museummuseumA quarterly newsletter VIEWSVIEWS for small and mid- sized art museums April 2013

Gian Lorenzo Bernini, Model for the Lion on the Four Rivers Fountain (detail), c. 1649–50. In “Bernini: Sculpting in Clay” Kimbell Art Museum, TX

 1  museumVIEWS

AprilIn 2013 this Issue:

The Dilemma of Social Media John Well-Off-Man, Cree Elder. Page 3 Acrylic on canvas. In “Recent Acquisitions,” Contemporary or Missoula Art Museum, MT Old Master…In or Out? Page 4 Miss La La Á la degas: The story of a painting Page 5 Notes from the American Alliance of Museums Page 6 FEATURES Mickalene Thomas, Lovely Six Foota, 2007. C-print. In “Exposing the Gaze,” newsbriefs Nasher Museum of Art, NC Pages 7-9 spring VIEWS Pages 10-17

Chuck Close, 5C (Self-Portrait), 1979. Five Polaroid Polacolor prints. In “The Polaroid Years,” Loeb Art Center, NY

museumVIEWS Editor: Lila Sherman Publisher: Museum Views, Ltd. 2 Peter Cooper Road, New York, NY 10010 Phone: 212.677.3415 FAX: 212.533.5227 Email: [email protected] On the web: www.museumviews.org MuseumVIEWS is supported by grants from the Horace W. Goldsmith Foundation Florencia Pita, Bahamas House, 2009. In and Bloomberg. “Florencia Pita/FP mod,” University of Michigan Museum of Art, MI MuseumVIEWS is published 4 times a year: Winter (Jan. 1), Spring (April 1), Summer (Readers are invited to share their thoughts on any of the contents of (July1), and Fall (October 1). deadlines for listings and artwork are Nov. 15, Feb. 15, museumVIEWS. Email us at [email protected].) May 15, and Aug 15.

 2  The Dilemma of Social Media by Henryk J. Behnke

What is the return on your museum’s investment in social media? This is Fortunately, Facebook provides some engagement numbers (e.g. “viral- a question that haunts every marketing professional. And it was answered, in ity”), and Twitter favorites and re-tweets can be counted. Unlike the time lag part, at a recently held Bloomberg Philanthropies Social Media workshop for between the placement of a traditional advertisement and consumer reaction, small-to-medium-sized not-for-profit organizations. The team of expert advis- the effect of social media, can be measured almost immediately. Which posts ers was from Vayner Media. are effective and which are not can be seen in an instant. Working with social media for a general interest museum, as I do, is no dif- Social media experts like Vayner Media advocate for as much personalized ferent from working with the same tools at other non-profit institutions. First, feedback as possible. How to do this cost-effectively is a problem, especially we need to think of the goals of our social media strategy, which for many when the museum’s social media professional also handles all other marketing organizations is to increase attendance, participation, and financial support. and PR functions and helps with special events. Even with the right analytics, These goals determine how we use social media. All too often, we broadcast the critical question remains: How does all this engagement advance your our programs and mission and your organization? fundraising appeals in the traditional “push” approach, perhaps The returns even using the same From a financial text as in our print standpoint, I do not materials. The result see a great return on is not what we aim our investment. Who for; recipients will not knows if the people in “like” us and will not their 20s will join the “follow” us. museum in 30 years? At the Staten Island And how can we be Museum, the primary sure it was because of goal of our use of an interesting tip on social media is to raise Facebook? Of course, awareness and engage some might donate new audiences. The and come to an event, Vayner Media experts but does that justify 50 agreed: to succeed in percent of our market- social media, you want ing person’s salary? to engage with your How much should we Facebook friends and invest in Facebook and Twitter community Twitter? Should we by sharing interest- add Instagram to the ing content, tips, and mix? What about Tum- photos with them. blr and Foursquare? If the recipients like Will we be able to what you send over the keep our followers internet, they will post if social platforms it and share it with change? Just think of their friends, further the ghost town that helping more people gain awareness of your organization. myspace.com is today. In fact, the beauty of the social media is that it can raise awareness among In the end, the dilemma is the same as it has been in marketing and advertis- and engage a population that normally does not come to the museum—teens ing for decades. As former U.S. General Postmaster John Wanamaker (1838 to 30-year-olds. Often we have seen that the people who visit the museum –1922) is attributed to have said: “Half the money I spend on advertising is with their elementary school group return only when they have children of wasted; the trouble is I don’t know which half.” their own or are much older. In addition, social media allows us to be the As for many nonprofit organizations, engaging our audience, whether resource that we envision: the museum without walls. In that way, we stay through social media or otherwise, is part of our mission and therefore not at connected with former program attendees or people that share our enthusiasm, all a waste of resources. We are agents of social change: at the Staten Island in our case, those interested in arts, natural science, and local history. Museum we want people to become familiar with the natural world, we want to share with them classic and contemporary art, and to show them how their Measuring success neighborhood has changed over time. Most importantly, we want to show So, how do we measure the success of our social media? Of course, by how they can participate in improving their community. Hopefully, this counting the number of posts or better still, the increases in Facebook “likes” newly engaged citizenry will then also support the organization that and Twitter “followers.” On the other hand, says the Vayner team, a better enlightened them. ❒ way is to measure the actual engagement of your audience. Just because so many people “like” your organization or “follow” you does not mean that they [Henryk J. Behnke is Vice President for External Affairs & Advancement are engaged, that they have built a relationship with your organization, nor at the Staten Island Museum (NY)] does it guarantee that they will even see your posts (an algorithm of past reac- tions to your posts determines the percentage of your fans that will be exposed to future posts).

Irving Boyer, Prospect Park, c. 1942-45. Oil on academy board. In “WWII&NYC,” New-York Historical Society, NY

 3  Contemporary or Old Master…In or Out?

Are Cézanne and Picasso our new Classics? Is all the art that came before action, novelty. The older forms of togetherness—family, church, social and them becoming the product of a Dark Age? The market for art seems to say it political stability—are no longer central. Thus, the older art that expresses is so, that is, the demand for and the financial returns on the Old Masters has these values has lost its immediacy. become only moderate while Modern and contemporary sales has reached The notion of internationalism, the transference of peoples across borders, astronomical proportions. The study of older art is fast becoming a special- mass displacements and migrations tend to minimize the strength of the ized interest of art historians and elitist scholars. At the Courtauld Institute of notion of nationalism. And, since the study of the Old Masters tends to Art in London, for example, there is no longer a chair in the Art of Classical concentrate on national schools or origins, such studies begin, in the modern Antiquity while 20th-century Modernism is being expanded to include East- mind, to feel old-fashioned. ern European and Russian art. And finally, the communication revolution that has digitized and videoed

Writing for The Art Newspaper, Satish Padiyar hypothesizes: “The and virtualized almost everything has placed yet another obstacle to the underlying condition of this widespread gradual demotion of older careful, face-to-face encounter with art objects: sales at auction houses are (pre-20th-century art) is the apparently irreversible rise of the value of the conducted online or over the telephone. All these techniques “…cast the contemporary in our age. The prevailing consumer choice of the contempo- virtual, ephemeral, and fast-paced, in the form of contemporary perfor- rary—among dealers, collectors, art historians, and students of art history— mance, video or film, as the experience of the real.” is producing a hermetic art world of its own, which also threatens to ghettoize those who would resist it: are we contemporary or Old Master? In or out?” How much has changed? Yet “Modern” has a fluid meaning: a small Jackson Pollock recently sold for $40 million, while a work by Mark Rothko went for $75 million at In answering the question, “How much has changed?” the writer cites the same sale. These works, according to contemporary thought, could be comments by Francis Haskell about 1840s Britain: “Modern art flourished described as the Old Masters of the future. Do Picasso and Cézanne then as never before, and the market in Old Masters collapsed. These years of fe- become Classical Modern? verish railway speculation, appalling famine and political disturbances were golden ones for the connoisseur…frenzied propaganda to persuade the new A withering taste rich to invest their money in contemporary pictures, a succession of forgery scandals much publicized in the Art-Journal and similar papers to frighten “Why is the taste for Old Masters withering?” asks the author. It begins the public off so-called Old Masters…all these had their effect.” with early education, where language no longer fires the imagination, nor “Our taste for the contemporary may yet turn and turn about.” ❒ encourages a transference to the “image.” Where do Greek and Roman my- thologies or the Christian Passion fit into the modern first-grade curriculum? [Stash Padua is a lecturer in 19th-century art at the Rather, the education of young students focuses on change, instantaneous Courtauld Institute of Art, London]

Fritz Bultman, Blue Triptych, 1961. Oil on canvas, on 3 panels. In “Ab-Ex/Re-Con,” Nassau County Museum of Art, NY

