NOTES About an Artist– Francesca Woodman Page 12 Springviews Pages 13–20

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

Radcliffe Bailey, Winged, 2008. Mixed media on paper. In “Radcliffe Bailey: Memory as Medicine,” Davis Museum, MA  1  museumVIEWS

SpringFeatures 2012

Getting Ahead in U.S. Museums Page 3 Have a Drink– but before that, Take a Look Page 4 The Frame Matters Ad Campaigns Raise Interest– Sometimes Page 5 A 1960s Renaissance Page 6 BOOKS Page 7 NEWSbriefs Pages 8–11 NOTES about an artist– Francesca Woodman Page 12 springVIEWS Pages 13–20

museumVIEWS Editor: Lila Sherman Publisher: Museum Views, Ltd. 2 Peter Cooper Road, New York, NY 10010 Phone: 212.677.3415 FAX: 212.533.5227 Email: [email protected] On the web: www.museumviews.org

Top right: Georges Rouault, Master Arthur, 1934. Color etching MuseumVIEWS is supported by grants and aquatint. In “Georges Rouault,” Utah Museum of Fine Arts from the Horace W. Goldsmith Foundation Center: Mark Rothko, Untitled, 1955. Oil on canvas. In “Mark Rothko: and Bloomberg. Selections from the National Gallery of Art,” Academy Art Museum, MD MuseumVIEWS is published 4 times a year: Above: Mavis Smith, Night Pool, 2009. Egg tempera on panel. In “Mavis Smith: Hidden Realities,” Michener Art Museum, PA Winter (Jan. 1), Spring (April 1), Summer (July1), and Fall (October 1). deadlines for Right: Pablo Picasso, Nude with Joined Hands, 1906. Oil on canvas. In “The Steins Collect,” Metropolitan Museum of Art, NY listings and artwork are Nov. 15, Feb. 15, May 15, and Aug 15.

 2  Getting Ahead in U.S. Museums [“How to get ahead in U.S. museums: Once considered the Cost? weakest candidates by boards, curators are now getting The CCL absorbs the cost of tuition, travel, and accomodations, ie., the top management jobs.” no cost to fellows. –the heading to an article by Erica Cooke for The Art Newspaper.] Residency? Take Gary Tinterow, the new director of the Museum of Fine Arts in Hous- The time of the residency is one that is mutually agreed upon by the fellow ton (TX). He was one of the first to graduate from the Agnes Gund-launched, and his/her host; likely in March or April. New York-based Center for Curatorial Leadership (CCL). Take, for that matter, 41 other curators, all graduates of the center, who have either become directors or risen to hold greater responsibilities in their respective careers. 2012 Fellows It all started in 2008, when Agnes Gund, President Emerita of the Museum Paola Antonelli, Senior Curator, Department of Architecture and Design, of Modern Art and trustee at the Frick Collection and the Cleveland Museum Museum of Modern Art (NY) of Art, joined with Elizabeth W. Easton, scholar and former Chair of the Andrea Bayer, Curator, Department of European Paintings, Metropolitan Department of European Painting and Sculpture at the Brooklyn Museum and Museum of Art (NY) President of the Association of Art Museum Curators, to co-found the CCL, Christa Clarke, Senior Curator, Arts of Africa and the Americas, and based on the proposition that curators were being ignored in searches for new Curator, Arts of Africa, Newark Museum (NJ) directors, and should not be. According to their official mandate, “The Center for Curatorial Leadership Thomas Denenberg, Director, Shelburne Museum (VT) aims to train currators to assume leadership positions in musums in the rap- Leah Dickerman, Curator, Painting and Sculpture, Museum of Modern idly evolving cultural climate of the 21st Art, (NY) century. The mandate of the CCL is to Elizabeth Finch, Lunder Curator of identify within the curatorial ranks indi- American Art, Colby College Museum viduals who have the potential to become of Art (ME) leaders and to help them shape them- John Ravenal, Curator of Modern and selves into curators who not only take Contemporary Art, Virginia Museum charge of the art in their care, but who of Fine Art are also capable of assuming the leadership responsibilities essential to high Elizabeth Smith, Executive performance in today’s art museums. The Director, Curatorial Affairs, CCL is premised on the conviction that Art Gallery of Ontario there need be no contradiction between Martha Tedeschi, Curator, Department these two sets of obligations—indeed, of Drawings and Prints, Art Institute of that there must not be.” Chicato (IL) This year, eleven new fellows, curato- Stanton Thomas, Curator of European rial professionals, carefully chosen by a and Decorative Art, Memphis Brooks small committee of current and former Museum (TN) museum directors, have begun an inten- Michelle Joan Wilkinson, Director of sive program that will last until June. The Collections and Exhibitions, Reginald curriculum consists of a combination F. Lewis Museum of Maryland African of “teaching” and “doing”: a two-week American History & Culture intensive program in New York in Janu- ary, taught by faculty from Columbia Crisis averted University’s Business School, concludes In 2008, museums seemed to be facing with practical exposure in New York a leadership crisis caused greatly by the museums; a one-week residency at a lack of investment by institutions in the museum different from the fellow’s own training and advancement of their own institution; a montorship; a long-term staffs. Some 60 directors were planning team project to be presented in June; to retire by 2019. Top jobs invariably and a final week residency in June for would go to people from the business the presentation of team assignments. world. Academic courses include non-profit Enter the Center for Curatorial management, finance, negotiation, board Leadership at a time when more than development, and strategic long-range two dozen major museums were search- and short-term initiatives. Seminars are held throughout the year when the ing for directors, and to hire a curator with little or no experience of budgets group comes together with directors and trustees to discuss current museum- or fundraising was thought to be risky. Probably rightly so. Today, however, world issues. curators are more involved with the business problems connected to exhibitions and staffing. And today, there is an increasing number of curator/direc- FAQ’s tors: Thomas Campbell for the Metropolitan Museum of Art, Gary Tinterow for the Museum of Fine Arts in Houston, Douglas Druick for the Art Institute Who is eligible? of Chicago, Ian Wardropper for the Frick Collection, Michael Taylor for the You must be a curator and an American citizen currently employed Hood Museum of Art at Dartmouth College to name a few. as a curator. Director Easton says the outcome is not only beneficial, but also practical: “It is easier to teach business to art world professionals than Experience? it is to teach people from business about the art world.” Trustees, she says, Participation in the management, care, and scholarly study of collections; who often come from the business world where they deal with financial development of exhibitions, publications, and programs; supervision of matters as a matter of course, prefer to deal with directors who are passionate personnel and finances; familiarity with fundraising and strategic planning. about art. Museums, she believes, are better off with leaders who understand the needs of curators. q

Above: Juan Downey, Map of America, 1975. Colored pencil, graphite, and acrylic on Bainbridge board. In “Juan Downey,” Bronx Museum, NY

 3  Have a Drink – but before that, Take a Look

[An article by Henry Adams in the magazine Art & Antiques, March 2012, soldiers, revelers, dogs, a goose, children, and a disapproving matron accom- caught our attention. Here are some facts from it.] panying Yankee Doodle riding down the main street of Princeton. The Dover Coach, a Rockwell illustration created for the Saturday Eve- One of the most eccentric places for serious art can only be a bar. And yet, ning Post, saw second service behing the bar in the clubhouse of the Society across the country, and perhaps across other counries, there are murals, pre- of Illustrators in New York (128 East 63rd Street). Rockwell found the right pared by seasoned and professional artists, and enjoyed during many happy period costumes and the English coach that he needed while visiting hours and beyond, that adorn the walls of bars and eateries. Hollywood. For example, want to look at an enthroned Old King Cole For a delightful bit while sipping on your first martini of the day? Then go to the of whimsey to accompany King Cole Room at the St. Regis Hotel (2 East 55th Street) a straight-up drink, Ludwig in New York where a stunning mural depicting a smiling Bemelmans fills the bill Cole with some distracted courtiers looks down on you and with his walls in the Be- your fellow imbibers. By Maxfield Parrish, the mural was melmans Bar at the Carlyle executed in 1905 for the bar at Astor’s Knickerbocker Hotel Hotel (35 East 76th Street, on 42nd Street. Parrish, although hesitant about a barroom NY). Searching for a liv- commission, agreed because the payment of $5,000 was a ing in his new home, New windfall in his needy state as a young recently married artist. York, he found his metier in Having become the popular meeting place for celebrities and 1939 with the publication others, The Knickerbocker bar closed when prohibition came of Madeline, a rhymed chil- into effect, the three-panneled painting was placed in storage, dren’s book, which soon brought out for a time to enhance the New York Racquet achieved the status of clas- Club, and finally, in 1932 was installed in its present site in sic, about the adventures of the St. Regis Hotel in a room designed around it by William a little French girl and her Mackay. teacher/nun Miss Clavel. Parrish also did his work to brighten the lives of bar hop- Here in his own named pers at the Palace Hotel in San Francisco. The Pied Piper of bar are child-like scenes Hamelin projects the theme of flight from responsibility that in Central Park that amuse seemed to him appropriate for the setting. and enchant anyone, even Enchanting, sensuous scenes by Howard Chandler Christy those enjoying the exquisite surround New Yorkers dining at The Leopard at des Artistes martinis—the manifestation (1 West 67th Street). No less than 35 naked women and one of yet another art. man cavort over the walls of this once famous, closed and The Palio, by Sandro refurbished, now reopened room. The floors above were Chia, on the walls of the traditionally occupied by artists; Christy himself was one of bar of the same name (151 the residents. West 51st Street), has a dif- Only members can appreciate the historic realism and ferent impact—powerful, colorful palette of Dean Cornwell, whose The Treaty of exciting, figurative with the Lancaster (1936) graces the bar in the Detroit Athletic Club rash brush strokes and at- (241 Madison Avenue). In it governors and commissioners titudes of Abstract Expres- of Virginia and Maryland meet with Indian chiefs to sign the sionism. Reference to the treaty that effected the transfer of large tracts of land from the no-holds-barred horse-race Indian nations to Virginia and Maryland. (Detroit was part of in Sienna has significant the Northwest territory that was ceded to Virginia.) application to the gritty, The general public, however, can appreciate the talents of busy, uncompromising life Cornwell by drinking and dining beneath The Raleigh Room of New York City. The bar (1937), a mural commissioned by William Randolph Hearst for the restaurant is closed for the present; a persistent art lover—and it’s worth it—needs to Murals on 54 in the Warwick Hotel (68 West 54th Street), Hearst’s newest ignore his/her thirst and apply to AXA Insurance for an appointment to view residential hotel. The subject matter was, logically, the life of Raleigh. this exceptionally dramatic work of art. When finished, however, Cromwell, dissatisfied with Hearst’s understanding Like the typical WPA post-office murals of the 1930s, The Skilled Trades of the final compensation, avenged the slight by painting over some obscen- of Cleveland (2005) by Clarence van Duzer, reminds drinkers at the Trades- eties—an Indian with bare buttocks, men urinating on the Queen. When the man Tavern (5746 State Road, Parma, OH) that the workmen of the world disagreement was finally resolved, Cromwell removed the overpainting. should never be ignored—even from a bar stool. Businesses too are glorified, The Nassau Tavern (10 Pakner Square, Princeton, NJ) was the cite of especially those like the telescope factory and the steel mill that helped raise Norman Rockwell’s only mural. Yankee Doodle (1937) brightens the Yankee Cleveland to its glory days. The president of the local marble company who Doodle Taproom by virtue of the architect noticing one of Rockwell’s commissioned the work appears in the mural with members of his family in Saturday Evening Post illustrations. Together architect and artist decided on various occupations: the father as a construction worker; the son as a glass the whimsical tribute to the battle of Princeton, won during the Revolution. worker; the daughter with a stained glass window. q Rockwell worked hard to design authentically costumed period characters,

