, decades of the 20th and early 21st centuries; Dickinson College, three sections focus on gesture (Frankenthaler Carlisle ❑ “First Hartigan, Motherwell), geometry (Noland, Hand: Civil War Era Stella, Albers), and pattern (Johns, Tobey, Win- Drawings from the ters): highlighted are examples of Surrealism, Becker Collection” Abstract , Geometric Abstrac- (Oct. 19) tion, color-field and hard-edge painting, and Minimalism. Michener Art Mu- seum, Doylestown ❑ George Eastman House, Rochester ❑ “The “Nelson Shanks: A Gender Show” (Oct. 13) Brush with Reality” (Sept. 8) A classical Nassau County Museum of Art, Roslyn Har- realist rooted in the bor ❑ Through Oct. 13: “Alex Katz: Selections European masters: from the Whitney Museum of American Art” portraits, still lifes, Early landscapes and collages and later large- Random International, Rain scale portraits; “AftermodernisM 2013—A.M.” Room, 2013. Installation. Contemporary works. Museum of Modern Art, NY  17  summer VIEWS continued Philadelphia Art Alliance ❑ Through Aug. picks are assembled into the exhibition; Nasher Sculpture Center, Dallas ❑ Through 11: “Sunshine and Shadow” Film quilts: works “Stephen Mueller and Carl Palozzola: The Sept. 1: “Katharina Grosse: Wunderblock” displayed in framed light boxes; “Since 2009” Spoleto Watercolors” The body of work Large wall paintings created with a spray gun Documentary films cut and sewn into configu- produced over 20 years of visits to the city á la fresco, plein-air, Abstract Expression- rations based on American quilt motifs; “LTex- during the Spoleto Festival USA. ism, and/or urban graffiti; “Sightings: Nathan tile” A survey of contemporary textiles made by artists and designers from Lithuania.

Pittsburgh Center for the Arts ❑ “FiberArt International” (Aug. 15) Contemporary fiber art: the 21st edition in an ongoing series of triennial shows.