 4  Miss La La á la Degas: The story behind a painting (Could Lady GaGa have known about this star of yesteryear?) In January 1879 Edgar Degas attended several performances by a famous The Cirque aerialist known as Miss La La at the Cirque Fernando in Paris. Riveted by The painting Miss La La at the Cirque Fernando is as much a representa- what he saw, Degas would immortalize her breathtaking act—she was hoisted tion of the circus building as it is of the performer herself. Degas devoted a to the circus’s 70-foot ceiling by a rope clenched between her teeth—in his series of studies to come to his final decisions about the composition of the painting Miss La La at the Cirque Fernando. The work was shown at the circus space. He annotated his drawings: les fermes sont plus penché, he Fourth Impressionist Exhibition in Paris that same year and received critical wrote—“the rafters are more inclined.” acclaim for its subject matter and boldness of composition. An American, writing from Paris is 1869, noted that next to theater and The painting, on loan from the National Gallery in London, is now on opera, the circus was the most popular form of entertainment in Paris. The exhibit, with other Degas’ works, and books, lithographs, photographs, prints, Cirque Fernando opened in and programs, at the Morgan October of 1873 in a tem- Library & Museum (NY). porary structure that was From the beginning, Degas replaced by a permanent one appears to have intended to re- in 1875, where it stood for cord Miss La La’s astonishing nearly a hundred years. It was feat, rather than her physical demolished in 1972. In 1897 likeness. Preparatory drawings the Cirque Fernando was re- and pastels reveal his avoid- named Cirque Medrano after ance of his subject’s facial the clown Geronimo Medrano, features and his focus on her also known as Boum-Boum. muscular limbs, costume, black Through its existence, the hair, and the frozen picture of Cirque Fernando attracted a suspension. Only in early ver- mix of society, the ranks of sions, did he show her frontally which were maintained by rather than in profile. It seems, the seating arrangements: 30 according to the preponderance spacious reserved seats; 420 of his studies, that he settled on first-class seats; 630 second- the idea of Miss La La in pro- class seats, 1,000 third-class file early on and never veered seats, and standing room for from it. an additional 420 people. The The painting was fol- building, a 16-sided polygon, lowed by a drawing, done was 70 feet high. Written and from memory a year after the photographic documentation completion of the painting, of tells us that its most notable Miss La La alongside the den- feature was its red and white tal apparatus that carried her ring, which can be seen in aloft. It suggests that the artist Renoir’s Two Little Circus was afforded a closer look at Girls, painted the same year as the equipment during some Miss La La; in many render- sort of personal exchange with ings by Toulous-Lautrec; the performer, maybe when and in lithographs of a clown she visited his studio, which (probably Boum-Boum) by was located close to the Cirque Henry Gabriel Ibels. Fernando. Degas referred to the Depicting the building—the drawing in a letter to Edmond ribbed and coved ceiling—be- de Goncourt, whose circus- came a problem for Degas: themed novel was published although Miss La La’s out- soon after Degas completed his stretched arms and legs echo painting. the green iron ribs and trusses In addition, Degas cre- and slender orange columns of ated two monotypes of circus the domed ceiling, he was so subjects which are rarely seen Edgar Degas, Miss La La at the Cirque Fernando, 1879. daunted by the steeply-canted (one is on view at the present Oil on canvas. In “Miss La La at the Cirque Fernando,” Morgan Library & Museum, NY ceiling that he enlisted a specialist to assist him. Degas made repeated exhibition), but Miss La La is attempts to render the angled trusses, columns, and other elements of the his only circus-themed painting. building as evidenced by his delineating of the roof beams at least three times. Miss La La Novelist Goncourt wrote, “Among all the artists I have met so far, he is Olga—or among her fans, Miss La La, La Femme Canon, Lawful vivant, the one who was best been able, in representing modern life, to catch the La Maltese-Canon, the Venus of the Tropics, and the Black Venus—was born spirit of that life.” Both the novelist and the painter sought to transform real- in Prussia in 1858 to a black father and white mother. She began her stage ism by artifice. What initially appears to be a faithful record of a scene from career at age ten and later became the star attraction of the traveling Troupe modern urban life in Miss La La, in reality is an artistic invention that con- Kara, which featured well known trapeze artist Hemophilia Starker, alias ceals and obscures more than it reveals: the circus is not revealed in its full Kara la Blanche, and two others. mundane detail, yet Degas chose to reveal the mechanical apparatus behind Miss La La was known for her feats of super human strength—hanging the artifice of the performance— the rope which held Miss La La aloft. The upside down from a trapeze while gripping a 150 pound cannon between her p teeth as it was fired, for example—but Degas chose not to record these. Rather illusion is punctured and the poetic reality of his image becomes ironic. he chose her suspension act—the performer ethereal, weightless, enveloped in [Information for this article was supplied a radiant light, rising upward, like a saint rising in apotheosis. by the Morgan Library & Museum (NY)]

