museumVIEWS A quarterly newsletter for small and mid-sized art museums April 2017

Johan Joseph Zoffany, Queen Charlotte (detail), 1771. Oil on canvas. In “Enlightened Princess,” Yale Center for British Art, CT  1  Speaking Up: Politics Invades the Art World From: 24 U.S. Senators EMAIL Postings Subject: In support of the NEA and the NEH From: Paul C. Ha, MIT Visual Arts Center Feb. 15, 2017 Subject: A joint letter from Boston art museum directors Dear Mr. President, Dear Friend, We write today in support of the critical work being done at the As directors of Boston’s art museums, we serve as stewards of the National Endowment for the Arts (NEA) and the National Endowment public trust. So, we are alarmed at reports that the National Endowment for the Humanities (NEH). These federal agencies provide vital support for the Arts is under threat of being abolished, along with the National and resources to endeavors in the arts and humanities across the country Endowment for the Humanities and the Corporation for Public that serve as drivers of innovation and economic prosperity. We encour- Broadcasting. Each of these entities champions art and culture in age you to support the Chairmen of these agencies, who demonstrate a continued commitment to supporting the arts and humanities. communities across America. In Boston, NEA and NEH funding has been instrumental at each Since its creation in 1965, the NEH has funded groundbreaking scholarly of our museums, supporting our extensive programs of public access, research, preserved essential cultural and educational resources, cataloged teaching and scholarship, conservation, collection and exhibition. more than 63 million pages of our nation’s historic newspapers, and NEA and NEH grants supported the digitization and cataloging of the helped millions of young people grapple with the lessons of history. Isabella Stewart Gardner Museum’s singular collection; acquisition Additionally, both the NEH and NEA offer healing programs for those funds for works of art by American artists of color in The Heritage who serve in our Armed Services and their families, as well as veterans Fund for a Diverse Collection at the Museum of Fine Arts, Boston; reintegrating into civilian life. the forthcoming exhibition “Animal-Shaped Vessels from the Ancient Also established in 1965, the NEA supports art and education programs World: Feasting with Gods, Heroes, and Kings” at the Harvard Art in every Congressional District in the United States. Access to the arts Museums; the restoration of American artist Kenneth Noland’s only for all Americans is a core principle of the Endowment. The majority of public art piece at MIT; and transformative art education programs for NEA grants go to small and medium-sized organizations, and a signifi- Boston public school middle and high school students at the ICA. cant percentage of grants fund programs in high-poverty communities. Federal support has been a critical piece of the puzzle for museums Furthermore, both agencies extend their influence through states’ arts in our shared mission to foster knowledge, create cultural exchange, agencies and humanities councils, ensuring that programs reach even the generate jobs and tourism, educate our youth, ignite the imagination of smallest communities in remote rural areas. our audiences, and nurture the creativity of working artists. Across the Programs offered through the NEA and NEH not only help Americans country, in communities small and large, urban and rural, the NEA and express their values and forge connections between cultures, but they NEH help to guarantee access to the arts and the also serve as preservation and presentation of diverse cultural important economic expression. The prestige and visibility of the NEA drivers. The U.S. and NEH connects our entire cultural community, Bureau of Economic though we are well aware of the outsized influ- Analysis reports ence of federal dollars at our most vulnerable arts that the arts and institutions across America. culture sector is a On Wednesday, our colleague Thomas Campbell $704 billion indus- of the Metropolitan Museum of Art, wrote an op- try, or 4.2 percent ed in the New York Times eloquently outlining how of the nation’s every museum relies not only on financial support GDP. The nonprofit but also on the advocacy of the NEA to strengthen arts industry alone communities through the arts. produces $135 billion in economic We share the belief that access to the arts is at activity annually the core of a democratic and equitable society. and generates During this moment of heightened national discord, $22.3 billion in the elimination of the NEA and NEH is not a cut government revenue. our country can afford. The arts spur Art is, at its best, a dialogue. We hope that tourism, prepare you’ll participate in the conversation about the our students for the importance of federal funding for the arts and join innovative thinking us as stewards of the public. required in the 21st Peggy Fogelman, century workplace, Norma Jean Calderwood Director, and employ more Isabella Stewart Gardner Museum than 4 million people in the Paul Ha, Director, MIT List Visual Arts Center creative industries Jill Medvedow, nationally. Ellen Matilda Poss Director, Institute of Contemporary Art While it is very rare for artists or Martha Tedeschi, institutions, like Elizabeth and John Moors Cabot Director, museums, to secure Harvard Art Museums funding from just q one source, it is the

Alexei Jawlensky, Byzantine Woman (detail), 1913. Oil on cardboard. In “Alex Jawlensky,” Neue Galerie, NY Continued on next page