Above: Ludwig Bemelmans, 1939. Illustration from the book, Madeline

Left: Maxfield Parrish, Old King Cole, 1905. Mural. at the St. Regis Hotel, NY

 4  Ad Campaigns Raise Interest–Sometimes The Frame In 2010, 48% of art museums re- Matters ported increasing marketing efforts over the previous There is “surround sound,” there is your “surrounding environment,” year, according there are “surrounding circumstances”—all familiar, and important. Yet, what to an annual surrounds a painting is often ignored, or for that matter hardly even noticed. survey by the The frame matters, and currently the trend is all in the direction of historical Association of authenticity. No longer are the indistinctive strip frames and plexi-boxes of Art Museum yore in favor; rather it behooves the framer, and the exhibitor or owner, to Directors. create a frame that bespeaks the period of the painting. In 2011, a The massive and beautiful frame that now surrounds Emanuel Leutze’s commercial for Washington Crossing the Delaware (1851) is a case in point. The newly the Detroit In- framed work is now on view in the American Wing of the Metropolitan Mu- stitute of Arts seum of Art: it is a painstaking replica, executed by master framemaker Eli (MI) opened Wilner, of the original, complete with shields at the corners, stars along the with a woman edges, and a soaring American eagle surrounded by arms and weapons at the responding to top above a banner that reads, “First in War, First in Peace, First in the Hearts an off-camera of His Countrymen.” “Curators,” says Wilner, “collectors, and art dealers are interviewer: very, very aware of the time in which a painting was made, and are ensuring “He had olive that the frame equals that moment.” skin.” Other Wilner explains: “Framing has been changed almost every decade to make responses the pictures look more modern, to go with new furniture, or for collectors to were, “He had mark them with their own taste. Napoleon removed all the frames at the Lou- pale skin,” vre and put on Napoleonic frames—which was undone right after his death.” “Black, wavy Later in the 19th century, “Louis frames” returned to favor, the populace hair,” “Blond expressing their aesthetic preference to the style that preceded Napoleon, be- hair that’s lieving that the earlier style frames added dignity to the work they surround- really silky,” ed. And, in the early part of the 20th century “Louis frames” were believed to “He looked lend authority and credibility to the Impressionist and modern works about like a hippie,” “Yeah, he was Jewish,” “He was black like me.” The question which the public was still skeptical. So framer and frame historian Simeon was not revealed, but the reason for the commercial was: it was advertising Lagodich explains. “Rembrandt and the Face of Jesus,” an exhibition that featured works that depict Jesus and biblical events. Soon after the mixed bag of responses a A single unit voiceover says, “No one knows what he really looked like. Come see Jesus Historical authenticity in frames is paramount to the aesthetic of the whole, as Rembrandt saw him.” and the original intent of the artist. Says John Dorfman in his article “Frame A spokesman for the museum said that focusing on the issues of religious Stories” for Art & Antiques magazine, “A surprising number of artists thought identity and interpretation during the Christmas season could pique interest the painting and the frame as inseparable aspects of an integral work. Van in the exhibition. “We believe this is an opportunity to reach a broader audi- Gogh sometimes went outside the canvas and painted over onto the frame. In ence than a more traditional museum-going audience,” she said. The mu- many cases artist [sic] have designed or even constructed their own frames. seum went so far as to place print ads in religious publications: “See Jesus Edgar Degas, who remarked, ‘The frame is the reward for the artist,’ was in a new light.” Or, for Jewish readers, “Painter. Carpenter. Masterpiece.” perhaps an extreme example:….[it is said that] Degas walked into a collec- The Mint Museum Uptown (NC) purchased a billboard in Charlotte for tor’s home and saw one of his paintings on the wall, reframed. He paid the its Romare Bearden exhibition featuring the artist’s works of musicians collector back his money and took it off the wall…. performing. In addition, the museum hired musicians dressed identical to “Other notable artist-framers include Dante Gabriel Rosetti (as well as those in the artwork to play in front of the billboard, as though the art were several other Pre-Raphaelites), who designed beautiful gilded neo-Renais- coming to life. “Charlotte inspired his art. Now he inspires us.” In another sance frames that he lettered with his own poetry…. Thomas Eakins designed stunt, a guitar player wearing a green suit, red scarf, and black hat stood on a wide, flat frame for his 1897 portrait of mathematics professor Henry A. an elevated train platform. Riders were struck with the resemblance to the Roland and festooned it with equations and diagrams. Mary Cassatt designed guitar player in one of Beardon’s collages Evening of the Gray Cat, which frames, as did Camille Pissarro, Edward Hopper, and Piet Mondrian. Whistler was featured in an ad on the side of the train. was a major frame designer…. Maurice Prendergast’s work was framed by For the opening of the Clyfford Still Museum (CO), advertising execu- a true master, his brother Charles…. Stanford White was also prolific in the tives were faced with marketing a man who didn’t like marketing himself. field. ‘When Mr. White gets tired of designing houses,’ according to an 1887 They decided to highlight the artist’s lack of fame as a virtue. “The canvas newspaper article, ‘he relaxes his brain with designs for picture frames….’” was his ally. The paint and trowel were his weapons. And the art world was Picasso, although not a frame designer, made his own choices for his work, his enemy,” read an ad for a print campaign introducing the museum. The usually favoring the Spanish baroque. purpose: to urge people to visit the museum where they could discover the Most recently, frame buffs have turned to 1950s rough homemade frames, artist for themselves. “It’s not like we’re selling beer or lottery tickets here, primitive and unsopphisticated, made by unschooled framemakers or artists because not too many people wake up on a Saturday and say, ‘We need to whose scant resources prevented their hiring a professional. “You can find go check out art today,’” said one of the ad company principals. “Instead of them in flea markets; they can look like lumber,” says Lagodich. And he loves it being about the art, the campaign is more about creating intrigue around them. “I actually think that’s the frontier of our profession now, like the way his career, his rebellious nature, and his break from the art world.” q mid-century modern is so popular.” q [See “Frame Stories” in the March 2012 issue of Art & Antiques Kehinde Wiley, Alios Itzhak, 2011. for the rest of the story.] In “The World Stage: Israel,” Jewish Museum, NY

 5  the LA art culture: artist-driven alternative spaces multiplied and creative A 1960s Renaissance “self-determinism” became a by-word for young artists. They were looking at “the ways in which people were able to give themselves time and [From an aricle by Freddie Sharmini in the CalArts magazine.] space to experiment, to retain that real estate where art could be made,” said one of them. CalArts was central to the movement toward these artist- The California Institute of the Arts (CalArts) is not your usual kind of art initiated ventures. institution. It’s a Los Angeles institution, imbued with the quirkiness, inven- CalArt founders envisioned their new institution as the next Black tiveness, and individuality of its host city. CalArts was among the movers Mountain College in radical arts education. They believed in not only toward international recognition enjoyed by Southern California after World fostering new forms and expressions, but also finding new methods in the War II. How? It brought to the region new teaching methods and artists from pedagogy of art: to upend the then traditional hierarchy of teacher and other countries and cities. Says CalArts President Steven D. Lavine, the new student for a more collegial model on one-on-one, teacher-to-student ways of teaching were based on a more open pedagogy: students are treated relationships. q as colleagues, classes embrace the surrounding world in its diversity of social and artistic influences, and the teaching is often indistintuishable from the armaking itself. The emergance of Southern California artmaking, especially through the 1960s and 70s, is the subject of the Getty’s “Pacific Standard Time: Art in L.A., 1945-1980,” a re- gionwide, six-month series of exhibitions, screenings, performances, and other programs presented in collaboration with some 60 partners, among them the California Institute of the Arts and its precedessor the Chouinard Art Institute. Founder and faculty member John Baldessari, asked what he believed to be the biggest development in South- land art over the past 50 years, said, “I think the big change was the impact of CalArts…” its teaching methods, its non-regional orientation regard- ing teachers and students, “and then students from CalArts staying here and going on to teach, and then their students.” While the 60s and 70s saw the art scene in Los Angeles blossom, the 80s signaled the beginning of a faltering infrastructure. Gone was the excitement and energy begun in those decades— the forward-thinking graduates of the Chouinard such as Ed Ruscha and Robert Irwin; the gallery set-up that included venues such as provisional artist-run spaces; the visionary programming of the Pasadena Art Museum, and the newly located Los Angeles County Museum of Art; and passionate patrons who supported new work by conceptual artists from New York and Europe. “By 73 and 74, it was gone and we were back to square one,” recalls conceptual artist Allen Ruppersberg. The Pasa- dena Art Museum had closed; LACMA was scaling back; private galleries were shutting down. “All because of money,” sats Law- son. “The bigger picture being, I guess, the economic fallout from the [1973] oil crisis. The city became more pro- vincial again. And it was in that space that artists were thrown back on therm- selves, left to their own devices. These new conditions gave them permission to experiment even more, and because there was no place for them in this new landscape, they had to create their own space.” Experimentation became central to