 5  Notes from the American Alliance of Museums [For more details go to the AAM website.] Did you know that… •…museums spend more that $2 billion a year on education; the typical donation; it can help decide which objects are appropriate for hands-on museum devotes three-quarters of its education budget to K-12 students. use and which are appropriate for deaccession. •…museums contribute $21 billion to the U.S. economy each year. • Financial benefits have been described by a museum planning firm: “… •…governments that support the arts on average see a local return on the direct and indirect costs of collecting amount to nearly 79 percent of investment of over $7.00 in taxes for every $1.00 that the government appro- museum operating costs, and so the strategy for future collections develop- priates, according to a report cited by the U.S. Conference of Mayors. ment is a key element in the financial analysis.” These costs include staff •…trips including cultural and heritage activities account for over 23% time for curating and housekeeping, storage, inventory control, and energy. of all domestic travel, according to the U.S. Travel As- sociation. Sequestration and what it means •…at least 22% of museums are located in rural areas for museums and engage in programs to bring education and access to their materials to their communities in a variety of ways. On Friday, March 1, $85 billion in across-the- board federal spending cuts were triggered, a process Where to begin collection commonly called “sequestration,” which is now affect- ing nearly every agency throughout the government. management policies For most agencies that support museums (IMLS, For policies to be effective, they must be understood NEA, NEH and NSF), this means a five percent cut in and accepted by everyone at the museum. This means their annual funding, including a reduction in grant- educating the staff, governing authority, and volun- making activities for the year ahead. teers about the purpose of the policies, the distinction While Congress may still undo or restructure between policies and procedures, and how the proce- sequestration, federal agencies are now determining dures put policies into action. In most institutions, how to absorb these severe cuts. The National Endow- the governing authority approves and has the ultimate ment for the Humanities expects to make fewer new responsibility for the policies. Staff participation is criti- awards at lower award amounts. The National Science cal for preparing policies that everyone understands and Foundation is expecting to award 1,000 fewer new to which they are committed. research grants. Approaching the issues from a variety of perspectives “The Alliance will continue to fight for federal can be beneficial. The process is most effective when museum funding in the days and weeks ahead, but we there is full staff involvement at every stage. Here are must be sure the current decrease in federal grants is some steps in the policy development process: not compounded by a reduction in charitable giving • Assemble the writings team. incentives,” said Alliance President Ford W. Bell. “I • Develop the policy. was pleased to submit testimony to the House Ways • Review standards. and Means Committee last month, but members of • Get feedback. Congress also need to hear from their constituents • Get governance endorsement. about how charitable giving limitations would affect • Develop procedures. museums.” • Implement. While Congress’s inability to reach agreement • Review and revise periodically. on spending issues has complicated and slowed the Federal budget process this year, interest is also picking up on comprehensive tax reform. The House Data drives advocacy committee with jurisdiction over the tax code held a In January 2011 the AAM’s “Annual Condition of hearing on February 14 on proposals to reform chari- Museums and the Economy” survey found that… table contribution tax incentives, many of which could have a devastating • …among museums that track resources devoted to it, education was a impact on giving to museums and other nonprofits. priority, with 88 percent of museums in the survey maintaining or increasing Do your legislators know how important charitable giving is to your the amount of resources devoted to K-12 students and their teachers. museum? Tell them right now. • …American museums also opened their doors to more members of the armed forces, with 14 percent of museums offering new or expanded Improving museum-school partnerships discounts on admission to military personnel and/or their families. • …more than 1,500 museums participated in the Blue Star Museums A successful museum-school partnership begins with a clear mission, initiative, offering free admission to all active duty and reserve personnel a shared vision, honest and respectful dialogue, and consistent and timely and their families from Memorial Day through Labor Day. evaluation. Such a collaboration can take the form of multiple visit pro- • …for three consecutive years, museums have expanded their service to grams, curriculum development, or professional training for teachers. the American public despite economic stress. More than half of the muse- Come to grips with the fact that every institution cannot be all things to ums in the survey reported gains of attendance, in some cases gains of 20 all school partners. Be clear about their programming goals, and choose percent or more; 29 percent reported declining attendance. those that best fit your institution resources. Whatever programs you choose, keep in mind your museum’s role is facilitating communication and technol- ogy literacy, critical thinking, problem solving, creativity, civic literacy, and Scope of Collections statements global awareness. A broad description of the museum’s collections sets guidelines for grow- All tools, new technologies or old, whether on-site or as follow-up, must ing and developing the collection. A Scope of Collections statement can be be designed to deepen and extend the museum experience. In these long- used in collections management and planning. The reasons for having such a term partnerships, technology provides a platform for showcasing teacher statement are practical, financial, ethical, and policy driven. lessons, student work done in response to a museum experience, and the • A tool for museum curators and collections managers, a Scope of Col- opportunity to establish ongoing conversations between the museum and lections statement describes your organization’s collection activities to the school communities. In addition, short, clear downloaded material can be public, volunteers, and donors as well as staff, field management, and helpful for busy teachers. p headquarters. It is a road map that guides the museum staff in evaluating new acquisitions, in budgeting, prioritizing resources, and overall planning Anton Refregier, End of the Conference, and management. It can be especially useful in justifying the refusal of a 1945. Oil on canvas. In “Art Interrupted,” Fred Jones Jr. Museum of Art, OK  6  news BRIEFS and photo- increase of 2.7 percent in 2012. Fundraising graphs. Un- by large organizations with annual total fund- til now, the raising more than $10 million was up by 0.3 museum has percent. depended on Giving to faith-based organizations grew traditional by 6.1 percent and education institutions also archival had a positive year with 1.9 percent growth in techniques fundraising compared to 2011. These two sec- to docu- tors combine for 45 percent of charitable giv- ment the ing in the U.S. Arts and culture, environmental, interactions and animal welfare organizations were the only between other sectors to experience fundraising growth business and in 2012. the cultural, International affairs, healthcare, and human social, and services organizations, as well as public and political social organizations all had negative growth dimensions rates compared to 2011. of society …and in online giving: Giovanni Battista Piranesi, The Arch of Septimius Severus, 1759 from the late 18th century to the present. Now, plate; printed before 1779. Etching. In “Vedute di Roma,” Mount Medium-sized nonprofits’ online fundraising the process has advanced to the digital age, able Holyoke College Art Museum, MA increased by 14.3 percent. Small nonprofits’ to document the history of American enterprise online fundraising grew by 11.8 percent, both Annual Salon for future researchers. Showcases Photography compared to 2011. Large organizations in- creased their online fundraising by 7.2 percent The Annual Cumberland Valley Photo- Charitable Giving to compared to the previous year. graphic Salon, presented by the Washington Nonprofits Flat in 2012 Education organizations grew online profits County Museum of Fine Arts (MD), is a by 17.9 percent, continuing to have the high- juried competition that features work by art- A Charitable Giving Report released by Blackbaud, Inc. examines how nonprofit fund- est percentage of increase for a second year. ists from Maryland, Pennsylvania, Virginia, Public and societal benefit organizations grew West Virginia, the District of Columbia, and raising performed in 2012. “2012 continued to show signs of a slow recovery for overall online by 17.1 percent and human services, by beyond. An award ceremony was held in Janu- 15.7 percent. ary, when winners received their prizes. Best fundraising,” said one of the authors of the re- port. “Online fundraising’s return to significant [To view the entire report, go to www. of Show went to Sami Sharkey of Boalsburg, blacbaud.com/charitablegiving, or to see the PA; Juror’s Choice Award, to Kristin Camitta growth rates is an encouraging sign, although online giving still makes up less than 10 percent latest fundraising trends go to www.blackbaud. Zimet of Winchester, VA; Best Photograph by com/blackbaudindex.] a Washington County, Maryland Photographer, of overall giving. to Bruce Wilder of Keedysville, MD; other “Looking ahead, overall giving is not likely Juror’s Choice awards went to Mark Muse of to increase significantly until there is sustained growth in new donors, nonprofits rebuild their Theft in Oakland Shepherdstown, WV; Teressa Blickenstaff- The Oakland Museum of California Kitts of Shepherdstown, WV; Don Johnson multi-year donor base, and overall donor reten- tion improves.” reported the theft of a historical Gold Rush- of Gaithersburg, MD, and Hunter Strauch of era quartz and gold jewelry box. A reward of Martinsburg, WV. The findings in the report are based on giving data from 3,144 nonprofit organizations and $12,000 was offered for its safe recovery. Nonconformist Art on View more than $7.9 billion in fundraising revenue. The signed, 7 x 9 x 7” box was made between The online fundraising findings are based on 1869 and 1879 by A. Andrews, a San Francis- The Zimmerli Art Museum (NJ) an- data from 2,581 nonprofit organizations and co goldsmith, featuring a rectangular molded nounced that more than 250 images from more than $512 million in online fundraising top and base that rests on four feet—four its Norton and Nancy Dodge Collection of revenue. miniature female figures representing Califor- Nonconformist Art from the Soviet Union are nia. Top pilasters and moldings are veined available to view around the world through Some key findings: gold quartz in tones of grey and cream the Artstor Digital Library at www.artstor.org. • Overall giving continued with veining of gold. The interior of The Dodge Collection, the largest of its kind in its slow recovery and grew the top is recessed and engraved in the world, documents the creative activities of approximately 2 percent in full relief with scenes of the early underground artists in the Soviet Union who, 2012. days of the Union and Central breaking away from the accepted Socialist • Online giving grew by Pacific Railroads, mounted Native Realism, were condemned for doing so. The about 11 percent in 2012 Americans, herds of buffalo, and works, in every medium, range from the late compared to 2011. a train of cars. The gold quartz is 1950s to late 1980s—from the initiation of the • Online fundraising ac- cut and set in mosaic fashion in underground movement during Khrushchev’s counted for 7 percent of all the top of the lid; the sides are gold cultural thaw to Gorbachev’s perestroika and giving in 2012, an increase veined quartz. from 2011. the downfall of the Soviet Union. Carte de visite photo of Mary Edmonia Lewis The Artstor Digital Library makes avail- • Small nonprofits had the greatest able more than 1.4 million images in the arts, increase in overall fundraising in 2012, architecture, humanities, and sciences from while medium-sized organizations led online. Walters Staff Member museums, photo archives, photographers, • Giving throughout 2012 hovered on flat, and Discovers a Rarity scholars, and artists. Superstorm Sandy relief efforts helped boost year-end. Found: a previously unknown photograph Cloud Preserves Records of Mary Edmonia Lewis (1844-1907), the Size and sector make a difference first 19th-century African American sculptor The Hagley Museum and Library (DE) …in fundraising: announced its acquisition of a cloud-based to receive international recognition. Prior to Small nonprofits, with annual total fundrais- the discovery, only seven known photographs digital preservations service, Preservica, that ing less than $1 million, grew their fundraising provides the infrastructure to enable the mu- of Lewis existed, all taken in Chicago around 7.3 percent compared to 2011. Medium-sized 1868-70. The new found 4 x 2.5” image was seum to acquire, process, and preserve digital organizations, with annual total fundraising records—e-mail, web sites, audio and video, shot in Rome between 1874-76 in a prestigious between $1 million and $10 million, had an Italian photographer’s studio and undoubtedly Continued on next page  7  news BRIEFS Continued used as a carte-de-visite (calling card). Deputy Greek and Roman sculpture, Indonesian Free Art Attracts Crowds Director of Audience Engagement at the Wal- textiles, Cubist paintings, and other master Not blockbuster exhibitions, not grand ters Museum of Art (MD) Jacqueline Cope- works of painting and sculpture—Vincent van openings, not a new wing, not a gala—none of land found the picture in a box of photographs Goh’s The Night Café, Thomas Eakins Taking these popular techniques of attracting people of unnamed African American men, women, the Count, three Piet Mondrian Compositions, is the root cause of the 50 percent boost in and children in a Baltimore antique shop. among many more. attendance at the Bronx Museum of the Arts Mary Edmonia Lewis was born in Green- (NY). It was simply free admission. Off the bush, a village near Albany, New York. Her Gift to Aspen Museum beaten track—it is located on the Grand Con- antecedents were Haitian (father), Chippewa Promises Endowment and More course at 165th Street in the Morrisania section and African American (mother). She attended The Aspen Art Museum (CO), recipient of the Bronx—and far from the esteemed Oberlin College (OH), and in 1863 moved of a $2.5 million gift to endow, in perpetuity, Museum Mile on Manhattan’s Upper East to Boston, where she studied with sculptor the Nancy and Bob Magoon CEO and Direc- Side, the museum is extending its year-old free Edward Brackett. In 1866, she left the U.S for tor. The first endowed directorship position in admission program through 2015. A gift of Rome, settling among other American expatri- the museum’s history, the gift follows another $500,000 from philanthropists and art collec- ate artists. “The land of liberty,” she said, “had large donation by the same couple of $500,000 tors Shelley and Donald Rubin is the source of no room for a colored sculptor.” She worked in toward the capital campaign to construct the the museum’s beneficence to its eager visitors. the prevailing neoclassical style, softened with New Aspen Art Museum facility currently Nor was it the free admission and the elimina- a degree of naturalism, traveling to the U.S. underway in downtown Aspen. tion of a suggested admission fee (it had been periodically and sitting for several $5 for adults) alone more cartes de visites. During one of that caused the present those visits, she traveled to Balti- surge in visitors. The more for the installation in 1883 of attendance increase was Adoration of the Magi, a bas relief the result, as well, of for the “colored” Chapel of St. Mary aggressive marketing: the Virgin. the appearance of bus and subway posters and Renovation and radio advertising. Expansion at Yale The “free” pro- The extensive renovations of the gram was instituted Yale University Art Gallery (CT), after much debate. Says the name “gallery” not conveying Executive Director the depth and breadth of its encyclo- Holly Block, “There pedic holdings, were completed in has been a long discus- December of 2012. Now, some 4,000 sion here about going pieces of this extensive collection are free. Even a suggested on display in three contiguous, but donation is a barrier very different buildings that stretch for our local commu- the length of one and a half New nity.” Mr. Rubin, on his Haven city blocks. The oldest is the part, believes that the brownstone Street Hall, a Ruskinian museum is an important Gothic building designed by Peter institution that serves a Bonnett Wight and completed in neighborhood for which 1866. The youngest is a 60-year-old he has special affection. Modernist brick-glass-and-concrete “I really believe that Louis I. Kahn structure. Sandwiched museums are among in between is the Old Yale Art Gal- the great institutions lery, a sandstone-clad Italianate in the world,” he says. Gothic building completed in 1928, Mr. Rubin and his wife sometimes referred to as “Swart- are the founders of the wout” for its designer Egerton Swartwout. Rubin Museums in lower Manhattan, which is At a cost of $135 million, the exhibition Rauschenberg Foundation dedicated to the art of the Himalayas. space has increased by more than 70 percent Supports Innovation A preponderance of visitors to the Bronx to almost 70,000 square feet; it reclaims areas The Robert Rauschenberg Foundation Museum is students; education is among the that had been occupied by other departments, awarded a three-year grant to Freewaves, a Los museum’s top priorities. Therefore, although updates antiquated building systems, and Angeles-based media art organization, to com- it is closed to the public Mondays through addresses the general deterioration caused by mission and show artists’ new collaborative Wednesdays, it is open to school groups on years of deferred maintenance. videos on all Los Angeles Metro buses. those days. And, with the new-found funds, the The new complex unites the landmarks The nonprofit Freewaves is one of nine museum plans to offer more than 30 additional while preserving their distinct characters. And nationally selected organizations to receive the free cultural programs to schools and neigh- the variety of architecture and ambience in award, the Robert Rauschenberg Foundation’s borhood groups that will include after-school the galleries creates a satisfying assortment of Artistic Innovation and Collaboration Grant, in activities, visits for the disabled, and events environments. The space devoted to American 2013. It is the second year of the program, and for local hospitals, businesses, and settlement painting and sculpture is stately and grand the first national competitive grant program for houses. with a 21-foot-tall ceiling; early Renaissance the foundation. But, the museum will be unable sustain its galleries, where 13th- and 14th-century Tuscan Funds from the grant will be used to expand “free” program without continuing support: paintings are hung from deep-purple walls, Freewaves’ Los Angeles county-wide pilot as of now, it lacks an endowment, has a staff are quirky and intimate; and the Kahn build- project, “Out of the Window,” which brings of only 26, and an annual operating budget of ing galleries are defined by their muscular collaborative video projects to the inside of around $3 million, about 30 percent of which tetrahedral ceilings of reinforced concrete, low all Los Angeles county buses. The videos will comes from the city, which owns the building. but loftlike. focus on empowerment, justice, human rights, The building itself, renovated and reopened in Continued on next page In fact, the facility is now a museum with environment, and health. galleries as diverse as its collection: ancient Cynthie Fisher, Polar Plunge, oil on canvas. In “Art and the Animal,” Lexington Art Museum, KY