 2  Honoré Daumier, Types Parisiens, no. 29, 1840. Lithograph on wove paper. In “Hand in Hand,” Northern Illinois University Art Museum, IL Another View of Iran The political backdrop to the first wide- ranging exhibition of contemporary Iranian art ever mounted in the United States was challenging. But the project succeeded, despite obstacles posed by new foreign policy dicta. The works in “Rebel, Jester, Mystic, Poet: Contemporary Persians” are drawn from the collection of Iranian-born financier Moham- med Afkhami, who seeks to present an alter- native, “softer” vision of his native country. The exhibition itself aims to counter claims that the Iranian market has gone stale and that there is no longer any interesting art being produced in the country. In fact, contempo- rary art is alive and well in Iran and, while other retrospectives of Iranian artists have been on view in the United States through the years, there has been no major exhibition focusing on contemporary art. Says Afkhami, “People have been exhibit- ing and collecting the same works, but there EMAIL Postings...continued are a lot of artists who haven’t had the chance to be seen yet.” The perspective of these emerging artists is global, he maintains. “They funding from these agencies that stimulates strong private investments. are traveling more and seeing more and have challenged conditions These agencies collaborate with private foundations across the country at home.” to bring artistic endeavors to life. In fact, each dollar awarded by the “Rebel, Jester, Mystic, Poet” opened at the Aga Khan Museum in NEA leverages nine dollars from other sources. Toronto in February and will be on view there until June 4. It is then The ideals of these agencies are enshrined in our Constitution as a scheduled to travel to institutions, not yet announced, in California, Texas, and the East Coast. q fundamental tenet of American civil society. Article I, Section 8 explic- itly empowers the United States Congress to promote the “Progress of [Information from an article by Tim Cornwell in The Art Newspaper.] Science and useful Arts.” The importance of federal support for these activities inherently aligns with the founding principles of this country. An Old Song: Federal support for the arts and humanities is essential to our educa- tion system, economy, and who we are as a nation. We hope you will Don’t Worry, Be Happy… keep this in mind as you consider proposals that support these funda- Ronald Reagan cut taxes. Before he came along with the 1986 Tax mental American institutions. q Reform Act, all taxpayers could deduct the full amount of their gifts to charities. The act allowed only those who itemize their deduc- tions—some 30 percent of individual taxpayers—to do so. Open Letter The act made non-profit organizations act more like businesses— [Reported by Julia Halberin in The Art Newspaper in February, an they had to become more proactive in fundraising, using marketing open letter was signed by artists, curators, and gallerists who called for and donor development techniques rather than relying on grants. repeal of Trump’s immigration order.] Now, Steven Mnuchin, the new Secretary of the Treasury, promises “the largest tax changes since Reagan.” Don’t worry, be happy…. More than 80 artists, curators, dealers, and critics have signed an President Trump has proposed an overall cap for deductions: open letter to voice their opposition to President Trump’s travel ban, $100,000 for individual filers and $200,000 for couples. This would which targets refugees and citizens from seven majority-Muslim coun- combine all categories of deductions including charitable giving, tries. The letter calls “for the immediate and total overturning” of the mortgages, etc. into a lump sum, thus limiting the benefit for tax- executive order, which the signatories say has exacerbated humanitarian payers making larger donations in either cash or art. The mega donors, crises and caused colleagues to be profiled based on race and religion.” with deduction caps on the horizon, could vanish. The letter continues: “Should our colleagues have to leave the United The President’s proposed tax cuts would slash federal revenue by States for any reason, they must not fear being denied return; nor should an estimated $6 trillion over they have to cancel exhibitions or research because they cannot enter ten years. This could mean this country. Our field is dependent upon international collaboration and less funding for organiza- cross-cultural exchange, and these cross-border and cross-cultural col- tions such as the National laborations benefit the general public; the ban thus affects all of us.” Endowment for the Arts, Although, at press time, the ban is currently suspended, the Trump public television, and national Administration is fighting to restore it. Lawyers from the Justice museums.

Department and Washington state faced off in front of three federal Don’t worry? q judges. An appeals court is considering whether to reinstate the ban after a judge in Seattle put it on hold nationwide. The legal battle is [Don’t Worry Be Happy, expected to end in front of the Supreme Court. q Song by Bobby McFerrin, 1988]

 3  American Alliance of Museums – AAM–Needs Help

For the AAM week that runs wants help from February in recruiting into March, more advo- hundreds cates and of museum bolstering professionals, resources for students, and the battles trustees visited ahead. They 423 Congres- have two sional offices major to advocate for suggestions: museums, • Make a tax- making the deductible case that contribution. charitable de- ductions must • Help be preserved. recruit more Why? Chari- advocates table dona- by spreading tions provide the word in one-third of Facebook or museum oper- Twitter that ating budgets; museums, federal funds support mission-critical work and leverage additional and the private support; and museums are part of the educational infrastructure federal agencies that support them, deserve support in Congress. and bolster local economies. Hundreds of supporters around the country Use the “Advocate from Anywhere” tools to help: Take Action, joined the cause. Invite Legislators to Meet Locally, Maximize Efforts by Updating In the coming weeks, President Trump will unveil his FY18 budget Publicity Tools, Improve Advocacy Skills, Speak Up for Museums on proposal, which reportedly will include deep cuts to many programs im- Social Media, Help Recruit New Advocates, and Raise Funds. q portant to museums. Meanwhile, our champions in Congress will soon circulate letters and legislation favorable to museums, which will need a Stewart Goldman, Splat (detail), 2010. Oil on linen. In “Mythic Macrocosm,” Tarble Arts Center, IL strong and vocal response.

Charles Sheeler Notes about an Artist: Charles Sheeler was born and raised in Philadelphia. At seven later work: the highly structured, industrial aesthetic visible in 1920s’ years of age he matriculated at the School of Industrial Arts where he fashion, with its streamlined shapes and geometric patterns became remained for three years, after which he studied at the Pennsylvania Sheeler's indentifying aesthetic. Academy of the Fine Arts for another three years. Yet another three Sheeler suffered a stroke in 1960 that ended his painting career. years were spent traveling in Europe studying art and moving toward He died in 1965 after receiving the Award of Merit from the American his early Impressionistic landscapes as well as the European approach Academy of Arts and Letters. to Modernism. By 1910 he settled in his native Philadelphia to begin [Some facts for these notes were supplied by the Michener Art his career as a painter. He spent many working hours at a farm in Museum (PA) where the exhibition “Charles Sheeler: Fashion, nearby Bucks county, sharpening his linear, hard-edged style— Photography, and Sculptural Form” is now on view.] q Precisionism. The purchase of a camera and a move to Doylestown prompted him to begin experimenting with compositional arrangement: mass, texture, line, dramatic lighting, spatial distortions, and strategizing on creating powerful images—images of Machine Age New York, Art Deco skyscrap- ers, sleek locomotive engines, and majestic power plants. Some years after the move to Doylestown, Sheeler transferred his life to New York and was hired as a staff photographer for Condé Nast magazines by his friend Edward Steichen who was then the director of photography for Nast publications. He worked at Vogue and Vanity Fair until 1931, producing hundreds of images, none of which were noticed by the art world. The experience, however, informed much of his Charles Sheeler, Mme Lassen, Vogue, September 1928. In “Charles Sheeler: Fashion, Photography, and Sculptural Form,” Michener Art Museum (PA)