Davis Cone, Thompson, 1980. Acrylic on canvas. In “Beyond Reality,” Vero Beach Museum of Art, FL  6  BOOKS [Elliott Kaufman is an architectural photogra- Building Museums: pher currently teaching at Queens College and A Handbook for Small the International Center for Potography.] and Midsize Organizations by Herbert Herskovitz, Timothy Glines, and David Grabitske (Minnesota Historical Society Press, 2012) Pieter Bruegel by Larry Silver (Abbeville Press 2012) Your museum is in dire need of a new space for your archives; or you need more space for This is a magnificent book. Heavy. But a library or an autidorium or more galleries magnificent. A monograph that tours through for special exhibitions. Whatever, you need to Bruegel’s complex iconography, allowing the make a start, and you need help. reader to see his paintings and drawings from With chapters that proceed through the steps the perspective of his 16th-century country- of construction management from “Imagining men. Silver places the artist within the visual Your Project” to “Moving Day and Beyond,” culture of his time as well as within the broad- and including every detail of the process in er context of Netherlandish history. It faces Francis Luis Mora, Evening News, 1914. Oil on canvas. In “Painting the People,” Palmer Museum of Art, PA between, this book is a must for the many who two directions, says the author: “On one level, are about to or are in the process of building it is unapologeticaly old-fashioned: it focuses a new wing or building, or renovating an old on a single artist, including several lost works The Human Figure one. After imagining your project, you need preserved in faithful and consistent copies by to make “The Initial Plan” and “Schematic and Jewish Culture his sons…. It’s purpose is to examine with care by Eliane Strosberg (Abbeville Press, 2012 Design.” Not incidental is “Paying for Your all of the surviving works and to look for pat- Project,” with ideas about what the costs are terns, changes, and dominant interests….” in paperback) and how to go about paying for them. “Get- But he goes on to explain that the book also ting Down to the Details” discusses design aims for a wider viewpoint—“the historical “It is very difficult to find a common core, development, detailing each functional space, and social circumstances occasioned by the and to predict the main road which Jewish the required documents and codes. “Museum art market…urbanism…and material wealth, artists will take. They are too diverse in their Environment,” or the elements that make a epitomized by Antwerp…[and] the artist’s own technique…and in the expression of their ar- museum building special such as heating, responses later in his career to both political tistic ego. It seems that to answer our question ventilation, air conditioning, lighting, fire and religious turbulence in the Low Coun- we do not need to look at ‘how’ but at ‘what suppression, security, and choice of materials tries….” themes’ they paint, and, even better, the themes are all examined here. Just as practical and All of Bruegel’s surviving paintings are they avoid.” –Saul Raskin (1911). important not to overlook are “Construction exquisitely reproduced here with many The fist part of this study is a summary Documents and the Bid Process.” Penulti- full-page details, his prints, and works by of the Jewish experience; the second is an mately, the process of “Construction” goes on: contemporaries and followers. One reproduc- overview of Jewish art before the Elighten- the management; site preparation; structural tion that expecially intrigued is in the chapter ment; and the third and fourth parts survey work; architectural, electrical, and mechani- on Parables, Proverbs, Pastimes. A beautiful the treatment of the human figure by modern cal installation; applying finishes and purging reproduction of Bruegel’s painting Netherland- Jewish artists beginning with Pissarro. Atten- chemicals; and the substantial completion with ish Proverbs (1559) covers a two-page spread. tion is paid to the figurative painters who were a punch list and documentation. Finally, Following that is a smaller reproduction, anno- successsful in their time, but were finally and “Moving Day” arrives entailing orchestrating tated with no less than 85 proverbs or parables summarily overshadowed by modernism. the move, commissioning the building, that Bruegel has illustrated—a stunning combi- Strosberg sets out to investigate why so celebrating with a grand opening, and adjust- nation of consummate artistry, mixed with many modern artists of Jewish descent con- ing to new surroundings. humor and satire. tinued to paint the human form even as the The process of building, from beginning to In fact, Pieter Bruegel was one of Nether- avant-garde movement promoted abstraction. end, with illustrations, graphs, and graphics, is lands’ two great masters of satire and fantasy The work of a wide range of Jewish artists covered in this handy paperback. (Hieronymous Bosch was the other). Although are analyzed: immigrant painters of the École de Paris like Soutine and Modigliani; The [Robert Herskovitz is an outreach and field they never met (Bruegel was born around a decade after Bosch’s death), they were linked American Social Realists such as Ben Shahn conservator, Timothy Glines is a former man- and Raphael Soyer; and the painters of the ager of outreach services, and David Grabitske by their creation of demon-filled hellscapes. But Bruegel went beyond, concentrating on postwar School of London Lucian Freud and is manager of outreach services. Together they R.B. Kitaj. Her conclusion: have 60 years’ experience in their work for the peasant scenes, many humor- all these artists were drawn to Minnesota Historical Society advising muse- the human figure because it ums across the state.] ous and packed with anecdotal offered them a means of com- detail, and on municating aspects of their landscapes. Jewish intellectual heritage, their humanistic values, and Alphabet [Larry Silver their passion for social justice. Everywhere is Farquhar The quality of the many photography by Elliott Kaufman Professor of Art reproductions here is flawless. History at the A first impression, the Pissaro (Abbeville Press, 2012) University of self-portrait cover, is stunning. Pennsylvania.] The rest is only more of the A photography book for adults and chil- same. dren alike showing the alphabet in unexpected [Eliane Strosberg is senior places: architechtural forms on buildings, professor of art history at everyday objects, and natural landscapes create Regent’s American College in letter shapes. It’s a matter of looking and actu- London.] ally seeing the world around us. Each letter of q the alphabet is represented by multiple images, each created by the intersection of architectural details, shadows, light, or natural elements.  7  news BRIEFS Hindenburg and Titanic The Look of Love Resume Center Stage “The Look of Love: Eye Miniatures from “Fire & Ice: Hindenburg and Titanic” is the the Skier Collection,” now on view at the current exhibition at the Smithsonian Nation- Birmingham Museum (AL), affords al Postal Museum (DC) (through 2013). The viewers the rare opportunity to see Hindenburg burned 75 years ago this year, and lover’s eye jewelry—tiny portraits of the Titanic sank 100 years ago this year. The individual eyes set in various forms of double anniversary is the impetus behind the jewelry made in England during the exhibition. What is not commonly known, and late 18th to early 19th century—in what is the focal point of the show, is the fact abundance. In fact, with only 1,000 that these two largest modes of transportation lover’s eye miniatures still in exis- in their day were also the largest mobile post tence, these 98 pieces represent the offices. Each in its day promised the fastest largest collection of its kind. possible worldwide mail service; each offered The trend began when, in 1784, onboard gentility and opulence; and each met a Britain’s 21-year-old Prince of Wales tragic end. (later George IV) exchanged the These legendary events are approached here customized token with a clandestine from the perspective of the role played by mail, lover (Mrs. Maria Fitzherbert, a Catholic before, during, and after the events. Survivor widow), believing that a portrait of an eye stories are primary, an interview with a mem- might be recognized only by a person inti- ber of the ground crew, for example. Details mately familiar with the giver. and artifacts abound: the pocket possessions Under the Royal Marriage Act, the prince “The Look of Love,” could not marry without his father’s consent Birmingham Museum of a passenger who jumped from the Hinden- of Art, AL burg; a piece of mail sent from the Titanic until the age of 25, and it was highly unlikely that King George III would agree to the heir and burnt mail salvaged from the Hindenburg; began with the Harlem Renaissance in the early mail, postcards, menus, photographs, and keys to the throne marrying a Catholic widow. Mrs. Fitzherbert at first turned down the prince’s 1900s. Among those whose work was on view: from the Titanic’s post office; and the salvaged James Van Der Zee (d.1983), documentarian of postmark device from the Hindenburg. advances, but after he attempted suicide as a result, she gave in and accepted his proposal. Harlem from 1915 to 1960; Next day she fled to the Continent, hoping the Hérod Alvares: born without arms, a Haitian Russian Silver Comes prince would forget her. After a year’s absence, teacher of disabled children; to Baltimore she received a letter, containing a second pro- Stacey Brown: creates flowing shapes and The Walters Art Museum (MD) announced posal from her still ardent lover. With the letter, contours on glass; the gift from Jean Montgomery Riddell of a in place of an engagement ring, he sent her a Frank Frazier: Harlem native paints everything collection of enameled Russian silver—more picture of his own eye, painted by miniaturist from war to jazz concerts; than 260 objects from the 17th through the Richard Cosway: “I send you a parcel…and I George Nock: self-taught sculptor, former run- 20th centuries, including works from the send you at the same time an Eye, if you have ning back with the New York Jets and Washing- firm of Carl Fabergé in St. Petersburg. Also not totally forgotten the whole countenance. I ton Redskins; prominent in the collection are examples of the think the likeness will strike you.” Kerream Jones: popular and prolific artist with distinctive filigree and shaded enamel found in Shortly thereafter the couple was married in many commercial successes; Moscow silversmith works. a secret ceremony in England, and shortly after Gwendolyn E. Redfern: North Carolina potter, The Walters will show the collection in the that, Mrs. Fitzherbert commissioned Cosway painter, and mixed-media collage artist; spring 2015, a show that will also tour. to paint a miniature of her own eye for the Najee Dorsey: founder of Black Art in America Currently 12 pieces are on view. prince. Thus, the fashion was begun and lasted and mixed media artist. for the next few decades. Behind the skilled artistry of the tiny portraits were many a story Was the Louvre’s Leonardo of secret romance or lost love. Young Architects Program Over-cleaned? Picks Winner Some experts at the Louvre signaled their Barnes Opens The Museum of Modern Art and MoMA disapproval of the restoration of Leonardo’s in Philadelphia PS1 (NY) announced HWKN (Matthias Hol- lwich and Marc Kushner) the winner of the The Virgin and Child with St. Anne by resign- The Barnes’s (PA) long and arduous journey ing their advisory posts. They declared that the annual Young Architects Program, now in its 13 from suburban Lower Merion (PA) to Phila- edition. The program offers emerging architects masterpiece had been over-cleaned by Louvre delphia ends with its opening on May 19, 2012 conservators, causing a brightness that Leon- the opportunity to develop creative designs for at its new downtown Philadelphia home. The a temporary, outdoor installation at MoMA PS1 ardo never intended. move is still contested in the courts by those Some 17 years ago the Louvre ceased an that provides shade, seating, and water for the who ardently adhere to the founder’s written summer months. The guidelines of the competi- attempt at cleaning the painting over fears that legacy—to keep the collection where it was, the solvents were affecting the sfumato. Since tion address environmental issues such as sus- the paintings and other objects in the same tainability and recycling. Drawn from among then, the British, who are represented on the place that they were at his demise. As reas- consultative committee and keen on no holds five finalists, HWKN designed a temporary surance to opponents of the move, foundation urban landscape, Wendy, for the 2012 Warm Up restoration, have helped to sway the committee President Derek Gillman said the Philadelphia in their direction. summer music series in the museum’s outdoor building will maintain the original art group- courtyard. Head of paintings at the Louvre had this to ings made by Barnes. say: “Rarely has a restoration been as well pre- An experiment that expands the boundaries pared, discussed, and effected, and never will it Harlem Fine Arts Show of architecture to create ecological and social have benefited from such effective techniques. effect, Wendy is composed of nylon fabric The first assessment revealed the excellent Makes Third Season treated with a ground-breaking titania nanopar- state of conservation…comforting us in the An important showcase for modern and ticle spray to neutralize airborne pollutants. It choices made.” contemporary African diasporic art, the third is said to have the ability to clean the air to an annual Harlem Fine Arts Show, which took equivalent of taking 260 cars of the road. place in February, brought together artists who represent the explosion of culture that Continued next page

 8  news BRIEFS continued The Box Man Cometh conducts public programs, is threefold: Boston Philanthropists To encourage the creation of artworks The Priority Boxes Art Project was begun • expressing the interaction between people and Endow Chairs and is sustained by artist Franck de las Mer- their natural, built, and virtual environments; The board of trustees of the Institute of cedes, who has sent more than 10,600 painted To convene artists, scholars, and communi- Contemporary Art/Boston announced that boxes labeled “Fragile: Contains Peace, Love • ties to document, research, and analyze such both the director and chief curator positions or Hope” around the world. Each box, sent artworks; have been endowed for the first time in the mu- by mail to anyone who requests one, is both a To increase public knowledge of these seum’s 75-year history. The gifts are part of a canvas for an abstract painting and a platform • creative and scholarly endeavors. $50 million campaign of which more than $25 for initiating dialogues on peace, influencing The gallery is used to present archive million has already been raised. The campaign change, and questioning the fragility of the materials from the center’s collection, exhibi- paves the way for the next phase of the ICA’s concepts that it advertises: peace, love, and tions that feature relevant artist-driven projects, develoment program, begun in 2010, focusing hope. and a public forum for the discussion with on sustainability and growth. Funds raised will each exhibition. be used to enable the museum to present more