 8  news BRIEFS Continued 2006, is an interesting conglomoration of two conjoined entities, one will be closed Mondays through Thursdays. Programs and special of which is a former synagogue, where the museum moved from the events will be held at its S Street location throughout 2013. The Arthur atrium of a courthouse. D. Jenkins Library of Textile Arts will be open by appointment through The museum’s special exhibits and its collections pay special at- 2013, and will reopen in the new facility. tention to serving the people in the area and make a point of high- lighting Bronx artists as well as the neighborhood organizations. In Museum Merger Mania order to connect better with local residents, it instituted a Community Advisory Council, a group of about 30 artists, educators, health care (From a report for The New York Times by Adam Nagourney) professionals, chefs, all from the area, to meet monthly to discuss the In Los Angeles, the two largest museums are the Museum of Con- works of the museum and serve as cultural ambassadors. The result, temporary Art (MOCA) and the Los Angeles County Museum of Art says Ms. Block, is that the staff is doing programming with direct (Lacma). One (MOCA) could use a financial and attendance boost buy-in from the local community. from the other (Lacma). So, a proposal—to merge the two museums Going forward, Director Block’s wish list includes an endow- with a promise of $100 million in fundraising—is being advocated ment, a café, and an educational garden where people can by Michael Govan, the head of Lacma. But five years ago, gather, relax, learn, and enjoy the rewards of a caring the man—Eli Broad—who donated $16 million to bail institution. out MOCA stipulated with his gift that MOCA would not merge with any museum within 100 miles of its downtown flagship. The provision, it was said, Showing Off at the Clark was aimed at the competing museum across The Sterling and Francine Clark town—Lacma. Art Institute (MA) is presenting its Many of the cultural cognoscenti of Los permanent collection in a different Angeles reacted positively to the present way than they have in the past: “Clark proposal, suggesting that after months of Remix” is a salon-style installation fea- sturm and drang at MOCA, including turing some 80 paintings, 20 sculptures, the loss of its chief curator, declin- and 300 objects of decorate arts. Two ing attendance, and mounting fiscal new interactive programs, “uCurate” distress, that the time for such a and “uExplore” accompany the exhibi- merger might be ripe. However, Mr. tion, offering visitors the opportunity to Broad, always one of the leaders engage in the curatorial process and ex- of the city’s art donors, has often plore the collection. To use the programs, set strict conditions on his dona- visitors can use the galleries’ computers, tions. In addition, he wants more tablets, and/or touch-screens, or activate donors to be involved in the the applications on their own personal cultural life of the city. devices. Meanwhile, Mr. Govan, who “Clark Remix” is one of the arrived in Los Angeles in 2006 “ClarkNOW” exhibitions that the mu- from New York, where he was seum announced last October in con- director of the Dia Art Founda- junction with the launch of its campus tion, is prepared and eager to expansion project. It consists of a series confront this struggle. “You’re of more than 60 programs that will be seeing it [Los Angeles] at a presented in Williamstown, New York, formative stage,” he said. “The and abroad over the next two years turmoil is attractive. Eli Broad while the campus is spreading out and has a lot to do with it, but in a developing. prodding way. He is responsible The salon-style exhibition is for helping to found MOCA. He inspired by intimate 16th-century is the one who put a contempo- Kunstkammern (private exhibitions) rary art museum at Lacma, and and 19th-century salon exhibitions. It he’s the one that gave that money features groupings of works from dif- to MOCA. We need more Eli ferent periods and places hung close Broads.” together, accentuating their differenc- One reporter for the National es, similarities, and relationships that Public Radio station in the city broad- span eras and nationalities. Images cast his belief that Broad was likely of Roman ruins are displayed along- to block the merger. Other experts and side those of American seascapes; a officials suggest that he might not want Renaissance Madonna can be found to interfere if it appears that there is a among femmes fatales; silver teapots solution to the dispute. In addition, Mr. are displayed with bronze ballerinas. Broad’s own museum, going up across the In this format, viewers can make their street from MOCA could be adversely af- own conclusions about the various fected by a downward swing in the neighbor- juxtapositions. hood. Whatever happens, said one official, “…I Preparing for a Move think that Eli will do whatever he can to make sure that L.A. is on the cutting edge of the nation’s and The Textile Museum (DC) is moving to world’s artistic landscape.” ❒ George Washington University (DC). It’s final exhibition before its 2014 opening on the campus of the university is on view until October 13, after which the museum will reduce its public hours. The shop will remain open as well as the two Jeremy Holmes, Atmosphere #45, 2011. historic homes of the museum’s founder George White ash with black dye, steel. Hewitt Myers. But after October 14 the museum In “Torqued and Twisted,” Woodson Art Museum, WI