 4  A Resurgence: Presenting “Old Mistresses”

Female Old Masters are enjoying a belated renaissance in promi- museum devoted to art by women, the National Museum of Women nent museums across the globe. Exhibitions are being mounted in the Arts (DC). That museum now holds the work of 42 Old Master featuring the women artists of the past, a step to repair the historical paintings by women from the 16th to the 19th centuries. “We call gender imbalance. them Old Mistresses,” says Director Susan Fisher Sterling. “By the But, the renaissance has been slowed by the short supply of works. 1900s, those early artists tend to fade away. It is like being an old European institutions inherited royal and elite collections from a mistress—you’re part of the scene one day and then you’re not.” time when it was near impossible for women to become professional Director of the Uffizi in Florence, Eike Schmidt, reported to painters; American collections started later. And, it was not until the The Art Newspaper: “I think we are overdue and ready to bring back 1960s, that American collectors Wilhelmina and Wallace Holladay, great female artists of the past.” Schmidt has promised to show more while searching in vain for information on Flemish Baroque land- works by women, beginning with a chronological series of exhibi- scape painter Clara Peeters, decided to establish the world’s only tions of works from the museum’s collection. q

Exhibitions, recent and current, of “Old Mistresses”: • Elisabeth Louise Vigée Le Brun—Grand Palais in Paris, Metropolitan Museum of Art in New York, National Gallery of Canada in Ottawa • Clara Peeters—Museo del Prado in Madrid • Joan Carlile—Tate Britain in London • Artemisia Gentileschi—Museo de Roma in Rome • Maria Sibylla Merian—Tefaf in Maastricht • Suor Plautilla Nelli—Galleria degli Uffizi in Florence

Elisabeth Louise Vigée Le Brun, Self Portrait in a Straw Hat (detail), after 1782.

Left: Joan Carlile, Portrait of an Unknown Lady, 1650–55.

Clara Peeters, Still life with Fish, Candle, Artichokes, Crabs and Shrimp, 1611. Oil on panel.

Below: Artemisia Gentileschi, Judith and her Maidservant, 1613–14. Oil on canvas.

Above: Suor Plautilla Nelli, (1550-1588), St. Catherine with the Lily. Oil on panel.

Right: Maria Sibylla Merian, hand-colored engraving from Merian’s first book, The Wondrous Transformation of Caterpillars, 1679.

 5  HowHow toto SpotSpot aa KnackeredKnackered PicturePicture

[Bendor Grosvenor authored the following article for the March 9, 2017 The good news is that it is not too difficult, with practice, to be able to issue of The Art Newspaper. It follows, with only a few deletions where identify how a painting might have suffered over the years just by look- indicated.] ing at it with the naked eye. An overly harsh relining can be detected with a simple tap on the canvas; if it feels hard like a plank it will have …Two groups of people have done more damage to paintings than been wax relined. anything else: those who sell art and those charged with looking after it. The holy grail when it comes to assessing condition is, however, First, the dealers…. Here are just a few examples of maltreatment: In the ability to identify overpaint. Many “sleepers,” or discoveries, have the 19th and early 20th centuries, oval paintings were deemed unfash- involved questions of condition. A picture’s true quality (and thus its ionable, so they were either cut down or extended into rectangles by attribution) can easily be obscured by the later interference of another adding on bits of canvas. If elements of a painting were thought to be artist or a bad restorer. too uncommercial or over-sensitive they were painted out. (Nipples top the list here.) The notorious art dealer Joseph Duveen (1869-1939) Long, hard look would add so many layers of varnish to a picture that clients could see Until relatively recently there was little taste for unfinished paintings. themselves reflected in the surface. In the 19th century, another British This meant that pictures that may simply have been abandoned by an dealer, William Buchanan (1777-1864), used to clean pictures with his artist, or were created as studies… and never intended to be sold, would penknife. be “finished” by a later artist to make them more saleable. This was Yet it is probably “conservators”—a term I use lightly here—who often the fate of head studies by the likes of Rubens and Van Dyck. A have caused the most damage to pictures over the centuries. Until the giveaway of these works is when one area (say the head of a portrait) 20th century, the is demonstrably task of looking after better than the pictures in a collec- rest. And yet it is tor’s mansion was the work of the often given to the lesser artist that housemaid. Half a will make experts potato, stale urine, or auction house or a rough cloth specialists doubt were used to “clean” the attribution of pictures, which the whole picture. could cause consid- More recently, erable abrasion by overpaint of a washing away dark different kind can pigments (which are be used to disin- softer than brighter genuously mask colors, often made the true condition with tougher lead- of a picture. This white). is not to say that The advent of careful retouching trained conservators of damaged areas from the late 19th in a painting is century did not al- wrong or unethi- ways lead to a gen- cal—far from it. eral improvement But occasionally in the way pictures some conserva- were cared for. At tors, perhaps first, many conser- egged on by vators were artists, dealers and and to them the owners, can get answer to a dam- Louis Léopold Boilly, The Art Connoisseurs, from the series Collection of Grimaces (Recueil de Grimaces) (1823-28). Metropolitan Museum of Art, NY carried away aged or over-cleaned and cover large painting was simple: overpaint it liberally. Fortunately, conservation swathes of a painting with retouching that is hard to spot. It is important techniques have since improved. But each generation tends to convince in such cases not to rely on ultra-violet (UV) lamps; these only show itself that it knows how to “fix” paintings best, sometimes with disas- the more recent layers of retouching and, even then, if a dark retouching trous consequences. In the first half of the 20th century there was a fash- medium is used, a UV light will not reveal it. Furthermore, some ion for transferring panel paintings onto canvas. Many panel paintings in conservators have been known—or perhaps obliged—to use a “screening” the Hermitage Museum in St. Petersburg were shaved down to the paint varnish, which reflects (like sunscreen) UV light, making it impossible layer, with the plane or chisel frequently slipping straight through. Simi- to see any retouching. larly, “wax relining” was all the rage after the Second World War. This The solution to all this is simple, and requires just three things. First, involved the physical heating and ironing of a paint surface onto another time—to study as many paintings in good and bad condition as you can. canvas. Impasto that should stand proud on the paint surface would be Second, some magnifying lenses—I use those cheap reading glasses sold squashed flat like a piece of roadkill. And over time the wax, conserva- in pharmacies. And finally, a good torch. If you are prepared to look at a tors later discovered, seeps through into the paint layers, darkening them painting close enough, for long enough, it will reveal all its secrets. irreparably. Things are generally much better today, although occasionally mis- Tools of the trade takes are still made. To combat the yellowing characteristics of tradi- 1. Train your eye: study as many good paintings as possible. tional organic varnish, new synthetic varnishes have been developed. 2. Invest in magnifying lenses: No need to break the bank; They work, insofar as they don’t turn yellow over time. Instead, they cheap ones from the [pharmacy] will do. tend to go grey. 3. Get a good [flashlight]: Reveal a picture’s secrets by shining a light on it. q