Gold LEED Awarded The current exhibiton is “The Canary groundbreaking exhibitions, commission new in Georgia Project: Landscapes of Climate Change” performances, and develop programming for A year after its official opening at the (Apr. 29). Begun in 2006 with one photog- teen leadership. University of Georgia, The Georgia Museum rapher’s landscape images taken around the of Art’s expanded and remodeled building world where scientests were studying the Plans for Sculpture Park has been LEED (Leadership in Energy and impact of climate change—melting glaciers, Revealed rising waters in the Netherlands and Venice, Environmental Design) Certified Gold. A DeCordova Sculpture Park and Museum Leed certification verifies that the building is post-Katrina New Orleans—the Canary Project mutated over the years to include (MA) announced 2012 plans to revamp the constructed using strategies and materials that park’s mission: to become a leader among the promote sustainable development, water sav- works by more than 30 artists, designers, writers, educators, and scientists. country’s sculpture parks by 2016 by modify- ings, energy efficiency, and indoor air quality. ing its programming, that is, treating the space To reduce impact to the site, the addition The founders, Susannah Sayler and Edward Morris, in partnership with local artists and as an active and experimental outdoor venue was built over the site of an existing parking with rapid turnover, site-specific projects, and lot, minimizing the disruptions of grading, others, have expanded their reach through a variety of media such as bus ads, billboards, participatory programs. One example that paving, and tree removal. Reflective roof- demonstrates the new program is a one-day ing materials lessen heating effect of asphalt posters, and installations, creating an international footprint for the CA+E. installation by local artist Dan Sternof Beyer parking or roofing materials. Green space was called Snowdecahedrons. added. Rain gardens slow down and clean One-day installations are designed to raiwater run-off before releasing it into nearby show how art is made and to invite the rivers. community to engage and interact with More than 91 percent of the construction artists as they install or perform in the waste was salvaged or recycled, much of it park. Some objects on long-term loan reused on site or in other campus projects. have been removed to make room for Preference was given to building material con- new regional, national and international taining recycled content, or locally manufac- acquisitions and loans. For example, tured materials. Mark di Suvero’s Sunflowers for Rain water and air-contitioning condensate, Vincent, which was on view in the park collected in large buried cisterns, is used to for more than 20 years, was removed supply water to a garden fountain and for and replaced by a recent acquisition, irrigation. The landscaping incorporates na- Dan Graham’s Crazy Spheroid—Two tive plants; the irrigation system is devised to Entrances, an interactive sculpture that reduce water use. The use of potable water to introduces an architectural element to irrigate is eliminated because of the increased the musum’s collection. The park will collection during summer months of air condi- continue to change regularly with new tioner condensate. Low-flow plumbing fixtures loans of works by international, emerg- reduce water consumption by 44 percent. ing, and mid-career artists. Efficient mechanical systems and a well-craft- Increased involvement in public art ed exterior provide an optimal environment initiatives includes Urban Garden, for the museum’s collections, saving energy placed on the Rose Kennedy Green- costs by 18.5% per year. Corridors and galler- way in downtown Boston. In addition, ies receive indirect natural daylight through the museum’s corporate program will recessed and shaded skylights. activate the public space at the Charles- Improved indoor air quality is achieved by town Navy Yard with sculpture from the selection of refrigerants and HVAC equip- it’s collection. ment that minimizes emissions of ozone-de- Deputy Director for Curatorial pleting compounds. The use of benign paints, Affairs Nick Capasso has initiated an adhesives, and sealants, and “green cleaning” exploration of an international consor- are other factors in improved air quality. tium of outdoor sculpture venues, shar- ing expertise, collaborations, loans, ex- Art and Environment Meet hibitions, and resources. Already plans The Center for Art + Environment (CA+E) are in place for a major collaboration at the Nevada Museum of Art, is a research with the CASS Sculpture Foundation in center that supports the practice, study, and England in 2014. The planned exhibi- awareness of creative interactions between tion, England/New England, featuring Sayler/Morris, Glacial, Icecap and Permafrost Melting XLVII: Cordillera Blanca, people and their natural, built, and virtual Peru, 2008. Archival pigment print; Adaptation and Mitigation LI: Reforestation young British and New England artists, envirnoments. The mission of the center, which and Land Restoration, Niger, 2007. Archival pigment print. Both in “The Canary will travel from one venue to the other. Project,” Nevada Museum of Art operates a gallery, a research library, and an ar- Continued next page chive in the Nevada Museum of art, and which

 9  news BRIEFS continued Spiral Jetty DesignPhiladelphia Stewardship Effects Changes Shared In response to a survey of participants in The Dia Art Foundation has the 2011 DesignPhiladelphia festival, the plan- announced that it has formalized ning process that has begun for 2012 incor- its relationships with the Great Salt porates some changes, additions, and subtrac- Lake Institute and the Utah Muse- tions. The length of the even will be shortened um of Fine Arts to preserve Robert to five days. More media coverage will blanket Smithson’s Spiral Jetty (1970). Dia the area; a public relations consultant will be will remain the custodian of the hired to help with events and with individual work, as it has since 1999 when participants. Events will be, as far as possible, it acquired the lease for the land. clustered by neighborhood. Participants are However, the rush toward corporate asked to be creative , topical, and more far drilling for natural resources has reaching in their presentations. prompted the foundation to seek DesignPhiladelphia 2012 is scheduled for allies in the region to help protect October 10 through October 14. the work. Coming to the rescue, the two Salt Lake City-based institutions will monitor accessibility, The Grand Dame continue scientific investigations of Biennials Reappears and community programming, and The 2012 Whitney Biennial, the 76th in an increase awareness of the worlk’s ongoing series of biennials and annuals pre- cultural importance. sented by the Whitney Museum for Ameri- can Art (NY), takes over most of the museum Greenville through May 27 with portions of the exhibi- Expands Collection tion and some programs continuing through The Greenville County June 10. Sculpture, painting, installations, and Museum of Art (SC) unveiled a photography—as well as dance, theater, music, major expansion of its collection of and film—fills the galleries with a roster of works by Andrew Wyeth. Eleven artists at all points in their careers, providing a Adrián Villar Rojas. A Person Loved Me, 2012. Clay, wood, look at the current state of contemporary art in metal, cement, Styrofoam, burlap, sand, paint. paintings, two temperas and nine watercolors, In “The Ungovernables,” New Museum, NY bring the total number of Wyeth holdings to America. Participating artists were selected by 45, providing a dramatic glimpse into the Elisabeth Sussman, Curator/Sondra Gilman, progression of his work in tempera from his Curator of Photography, and Jay Sanders, Clay Colossus Stars earliest efforts in the 1940s to the late 60s, freelance curator and writer. The Greenville collection of Wyeth’s wa- For the first time, an entire floor of the The Art Newspaper has reported that the museum will become a 6,000-square-foot “The Ungovernables,” the pithy title given to tercolors is one of the best, and certainly the largest of any public museum in the world. performance space for music, dance, theater, the New Museum’s (NY) 2012 Triennial, held and other events. The changing season of early February-April 22, showcased works by performances, events, and residencies will be more than 50 young artists from around the New Partnership Advocates announced as they are chosen. world. One of the showstoppers, had to be the Creative Economy Continued next page clay colossus named A person loved me by The Arts Foundation of Cape Argentine sculptor Adrián Villar Rojas and his Cod announced a new partnership band of six countrymen and women. Rising to of people, businesses, and organi- the ceiling of its special gallery, the piece was zations, the purpose of which is to fashioned from raw clay that cracks as it dries, share ideas and effect change on giving it the look of antiquity almost immedi- the region’s creative economy. The ately. “It’s an instant ruin,” says Rojas. “It’s the partnership, “CapeCreative,” will gift the material gives us.” The piece will be take the lead from other Massa- demolished after the Triennial, like a ruin from chusetts regional organizaitons by the future, like a wrecked civilization, “I really working toward building a more love the idea of not having a body of work,” he integrated relationship between the says. arts and business sectors. Curator of the show Eungie Joo traveled far Monthly meetings between and wide to choose participants, most of whom cultural, business, and commu- were born between the mid-1970s and mid- nity leaders have resulted in three 1980s. Her goal, and that of the Triennial, was short-term actions: a coordinated to encapsulate the work of young artists world- three-year calendar of program- wide. “It’s a mission that admits its failure ming that provides opportunities before it starts….The generation is too diverse for promotion and collaboration and complex for many kinds of generaliza- among cultural organizations, a tions,” she concluded. But there was a com- regional gift show that highlights monality among them: they all came of age in Cape-made products both on and a time of uncertainty, many in countries rife off the Cape, and state and feredal with political, social, and economic upheaval level advocacy for investment in (the Middle East, Asia, and South America; the creative economy. only three American artists were selected).

Pierre-Auguste Renoir, A Box at the Theater (At the Concert) (detail), 1880. Oil on canvas. In “The Age of Impressionism,” Kimbell Art Museum, TX

 10  news BRIEFS continued German Philanthropist Effects Long-term Loans Following in his father’s footsteps, and those of collector Eli Broad, private collector and billionaire Nicolas Berggruen is lending several works to the Los Angeles County Museum of Art (LACMA) where he is a trustee. “I’m building up a collection for LACMA,” says Berggruen. “focusing on German artists such as Thomas Schütte, Martin Kippenberger, Gerhard Richter, and Joseph Beuys.” Works by West Coast artists Baldessari, Ruscha, Ray, McCarthy, Nauman, and Kelley, all from the Berggruen collection, are also destined for LACMA. “Los Angeles is still a developing cultural center, and that’s why one can make a differ- ence there,” says the son of the late art dealer and philanthropist Heinz Berggruen. In 2000 the father’s massive collection of modern masterworks was sold to Berlin for a fraction of their value. A Tax that is Not a Tax A Boston scheme, Payment in Lieu of Taxes (Pilot), revised this year by a mayor’s task force, is imposed on the city’s not-for- the revised Pilot, they are further stretched. Edgar Payne, Sunset, Canyon de Chelly, 1916. Oil on canvas. profit organizations owning property that is In “Edgar Payne,” Crocker Art Museum, CA worth more than $15 million. These organi- “To say, ‘now we are going to tax them, but zations, the Museum of Fine Arts, Boston we’re not going to call it a tax’ is very disingenu- a major one, are required to pay a fee that is ous,” says Ford Bell, presedent of the American based on 25 % of what they would have to Association of Museums. Peabody Essex pay if they were charged the city’s com- on the Road to the Top mercial tax. This year the city is requesting Alliance Set Between If the goal of $650 million in its fundrais- of the Museum of Fine Arts a pament of France and the US $250,000; the amount will be quadrupled by ing campaign is achieved, the Peabody Essex 2016. Previously the museum paid the city A four-year partnership has been concluded Museum (MA) will claim its place as having one $46,000-$65,000 per year. between the Louvre and three American insti- of the largest endowments in the U.S. The Boston Institute of Contemporary Art tutions: the High Museum of Art (GA), the Dan Monroe, executive director of the museum has been requested to pay $17,000 this year; Crystal Bridges Museum of American Art and president of the Association of Art Museum by 2016 the sum will reach $86,000. (AR), and the Terra Foundation for American Directors, says that the “new model” for museum Since all not-for-profit organizations are Art (IL). Each will contribute to and share four fundraising should appeal to, among others, tax exempt, Pilot payments are technically traveling exhibitions, the first, “New Frontier: families and young people.. Donations to the voluntary. But a refusal to pay might result in Thomas Cole,” opened at the Louvre. Peabody Essex are kept anonymous, thus reliev- bad realtionships with the city government, ing the eternal question of the donor, “Is my gift which the museums especially want to avoid. University of Iowa adequate?” In fact, for many years some 30 charities Appeals FEMA Decision With its campaign closing in on succes, the in Boston have made annual contributions museum plans an expansion designed by UK- The University of Iowa’s museum has based Rick Mather. toward the cost of public services. Now with requested that the Federal Emergency Manage- ment Agency (FEMA) reconsider its decision not to pay for the repair Gardner Loses Coach House of the flood-damage The Isabella Stewart Gardner Museum, that occurred in 2008. preserved in perpetuity by Ms. Gardner’s FEMA’s ruling held ironclad will to leave everything as it was at her that the damage was death, is losing its coach house. But it is gain- not severe enough to ing a copper-clad, four-story, 70,000-square-foot warrant a new building. extension to ease the pressure on the original The university’s appeal building and the collection from the influx of to the decision states 200,000 visitors a year. In addition, large events that the building could and activities had to be curtailed because of not be insured, thus the limited space; now, a 300-seat autitorium, a rendering it useless. 2,000-square-foot exhibion space, a café, conser- The university’s vation labs, and staff offices have been added by collection is presently this Renzo Piano-designed extension. p housed at the Figge Art Museum in Davenport (IA).