 9  spring VIEWS Alabama the varied look of the California Tennessee Valley Museum of Art, Tuscumbia countryside, both urban and ❑ “Elayne Goodman: Art as Life” (July 12) untouched, abstract and rep- Outsider art from discarded and used materials. resentational, in brilliant color. ❑ “Rebirth of a Nation: Travis Arkansas Somerville’s 1963” (May 3) Mixed Arkansas Arts Center, Little Rock ❑ “Ron media installation: social documents Meyers: A Potter’s Menagerie” Ceramics in and popular culture artifacts inside a variety of forms including plates, platters, a small wooden cabin. ❑ Prize winners of bowls, covered jars, and tea bowls, and a selec- the Crocker-Kingsley Art Competition (May tion of drawings. 5) A diverse display of works from the six winners ranging from tradi- California tional to abstract in painting, Berkeley Art Museum, University of Cali- sculpture, photography, and fornia, Berkeley ❑ “Rudolf de Crignis/Matrix craft. ❑ “Super Bowls: The Art of 245” (May 5) Monochromatic paintings—his Turned Wood” (July 7) Objects that signature blue and gray oil paintings—and combine the beauty of wood with designs that James Hubbell, Group Horses, 1963. Cast bronze. graphite works on paper: a first solo show in accentuate the medium’s unique properties. ❑ In “In Search of Shadows,” Oceanside Museum of Art, CA the U.S. “An Opening of the Field: Jess, Robert Dun- can, and Their Circle” (July 17) An explora- attention to the exploitation of the North Irvine Museum ❑ “Lasting Impressions: tion of a couple’s artistic production and their African female body and its place in European Twenty Years of the Irvine Museum” (June 6) personal relationship, of cultural mythologies, Orientalists imaginations. ❑ “A Royal Renais- Impressionists Bischoff, Brandriff, Clark, Cu- transformative narrative, and the appropriation sance: School of Fontainebleau Prints from the prien, Longpré, Griffith, Kleitsch, Redmond, of images. Kirk Edward Long Collection” (July 14) The Rose, Schyuster, Wendt, and others. results of King François I of France’s efforts to San Jose Museum of Quilts & Textiles ❑ bring culture to the country after his military Oakland Museum of California ❑ Through Through Apr. 28: “Folk Indian Textiles from defeat by Holy Roman Emperor Charles V by June 30: “Beth Yarnelle Edwards: Suburban the Collection of Carol Summers” A variety transforming his hunting lodge at Fontainbleau Dreams” (June 30) Large-scale color photo- of 20th-century decorated textiles, created into a showcase royal residence; works by graphs of domestic scenes in Silicon Valley; with brightly colored patchwork, embroidery, master artists such as Fiorentino and Primatic- “Summoning Ghosts: The Art of Hung Liu” appliqué, tie dye, block printing, painted cio. ❑ Through June 2: “North Africa and the Retrospective: works by this Chinese American cloth, quilting textiles, hand weaving, and Middle East in 19th-Century Photographs” artist shed light on her life and career begin- hand sewing, created by women and men in Subjects that appealed to Western audiences ning with her early days in Maoist China. India; “Meditation in Space & Time: Junco of that era: topographical images, view of holy Sato Pollack Sutra Chants Hangings and sites, architectural wonders, studies of people Oceanside Museum of Art ❑ “In Search of Stitch by Stitch Mandalas” Demonstration and artifacts; “Buying and Selling: Early Shadows” (June 2) Nature-inspired sculptures and meditation: visitors’ stitched wishes or Modern Economies of Labor, Merchandise, in wood, glass, and stone, that embody the mantras are pinned onto a collective Mandala Services, and Shopping” The details of modern close relationship between art and earth. that commemorates the second anniversary of life explored by 17th- and 18th-century artists: the March 11, 2011 earthquake and tsunami prints and drawings of workers at their daily Palm Springs Art Museum ❑ “”Beg Borrow in Japan. ❑ Through July 21: “Milestones: tasks. ❑ “More Than Fifteen Minutes: Andy and Steal” (June 2) Works by artists who have Textiles of Transition” These are the objects Warhol and Celebrity” (June 30) Prints, draw- abandoned the search for new visuals and in- (textiles), both historic and contemporary, ings, and Polaroid photographs of contempo- stead seek a new use of existing images, signs, that were created to signify transitions: births, rary icons such as Mao Tse Tung, Mick Jagger, and cultural symbols, among them Ai Weiwei, marriage, death, etc.; “Threads of Love: Baby and others. ❑ “Hauntings: American Photo- Duchamp, Gober, Holzer, Koons, Murakami, Carriers from China’s Minority Nationalities” graphs, 1845-1970” (July 7) People and places and others. Carriers from the Miao (known as Hmong in from other times, colliding with the present. their native language), Zhuang, Yao, and Shui Crocker Art Museum, Sacramento ❑ “A nationalities from China’s southwestern prov- Colorado Touch of Blue: Landscapes by Gregory Kon- inces of Yunnan, Guizhou, and Guangxi, CU Art Museum University of Colorado, dos” (May 19) Some 50 years of recording Boulder ❑ “David Maisel: Black Maps” (May Cantor Center for Visual 11) A survey of an ongoing series composed Arts, Stanford University, of large-scale photographs of terrain in the Stanford ❑ Through June American West that has been transformed 16: “Revisiting the South: through industrial-scale water diversion proj- Richard Misrach’s Cancer ects, open-pit mineral extraction, and urban Alley” Photographic images sprawl. ❑ “Primal Seen: Selections from the of the environmental deg- CU Art Museum’s Collection of Photography radation of the Mississippi from the 19th Century to the Present” (June River corridor from Baton 22) Remembrance and memory, the gaze and Rouge to New Orleans; “Lee the female body, and 19th-century techniques Friedlander: The Cray Pho- as they continue to be used by contemporary tographs” Images that bear artists. witness to the supercomputer industry, started in 1986 at Museum of Contemporary Art, Denver ❑ the world’s top supercomputer “Dance Rehearsal: Karen Kilimnik’s World of producer, Cray Research, Ballet and Theatre” (June 16) Representations Inc; “Dotty Attie: Sometimes of classical and romantic story ballets and a Traveler/There Lived in historical theater in diverse styles and medi- Egypt” Portfolio that calls ums including figurative drawing, mixed media installations, collage, photography, video, and Edward Hopper, Night Shadows, 1921. Etching. set design and choreography. In “American Master Prints,” Mattatuck Museum, CT  10  spring VIEWS continued Connecticut concept to final product, the methods and ma- Illinois Mattatuck Museum, Waterbury ❑ Through terials used, and the stages and modifications NIU Art Museum, Northern Illinois Univer- May 19: “Everything/Nothing: Paintings by involved to fulfill the original vision. sity, DeKalb ❑ “Mapping: Measuring Across Eric Forstmann” Realist painter creates still Place and Period; Information, Navigation lifes and rural and urban landscapes of his Vero Beach Museum of Art ❑ “The Golden and Geography” (May 24) An examination home territory in northwestern Connecticut Age of European Painting from the Speed Art of the theory that maps objectively document and the Hudson Valley; “American Master Museum” (June 9) The art that made the cen- systems or spaces while in fact, they are often Prints from the Collection of Dr. Dorrance turies between 1600 and 1800 a rich cultural at odds with our subjective responses to our Kelly” The early decades of the 20th century: era: Rembrandt, Rubens, van Dyck, Teniers, surroundings; here are samples of objective artists such as Bellows, Benton, Hopper, Jordaens, Tournier, Ruisdael, and many more and subjective mapping systems, ie. macro/mi- Marsh, Sloan, and others who rejected fashion- are represented. ❑ “Recycled Dreams: Pablo cro systems, real/imagined spaces, man-made able subject matter for scenes that reflected Cano’s Marionettes” (May 26) Marionettes constructions, geographical formations, astro- modern life. made from found objects and the whimsical nomical configurations, anatomical structures, theater pieces in which they appear. ❑ “Kath- and more. District of Columbia erine Hepburn: Dressed for Stage and Screen” National Museum of Women in the Arts ❑ (May 19) Gowns, dresses, and, not unexpected, Krannert Art Museum, University of Il- “A World Apart: Anna Ancher and the Skagen slacks by a trendsetter of the 20th century. linois, Urbana-Champaign ❑ Through April Art Colony” (May 12) First showing in the 28: “Jacob Lawrence: Toussaint L’Ouverture U.S. of this modern Danish painter and the art- Georgia Series” Lawrence’s epic series of paintings, ist colony at Skagen in northern Denmark on Georgia Museum of Art, University of begun when we was 20 years old, about the life the Jutland peninsula; Ancher’s work—interior Georgia, Athens ❑ “William H. Johnson: An of L’Ouverture, the revolutionary who in 1791 scenes and landscapes—and her fellow Skagen American Modern” (May 13) Retrospective led the founding of Haiti as the first republic artists, inspired by the area’s land, seascape, representing every step of artistic development established by former slaves; “Processing the and culture, were shaped by the Realist, from post-impressionist works of the 1920s to Everyday” Works that explore the ways we Impressionist, and Symbolist movements in vernacular paintings from the 1940s. ❑ “Face navigate everyday occurrences by highlighting Europe during the late 20th century. Jugs: Art and Ritual in 19th-Century South the processes of art making. ❑ “Counterpoints: Smithsonian American Art Museum ❑ “Pictures in the Parlor” (June 30) Tintypes, painted photographs, and folios from a Victorian collage album: an examination of the mid-19th to early 20th-century decorative features of domestic interiors, all of which convey the values, aspirations, and achievements of their respective own- ers. ❑ “The Civil War and American Art” (Apr. 28) How American artists represented the impact of the war and its aftermath, featuring works by Homer, Johnson, Church, and Gifford as well as battlefield photographs by Gardner, O’Sullivan, and Barnard. Florida Frost Art Museum, Florida International University, Miami ❑ “Eugene Savage: The Seminole Paint- ings” (May 19) Paintings, resulting from many journeys into the Florida Everglades by a concerned observer, as tourism, land development, and Jerome Witkin, Kill Joy: To the Passions of Käthe Kollwitz environmental debate threatens the traditional Carolina” (May 4-July 7) Pottery created by (detail), 1975-76. Oil on canvas. In “Drawn to Paint,” way of life of the Seminole Indians. ❑ “José African American slaves in the Edgefield dis- Palmer Museum of Art, PA Manuel Ballester: Concealed Spaces” (June trict of South Carolina; made of kaolin, a local Moshekwa Langa, In and Out of Africa” 23) Large-scale photographs inspired by clay, with wide eyes and bared teeth, they are (May 12) Installation that draws on materials masterpieces by Botticelli, Goya, da Vinci and said to have multiple purposes—both utilitar- from the many places the artist has lived and many others; by eliminating all living beings ian and symbolic. White potters appropriated journeyed. and references to action, the artist creates the design around 1880. ❑ “Cityscapes by Ben scenarios where nature and architecture Aronson” (May 04- June 30) Architectural and Kansas become the main subject matter. pedestrian scenes. Dane G. Hansen Museum, Logan ❑ “Ameri- can Legacy: Our National Parks” (June 16) Museum of Fine Arts, St. Petersburg ❑ Spelman College Museum of Fine Art, At- Works by members of the Plein-Air Painters of “Philip Pearlstein’s People, Places, Things” lanta ❑ “Multiple Choice: Perspectives on the America from national sites across the country; (June 16) Realist painter’s retrospective: Spelman College Collection” (May 18) A look each artist selected a favorite park to docu- drawings, paintings, and prints made during a into the archives reveals paintings, textiles, ment. More than 50 works are the result. long career highlighted by large-scale nudes, prints, and sculptures by such as Ringgold, portraits, landscapes, and historic monuments. Lawrence, Catlett, Woodrruff among others; Salina Art Center ❑ “A Complex Weave: friends and other museum stakeholders are Women and Identity in Contemporary Art” Albin Polasek Museum & Sculpture invited to view the collection, select an object, (Apr. 21) The commonality amongst women Gardens, Winter Park ❑ “From Start to Fin- and document their responses, which will be and their expressive instincts. ish: The Florida Sculptors Guild Annual Exhi- shared with visitors via labels, video state- bition” (May 7-July 21) Photographs, sketches, ments, social media, and more. and models show how sculptures develop from  11  spring VIEWS continued Kentucky in Europe and America, the most recog- Lexington Art Museum, University of nized ceramic in the world. ❑ “Visiting Kentucky, Lexington ❑ “Art and the Ani- Masterpieces: Cézanne’s The Large Bath- mal” (Apr. 28) The flagship exhibition of the ers” (May 12) Two visions of the idealized Society of Animal Artists: paintings sculptures, nude in an idyllic landscape, presented watercolors, and drawings that celebrate the side by side: The Large Bathers and diversity of the animal kingdom. Gauguin’s Where do we come from? What are we? Where are we going?, both of Kentucky Museum of Art & Craft, Louis- which influenced a generation of modern ville ❑ “Matthew Ronay: Mounting toward artists. ❑ “Triumph of the Winter Queen” Zenith /Descending and Disappearing” (May (July 21) An exploration of the political 5) Installation from 2008 represents the and personal history of the figures—Eliza- journey of human life—sculpture as spiritual beth Stuart, Queen of Bohemia; Frederick object; an imaginary ceremonial rite that takes V, Elector of the Palatinate; and son Fred- on shamanistic qualities. erick Henry—through interactive media and graphic panels. ❑ “Mario Testino: Maine British Royal Portraits” (June 16) Begin- Portland Museum of Art ❑ Through May ning in 1976, a photographic record of the 19: “Blueberry Rakers: Photographs by David House of Windsor. Brooks Stess” (May 19) The annual blueberry harvest in northern Maine ; “Voices of Design: Cahoon Museum of American Art, 25 Years of Architalx” Interactive exhibition Cotuit ❑ “Artist and Bartender: The Ex- that showcases the power of design. traordinary Works of Captain Joe Miron” (May 19) ❑ “Collecting Stories: American Maryland Paintings from the Collection of Thomas Walters Art Museum, Baltimore ❑ “New Jan van den Hecke the Elder, Flowers in a Glass Vase, Davies” (July 7) c.1650. Oil on canvas. In “The Golden Age of European Eyes on America: The Genius of Richard Painting,” Vero Beach Museum of Art, FL Caton Woodville” (June 2) Paintings of daily Mount Holyoke College Art Museum, life during the transformative years prior to Holyoke ❑ Through May 26: “Vedute di Peabody Essex Museum, Salem ❑ “FreePort ❑ the American Civil War. “Threshold to the Roma” Prints produced from the 16th century [No. 006]: Nick Cave” (May 27) “Sound- Sacred: The Ark Door of Cairo’s Ben Ezra to the 18th showing the many views of Rome suits”—larger than life sculpture, costume, and Synagogue” An intricately decorated and as it undergoes a shifting balance between performance creations. inscribed wood panel from a Torah ark, the ancient and modern through three centuries special cupboard that holds the sacred Jewish of extensive changes; “Kara Walker: Harper’s Davis Museum, Wellesley College, Wellesley scripture; in addition, Cairo Geniza documents Pictorial History of the Civil War (Annotated)” ❑ “Festina lente: Conserving Antiquity” (July from the middle ages, photographs of the The artist’s quintessential work in a multiple 7) A survey of the museum’s Greek and Ro- synagogue, and works by Jewish and Muslim format juxtaposing Harper’s version of the man holdings with special focus on collecting, artisans. Civil War with images of her own that question conservation, and stewardship, and the particu- the notion that slavery ended with the war. lar challenges such as attribution, provenance, Academy Art Museum, and authenticity. ❑ Through ❑ Easton Through July 7: June 9: “Prepared Box for John “Jan Kirsh: Forms from the Cage” Eclectic assortment of Garden” Sculptures that reflect material from a 1987 catalogue, the curves and shapes of the contributed to by artists, compos- familiar forms found in nature; ers, curators, and writers, that “James Turell Perspectives” explores the influence of Cage’s Retrospective of light and teachings, writings, and music space artist referencing the on 20th-century culture; “Louise qualities that distinguish the Nevelson: Black” Works installed Chesapeake Bay environment in the “black box” gallery, exhib- in three parts: an overview, a ited in the lighting (or lack of it) gallery of holograms, and a site preferred by the artist. ❑ “Glass specific “Aperture Space.” Heart (bells for Sylvia Plath)” (June 8) Installation in which Washington County Museum sound evokes color. ❑ “Joseph ❑ of Fine Arts, Hagerstown Albers: Geometries” (June 30) “Valley of the Shadow: A Com- The geometric line in relation memorative Exhibition, 150th to color, or lack of it. ❑ “April Anniversary of the Ameri- Brief: From the Color Field” can Civil War” (July 28) In (May 5) Large-scale paintings remembrance of the Maryland associated with the color field Campaign of 1862 and the movement: Olitski, Frankentha- Gettysburg Campaign of 1863: Gregory Kondos, Emerald Bay, 2001. Oil on canvas. In ler, Noland, Poons, and others. works of art, weaponry, musical instruments, “A Touch of Blue,” Crocker Art Museum, CA and clothing tell the story of the war. Michigan University of Michigan Museum Of Art, Massachusetts Smith College Museum of Art, Northamp- Ann Arbor ❑ “El Anatsui: When I Last Wrote ❑ Museum of Fine Arts, Boston ton ❑ “Collecting Art of Asia” (May 26) A to You About Africa” (May 5) Retrospective “New Blue and White” (July 14) celebration of the 100th anniversary of the of Ghanaian-born artist widely known for his A multi-faceted telling of the story of blue museum’s first gifts of Asian art: traditional monumental wall sculptures made from dis- and white porcelain, begun in the works; prints from 1950 to the present; con- carded bottle tops; other works include draw- Islamic world and Asia a millennium temporary painting, sculpture, and installation; ings, prints, and paintings and sculptures in ago, and continuing today, transformed, and videos. wood, ceramic, and metal. ❑ “Florencia Pita/  12  spring VIEWS continued FP Mod” (June 16) Exploring the intersections of digital technology, material experimenta- tion, femininity, and ornament; this architect/ designer’s work evolves through installa- tions, urban design, tableware, furniture, and architecture, all drawn from literary, art, and biological sources. ❑ “Buddhist Thangkas and Treasures: The Walter Koelz Collection, Museum of Anthropology” (June 9) Thangka paintings and other objects used by Buddhist monks and devotees.