 6  BRIEFSBRIEFS Houston Welcomes New Museum Rice University (TX) announced the opening of its new, internationally focused arts institution. The Moody Center for the Arts was conceived as a platform for collaborative works and for the presentation of innova- tive transdisciplinary experi- ences to the public as well as the university community. The center, a 50,000-square- foot, $30 million building, opened in late February with the mayor of Houston, civic officials, leaders of other cultural institutions, donors, artists, students, and the pub- lic in attendance. The occa- sion was the setting for gala parties, panel discussions, a late-night student party, and the world premiere of Vespertine Awakening, a commissioned dance work. Designed by Michael Maltzan, the Moody contains an art gallery; a gallery for experimental art-

work; a multi-media gallery Andrew Wyeth, Alvaro and Christina, 1968. Watercolor on paper. In “Andrew Wyeth at 100,” Farnesworth Art Museum, ME for video and installation art; a studio theater seating 150 people; a Maker space—wood photographs of construction, and archival shop, metal shop, paint shop, and prototyping businesses, and supporters as well as ice sculp- correspondence between Mr. Johnson and area; studio classrooms; a tech-issue library; tors, food trucks, and the Friends of Congress his client. Instead we have asked artists to audio visual editing booths; offices; and a café. Square Park took part in the festivities. create entirely new artistic material based on the inspired design of the building. We want Small Liberal Arts College First and Only–Writers Featured the public to see the museum in new and Receives Large Gift A grand opening took place on Chicago’s fresh ways; through the eyes of some of the The Colby College Museum of Art in North Michigan Avenue in the spring of this region’s most prominent art photographers. Waterville, Maine, three hours north of year—the American Writers Museum, the Each artist creates images that will engage the Boston, was the recipient of a gift of 1,500 first and only museum of its kind in America, public and challenge them to look at Philip works of art ranging from Van Gogh to celebrates American writers by exploring their Johnson’s work from the artist’s unique point Weiwei. Peter and Paula Lunder, collectors influence on the country’s history, its identity, of view. In that way, the building itself trans- with strong ties to Maine and the college are its culture, and its people. forms from being the subject of the exhibition the donors whose generosity to the college The interactive, high-tech museum will to becoming the inspiration.” –Hickok Cole included a previous gift in 2013 of hundreds of showcase the personal stories and literary Architects Michael Hickok and Yolanda Cole works to open a $15 million space designed works of diverse American writers, from Mark Twain to Dr. Seuss. Themed galleries, changing to house their collection. The new donation, Storm Wreaks Havoc which includes money to endow a new study exhibits, educational programing, and special events will crowd the calendar. Visitors will Early in January, high winds hit the Albany, institute, is valued at more than $100 million. Georgia, area, leaving devastation in its wake. The Lunder Institute for American Art come face to face with great writers in the Writers Hall, accompany roving writers such The Albany Museum of Art sustained severe will host on-campus residencies for scholars, damage that resulted in its closing: sections artists, and graduate students, and develop as Kerouac and Steinbeck on their travels, visit writers’ homes and fictional sites in Nation of the roof were torn off allowing rain into exhibitions and conferences centered around offices, galleries, and vaults. Several inches of the museum’s collection. of Writers. Exhibits will de-mystify famed writers’ lives and methods. Readers Hall will water on the second and first floors caused the “It’s game changing, says Colby President outage of power and humidity control. David A. Greene. “You may get this at a major host films, talks, readings, and presentations to schools and other groups. Due to immediate action by Director Paula university, but this is the kind of thing that is Williams, reaching out to staff, board mem- just never done at a liberal arts college.” bers, insurance companies, lenders, volun- Re-Visioned: teers, and professionals in the field, a task Maine Museum Reopens A Philip Johnson Work force was formed to help in the recovery. After a month-long closure for renovations, This year marks the 50th anniversary of the Conservationists assessed damage, while the Portland Museum of Art reopened. For completion of the Kreeger Museum (DC), unharmed objects were transported to off-site the inaugural spectacle, a massive 130-foot- designed by Philip Johnson in 1964, finished fine-arts storage facilities. The extent of the wide cinematic production, Lights Across in 1967. Two prominent Washington architects damage and the time and cost to repair them Congress, was screened onto the façade of took on the task of conceiving and curating a are still not known. the museum, at the end of which the museum special exhibition celebrating the occasion. doors were open to the gathered visitors. “Our vision for this anniversary exhibition More than 20 community organizations, goes beyond the expected historic sketches, Continued on next page