Edward Weston, Artichoke Halved, 1930. Gelatin silver print. In “Reconsidering the Photographic Masterpiece,” University of New Mexico Art Museum

 11  notes about an artist: Francesca Woodman

Francesca Woodman’s short life began body and those of young models in a ing her own disappearance. In one of in 1958 in Denver, Colorado, the first variety of spaces, often decaying interi- her first genuine self-portraits, which daughter and second child (she had an ors. In these settings, the body becomes she produced as a boarding school older brother) of two artists, George and evanescent, appearing and disappearing student in the early 1970s, Woodman Betty Woodman. She was schooled in behind objects, pressed into cupboards creeps naked from the forest, eyes Boulder, Colorado from 1963-71 (ex- and cabinets, camouflaged against walls, closed. In another, taken a few years cept for her 2nd-grade year in Italy) and or dissolving into a blur of movement. later, it appears that the roots of a tree started high school at the private Massa- She loved gothic fiction and admired the on a riverbank are seizing her naked chusetts boarding school Abbot Academy, Surrealists. body from the water—or that she is which a year later merged with Phillips Writing for the New York Review transforming into a tree herself, her Academy. The family returned to Boul- of Books in 2011, reporter Elizabeth pale, flowing hair and slender leg as der and Francesca graduated from the Gumport elaborates on the mystery and soft and tentacular as roots. The tree, Boulder High School in 1975, having tragedy of this prodigious artist: “At the whose trunk seems to emit a white, already acquired the skills of an accom- time [of the Wellesley exhibition], much alien light, is in a graveyard.” q plished photographer with a mature and significance was attached to its appar- focused approach to her work. She soon ently autobiographical qualities, which enrolled at the Rhode Island School of continue to intrigue audiences today. Design (RISD), spending a year in Rome. Her death does not simply cast a shadow Completing her degree from RISD in on the images, but suffuses them with a 1978, she moved to New York, immersed strange, spectral light, in which everyone herself in several large-scale personal looks like Woodman—photographs of projects, and experimented with fashion models are frequently mistaken for self- photography in the attempt to earn a liv- portraits—and facts resembe forsight. ing. But her attempts to succeed in the The artist seems always to be anticipat- Francesca Woodman, Polka Dots, 1976. Gelatin silver print. commercial world failed, and she spent In “Francesca Woodman,” Guggenheim Museum, NY the next summer (1980) as artist-in-residence at the MacDowell Colony in Peterborough, New Hampshire. Later that year, difficulty with work and a broken relationship brought on a depression that resulted in an abortive attempt at suicide, after which whe received psychiatric treatment and moved in with her parents in Manhattan. Early that winter, she published a small book called Some Disordered Interior Geometries. Following that suc- cess, she was denied a grant, her bicycle was stolen, and the broken relationship continued downhill. To make things worse, she may have stopped taking prescribed medication. In January of 1981, she succeeded in what she had failed less than a year before: she jumped from a loft window on the East side of New York. Unknown during her lifetime, Woodson’s work was first intro- duced to the public at a Wellesley Col- lege exhibition that opened in 1986. Her favorite subject was self-portraiture. Using a square-format camera, she photographed her

 12  spring VIEWS Alabama Irvine Museum q “Inner Visions: Women Judy Chicago: 1970-2010” (May 13) Diverse Birmingham Museum of Art q “The Look Artists of California” (June 7) Works by wom- works culled from large projects (“The Din- of Love: Eye Miniatures from the Skier Col- en working in three major periods: the Tonalist ner Party,” “Birth Project,” and many others) lection” (June 10) Rare small scale portraits style of the late 1800s, the Impressionist period survey a distinguished career; “Fishing Lines: of individual eyes set into various forms of of the early 1900s, and the Regionalist style of Etching and Engraving from the Gary Wid- jewelry (late 18th, early 19th centuries) as a the 1930s and 40s. man Collection” From Rembrandt to William keepsake for a secret lover, or a departed one, Wegman, works inspired by fish and fishing. only recognizable by persons intimately famil- Laguna Art Museum, Laguna Beach q q “Gong Yuebin: Site 2801” (Apr. 29) 200 ter- iar with the subject. “Victor Hugo Zayas: Mi Obra” (Apr. 29) racotta warriors, like those commissioned by Sculpture series made from destroyed guns China’s first emperor, displayed rank by rank Tennessee Valley Museum of Art, Tuscumbia, from the Los Angeles Police Department alongside modern combat troops and nuclear AL q “The Sanctuary Artists: The Art of (LAPD) Gun Buyback Program (a program missiles: Has civilization progressed in these Nature” (May 11) Works by a group of north that encourages individuals to surrender their thousands of years? asks the artist. Alabama artists inspired by the Holdsmith- firearms with no questions asked), paintings, Schiffman Wildlife Sanctuary in Huntsville. and metal sculptures. San Jose Museum of Quilts & Textiles q q “William Christenberry” (May 20-July 6) “Quilt National 11” (Apr. 29) Contemporary Native Alabama photographer, painter, and Monterey Museum of Art q “California art quilts’ first and only appearance on the west sculptor documents the state’s Black Belt. q Impressionism: Selections from the Irvine coast; although bound by the tradition of three- “Helen Keller Art Show of Alabama” (June Museum” (May 27) Paintings and watercol- layer construction, new materials, techniques, 1-30) Juried competition of visually impaired ors by California’s best depicting the diverse and technologies expand the boundaries of the children’s artworks. q “Alabama in the Mak- landscapes that inspired them. time-honored art. q “Mark Adams” (July 29) ing: Traditional Arts of People and Places” Pictorial tapestries produced during a long (June 3-July 13) From the Alabama Folklife and productive career launched after study Association, folk and traditional arts unique with Hans Hoffman and at the Ecole Natio- to Alabama’s five cultural regions. nale d’Art Decoratif in Aubusson, France.

Arizona Cantor Center for Visual Art, Stanford Uni- Museum of Northern Arizona, Flagstaff versity, Stanford q “Memory and Markets: q “Shadows on the Mesa—Artists of the Pueblo Painting in the Early 20th Century” Painted Desert and Beyond” (May 28) Works (May 27) Works that developed out of the by artists who gathered at a remote ranch formation of the Studio at the Santa Fe Indian south of Monument Valley (the Wetherill- School—a new movement of Native Ameri- Colville Guest Ranch) in the early 1900s in can painting. q “Light Works” (July 8) Two the belief that the land and people of the area large pieces, one by Flavin and the other by had influenced their work; the emergence of Irwin, that typify artists’ interest in light and what is now known as Southwestern art. space in the 1960s: Minimalism led the way to the use of light as an impersonal as well Scottsdale Museum of Contemporary Art as engaging medium. q “Marsden Hartley” q “I Myself Have Seen It: Photography and (June 3) Two paintings by the early 20th- Kiki Smith” (May 20) And whatever it is— century American modernist: Elsa (1916) and the human figure, the natural world, portraits, Painting No. 2 (1913), on loan from the Uni- or fairy tales—you too will see it here among versity of Minnesota’s Weisman Art Museum. some 5,000 images and 2 videos. q “economy of means: toward humility in contem- Haggin Museum, Stockton q “Memories porary sculpture” (Apr. 29) The stuff of life of World War II: Photographs from the distilled to create sculptural works. Archives of the Associated Press” (June 24) Images from all theaters of the war and the California home front, ranging from AP photographer Berkeley Art Museum/Pacific Film Ar- Joe Rosenthal’s classic Iwo Jima flag raising chive, University of California, Berkeley q in 1945 to scores of pictures not seen in de- Through May 20: “Andy Warhol: Polaroids / cades. q “Fine Feathered Friends” (June 17) MATRIX 240” Portraits taken by Warhol in Works that document the changing relation- the 1970s and 1980s with his favorite camera, Franz Bischoff, Roses (in a tall glass vase), 1912. Oil on canvas. ships between man and the birds of the San the Polaroid Big Shot; “Tables of Content: Ray In “California Impressionism,” Monterey Museum of Art, CA Joaquin Delta. Johnson and Robert Warner Bob Box Archive / MATRIX 241” Collagist Robert Warner has ar- Saint Mary’s College Museum of Art, Colorado ranged the contents of thirteen boxes given to Moraga q “Master Artist Tribute VIII: Richard Aspen Art Museum q “Mark Grotjahn” (Apr. him by reclusive artist Ray Johnson (the “Bob McLean” (June 17) Part of a series, begun in 29) Survey of paintings and drawings (1990s Boxes”) on tables and on the gallery walls, 1990, that showcases artists whose significance to present) that combine the figurative with revealing Johnson’s stream-of-consciousness as teachers of art is as profound as their bodies the abstract to create conceptual works that flow through the matter and memory of of work. unsettle the conventions of both mediums. q everyday life. q “Abstract Expressionisms: Through July 15: “The Residue of Memory” Paintings and Drawings from the Collection” Oakland Asian Cultural Center q “Nancy Works that examine the diverse ways events (June 10) Rothko, de Kooning, Hans Hof- Hom: A Woman’s Perspective” (April 29) can leave their mark and how objects can mann, Baziotes, Philip Guston, and others. q Retrospective: silkscreens of women, mothers, become points of contact with the past; “Si- Through June 17: “The Reading Room” Read and children to celebrate women of color; also to mon Denny: Media in the Age of Relentless and borrow books of poetry and fiction and be seen is a display of the silkscreen process. Cultural Overproduction” Through photo- see artwork made collaboratively by artists graphs, sculpture, video, and printed matter, and poets; “State of Mind: New California Art Crocker Art Museum, Sacramento q “Edgar the artist reflects on the evolution of television circa 1970” Conceptual art from up and down Payne: The Scenic Journey” (May 6) Works and video. the coast. q “Sun Works” (May 6) The sun’s that reflect many years of traveling the world power to illuminate, yet also to scar, revealed in search of dramatic settings for plein-air CU Art Museum, University of Colorado, on canvas. paintings. q Through May 13: “Surveying Boulder q “Keeping it Real: Korean Artists in