Center Art Gallery, Covenant Fine Arts Center, Calvin College, Grand Rapids ❑ Through Apr. 27: “Windows to Heaven: Treasures from the Museum of Russian Icons”; “The Lotto Icons: Earl B. Lewis” ❑ “90 Years of Collecting: Looking Back & Looking Paul Cézanne, The Large Bathers (detail), 1906. Oil on canvas. Forward” (May 18) Montana In “Visiting Masterpieces,” Museum of Fine Arts, Boston, MA Missoula Art Museum ❑ “Tracy Linder: Kalamazoo Institute of Arts ❑ “Sight and Blindsided” (Apr. 21) Works derived from structures pose questions about what it is we Feeling: Photographs by Ansel Adams” (May “living a life close to the land,” transforming are leaving behind as the “remnants” of our 19) Intuitive and emotional responses to the remnants of nature so that they reveal recipro- culture and time; “In the Wake of Juárez: The ❑ landscape resulted in these powerful images. cal relationships necessary to sustain life. Drawings of Alice Leora Briggs” Sgraffito ❑ “Reflections: African American Life from “What is a Cone?” (May 5) A small exhibition drawings of the violence in Juárez, reminis- the Myrna Colley-Lee Collection” (May 26) that supplies the answer: a pyrometric cone is cent of Renaissance prints and paintings of Genre, or narrative subjects from everyday life, an important tool for determining accurately martyrdoms, public executions, tortures, and and the landscape of the American South. when it is time to turn off the kiln when fir- wars by past masters such as Holbein and ing ceramics. ❑ “Recent Acquisitions” (June van der Weyden; “Bound Together: Seeking Krasl Art Center, St. Joseph ❑ “The Floating 23) Hmong textiles as well as artists’ gifts, Pleasure in Books” Celebrating the book, from World: Ukiyo-e Prints from the Laurel Rogers many relating to the American West and many 19th-century photographic albums to limited ❑ Museum of Art” (June 2) Wood panel prints— by contemporary Montana artists. “Gary edition artists’ books, elaborately illustrated many actually advertisement-like posters Horinek: The Gathering” (May 19) Installa- works of literature, pop-up books, medieval depicting popular actors, theater performances, tion by a farmer whose work is relevant to two manuscript facsimiles, and architectural folios: and nature—from Japan’s Edo Period. worlds: agriculture and art. for example, Henri Matisse’s Le Florilège des Amours, Some Memories of Drawing by Geor- Marshall M. Fredericks Sculpture Museum, Nevada gia O’Keeffe, a first edition of An Autobiogra- ❑ Saginaw Valley State University, University Nevada Museum of Art, Reno “Book, Line phy by Frank Lloyd Wright, and The Works of Center ❑ “Lightness of Being, New Sculpture, and Sinker: Contemporary Drawings from the Geoffrey Chaucer, illustrated by Sir Edward Howard Ben Tré” (June 29) Large-scale cast Collection of Debra and Dennis Scholl” (Apr. Burne-Jones and printed at Kelmscott press by glass sculptures. 28) An anthology of practices used by artists to William Morris. Contemporary artists include configure the world; the discipline that under- Walker, Heinecken, Ruscha, Genevieve, Chen, Goldstein Museum of Design, University lies every other way of making art. and Chagoya. of Minnesota, Saint Paul ❑ “Jens Jensen: Celebrating the Native Prairie” (May 12) New Jersey New York ❑ Designs and philosophies of early 20th-century Monmouth Museum, Lincroft “From Plate Bronx Museum of the Arts ❑ “Joan Semmel: landscape architect emphasizing the use of to Paper: The Art of Printmaking” (Apr. 28) A Lucid Eye” (June 9) Self portraits that ex- native plants and natural materials continue to Juried exhibition featuring works in a variety plore the political and emotional implications influence landscapers today. ❑ “Redefining, of media that demonstrate both traditional and of representations of the body. ❑ Through Redesigning Fashion” (May 26) Juried exhibi- alternative printmaking techniques. June 2: “Honey, I Rearranged the Collection” tion focusing on how designers create clothing Selected works from the permanent collection; and accessories with environmental, economic, Zimmerli Art Museum, Rutgers University, “Bronx Lab: Style Wars” Graffitti and its rela- and social concerns. New Brunswick ❑ “Leonid Sokov: Ironic tion to style. Objects” (July 14) One of the originators of the Sots Art movement (Soviet version Omi International Arts Center, Ghent ❑ of Pop Art); a Nonconformist artist’s “Skyline Adrift: Cuban Art and Architecture” sculptures and kinetic, toy-like figures (May 31) Multi-disciplinary, site-specific in- inspired by Russian folk art—naïve art stallations by two Havana-based architects and that creates a sophisticated body of work. two internationally established Cuban artists ❑ “Lynd Ward Draws Stories: Inspired that reflect current Cuban sensibilities across a by Mexico’s History, Mark Twain, and broad spectrum of sculpture, architecture, and Adventures in the Woods” (June 23) installation art. Original and printed illustrations for children and young adult books. Newington-Cropsey Foundation, Hastings on Hudson ❑ “Birds in Art: 2012” New Mexico (May 3) Works in oil and watercolor, as well New Mexico Art Museum, University as sculptures. of New Mexico, Albuquerque ❑ Through May 25: “Martin Stupich: Remnants Hofstra University Museum, Hempstead ❑ of the First World” Images of some of “The Lyon, the Which, and the Warhol” (May our most ambitious, often permanent 19) Photographs by photojournalist Danny Lyon and Pop artist, Andy Warhol, connecting Cynthia England, Piece and Quiet, 1993. Quilt. them to works in other media by Chuck Close, In “Beyond the Bed,” Katonah Museum of Art, NY  13  spring VIEWS continued Jim Dine, and Lisbeth Firmin, emphasizing from Barboza to Zabala with a whole alphabet tecture, libraries in particular; “Wait, Later This parallels among all. in between. Will Be Nothing: Editions by Dieter Roth” The prolific period from 1960-75: an artist’s book Katonah Museum of Art ❑ “Beyond the Bed: Morgan Library and Museum, New York Snow, a selection of handmade books, min- The American Quilt Evolution” (June 16) An City ❑ “Degas, Miss La La, and the Cirque iature volumes, and an experimental volume overview of quilting: the changing meaning of Fernando” (May 12) An in-depth examina- Literaturwurst, the beginnings of works with the “quilt” over a range of time, cultural, and tion of Degas’ famous painting, Miss La La chocolate; “Abstract Generation: Now in Print” regional traditions including bed coverings, at the Cirque Fernando through the painting The ways in which abstraction has played a clothing, furniture accessories, wall decora- itself as well as preparatory drawings, pastels, generative role in works of the past decade, tions, and sculpture. an oil sketch and a Degas print, other period featuring prints, artists’ books, and multiples; paintings, books, an examination of El Museo del Barrio, New York City ❑ lithographs, abstraction through a “superreal: alternative realities in photography photographs, and range of contemporary and video” (May 19) Works from 1980 to the circus programs. practices. present that explore the role of photography ❑ “Treasures from as presenting reality, or alternative realities the Vault” (May 5) Neue Galerie, New York where subjects are emphasized, subverted, or Ongoing series of City ❑ Through Apr. 22: obscured. exhibitions show- “German Expressionism ing off what makes 1900-1930: Masterpieces Grey Art Gallery, New York University, New the Morgan a great from the Neue Galerie York City ❑ “Alice Aycock: Drawings” (July repository of medi- Collection” Prize works 13) A sculptors preparatory studies. eval manuscripts, examine themes of printed books, lit- primitivism and mo- Guggenheim Museum, New York City ❑ erary manuscripts, dernity: Beckmann, “Gutai: Splendid Playground” (May 8) First private letters, and Corinth, Dix, Grosz, North American show devoted to the most original music. Geckel, Kirchner, Klee, influential artists’ collective and artistic avant- Marc, and many more; garde movement in postwar Japan: painting, Museum of Arts “German and Austrian performance and installation art, sound art, and Design, Decorative Arts from experimental film, kinetic art, light art, and en- New York City the Harry C. Sigman vironment art. ❑ “No Country: Contemporary ❑ “Against the Collection” A major gift Art for South and Southeast Asia” (May 22) Grain: Wood in of ceramics, metalwork, The inaugural exhibition of the Guggenheim Contemporary Art, glass, and graphic design UBS MAP Global from Jugendstil to the Richard Caton Woodville, Man in Green Coat with Umbrella. Art Initiative: artists In “Eyes on America,” Walters Art Museum, MD Bauhaus. and collectives who represent compel- New Museum, New ling and innovative Craft and Design” (July 7) York City ❑ “NYC 1993: Experimental Jet Set, voices in the regions Cutting edge conceptual Trash and No Star” (May 26) A time capsule, today. ❑ “The Hugo and technical trends in an experiment in collective memory that at- Boss Prize 2012: woodworking today: the tempts to capture a time at the intersection of Danh Vo” (May 27) way artists, designers, and art, pop culture, and politics. Vo’s installations on craftspeople have incor- exhibit in honor of porated post modernist New-York Historical Society Museum & his winning the Boss approaches into wood- Library, New York City ❑ “WWII&NYC” prize in 2012. working—deconstruct- (May 27) Artifacts, paintings, maps, photo- ing shapes, playing with graphs, posters, film footage, music, radio International function and form, utilizing broadcasts, and newly recorded eyewitness Center of woodturning techniques in accounts, all of which document the scourge Photography, sculpture. of WWII and the valiant efforts toward win- New York City ❑ ning the war made by New York City and its Through May 5: Museum at FIT, Fashion citizens. ❑ “Audubon’s Aviary: Part I of the “Roman Vishniac Institute of Technology, Complete Flock” (May 19) The first of a 3-year Rediscovered” Four New York City ❑ “Fashion series that will feature all of the society’s col- decades of docu- and Technology” (May lection of Audubon’s watercolors, including menting Jewish life, 8) The impact of emerg- models for the plates of The Birds of America. Attributed to Cristobal Lozano, Portrait of Rosa de Salazar focusing on Jews y Gabiño, Countess of Monteblanco and Montemar, ing technologies on the ❑ “The Dream Continues: Photographs of in Eastern Europe c. 1764-1771, Oil on canvas. In “Journeys to New Worlds,” nature of fashion design and Martin Luther King; Murals by Vergara” (May Philadelphia Museum of Art, PA between the two production over the past 5) Folk art portraits of King as statesman, hero, World Wars; “We Went Back: Photographs 250 years, focusing on innovations that have visionary, martyr that appeared in inner-city from Europe 1933-1956 by Chim” Retrospec- influenced the production, materials, aesthetic, establishments reflecting the sentiments of his tive tracing this photojournalist’s work in the and function of fashion. universal constituency. context of 1930s-1950s with his friends Robert Capa and Gerda Taro, beginning in leftist Museum of Modern Art, New York City New York Public Library, NY ❑ “Daring magazines in Paris, then moving on to Spain ❑ “Projects 99: Meiro Koizumi” (May 6) Methods: The Prints of Mary Cassatt” (June to photograph the civil war in support of the In video and performance, works that deal 23) Works done from 1879-1898: a prolific republicans, and finally appearing in all major with power dynamics ranging from families printmaker in addition to her paintings of European and American picture magazines. to nations, and dealing with political and women and children, Cassatt experimented psychological control. ❑ Through June 24: with and became highly accomplished in the Leubsdorf Art Gallery, Hunter College, New “Henri Labrouste: Structure Brought to Light” print medium York City ❑ “Open Work in Latin America, Watercolors, photographs, films, and architec- New York & Beyond: Conceptualism Recon- tural models illustrate the work of one of the sidered, 1967-1978” (May 5) A bevy of artists, milestones in the evolution of modern archi-