 7  BRIEFSBRIEFS Continued “Art-Less” Day Protests Ban city’s Arts District, transforming a classic • The Museum of Modern Art (NY) In its wisdom, the Davis Museum at mid-century warehouse into a state-of-the-art recently received a gift of 102 modern Wellesley College (MA), marked Presidents’ museum. In addition to galleries, an educa- works by Brazilian, Venezuelan, Argentinian, Day this year with its response to President tion annex, indoor/outdoor café, and garden, and Uruguayan artists from Phelps and Trump’s executive order to ban citizens the museum will also feature an experimental Gustavo Cisnero, thus reinforcing its position from seven majority-Muslim countries from kitchen café. as a prominent center for the study of Latin entering the U.S. The response, “Art-Less,” • Institute of Contemporary Art, Miami American art. In addition, the couple highlighted the contributions of immigrants is due to move to its new 37,000-square-foot endowed a new research institute at the by de-installing or shrouding works on view home in the city’s Design District. museum dedicated to Latin American art. from the permanent collection that were • A private equity tycoon plans to open a • Real estate investor James Goldstein has either made by artists who were immigrants, private museum in New York City’s Chelsea promised to donate his estate and its contents or given to the institution by immigrant district. It will show modern and contempo- to the Los Angeles County Museum of Art, collectors. Easily removable objects such rary art. as well as a $17 million endowment upon his as paintings were de-installed, while other • The Marciano Art Foundation is due to demise. His Modernist home near Beverly pieces such as objects in display cases, were launch an exhibition space in Los Angeles in Hills is the first work of architecture to enter shrouded with black fabric. Both actions a former Masonic Temple. the museum’s collection. demonstrated what has been • The Cincinnati Art gained from the contribution of Museum has acquired the Joel and immigrants. Some 120 objects, Bernice Weisman collection of 800 or about one-fifth of the works on Japanese prints made during the display were affected. period that spans the 17th to Director Lisa Fischman: the 20th centuries. An extensive “We’ll see pockets of absence all reference library accompanies the over the museum. The African art collection, which represents a broad section is almost entirely lost to spectrum of artists and styles across view.” (Around 80 percent of the the ages. works were donated by a fam- ily who came to the U.S. from Can You Name Five Poland after WWII.) Institute of Contemporary Art, Los Angeles The Davis encourages other institutions to Women Artists? take a similar approach. For the entire Art- • The Bass Museum in Miami Beach, The National Museum of Women in the Less week, objects removed or covered are refurbished, is scheduled for a spring 2017 Arts (DC) launched the second year of its labeled “Made by an Immigrant” or “Given reopening. The museum has been closed since #5WomenArtists social media campaign by an Immigrant.” The graphic design of the May 2015. Fifty percent more space has been during March—Women’s History Month. labels are available on the Davis website for added. The object: to reach a wide audience to other museums to use. “I don’t see why we • The Getty Museum in Los Angeles paid celebrate women artists. Using the hashtag wouldn’t respond” to the ban, said Fischman. a record fee at auction for Orazio Gentileschi’s #5WomenArtists, the museum challenges “I wouldn’t expect art to influence policy, but Danaë, a rendering of Jupiter, disguised as social media users to answer the question, I would expect the encounter of art to trans- golden rain, stealing into Danaë’s boudoir. “Can you name five women artists?” “Our form lives.” It joins Gentileschi’s Lot and his Three Daughters. goal,” says Director Susan Fisher Sterling, • The Philadelphia Museum of Art “is to reinforce the numerous conversations $1B Museum to Rise in LA was the recipient of a bequest including more we have sparked around the globe about than 50 works of art by Cy Twombly, Philip gender parity in the arts.” Star Wars creator George Lucas announced Last March, nearly 400 art museums, plans to build a museum, the Lucas Museum, Guston, Agnes Martin, and Edward Hopper. Also included in the bequest is a $10 million libraries, and galleries from 20 countries in Los Angeles to house his collection of shared their favorite women artists, and more artworks—some 10,000 paintings and endowment to support contemporary art illustrations—and memorabilia in Exposition programs. Continued on next page Park, nestled between the California Science Center and the Natural History Museum of Los Angeles County. The final decision came after plans to establish his museum in Chicago faltered due to a two-year legal fight with conservationists. In addition, the choice of Los Angeles came after almost ten years and a competition with San Francisco. The promised location in Exposition Park, said members of the board, “best positions the museum to have the greatest impact on the broader community.” The focus will be on narrative art, but at present, directors are set on “building what we believe will be one of the most imaginative and inclusive art museums in the world.” Noted: Openings and Acquisitions • Institute of Contemporary Art, Los Angeles, previously known as the Santa Monica Museum of Art, will open a new 12,700-square-foot, $5-million space in the