 13  spring VIEWS continued the Age of Multi-Media Representation” (May of Colombia’s war. q “Michael Genovese: P.S. examples of the many stages of the printmak- 12) New art forms pioneered by emerging / P.P.S.” (May 9) The museum’s first Artist- ing process. Korean artists working in Seoul, New York, in-Residency/Open Studio program addresses and Europe. q “The Anxiety of Influence: the process of art making in today’s informa- Illinois Selections from the CU Art Museum’s Ceram- tion filled landscape: students are invited to Chicago Cultural Center q “Morbid Curios- ics Collection” (June 25) Modern and con- carve their thoughts on blank surfaces placed ity: The Richard Harris Collection” (July 8) temporary pieces, and selected historic works in social spaces throughout the university’s Eclectic collection of works (fine art, artifacts, interpret the role of “influence” on the history campuses; their reflections capture the essence installations, and decorative objects) that ex- and tradition of ceramics. of the individual, community, and university as plore the iconography of death from 2000 B.C. a whole. to the present; major components are the “War Museum of Outdoor Arts, Englewood q Room” showing atrocities of war from the 17th Through July 21: “Sky on a String” The kites Vero Beach Museum of Art q “Beyond century to the present, and the “Kunstkammer of George Peters and Melanie Walker; “Hiding Reality: Hyperrealism & American Culture” of Death,” a modern day cabinet of curiosities, in Plain Site” Installation. (May 13) Works associated with the concept of that surveys diverse cultures and traditions photorealism, and ultra-illusionistic paintings Connecticut and sculpture. q “Woozy Blossom: Mat- Krannert Art Museum, University of Illinois, Bruce Museum, Greenwich q “Greenwich thew Geller” (Apr. 29) A 16-foot perforated Urbana-Champaign q Through Apr, 29: “Fifty Lost and Preserved” (May 27) The story of steel tree that produces a continuous fog that Years: Contemporary American Glass from a town’s past and its historic buildings told changes with the weather. q Through June 3: Illinois Collections” This sampling empha- through contemporary and vintage photo- “Cycle of Change: Tom Nakashima Treepile sizes the latter half of the 50-year history of graphs, artifacts, and paintings. Paintings” Piles of dead branches against the the American Studio Glass Movement; “After ground or sky become monumental composi- Abstract Expressionism” During the late 1950s Florida tions; “Lightpaintings: Stephen Knapp” Gal- through 80s, assemblage and Pop artists turn to Boca Raton Museum of Art q “Portraits lery space is transformed with glowing colors; culture: instead of exploring their individuali- from the Permanent Collection” (May 13) the walls seem to disappear. ty, they renewed a relationship between art and Paintings, drawings, prints, and photographs of everyday life by incorporating popular culture artists, celebrities, politicians, and just regular Georgia through the use of found objects and images people, worldwide. q “Will Barnet at 100: Georgia Museum of Art, University of from popular media. q “Jerusalem Saved! Eight Decades of Painting and Printmaking” Georgia, Athens q “Pattern and Palette in Inness and the Spiritual Landscape” (May 13) (June 3) An evolution revealed—from social Print: Gentry Magazine and a New Generation The story of rediscovery, conservation, and realism in the 1930s to Cubism in the 40s to of Trendsetters” (June 17) Pages and covers reconstruction of Inness’ painting The New geometric abstraction in the 50s to figurative from the 1950s men’s lifestyle magazine plus Jerusalem, which was damaged due to a realism since the 60s. design students’ reactions to the imagery and collapsing roof in 1880. The artist recovered themes in the magazine. q “A Divine Light: pieces from the rubble and cut them into sepa- Hand Art Center, Stetson University, DeLand Northern Renaissance Paintings from the Bob rate paintings that now belong to different mu- q “Concentrated Color: Watercolors by Oscar Jones University Museum & Gallery” (July seums. This exhibition brings them together, Bluemner from the Vera Bluemner Kouba Col- 29) These artists, with their use of oil rather thus recomposing the original work. lection” (May 2) than egg yolk as a paint binder, expressed the mysteries of the Christian faith through Kansas Frost Art Museum, Florida International painstakingly accurate depictions of settings, Wichita Art Museum q “The Tides of University, Miami q “The War We Have Not poses, gestures, and everyday objects. q “Polly Provincetown” (Apr. 29) Artists who called Seen by Juan Manuel Echavarria” (July 1) Knipp Hill: Marking a Life through Etching” Provincetown home and who drew inspira- Paintings created by men and women who (June 3) Retrospective of prints and selected tion from the growing art community: Rothko, spent years painting their personal experiences ephemera that include vintage photographs and Pollock, Warhol, Hopper, and many more. q “The Harmon and Harriet Kelley Collection of African American Art” (May 13) Leading artists of the 19th century. Kentucky Speed Art Museum, Louisville q “Renoir to Chagall: Paris and the Allure of Color” (May 6) The great French Impressionists and Post Impressionists: Degas, Monet, Renoir, Pissar- ro, Sisley, Cassatt, Matisse, Cézanne, Gauguin, Toulouse-Lautrec, Braque, and Chagall. q “City Streets” (May 20) The rise of “street” and “social landscape” during the post-war era in America when photographers took to the streets in search of contrasts, metaphors, and unplanned dramatic scenarios.

Kentucky Folk Art Center, Morehead q “Outside in Ohio: A Century of Unexpected Genius” (June 2-July 15) This large display of outsider art has traveled from Ohio’s Southern Ohio Museum to delight and surprise Ken- tucky museum goers. Louisiana Newcomb Art Gallery, Tulane University, New Orleans q “Patricia Cronin: All is Not Lost” (June 30) Two major series of work:

Richard McLean, Sheba, 1978. Oil on canvas. In “Richard McLean,” Saint Mary’s College Museum of Art, CA  14  spring VIEWS continued Memorial to a Marriage, and Harriet Hosmer: canvas. q “Charline von Heyl” (July 15) First of New England: Charles (the father), Emile Lost and Found. U.S. museum survey of works that eschew (the son), Virginia (the daughter), Robert (the abstraction of objects or figures, but present grandson). Maine new images that confuse foreground and back- Portland Museum of Art q “Tanja Alexia ground, that contradict and reverse. q “Alex DeCordova Sculpture Park and Museum, Hollander: Are You Really My Friend?” (June Katz Prints” (July 29) Portraits of family mem- Lincoln q “Capturing Resonance” (July 29) 17) Photographs of the artist’s Facebook bers, many of his wife and muse Ada; figures Multi-sensory installation that utilizes light “friends” that she took during a tour around the from the worlds of art and culture; landscapes and sound to create an ever-changing sculp- world; the disconnect between the real world of Maine; portfolios; illustrated books of tural soundscape. and cyberspace. q “Edgar Degas: The Private poetry; and the series of portraits titled Rush, Impressionist” (May 28) Works on paper and 37 painted aluminum silhouetted heads from Provincetown Art Association and Museum sculptures by Degas; other works on paper by the 1970s, which are hung side-by-side at eye q Recent Gifts” (Apr. 29) Primarily local and artists of his circle: Cassatt, Cézanne, Ingres, level like a continuous frieze. regional art by artists working in Provincetown Toulouse-Lautrec, and elsewhere on Cape Cod. q and others. q “Through Time and Place: Rachel “From Portland Ellis Kaufman and Heather Blume” to Paris: Mildred (May 13) Works by a mother and Burrage’s Years daughter, motivated by the natural in France” (July beauty of Cape Cod, include sculp- 15) Portland-born ture, oil painting, and woodblock artist whose 1900s prints. sojourn at Giverny as a young artist Sandwich Glass Museum q was fundamental “Pressing Business—The Glass to her long career. Industry in South Boston” (July 15) The yield of some 25, once busy Maryland glassmaking firms and their history; Walters Art Mu- “Ebon Horton” (July 29) One of a seum, Baltimore kind individual pieces as well as q Through May architectural installations and his- 20: “Exploring torical reproductions. Art of the Ancient Americas: The Mount Holyoke College Mu- John Bourne Col- seum of Art, South Hadley q lection Gift” Pre- “Reconstructing Antiquity” (June 3) Columbian works Thematic groupings of objects from from Mexico to ancient Greece and Rome explore Peru, organized the daily life of the ancient world.

thematically by Julie Mehretu, Entropia, 2004. Lithograph and screenprint. culture, present more than 2,500 years of In “Excavations,” Loeb Art Center, NY Davis Museum, Wellesley College, Wellesley creativity from 1200 B.C. to 1520 A.D.; “Near q “Radcliffe Bailey: Memory as Medicine” Paris: The Watercolors of Léon Bonvin” Flow- McMullen Museum of Art, Boston College, (May 6) Highlights of an endless experimen- ers, landscapes, and moonlit scenes contributed Chestnut Hill q “Rural Ireland: The Inside tation with diverse forms that possess the to the realist movement in mid-19th century Story” (June 3) Recently discovered genre influence of African art: sculpture, paintings, France; “Views of 18th-Century Istanbul” paintings of 19th-century rural interiors that works on paper, and modified found objects. (May 20) Images of the cosmopolitan capital depict how Irish country people worshipped, q Through June 3: “Jenny Schmid and Ali of the Ottoman Empire situated at the cross- mourned, conducted business, arranged their Momeni: The Department of Smoke and roads of Europe and Asia, where a wealthy homes, and educated and entertained them- Mirrors” Sculptural diorama of miniature elite created a market for artistic production. selves. architectural facades with mapped projections q “New Eyes on America: The Genius of and surrounded by self-reflective panoramic Richard Caton Woodville” (June 2) American Fuller Craft Museum, Brockton q “Mens et video projections—a comment on the effects genre paintings representing the American way Manus: Folded Paper of MIT” (Apr. 29) The of contemporary media on political discourse of life by a native Bostonian, all executed in output of a group of MIT students, alumni, and action; “With a French Accent: French and Europe, were widely reproduced during his and faculty who transform paper into complex American Lithography Before 1860” French short lifetime ( 1825-55). abstract and representational sculptures. q and American prints explore the Michael Cooper: A Sculptural Odyssey, 1968- French roots of American Washington County Museum of Fine Arts, 2011” (May 13) Works that depict common- lithography; “At Home and Hagerstown q “Cumberland Valley Photo- place objects—transformed. q “Dan Dailey: Abroad: Anne Whitney in graphic Salon” (Apr. 29) Winners of a juried Working Method” (June 3) Studio glass, as Rome” An American artist competition featuring work by amateurs and well as videos, sketches, and models in Rome in the late 19th- professionals throughout the region. q “Valley that illustrate the artist’s process. century. of the Shadow” (July 28) Commemorating the 150th anniversary of the American Civil War: Cahoon Museum of American Art, original works of art, artifacts and archival Cotuit q “Portraying African Ameri- materials, detailing the story of Washington cans with Respect: Thomas Waterman County and the Battle of Antietam. Wood, William Sidney Mount, and George Caleb Bingham” (June 9) Massachusetts Paintings and prints made shortly Institute of Contemporary Art, Boston q after the Civil War showing every- “Figuring Color: Kathy Butterly, Feliz Gon- day life in the African American zalez-Torres, Roy McMakin, Sue Williams” community. q “A Family of Kathy Butterly, More Plenty, (May 20) The use of color and form to convey Artists: Gruppé Family” (Apr. 2006. Clay and glaze. In “Figuring Color,” Institute ideas about the body in furniture, ceramics, 29) Contributors to the art of Contemporary Art installations of candy and plastic beads, and on Boston, MA  15  spring VIEWS continued Animals, and Ruins: Works by Boyd Brent” New York (May 23) Brooklyn Museum q “Question Bridge: Black Males” (June 3) Video installation: Montana the creators and collaborators created video Missoula Art Museum q “James Lavadour: exchanges with black men living in 12 Ameri- Horse Stories” (May 25) First exhibition for can cities and towns across the country, the this self-taught native American artist who subjects serving as both interviewers and inter- lives and works on the Umatilla Indian Reser- viewees whose words, woven together, form vation. a stream-of-consciousness dialogue about important issues—family, love, interracial New Jersey relationships, community, education, violence, Morris Museum, Morristown, Morristown q and the past, present, and future of Black “Harmony in Clay: The Elegance and Refine- men in America. Multiple screens create the ment of Song Ceramics” (June 24) Chinese impression that the men are having a conversa- ceramics, including stoneware and porcelain tion. q “Keith Haring: 1978–1982” (July 8) made during the Song dynasty, prized for First large-scale showing of his early career elegant shapes, unique glazes, and inventive and the development of his visual vocabulary. decoration. q “Raw/Cooked: Heather Hart” (June 24) The fourth exhibition in the “Raw/Cooked” series Zimmerli Art Museum, Rutgers University, presents a large-scale structure, The Eastern New Brunswick q “Rachel Perry Welty 24/7” Oracle, described as “an independent rooftop, (July 8) Conceptual works that utilize draw- removed from its house, and dropped from ing, sculpture, collage, installation, video, the sky to live its own life in a new context.” photography, and performance using iPhones, q “Aesthetic Ambitions: Edward Lycett and Facebook, and Twitter, or combinations of the Brooklyn’s Faience Manufacturing Company” above to describe everyday living in the 21st (May 2-June 16) Eclectic pieces, made by Erik and Martin Demaine, Green Waterfall, 2011. century. q “In the Search of an Absolute: Art Lycett in the company of which he became In “Mens et Manus,” Fuller Craft Museum, MA of Valery Yurlov” (June 3) One of the earliest creative director, synthesize Japanese, Chinese, examples of geometric analytical abstraction and Islamic influences characteristic of the Michigan among Soviet nonconformist artists. q “Pop- Aesthetic movement. q “Body Parts: Ancient University of Michigan Museum of Art, Ann corn & Starbaby: Children’s Book Illustrations Egyptian Fragments and Amulets” (June 30) Arbor q “Fluxus and the Essential Questions by Frank Asch” (June 24) q “Aspects of Archi- Fragments of sculptures and objects of body of Life” (May 20) The art of anti-art; questions tecture: The Prints of John Taylor Arms” (July parts in canonical Egyptian sculpture. rather than answers; everyday, everything as 31) Some of Europe’s major churches in highly art. q “Haroon Mirza” (July 22) Works that detailed etchings by a former architect. Bronx Museum of the Arts q “Juan link optical and auditory in a hybrid of sculp- Downey: The Invisible Architect” (May 20) ture and sound composition. q Robert Wilson: New Mexico Selection of key works by this Chilean-born Video 50” (Apr. 29) Fifty 30-second surreal University of New Mexico Art Museum, video artist, significant in the New York arts “episodes” with no linear narrative, unrelated Albuquerque q “Reconsidering the Photo- scene of the 1970s and 80s. characters telling micro stories at a mesmer- graphic Masterpiece” (July 31) The history izing slow pace. of photography from 1843 to 2011: artists’ Johnson Museum of Art, Cornell University, signature images. q “Hiroshi Sugimoto” (May Ithaca q “Age of Discontent: German Ex- Flint Institute of Arts q “Karsten Creightney: 27) Overview of 5 photographic projects that pressionist Works from a Private Collection” Works on Paper” (Apr. 29) emphasize time, light, space, movement, and (July 29) Powerful images that describe the form—reality. aftereffects of WWI. q “Constructing the In- Kalamazoo Institute of Arts q “Medieval tangible” (July 22) An exploration of the new English Alabaster Sculpture from the Victoria concepts of space in visual culture and fine art and Albert Museum” (May 13) Panels and as inspired by some of the new buildings on free-standing figures that were displayed in campus. q “When Ithaca Went by Train: The Christian homes, chapels, and churches in the Lehigh Valley Remembered” (May 15th and 16th centuries. q “Birds in Art” (May 19-July 1) Artworks 26-July 28) Juried exhibition that sets the standard for avian art.