 14  spring VIEWS continued Hudson Valley Center for Contemporary and mourning—to memorialize his Art, Peeksville ❑ “The Power of Place” (Apr. sister who died at the age of 24. 28) Works by members of the Peekskill Artist Club. Nasher Museum of Art, Durham ❑ “Light Sensitive: Photographic Works Loeb Art Center, Vassar College, from North Carolina Collections” (May 12) Poughkeepsie ❑ “The Polaroid Years: Instant How photographers use various techniques Photography and Experimentation” (June to persuade us of their own vision rather than 30) Polaroid pictures taken from 1972, when using the camera only to record the world the camera was first released, to the present, as if through an open window. ❑ “Wangechi that tell the story of experimentation and how Mutu: A Fantastic Journey” (July 21) The first instant photography influenced and inspired survey in the U.S. of works by this multidisci- amateurs and professionals alike. plinary artist. ❑ “Exposing the Gaze: Gender and Sexuality in Art” (June 16) The many George Eastman House, International ways artists in the late 1800s to the present Museum of Photography and Film, Roches- day have experimented with the pleasures, ter ❑ “Silver and Water” (May 26) ❑ “Camera hostilities, and politics of spectatorship. Obscura” (June 9) Gregg Museum of Art & Design, North Car- Nassau County Museum of Art, Roslyn olina State University, Raleigh ❑ Through Apr. Harbor ❑ Through June 16: “AB-EX/RE-CON, 26: “Farfetched—Mad Science, Fringe Archi- tecture and Visionary Engineering” Objects Abstract Expressionism Reconsidered” Works Mask, In “Masquerade - Ceremonial and by the best known as well as the less familiar that question the boundaries of “normal” in art Traditional Masks from Africa, Asia, Oceania, and the Americas,” lights in the late 1940s and 50s: Diebenkorn, and technology; “Humanature: Photographs Bellefonte Museum of Art, PA Ernst, Frankenthaler, Hofmann, Kline, Mother- of the Unnatural World” Man-made flies and well, and more; “Asad Faulwell/Chris Johan- waterfalls, artificial lakes and forests, fake Lehigh University Art Gallery, Bethlehem ❑ son” Faulwell’s images of Algerian women, tornados, trees, rocks, and beaches, controlled “Joan Mitchell: An American Master” (May 19) especially freedom fighters in the 1954-62 burns, designer forests, and managed wildlife Paintings and works on paper. ❑ “Abstraction struggle to end French occupation; Johanson’s reserves—is nature an illusion created by man? x 2” and “Abstraction x 7” (May 24) A survey bright colors and imperfect geometric shapes. of abstraction as interpreted by select 20th- and Oklahoma 12st-century artists: collage, found imagery, Parrish Art Museum, Water Mill ❑ “Alice Fred Jones Jr. Museum of Art, University mark making, and digital manipulation. Aycock Drawings: Some Stories are Worth Re- of Oklahoma, Norman ❑ “Art Interrupted: peating” (Apr. 21) First comprehensive study Advancing American Art and the Politics of Dickinson, Dickinson College, Carlisle ❑ “Rena in two parts of drawings by this well known Cultural Diplomacy” (June 9) The first re- Leinberger and Juanli Carrion: Common Con- sculptor: works from 1971-1983 on view at the introduction, some 67 years later, to “Ad- texts” (May 3) Installation created cooperatively Grey Art Gallery, New York University (July vancing American Art,” the 1946 U.S. State by public project and installation artists during a 13), and works from 1983-2012 at the Parrish. Department exhibition of modernist paintings month-long residency at the college. created by contemporary American art- North Carolina ists, which was mounted to show the world Michener Art Museum, Doylestown ❑ Mint Museum, Charlotte ❑ “Sociales: Débora America’s artistic coming of age, highlight- “Transformations II: Works in Steel by Karl Arango Arrives Today” (June 16) Paintings ing the freedom of expression in the United Stirner” (June 16) New life to discarded metal; with political and social content that made States in order to combat Communism. ❑ sculptures that allow metal to become abstract, the artist anathema to the conservative elite “The National Weather Center Biennale” (June to reveal its pure form. ❑ “The Mind’s Eye: 50 in Colombia, yet she is considered one of the 2) Juried show featuring art about weather Years of Photography by Jerry Uelsmann” (Apr. most important modern artists of her time and and the role it plays in shaping our lives. ❑ 28) Retrospective of a contemporary photogra- place. ❑ “F.O.O.D. (Food, Objects, Objectives, “Miquel Barceló’s Areneros y muleros” (May pher considered to be a darkroom magician. ❑ Design)” (July 7) A look at modern 26) One of the largest of this famous Spanish “Infinite Mirror: Images of American Identity” and contemporary objects, both artist’s bullfight paintings. ❑ “Pablo Picasso’s (July 7) Multi-media works by a selection of handmade and mass produced, Woman in the Studio” (June 30) On loan for a culturally diverse American artists; portraiture that have the specific objec- year from the St. Louis Art Museum. and figuration as symbols for ideas about race, tives of either preparing, gender, religion, history, politics, and family. cooking, or presenting food. Oregon ❑ “Return to the Sea: Salt- Museum of Contemporary Craft, Pacific Williams Center for the Arts, Lafayette Col- works of Motoi Yama- Northwest College of Art, Portland ❑ “We lege, Easton ❑ “Sharing the Wealth II: Selec- moto” (May 26) The Tell Ourselves Stories in Order to Live” (Apr. tions from Lafayette’s Collections” (May 25) maker of temporary, 27) Works by recipients of the first nine Hallie 18th- through early 21st-century American and large-scale installa- Ford Fellowships in the Visual Arts, awarded European paintings, prints, and sculpture; vin- tions made from 2010-2012. tage photographs; and contemporary American salt harks back Sculpture and paintings. to the medium’s Pennsylvania traditional sym- Bellefonte Art Museum ❑ “Masquerade— Westmoreland Museum of American Art, bolic meaning in Ceremonial and Traditional Masks from Greensburg ❑ “Aaronel deRoy Gruber: Art(ist) Japan—for Africa, Asia, Oceana, and the Americas” in Motion” (June 2) Sculptural explorations purification (through April) An ancient means of disguise: made from welded steel; formed aluminum; il- the urge to transform ourselves has coexisted luminated, shaped, and motorized Plexiglas. with the development of human society; the ability to change from human form and Philadelphia Art Alliance ❑ Through Apr. 28: become an animal, monster, mythical creature, “Molly Hatch: Reverie” Plate paintings: claim- or spiritual being has been used in animistic ing “the functional surface of the dinner plate as religions for eons. a painting surface,” harking back to 18th- and 19th-century hand-painted dinnerware; “The Ken Price, Balls Congo, 2003. Fired and painted clay. In “Ken Price,” Nasher Sculpture Center, TX  15  spring VIEWS continued Tool at Hand” Works created by artists given the “Rose Clancy: GardenLab@510” (July 1) Site- task of crafting a work of art with one tool only. specific installation: artist/gardener working to reclaim neglected and unused urban spaces. Philadelphia Museum of Art ❑ “Journeys to ❑ “Sarah Oppenheimer: 610-3356” (Apr. New Worlds: Spanish and Portuguese Colonial 26) Alterations in existing architectural units Art from the Roberta and Richard Huber Collec- (rooms) that alter a visitor’s experience and tion” (May 19) Paintings, furniture, and works perception in gallery spaces. in silver and ivory that offer evidence of a new visual culture created by the global empires of Everhart Museum, Scranton ❑ Through July 1: these two nations. ❑ “Great and Mighty Things: “The Blood is the Life: Vampires in Art and Na- Outsider Art from the Jill and Sheldon Bonovitz ture” Multi-disciplinary exploration of vampires Collection” (June 9) The power of self-taught in fact and fiction: the science, the mythical and artistic talent, the drive of the human spirit to social implications, and the contemporary art of create, and the wonders of highly original inner blood-thirsty creatures; “What’s in the Cloud?” worlds revealed. ❑ “The Art of Golf” (July 7) Current research by local specialists on bats in The Golfers (1847), an iconic work by Scottish Pennsylvania and the Caribbean. painter Charles Lees, is the centerpiece of an exhibition celebrating the game on the eve of the Palmer Museum of Art, Pennsylvania State U.S. Open Championship, which will be played University, University Park ❑ Through May in June at the Merion Golf Club in Ardmore, 5: “Drawn to Paint: The Art of Jerome Wit- Pennsylvania. ❑ “Notations: Sean Scully” (July kin” Retrospective of figurative paintings and 14) Color block paintings that bridge Abstract drawings that span more than four decades and Expressionism with Minimalism. that reference the European tradition of history painting; “Varied and Untried: Early Twentieth Rosenbach Museum & Library, Philadelphia Century American Paintings from the James ❑ Through May 26: “War Storied: Hard Earned. and Barbara Palmer Collection” Works made by Unforgettably Told. An Exhibition: Soldiers’ disciples of Henri and Stieglitz: Demuth, Harley, Stories, Then and Now” An exploration of Lawson, Marin, Maurer, O’Keeffe, Sloan, the parallel experiences of American soldiers among others, all willing to attempt the “varied throughout history: historic and present-day let- and untried”; “Lit with Piercing Glances: Lin- ters and documents; “Maurice Sendak: A Legacy ocuts by James Mullen” Linear, reductive works. Exhibition” The last part of a year-long celebra- tion of Sendak’s oeuvre, mounted in salon style, South Carolina having had new items highlighted every four Gibbes Museum of Art, Charleston ❑ “Wit- months ness to History: Civil Rights Era Photographs by Waylande Gregory, Burlesque Dancer, 1929. Glazed James Karales” (May 12) Look magazine photo- earthenware. In “Art Deco Ceramics and the Atomic ❑ Impulse,” University of Richmond Museums, VA Mattress Factory, Pittsburgh “Feminist journalist witnessed and documented the historic and…” (May 26) Works by a diverse group events of the movement. Art of the Ancient Americas: The John Bourne of artists that serve to show that feminism is Collection” (June 23) Works from Mexico to a multi-vocal, multi-generational, and multi- Halsey Institute of Contemporary Art, Col- Peru, organized by culture, present the 2,500 ❑ cultural evolution of thinking and practices. lege of Charleston ❑ “Rebound: Dissections and years of creativity in Mesoamerica, Central Excavations in Book Art” (July 9) Mixed- America, and Andean South America from 1200 media artists who sculpt, scrape, bend, and B.C. to 1520 A.D. carve to create compositions using books as a point of departure Vanderbilt University Fine Arts Gallery, Nashville ❑ “Four hundred years of British Art: Tennessee Highlights from the Vanderbilt University Fine Knoxville Museum of Art ❑ “Bessie Arts Gallery Collection” (June 15) 18th-century Harvey” (June 30) Self-taught Tennessee English portraiture, engravings by William sculptor’s work appears in the first of special Hogarth, satires by Thomas Rowlandson, 19th- displays that feature specific artists. ❑ century prints, paintings, works by artists of the “Tradition Redefined: The Larry and Brenda 19th-century etching revival, and early 20th- Thompson Collection of African American century etchings. Art” (June 16) A collection that redefines American art by its inclusion of “emerging” Texas and “unknown” African American artists Nasher Sculpture Center, Dallas ❑ “Ken Price whose aesthetic and social concerns may Sculpture: A Retrospective” (May 12) This enlarge on the “masters.” show, designed by Price’s good friend Frank Gehry, traces the progression of the artist’s work and the work of others who have been Frist Center for the Visual Arts, Nashville influenced by his oeuvre. ❑ “Sightings: Nathan ❑ Through May 19: “Rembrandt and the Mabry” (July 7) Sculpture based on an ancient Dutch Golden Age: Highlights from the De- terracotta Jalisco figure installed on the outdoor troit Institute of Arts” (May 19) Frans Hals, terrace, and an installation of six figures based Rembrandt, van Ruisdael, de Hooch, and on Rodin’s Burghers of Calais. Steen, and others alongside a selection of decorative art objects, together illuminating Kimbell Art Museum, Fort Worth ❑ “Bernini: the social, religious, and political environ- Sculpting in Clay” (Apr. 14) Sculptural models ment of the time; “Camille Utterback” and clay sketches of what were to become the Interactive digital installations. ❑ “Exploring most spectacular statuary in Rome, including the fountains in the Piazza Navona and the angels Max Pechstein, Young Woman with Red Fan, c. 1910. Oil on canvas. In “German Expressionism 1900-1930,” on the Ponte Sant’Angelo. Neue Galerie, NY