Orazio Gentileschi, Danaë, 1621. Getty Museum, CA

 8  BRIEFSBRIEFS Continued than 11,000 individuals joined in. National in downtown Manhattan. The institute will We are greatly saddened to learn of this Museum of Women in the Arts greatly host exhibitions traveling from the Arab and proposal for elimination, as NEH has made increased its social media reach, including Islamic worlds. significant contributions to the public good raising its Instagram followers by 140 percent. “It made absolute sense to build an institute over its 50-year history. But as an agency Drawing on the enthusiasm generated by the that would not only showcase the breadth of the executive branch, we answer to the first campaign, more than 150 institutions of art and culture from the Arab and Islamic President and the Office of Management from 41 states, 16 countries, and five conti- worlds, but also challenge certain stereotypes and Budget (OMB). Therefore, we must nents have signed on as contributors in 2017 and misconceptions that hinder cross-cultural abide by this budget request as this initial at museumVIEWS publication time. understanding,” Al-Thani says. stage of the federal budget process gets This year, to enhance the campaign, Plans are in place to hold quarterly exhibi- under way. It will be up to Congress over NMWA is partnering with the Albright-Knox tions at this non-collecting institute. Other the next several months to determine Art Gallery in Buffalo (NY) and Balboa Park expectations include a residency program, funding levels for fiscal year 2018. We in San Diego (CA). Albright-Knox’s annual translation facilities, and the production of will work closely with OMB in the #ArtMadness competition asks fans to vote publications. Although the location has not coming months as the budget process for their favorite artworks, highlighting the been announced, the organization declares continues. The agency is continuing its normal importance of female artists. With a focus itself an independent, non-profit center sup- operations at this time. on parks and nature, Balboa Park celebrates ported by donors and sponsors. Since its creation in 1965, NEH has women in arts and culture by inviting organi- “We exist because of an ever-challenging established a significant record of achievement zations, artists, and photographers to “take- environment,” says Al-Thani, “and the current through its grant-making programs. Over these over” its Instagram account; NMWA posts political climate in the U.S. will only encour- five decades, NEH has awarded more than $5.3 works from its collection for one day during age us to continue our hard work and make billion for humanities projects through more the week-long takeover. sure that through our institute’s program, we than 63,000 grants. That public investment has NMWA works closely with Google Arts & will be able to engage the community to learn led to the creation of books, films, museum Culture, which highlights works from more more about our cultures and differences.” exhibits, and exciting discoveries. than 1,000 museums worldwide. By the end These grants have reached into every part of March, the museum will have added 100 of the country and provided humanities images to the Google platform, which is used Just in... programs and experiences that benefit all in museums and classrooms around the world. of our citizens. Residents in Whitesburg, NEH Chairman William D. Kentucky are preserving the photographs Muslim Center Adams Statement on the and films of their local Appalachian region Proposed Elimination of through Appalshop cultural center. Veterans to Enrich Manhattan returning from war in Iraq and Afghanistan Sometime in May, against the backdrop of NEH in FY18 Budget are using their experiences to perform in Today the Trump administration released President Donald Trump’s ongoing attempt the Aquila Theatre’s Warrior Chorus. Stu- its budget blueprint for the federal govern- to ban immigrants from six mainly Muslim dents, teachers and historians have access ment for the upcoming fiscal year. The countries from entering the U.S., Sheikh to the papers of Founding Father George budget requests no funding for the National Mohammed Al-Thani, a Qatari national based Washington, which have been carefully pre- Endowment for the Humanities (NEH) for in New York, is due to launch the Institute served and catalogued. Through these proj- fiscal year 2018, which begins on Oct. 1. of Arab and Islamic Art, a cultural space ects and thousands of others, the National Endowment for the Hu- manities has inspired and supported what is best in America.q

Jackson Pollock, Red Composition, c. 1946. Oil on masonite. In “More Real, More a Dream,” Everson Museum of Art, NY

 9  Left: Charles Webster Hawthorne, A Study in White, c. 1900. Oil on canvas. In “American Impressionism.” Springfield Museum of Art, MO

Jacob Lawrence, Stained Glass Windows, 2000. Silkscreen on paper. In “History, Labor, Life: The Prints of Jacob Lawrence,” Gibbs Museum of Art, SC

Below: Paul Moro, Floral Bounty by the Bay, Dennis, MA, 1936. Oil on board. In “ Paul Moro,” Cahoon Museum of American Art, MA

Lucas Cranach the Elder, The Penitence of St. Jerome, 1509. Woodcut. In “Carved,” Cedar Rapids Museum of Art, IA

 10  spring VIEWS Top: Math Bass & the Imperial Court SF” (July 23) New work by Cali- fornia artist Math Bass is paired with the creative practice of the Imperial Court of San Francisco, a local organization that holds fundraising events for the alternative society—drag queens and other members of the LGBTQ community; familiar symbols are flipped and “queered” to create new shared meaning.