Fredericks Sculpture Museum, Saginaw State University, University Center q “Tom Phardel and Sharon Que, A Three Dimen- sional Perspective” (May 26) Michigan artists strut their stuff—in glass and patinated steel (Pharde) and mathematical models (Que). Minnesota Goldstein Museum of Design, University of Minnesota, Saint Paul q “Character & Cos- tume: A Jack Edwards Retrospective” (May 20) Costume sketches, photographs, press clip- pings, playbills, reviews, and actual costumes designed by this theater/opera/stage costume designer. q “Leonard Parker: An Architect’s Architect” (May 6) q “Tale Pieces: Water,

John Chamberlain, Glossalia Adagio, 1984. Painted and chromium-plated steel. In “John Chamberlain,” Guggenheim Museum, NY  16  spring VIEWS continued and memorabilia examine the importance of zanne, Degas, Gauguin, the train to students in the early 20th century, Toulouse-Lautrec, some of them celebrating their 60th reunion. Manet, and Renoir; other members of the fam- Guggenheim Museum, New York City q ily focused on Matisse “John Chamberlain: Choices” (May 13) Works and Picasso (Gerturde’s from the artist’s earliest monochromatic weld- special friends), Bonnard, ed iron-rod sculptures to the large-scale foil Denis, Gris, Lipchitz, creations of recent years. q “Francesca Wood- and many others. q man” (June 13) Photographs, artist books, and “Byzantium and Islam: recently discovered short videos: a historical Age of Transition” (July look at Woodman’s brief career (she died in 8) The art and culture 1981 at age 22). q “Being Singular Plural” of the Eastern Mediter- (June 6) Film, video, and interactive sound- ranean—the southern based installations by seven media artists and provinces of the Byantine filmmakers working in India today. Empire—at the start of Aelbert Cuyp, Windmill by a River, with a Jetty in the the 7th century until the end of that century is Foreground. Chalk. In “Rembrandt’s World,” Morgan Library and Museum, NY Grey Art Gallery, New York University, New seen transitioning from its role as part of the York City q Through July 14: “Storied Past: Byzantine state to its evolving position in the consumerism, the media, and advertising.” q Four Centuries of French Drawings from developing Islamic world. “Cindy Sherman” (June 11) A retrospective that the Blanton Museum of Art” 16th- through explores the dominant themes throughout the 19th-century biblical, historical, mythological Morgan Library and Museum, New York artist’s career: artifice and fiction; cinema and narratives, and contemporary characters by the City q “Rembrandt’s World: Dutch Draw- performance; horror and the grotesque; myth, likes of Callot, Boucher, Théodore Rousseau, ings from the Clement C. Moore Collection” carnival, and fairy tale; and gender and class Forain, and Steinlen; “French Art from NYU’s (Apr. 29) Drawings by many of the preeminent identity. Also included are recent photographic Collection” An accompaniment to the “Storied artists of the Dutch Golden Age: Rembrandt, murals (2010), which will have their American Past”: works on paper by French artists that Bol, van den Eeckhout, Bloemaert, Cuyp, premiere at MoMA. q “Foreclosed: Rehousing span the 19th and 20th centuries. van Goyen, and others, all working primarily the American Dream” (July 30) New archi- in Holland on quintessential Dutch subjects tectural possibilities for American cities and International Center of Photography, New such as landscapes, marine views, pastoral suburbs in the context of the recent foreclosure York City q Through May 6: “Perspectives and genre scenes, still life, and portraiture. q crisis: five teams were selected to develop pro- 2012” Part of a series that focuses on emerg- “Dan Flavin: Drawing” (July 1) Retrospective posals for five suburban sites across the country. ing young artists working in photography showing the alternative skills of this fluores- q “Diego Rivera: Murals for the Museum of and video; “Magnum Contact Sheets” How cent lighting artist: early abstract expression- Modern Art” (May 14) “Portable murals”— Magnum photographers captured and edited ist watercolors, studies for light installations, freestanding frescoes commemorating events their best shots from the 1930s to the present: portraits, landscape sketches, and pastels of in Mexican history—made by Rivera at MoMA an epitaph to the contact sheet, now rendered sailboats. Also featured are drawings from during the 1930s shown together with smaller obsolete by digital photography; “The Loving Flavin’s personal collection including Hud- working drawings, watercolors, and prints Story: Photographs by Grey Villet” The story son River School artists, Japanese drawings, as well as the design drawing for his famous of the mixed marriage of Richard Perry Loving and 20th-century works. q “The Company Rockefeller Center mural. q “Projects 97: Mark (white) to Mildred Loving (African and Native of Animals: Art, Literature, and Music at the Boulos” (July 16) Video installation All That is American), arrested for miscegenation and Morgan” (May 20) Animals as inspiration for Solid Melts into Air (2008) Two communities at after a long legal battle over their marriage, art, writing, and music: works by Audubon, opposite ends of the world, each struggling to history was made when the Supreme Court William Blake, Dürer, T.S. Eliot, Hockney, control petroleum—floor brokers in the Chicago ruled raced-based marriage bans unconstitu- Ted Hughes, Orwell, Prokofiev, Rubens, E.B. Mercantile Exchange vs Nigerian fishermen tional. Life magazine published photographer White, and Virginia Woolf. who live in one of the largest oil fields in the Villet’s intimate images. world and the battle between a guerilla group Museum of Modern Art, New York City q fighting the exploitation of the natural environ- Jewish Museum, New York City q “Kehinde “James Rosenquist: F-111” (July 30) First ment and the government which benefits from Wiley/The World Stage: Israel” (July 29) exhibited in 1965 at the Leo Castelli Gal- the proceeds from oil. Large-scale portraits of Israeli youths from lery in New York, an 84-foot-long, 23 panel diverse ethnic and religious affiliations, all mural-scale painting, the subject of which is New-York Historical Society, New York City embedded in backgrounds influenced by Jew- the F-111 fighter bomber plane “flying through q “Beauties of the Gilded Age: Peter Marié’s ish ritual art. the flak of consumer society to question the Miniatures of Society Women” (July 8) Wa- collusion between the Vietnam death machine, tercolor on ivory, commissioned and collected Metropolitan Museum of Art, New York between 1889 and 1903, these are the cream City q “Rembrandt and Degas: Portrait of the of New York’s Gilded Age aristocracy, includ- Artist as a Young Man” (May 20) Self-portraits ing the well known such as Maude Adams and made by Rembrandt van Rijn and Edgar Emily Post. Degas at the start of their careers: seen side by side for the first time, they highlight the Ukrainian Museum, New York City q Dutch master’s guiding influence on the young “Borys Kosarev: Modernist Kharkiv, 1915- French Impressionist. q “The Steins Collect: 1931” (May 2) Works on paper by this graphic Matisse, Picasso, and the Parisian Avant- artist, painter, designer, photographer, book Garde” (June 3) A gathering together of works illustrator, contributor to the Eastern European collected by Gertrude Stein, her brothers Leo Modernist movement, and survivor of Stalin’s and Michael, and Michael’s wife Sarah, all intellectual purges of the 1930s in Ukraine. patrons of modern art in Paris during the early decades of the 20th century: Leo Stein’s early Hudson Valley Center for Contemporary collecting included paintings and prints by Cé- Art, Peekskill q “CIRCA 1986” (July 31) Artworks made in the prosperous decade Nancy Hom, Mother with Sleeping Child,1985. Silkscreen. between 1981 and 1991 when the art market, In “Nancy Hom,” Oakland Asian Cultural Center, CA

 17  spring VIEWS continued seen from the perspective of six New York this American Surrealist during the first de- collectors, collapsed. cade of a long career; “Gordon Onslow Ford: Voyager and Visionary” First retrospective in Loeb Art Center, Vassar College, Pough- 30 years of the British-American Surrealist. q keepsie q “Excavations: The Prints of Julie “Fairytales, Fantasy, & Fear” (July 8) Five art- Mehretu” (June 17) Retrospective: although ist go their special ways: sculptor works in tar best known for large-scale abstract paintings, to express lost innocence (eg. Little Red Riding this exhibit shows the evolution of the artist’s Hood); fiber artist makes hand-knit heroes’ personal language of lines and marks since costumes; paper artist makes cutouts of insects 2000. q “Mapping Gothic France” (May 20) and skeletons; furniture designer creates spiky The key Gothic buildings of the 12th and 13th shapes that evoke the natural world; ceramic centuries documented in images, texts, and artist produces Neo-Baroque forms. historical maps by a professor and his students. Green Hill Center for NC Art, Greensboro Nassau County Museum of Art, Roslyn Har- q “Roy Nydorf: Four Decades” (June 10) bor q Through July 8: “Rashaad Newsome: Mid-career retrospective presenting works in Collages & Sculpture” Detailed collages, several mediums that are informed by the art- each mounted in an elaborately carved frame ist’s humanist approach to his subjects and a carved gate installation; “Sculpture/ JimDine/Pinnocchio” Themes include: “Heart Gregg Museum of Art and Design, North and Venus” works, Gardening and Carpentry Carolina State University, Raleigh q “Textiles Tool imagery, and recent Pinocchio sculptures, of Exile” (May 12) In addition to expound- with several works installed in the sculpture ing on the role of textile making in helping park and nature preserve; “Facebook Format- to overcome the difficulties of exile, banish- ted (and other works)” Paintings, prints, and ment, persecution, loss of home and place, collages on view in the museum and uploaded this exhibition shows how clothing serves to to Facebook. protect, shelter, shield, and modify the human body as well as how what we wear helps us to Southern Ohio Museum, Portsmouth q “Outside in Ohio: A Century of Unexpected Parrish Art Museum, Southampton q “EST- lure, seduce, dominate, segregate, or manipulate, Genius” (May 19) An assemblage of outsider 3: Southern California in New York—Los discover spirituality and self awareness, proclaim artists’ work detailing their eclectic diversity Angeles Art from the Beth Rudin DeWoody individuality or group membership. of form, color, material, independent thought, Collection” (June 17) “EST-3,” or “Eastern and design originality. Standard Time minus three,” is a survey of art Ohio made in Southern California during a 40-year Contemporary Art Center, Cincinnati q period of exponential development. The show “Dasha Shishkin” (May 31) Drawings, prints, Oregon Museum of Contemporary Craft, Portland and its title refer to “Pacific Standard Time: Art q “Generations: Betty Feves” (July 29) in L.A. 1945-1980,” the Getty-initiated series Retrospective of work by this Northwest of exhibitions across the region. modernist ceramic artist. Staten Island Museum q “Constructions of Conscience: the Social Art of Susan Gra- Pennsylvania Lehigh University Art Galleries, Bethlehem q Through May 25: “Girls on Film: 40 Years of Women in Rock, Photography by Anasta- sia Pantsios” A visual record of the changing times for women in rock music from 1969 through the 80s and beyond; “Patti Smith, 1969-1976: Photographs by Judy Linn” Im- ages of Smith as a vulnerable poet, and later as an icon of her time; “William O’Brien Jr. To- tems: Silhouettes and Iconographic Pluralism” Proto-architectural models; “Mario del Curto: Aux Large des Yeux/With Wide Eyes” Photo- graphs of outsider artists and their creations