Palmer Museum of Art, Pennsylvania State University, University Park ❑ “La Manière An- glaise: Mezzotints from the Permanent Collec- tion” (Aug. 25) Dutch and British works from the height of mezzotint production in the late 17th and 18th centuries. ❑ Through Aug. 11: “From Your Town to Ours: Pennsylvania Prints from the O’Connor-Yaeger Collection Revis- ited” Panoramic vistas of Pennsylvania cities and villages, and historical images that once hung in an eatery called The Tavern, founded by the partners named in the exhibition title; “Suspended Contemplation: Drawings and Watercolors by Leon Kelly” Surrealist-inspired compositions and neo-baroque experiments of the early 1960s. Rhode Island Museum of Art, Rhode Island School of Design, Providence ❑ “Artist/Rebel/Dandy: Men of Fashion” (Aug. 18) Tracing the ways Nelson Shanks, Pigtails, 2004. Oil on canvas, In “Nelson Shanks,” Michener Art Museum, PA the “dandy” has manifested himself through history: portraits, caricatures, fashion plates, Tennessee photographs, and media representations, from Knoxville Museum of Art ❑ “Thornton Dial: Bavry” New sculpture based on an ancient the discreet sophistication of Beau Brumell Thoughts on Paper” (Aug. 25) Early iconograph- Jalisco figure in the museum’s collection, to the romantics and revolutionaries of today, ic drawings focusing on themes related to gender and six figures based on Rodin’s Burghers from George IV to Oscar Wilde, and from and human relationships by an artist best know of Calais. Lord Byron to Sebastian Horsley. for his large scale, multi-media assemblages. Kimbell Art Museum, Fort Worth ❑ “Wari: South Carolina Frist Center for the Visual Arts, Nashville ❑ Lords of the Ancient Andes” (Sept. 8) Art of Gibbes Museum of Art, Charleston ❑ Through Sept. 15: “Sensuous Steel: Art Deco the ancestors of the Inca in a myriad of media: Through Sept. 15: “People’s Choice: A Com- Automobiles” Autos from the 1930s and 40s, polychrome ceramics, ornaments of precious munity Curated Exhibition” Members of the when elegance in car manufacturing reigned; metals or mosaics, sculpted wood and stone community were asked to vote for favorite “Vik Muniz: Garbage Matters” Botticelli and objects, sumptuous woven garments. works of art. After tallying the results, the top Jacques Louis David recreated in photographs of everyday materials, that is, “beauty, humanistic Ellen Noël Art Museum, Odessa ❑ “Of Birds values, and spiritual aspiration can be found in and Texas: The Art of Scott and Stuart Gen- the most abject of worlds.” ❑ “Jack Spencer: tling” (Aug. 18) Large prints produced by twin Beyond the Surface” (Oct. 13) Photographs, the brothers who were born and reared in Texas, surface of which have been altered with tech- art-schooled in the East, inspired by Audubon niques suggestive of painting: rich tones and and created their own elephant folio of bird colors, softly focused forms, imperfections, and portraits that are shown here. painterly textures. McNay Art Museum, San Antonio ❑ “Nor- Texas man Rockwell: Behind the Camera” (Sept 1) Blanton Museum of Art, University of Texas, An in-depth look at Rockwell’s study pho- Austin ❑ “Restoration and Revelation: Con- tographs: paintings, drawings, tear-sheets, serving the Suida-Manning Collection” (Sept. magazine covers, and prints of the study 1) Renaissance and Baroque works put under photographs show the development of images. investigation to show how the convergence of art ❑ “The America of Grant Wood and Thomas and science can lead to new knowledge about the Hart Benton” (Sept. 8) Two anti-urban art- works and their makers: the ethical and aesthetic ists who attempted to define American art in choices involved in restoration and conservation. the early 20th century as rural and serene. ❑ “Luminous: 50 Years of Collecting Prints and ❑ “Printing Perfection: The Art of Beth Van Drawings at the Blanton” (Sept. 15) , Hoesen” (Sept. 29) The works and reworks of Sonia Delaunay, Diego Rivera, Rembrandt, a perfectionist, with proofs and detailed notes Picasso, and Ana Mendieta, among others. ❑ for changes. “Lifelike” (Sept. 22) A group exhibition showing the continued relevance of realism in contempo- rary art; works that transform the commonplace. Iké Ude, Sartorial Anarchy #5. Photograph. In “Artist/Rebel/ Dandy,” Rhode Island School of Design, RI  18  summer VIEWS continued Utah Utah Museum of Fine Arts, Salt Lake City ❑ “Bierstadt to Warhol: American Indians in the West” (Aug. 11) Bierstadt, Sharp, Warhol, Begay, and others. Vermont Shelburne Museum ❑ “Wyeth Vertigo” (Oct. 27) The extreme perspectives, unconventional angles, and powerful narratives in works by N.C. Wyeth, Andrew, and Jamie; the focus is Andrew’s monumental Soaring (1950) and its preparatory drawings. Virginia Fralin Museum of Art, Charlottesville ❑ “Becoming the Butterfly: Portraits of James McNeill Whistler” (Aug. 4) The evolution from Rembrandt-influenced etched portraits, to more personal representations emphasizing deep shadows, to focus on the play of light, and finally to flattened, elongated forms. Washington Henry Art Gallery, University of Washington, Seattle ❑ “The Ghost of Architecture” (Sept. Owen Gromme, Horicon Marsh, 1968. Oil on canvas. In “Owen J. Gromme,” Woodson Art Museum, WI 29) Contemporary works that invoke architec- ture without citing it directly; artists reference (July 31) Series of macchia, soft cylinders, Per- Wyoming architecture as a displaced fragment, fantasy or sians, seaforms, Indian blankets, baskets, floats, National Museum of Wildlife Art, Jackson folly, the site of events, memory, or perhaps a and Venetians. Hole ❑ “George Catlin’s American Buffalo” missing context within a narrative. ❑ “Industrial (Aug. 25) Paintings that show the ways Native Effects: Photographs from the Henry Art Gal- Wisconsin American life centered on the buffalo, and lery Collection” (Aug. 29) Images that survey Villa Terrace Decorative Arts Museum, tangentially, humanity’s relationship with na- changing attitudes toward industry from the Milwaukee ❑ “Chasing Horizons” (Aug. 25) ture. Organized by The Smithsonian American 19th century until the present. ❑ “Out [o] Fash- Contemporary artists exhibit their responses to Art Museum (DC) in collaboration with the ion Photography: Embracing Beauty” (Sept. 1) the concept of landscape in digital photography, National Museum of Wildlife Art, this is the A viewing of historical and cultural perceptions video, kinetic and site specific sculpture, paint- first leg of a tour that goes from Jackson Hole of beauty, identity, and desire: portraits, docu- ings, and mixed media installations. to the Palm Springs Art Museum (CA), the mentary and constructed images, and fashion C.M. Russell Museum in Great Falls (MT), the photography from the 19th and 20th centuries. Woodson Art Museum, Wausau ❑ “Owen Mennello Museum of American Art in Orlando ❑ “Paul Laffoley: Premonitions of the Bauha- J. Gromme: An Enduring Legacy” (July 31) (FL), and the Reynolda House Museum of roque” (Sept. 15) A canvas entitled The World Instrumental in organizing the museums inau- American Art in Winston Salem (NC). ❑ “Na- Soul of Plotinus, the focus of this exhibition, is a gural exhibition, Gromme’s paintings return to tional Geographic: Selections from Greatest graphic image that attempts to illustrate the art- reveal his reverence for the flora and fauna of Photographs of the American West” (Aug. 11) ist’s interdisciplinary background that includes Wisconsin. ❑ “Celebrating Summer: Plein-Air Works that document an American view of the natural sciences, the occult, astrology, and art Painters of North America” (Aug. 25) Land- West from the earliest days of photography to and world history. scapes and outdoor activities, painted quickly the most recent. ❑ “Amazing Animals: John to incorporate the changing natural light, color, James Audubon to : (Aug. 18) Jundt Art Museum, Gonzaga University, and movement Early renderings of American wildlife in print Spokane ❑ “Tradition and Transformation portfolios produced by great artists: hand-col- in Glass: Chihulys from the Collection” ored engravings display the beauty and bounty of the American wilderness. ❑ “Ancient Tra- Ridley Howard, Blues and Pink ditions: The Whetzel Collection of Pueblo (detail), 2012. Oil on linen. In “Ridley and Pre-Pueblo Pottery” (Oct. 6) Ceramics Howard,” Museum that showcase many aesthetic and symbolic of Fine Arts, Boston, MA representations, focusing on animals, natural phenomena, and the environment, and showing the connections between pots made over 1000 years ago with those made today. n

Andy Warhol, Sitting Bull (detail), 1986, Serigraph on paper. In “Bierstadt to Warhol,” Utah Museum of Fine Arts, UT

 19 