Stanton Macdonald-Wright with Clifton Karhu (printmaker), The Palm Springs Art spring sea swelling and falling all day, (detail) 1966-67. Color antiquity: paintings, etchings, and watercolors Museum q “Women of Abstract Expression- woodcut on paper, portfolio 20/50. In “Stanton Macdonald- in dialogue with each other and with ancient Wright: The Haiga Portfolio,” Laguna Art Museum, CA ism” (May 29) Krasner, de Kooning, Mitchell, objects. q “The Inner Eye: Vision and Tran- Frankenthaler, DeFeo, and many more of those California scendence in African Arts” (July 9) Sculptures whose freedom of gesture and process was at Berkeley Art Museum and Pacific Film and textiles that celebrate the artists that created the core of the movement. Archive, University of California, Berkeley q them and that reflect the cultures that nourished “Hippie Modernism: The Struggle for Utopia” them as agents of spiritual realms. q “Tony Crocker Art Museum, Sacramento q “Two (May 21) The counterculture of the 1960s Smith: Smoke” (July 2) Objects in all media that Views: Photographs by Ansel Adams and and 70s and its impact on global art, archi- trace the evolution of Smoke, a 2008 large-scale Leonard Frank” (May 14) Two views of the tecture, and design: experimental furniture, sculpture that reflects the artist’s exploration of internment of the Japanese in the U.S. and immersive environments, media installations, patterns in organic life. q “The Prints of Canada in the early 1940s q “Into the Fold: alternative magazines and books, printed Albrecht Dürer: Masterworks from the Collection” Contemporary Japanese Ceramics from the ephemera, and films that convey the social, (June 11) Woodcuts and engravings that reflect Horvitz Collection” (May 7) Traditional and cultural, and political ferment of the period. the artist’s interest in classical antiquity, con- avant-garde themes side-by-side expose tensions q “Buddhist Art from the Roof of the World” temporary theological writing, and humanist between form and function, traditional and (June 11) The revered teachers of the Tantric thought. q “Awazu Kiyoshi, Graphic Design: modern, national and international. form of Buddhism are shown in their ancient, Summoning the Outdated” (May 7) Hand-drawn q “Japanamerica: Points of Contact, 1876- elaborate thangkas. q “Erica Deeman: Silhou- designs imbued with local traditions: books and 1970” (May 21) A look into Japans place in ettes” (June 11) Large-scale photographs of posters from the 1960s-70s that draw on historic major international exhibitions and fairs held women from the African diaspora—stark Japanese visual culture. in the U.S. and at Japan’s first World’s Fair in silhouettes against a white background, actu- Osaka in 1970. q “Contemporary Japanese ally color photographs with nuances of tone. Museum of Contemporary Art, Los Angeles Ceramics: Selections from the Dauer Collection” q Through July 3: “Kerry James Marshall: (May 7) An accompaniment to “Into the Fold” Laguna Art Museum, Laguna Beach q Mastry” Figurative paintings that portray the q “Forbidden Fruit: Chris Antemann at “Stanton Macdonald-Wright: The Haiga everyday life of African Americans—a first Meissen” (June 25) The results of a collaboration Portfolio” (May 29) Haiga—traditional major retrospective in the U.S.; “Patrick Staff: between American sculptor Antemann and Japanese woodblock prints illustrating haiku Weed Killer” Video installation of a monologue Meissen’s master artisans: a series of poems—created in Kyoto, Japan, in 1966-67. in which an actress reflects on q Through May 29: “The Golden Decade: the chemically induced Photography at the California School of Fine devastation of chemo- Arts, 1945-55” Selections from the work of therapy. q “Arthur students who had studied under Ansel Adams, Jafa: Love Is the Minor White, Edward Weston, Dorothea Message, The Lange, and others whose work is also included; Message Is “From Wendt to Thiebaud: Recent Gifts for the Death” (June Permanent Collection” Paintings, sculptures, 12) Through photographs, drawings, and prints from all found foot- periods of California art. age, this video, set Los Angeles County Museum of Art q to a Kanye “Moholy-Nagy: Future Present” (June 18) The West hip-hop first retrospective in the U.S. in 50 years by track, traces this utopian painter; photographer; sculptor; African- filmmaker; graphic designer, exhibition and American stage designer; teacher at the Bauhaus; writer; identity through and founder of Chicago’s Institute of Design, a spectrum of who believed that art could work hand-in-hand contemporary with technology for the betterment of humanity. imagery. q “Picasso and Rivera: Conversations Across Time” (May 7) A comparison of the artistic Oakland Museum of trajectories of these prolific contemporaries, California q “Bees: Tiny competitors, and famous larger-than-life Insect, Big Impact” (June 30) A close look at one of the most personalities, their engagement with their Kwele peoples, Gabon, Mask, similar academic training, their shared invest- important creatures to human agricul- early-mid 19th century. q In “The Inner Eye,” Los Angeles ment in Cubism, and their return to interest in ture and the natural environment. “Over the County Museum of Art, CA  11  spring VIEWS continued contemporary sculptures, the largest of which able environments. q “Draw- celebrates an 18th-century banquet—a modern ings from the Collection” Love Temple, with semi-clothed revelers (May 26) Contemporary around a banquet of “forbidden fruit” and a drawings with a variety of pleasure garden. approaches to the medium.