 16  spring VIEWS continued

Joseph Delaney, Woman in Striped Dress, 1964. Oil on board. In “Tradition Redefined,” Knoxville Museum of Art, TN

University of Richmond Mu- Wisconsin seums ❑ At the Lora Robins Charles Allis Art Museum, Milwaukee ❑ Gallery of Design from Na- “Michael Kutzer: Etchings and Woodcuts” ture: “Waylande Gregory: Art (May 12) Retrospective: thought-provoking Deco Ceramics and the Atomic landscapes, creatures, and characters. Impulse” (June 21) Works by a leading figure in American Woodson Art Museum, Wausau ❑ Through ceramics who helped shape Art June 16: “Beguiled by the Wild: The Art of Deco design in the U.S. ❑ “The Charley Harper” Stylized wildlife prints, Silent Strength of Liu Xia: An serigraphs, posters, and book illustrations— Exhibition of Photographs” “minimal realism”; “Torqued & Twisted: (Apr. 28) Images of life-like Bentwood Today” Rockers, tables, and dolls that represent Chinese sculptures, formed by steaming, laminating, people, the artist, and her hus- or greenwood bending, resulting in elegant, band, imprisoned Nobel Peace unusual forms. ❑ Prize winner Liu Xiaobo: Liu Xia’s dolls evoke confinement, repression, escape from author- ity control, and censorship. The exhibition is presented in con- junction with the First Freedom Center and Virginia Common- wealth Uni- versity. ❑ At the Harnett Museum of Art: “Centen- nial Celebra- tion: Prints by John Cage” (June 28) ❑ Utah “Flow, Just Flow: Varia- Utah Museum of Fine Arts, Salt Lake City ❑ tions on a Theme” (June “Mike Disfarmer: Cleburne County Portraits” 28) The psychological state (July 14) Small town photographer from of flow as a launching point Arkansas uses glass-plate negatives to create to examine related defini- “penny portraits,” snapshot-size images as tions and applications, keepsakes for the local residents. many of which involve kinetic forms, non-static Springville Museum of Art ❑ Through Apr. content generation, visitor 30: “Sacred Settings: Selected Photography by interaction, and collective Val Brinkerhoff” Sites and spaces around the states of being. globe created for the worship of God; “New Acquisitions” Utah, Soviet, and American art acquired in the past year. ❑ “89th Annual Washington Spring Salon” (July 7) Tradition begun in Henry Art Gallery, 1922, the foremost showcase of Utah art in University of Washing- the state; all Utah artists are invited to submit ton, Seattle ❑ Through works for consideration by jurors. May 5: “Now Here is also Nowhere: Part II” Works Virginia of art by a selection of Fralin Museum of Art, University of Virginia, international artists: Part I Charlottesville ❑ “Becoming the Butterfly: dealt with the body or with Landscapes of James McNeill Whistler” (Apr. the bodily trace; Part II is 28) Etchings and lithographs from the late about knowledge, language, 1850s showing an emerging artist influenced and mental states; “Sean by Rembrandt and print-making contempo- Scully: Passages/Impres- raries. ❑ Through May 26: “STrAY: Found sions/ Surfaces” Photo- graphs, shot on the islands Poems from a Lost Time” An on-site instal- Henri Matisse, Le Florilège des Amours de Ronsard, 1948. Lithograph. lation that responds to Found Poems from a of Harris and Lewis in the In “Bound Together,” New Mexico Art Museum, NM Lost Time: A Short History of the Civil War, a Outer Hebrides, that record the collection of poems that describe the hor- structure, surface, and form of the dwellings rors of war—visual “portfolios” comprised found there; “The Dowsing” A comparison of of drawings, printed matter, and photographs late 19th-century undergarment construction juxtaposed against works by Kollwitz, Goya, and tailoring techniques with contemporary Clark, and Mann; “Traces of the Hand: Master layered street fashion. Drawings from the Collection of Frederick Correction: and Lucy S. Herman” Works on paper from The caption under the image on page 5 of the January (winter) edition of 1530-1945: social satire, portraiture, German museumVIEWS was incorrectly identified. The caption should read: Romanticism, landscapes, and marine imagery. Stan Brodsky, # 26 from Hebraic Fragments Series, 1996. Oil on canvas. In “50/50,” Hofstra University Museum, NY  17 