Berman Museum of Art, Ursinus College, Collegeville q “Picture Making: Recent Ac- bel” (May 28) A survey of 40 years of work quisitions in Photography” (June 1) Works by in sculpture and prints that address social, Evans, Steiglitz, Germann, Salomon, Bourke- cultural, and political issues. q “Staten Island, White, Strand, Steichen, and others. Remember When? Paintings by Fred Sklenar” (June 30) The old times, in watercolor. and paintings of fantasy worlds that take utopian Michener Art Museum, Doylestown q “Ma- communist aspirations to extreme: patterning vis Smith: Hidden Realities” (May 20) Paint- North Carolina and mark-making straddle the narrative and the ings by a multi-faceted artist—part storyteller, Mint Museum, Charlotte q At the Mint Mu- abstract. part portraitist, and part stage director—who seum Uptown: “Jun Kaneko: In the Round” constructs images that can be likened to single (Apr. 29) Sculptural ceramics representative Oklahoma frames of a movie. q “Have Gags Will Travel: of the contemporary ceramics movement. q Fred Jones Jr. Museum of Art, Norman q The Life and Times of a New York Cartoon- Through May 13: “Double Solitaire: The Sur- “Highlights from the Permanent Collection of ist” (July 1) Gags by, a woman artist (Sylvia real Worlds of Kay Sage and Yves Tanguy” An Photography, Part 1” (Apr. 29) A survey of the history of photography from the 19th century Left: Sylvia Getsler, Gags. Pen and ink. In “Have Gags Will exploration of the exchange of ideas that in- Travel,” Michener Art Museum, PA formed the work of two Surrealists in France; through the present: Nadar and Muybridge, Palma, Xie Hailong, and Levinthal. Top right : Angeles Segura, Prisoner in the Land of Liberty, “Seeing the World Within: Charles Seliger in 2011. In “Textiles of Exile,” Gregg Museum of Art & Design, NC the 1940s” Paintings and drawings created by  18  spring VIEWS continued Getsler, d. 2009), a rarity in the cartooning that some think are satirical representations of animals ensnared in strange circumstances— world, whose work was published in the her own local society. the tragedy of nature, and the human contition. Saturday Evening Post, Playboy, True Detec- tive, McCall’s, and Ladies Home Journal; the Tennessee Kimbell Art Museum, Fort Worth q “The focus here is on gags with kids—their wit and Knoxville Museum of Art q “Several Si- Age of Impressionism: Great French Paintings their innocence. lences” (May 20) Installations, videos, sculp- from the Clark” (June 17) Familiar masterpiec- tures, and drawings on the theme of silence by es from the era, among them works by Renoir, Westmoreland Museum of American Art, a diverse selection of contemporary artists from Monet, Degas, Manet, Pissarro, Gauguin, Greensburg q “The Westmoreland Juried around the world. Toulouse-Lautrec, and Bonnard. Biennial” (July 22) Regional artists. Frist Center for the Visual Arts, Nashville q Ellen Noël Art Museum, Odessa q Through Contemporary Craft, Pittsburgh q “Trans- Through May 6: “To See As Artists See: Ameri- June 10: “A Visual Feast: Narrative Stitch- formation 8: Contemporary Works in Small can Art from the Phillips Collection” The best ing by Cindy Hickok” Images of art history; Metals” (June 30) A biennial show recogniz- we have, from late 19th through the 20th cen- “People’s Choice: From the Vault of the Ellen ing excellence in contemporary craft; this tury: Inness, Homer, Hopper, Prendergast—the Noël Art Museum Collection” Works chosen year features 33 metalsmiths. list is long, and all inclusive; “Answers to Ques- by local individuals from the museum vault.

Mattress Factory, Pittsburgh q “Factory Installed” (May 31) Site- specific works created by six artists chosen from a pool of some 600 to work in residence in September and October.

Palmer Museum of Art, Pennsylvania State Uni- versity, University Park q Through May 13: “Paint- ing the People: Images of American Life from the Maimon Collection” An array of Depression-era figurative paintings, rich in depictions of modern modes of transportation and circus themes: Benton, Bishop, Evergood, Rock- well Kent, Marsh, Shahn, and others; “Hogarth Restored” Hogarth’s entire Walter Stevens, Untitled, 1957. Watercolor on paper. oeuvre re-engraved because of the deteriora- tions: John Wood and Paul Harrison” Videos by In “Liquid Light,” Knoxville Museum of Art, TN tion of the originals, by printmaker Thomas these British collaborators who blend “elegant Cook. q “Me, Myself, and the Mirror: conceptualism” with slapstick humor to create McNay Art Museum, San Antonio q Through Self-Portraits from the Permanent Collec- mise-en-scènes in which they use their own May 29: “Texas Watercolors in the McNay tion” (May 27) Kollwitz, Close, Steichen, bodies to explore basic physics and gravity. q Collection” Landscapes, portraits, and still lifes Spruance, Albright, Gooker, Witkin, to name “Fairy Tales, Monsters, and the Genetic Imagi- by the Watercolor Gang, a group of San An- a few. nation” (May 29) Works that utilize invented tonio artists whose works are local favorites; creatures and imaginary worlds inspired by “San Antonio Draws: A Survey of Contempo- South Carolina Aesop’s Fables, Frankenstein, science fiction, rary Drawing” What the local artists are up to. Greenville County Museum of Art q “Hel- and actual scientific genetic experiments. q Through May 8: “New Image Sculpture” en DuPré Moseley” (May 27) A self-taught Everyday objects crafted out of Styrofoam, painter portrays fantastical characters Texas cardboard, duct tape, and other store supplies; Dallas Contemporary q “Dallas Biennale” “ARTMATTERS: Sandy Skoglund: The Cock- (Aug. 19) A new forum for tail Party” Recreation of a typical party with international contemporary art Cheez Doodles as the surface medium. commissioned for this exhibition, which takes place in various Utah locations in the city center and Salt Lake City Art Center q “Question design district: at Neiman Marcus Bridge: Black Males” (May 19) Video installa- through Apr. 29; at the Goss- tion; see description under Brooklyn Museum Michael Foundation and Dallas (NY) where it is on view through June 22. Contemporary through Aug. 19; at the Oliver Francis Gallery Utah Museum of Contemporary Art, Salt through May 5; and at the Design Lake City q Through May 19: “2012 Sun- District area, to be announced. dance Film Festival: New Frontier” Works that celebrate the convergence of film, art, and the Nasher Sculpture Center, Dallas new media techologies: media installations, q “Sightings: Erick Swenson” multimedia performances, transmedia experi- (July 8) Works in acrylic on ences, and more; “Karl Haendel: Questions for urethane that present vignettes of My Father” Portraits on film of young male Coffin lid of Ti-Ameny-Net (detail), Egyptian, 25th Dynasty. Painted wood. In “Ti-Ameny-Net,” University of Richmond Museums, VA  19  spring VIEWS continued subjects expressing the questions, doubts, and reservations that they could never express to their fathers.

Utah Museum of Fine Arts, University of Utah, Salt Lake City q “At Work: Prints from the Great Depression” (May 6) Prints focusing on men and women at work during the government- sponsored Federal Art Project and the WPA. q “George Rouault, Circus of the Shooting Star/Cirque De L’Etoile Filante” (May 13) Rouault’s collaboration with Parisian publisher Ambrose Vollard resulted in this portfolio of etchings that reflect Roualt’s attempt to show the sad realities of the circus.

Springville Museum of Art q “88th Annual Spring Salon” (July 1) Jury selected artworks that represent a broad spectrum of contemporary visual fine art in Utah.

Virginia University of Richmond Museums q At the Lora Robins Gal- lery: Through June 29: “Tí-Ameny-Net: An Ancient Mummy, An Egypitian Woman, and Modern Science” The woman, her coffin, other ancient Egyptian objects, and the new scientific data about the mummy; “Nature’s Forms: Pattern, Texture, and Rhythm in Natural Objects from the Collection” Considered under the scrutiny of science, concepts such as fractals, the Fibonacci se- quence, and growth formations, reveal the complexity of organi- cally occurring forms. as well as their beauty. q At the Harnett Print Study Center: “Start to Finish: The Seven Stages of ‘Apex’ by Gerry Bergstein” (July 1) The seven stages demonstrate the choices the artist made before reaching the final version of his print: from a graphite drawing to a black etching to a color print, with increasing linear complexity. Washington Henry Art Gallery, University of Washington, Seattle q Through May 6: “Around the Bend and Over the Edge: Seattle Ceramics 1964-1977” Showcasing the period when Seattle artists—seen by contemporaries in the East to be “around the bend” and “over the Mark Grotjahn, Untitled (Green Butterfly Yellow MG), 2003. In “ Mark Grotjahn,” edge”—were re-envisioning ceramic art; “Flashback” Compan- Aspen Art Museum, CO ion exhibition showing the contrast between clothing worn by artists capture their visions of the natural world. q “From the “appropriately dressed” and the hippy outfits of the time; Public to Private: The Evolution of Portrait Photography in “Pollen and Paint: Laib, Homer, and the Natural Everyday American Life (1860-1900)” (June 17) The story World” Two works, Homer’s An Adirondack Lake of two aspects of early portrait photography: the studio (1870) and Wolfgang Laib’s Pollen from Hazel- system and the portrait as precious personal keepsake. q nut (1995-96), demonstrate the range of ways “Morning Serial: Webcomics Come to the Table” (June 30) Selection of comics exemplary of the artistic possibilities of the internet. Wisconsin Watrous Gallery, Wisconsin Academy, Madison q “En- countering Cultures: Tom Jones” (Apr. 29) Jones’s photographs capture re-enactments of the French fur trade in North America and the romanticization of Native Ameri- can life. q “Kristy Deetz and Linda Wervey Vitamvas” (May 8-June 24) Side-by-side solo exhibits: porcelain and steel sculptures by Vitamvas; draped fabric paintings by Deetz.

Charles Allis Art Museum/Villa Terrace Decorative Arts Museum, Milwaukee q At the Allis: “Forward 2012:

Pae White, My Melody from Untitled, 1999. A Survey of Wisconsin Art Now” (June 3) Biennial juried One from a portfolio of six screenprints. exhibition of Wisconsin artists. q At the Villa Terrace: In “Print/Out,” Museum of Modern Art, NY “The Decorative Impulse” (May 20) Metalsmiths whose work places jewelry in current art dialogues.

Woodson Art Museum, Wausau q Through June 17: “NASA/Art: 50 Years of Exploration” The results of NASA’s call to artists in 1962 to document and interpret the events of space explorations; “The Carnival of Ani- mals” Mixed media illustrations by Mary GrandPre, who illustrated all the Harry Potter books, as well as the verses Mavis Smith, Snow Banquette, 2009. Egg tempera on panel. written by Children’s Poet Laureate Jack Ptrelutsky. q In “Mavis Smith,” Mitchener Art Museum, PA

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