Asian Art Museum, San Francisco q “Tomb Connecticut Treasures: New Discoveries from China’s Fairfield University Art Han Dynasty” (May 28) Selection from Museum, Fairfield q “H.A. recent excavations of 2,000-year-old lavishly Sigg Abstract Rivers” (June furnished Han Dynasty tombs: a jade coffin, 10) Geometric aerial abstrac- bronze bells, elaborate crafts, and much more. tions of the topography of q “The Sculptural Turn: Contemporary Japa- southeast Asia, made from a nese Ceramics from the Kempner and Stein Swissair plane. Collection” (June 4) The work of clay artists, all born after WWII, which expands on early Bruce Museum, Greenwich 20th-century forms—the changing character of q “Canvas and Cast: High- clay in Japan including the first generation of lights from the Bruce women in the traditionally male field. Museum’s Art Collection” (June 18) Long-time favor- Contemporary Jewish Museum, San Fran- ites and recent acquisitions: Richard Diebenkorn, Seated Nude [#30] (detail), 1963. cisco q Through June 25: “Cary Leibowitz: 16th-century Dutch portraits, 19th-century Pen and ink on paper. In “Artists of the New York School,” Museum Show” Paintings, commercially American figural sculpture, academic style Georgia Museum of Art, GA manufactured multiples, works on paper, paintings, and French and American landscape archival material, and fabric works in this first paintings from the turn of the 20th century. Florida career survey of an interdisciplinary artist q “Alfred Sisley (1839-1899): Impressionist Hand Art Center, Stetson University, DeLand whose subjects include identity, modernism, Master” (May 21) First retrospective in the U.S. q “Oscar Bluemner: Becoming a Painter: the art market, queer politics, and kitsch; in more than 20 years, mounted in concert with Works from the Vera Bluemner Douba “The Yud Video Project” Five-minute videos the Hôtel de Caumont Centre d’Art in Aix-en- Collection” (May 3) focusing on the theme of memory—personal, Provence, France. q “Street Smart: Photographs family, cultural, or imagined. q “In That Case: of New York City, 1945-1980” (June 4) Post Frost Art Museum, Florida International Havruta in Contemporary Art—Kota Ezawa WWII New York in black and white: jazz, feminist University, Miami q “Marking the Infinite: and James Kirby Rogers” (June 20) Video and anti-war protests, riots in Greenwich Village Contemporary Women Artists from Aboriginal animation based on Rogers’ choreography and and Harlem, and the cacophony of urban life. Australia” (May 7) New works with unique movements—a blending of human movement perspectives from a seldom-seen culture: the and digital animation. District of Columbia wide range of subject matter points to the range National Museum of of remote areas across Australia that foster Women in the Arts q these matriarch artists. q “Carol Brown Gold- “From the Desk of Simone berg: Tangled Nature” (May 21) Mark-making de Beauvoir” (June 2) artist portrays the complexity of the natural Installation interprets her world as well as of human relationships. Paris studio alcove and allows visitors to reflect on Vero Beach Museum of Art q “The View her impact on literature, Out His Window (and in his mind’s eye): philosophy, and popular Photographs by Jeffery Becton” (May 7) Large- culture, as well as on femi- scale photo-montages of an imaginary world. nism and feminist thought. q “Larry Kagan Object/Shadow” (May 21) q Through May 14: Abstract metal sculptures that, with special “Border Crossing: Jami lighting, cast shadows that depict objects, ani- Porter Lara” Using an mals, and figures—object/shadow. q “Deborah ancient pottery-making Butterfield: Horses” (June 4) Horses created process, the artist produces from found wood, reclaimed steel, cast bronze. objects that resemble the ubiquitous plastic bottle, Norton Museum of Art, West Palm Beach q blurring the line (border) “Pen to Paper—Artists’ Handwritten Letters between art and rubbish, from the Smithsonian’s Archives of American and defining the ordinary Art” (July 2) Casually jotted notes as well bottle as the precious object as elaborately decorated epistles, by Cassatt, that carries life-sustaining Church, Finster, Homer, O’Keeffe, Oldenburg, Ansel Adams, Richard Kobayashi, farmer with cabbages. Motherwell, Noguchi, Parrish, and many Manzanar Relocation Center, 19. In “Two Views,” water; “New Ground: The Crocker Art Museum, CA Southwest of Maria Martinez and Laura Gilpin” others—all revealing the beauty of the craft Friends who focused on the Southwest as a cul- of letter writing. turally rich region: potter Martinez adapted the San Francisco Museum of Modern Art q ancient black-on-black Pueblo tradition while Georgia “Matisse/Diebenkorn” (May 29) Witness the photographer Gilpin captured the region on Georgia Museum of Art, University of Georgia, profound inspiration of Henri Matisse on Cali- film, together shaping the image of the modern Athens q “Expanding Tradition: Selections fornian Richard Diebenkorn through different Southwest from the 1930s to the 70s. q from the Larry D. and Brenda A. Thompson pairings and groupings of both artists’ work. q “Chromatic Scale: Prints by Polly Apfelbaum” Collection” (May 7) A second showing of “Thomás Saraceno: Stillness in Motion— (July 2) Prints that extend the conventional selections from the extensive collection of Cloud Cities” (May 21) Installation that offers boundaries of color and technique, incorporating works by African American artists, 19th a model for the utopian cities of the future, interchangeable wood blocks and gradient inking century to contemporary. q “Michael Ellison: when cities are airborne in collective sustain- and creating images that reference Minimalist Urban Impressions” (May 21) Block prints and and Pop art. collage works on paper of community as well

 12  spring VIEWS continued

Michael Ellison, Cythera Revisited, 1991. Relief print on paper. In “Michael Ellison: Urban Impressions,” Georgia Museum of Art, GA WWII when abstrac- in the tumultuous civic transformations of tion came out of the 19th-century Paris; “A Tale of Donkeys and industrial expansion Elephants: Satire with the Wink of a Fox” and political trans- American political/editorial cartoons. formation in South America. q “Go” Iowa (June 4) Paintings, Cedar Rapids Museum of Art q “Carved: sculpture, works on Woodcut and Woodblock Prints from the paper, photographs, Collection” (April 30) The diversity in printing designed objects, tex- techniques, especially by American artists. q tiles, books, and films “America on Paper” (May 14) Prints from reveal how speed has Associated American Artists, which was the been celebrated, man- first to recognize the potential in marketing aged, and resisted. q affordable art to the middle class—“art for “Whistler’s Mother: the people.” An American Icon Returns to Chicago” Louisiana (May 21) The painting’s National WWII Museum, New Orleans first visit in more q “State of Deception: The Power of Nazi than 60 years, accom- Propaganda” (June 18) From the United States as isolation in urban settings. q “The Culti- panied by other paint- Holocaust Memorial Museum (DC), how Nazi vated Connoisseur: Works on Paper from the ings, prints, drawings, posters, and selected propaganda used biased information to sway Creighton Gilbert Bequest” (June 4) Objects ephemera. q “Zhang Peili: public opinion: “Using posters, photos, news- and works on paper from the 14th to the 20th Record. Repeat.” (July 9) 1980s experiments reels, and media pieces, the exhibition aims to century; focus is on Old Master prints and with video in the 2000s by the first Chinese help today’s society understand propaganda in drawings from the Renaissance, Baroque, and artist to work in the medium: routine, every- order to recognize and effectively respond to Rococo periods. q “Advanced and Irascible: day actions are rendered disorienting through hateful messages and violent agendas.” Abstract Expressionism from the Collection of perspective, close-ups, and framing. Jeanne and Carroll Berry” (April 30) Pollock, Massachusetts Rothko, Gottlieb, de Kooning, Terne, and Museum of Contemporary Art, Chicago q Institute of Contemporary Art, Boston q Reinhardt, among others who believed they “Merce Cunningham: Common Time” (April “2017 James and Audrey Foster Prize Exhibi- defined the abstract Expressionist movement, 30) A work by Charles Atlas that includes tion” (July 9) Biennial showing of work by influencing the trajectory of modern art. 35 years’ worth of video clips documenting Boston-based artists. Cunningham’s choreography, co-presented Morris Museum of Art, Augusta by the Walker Art Center (MN); stage décor McMullen Museum of Art, Boston Col- q “Rhythm and Movement: Paintings by designed by artists such as Frank Stella and lege, Boston q “Rafael Soriano: The Artist as James Michalopoulos” (May 14) Richly Jasper Johns are shown beside more recent Mystic” (June 4) The early, transitional, and textured, color-saturated images of New Cunningham-inspired installations by Ernesto mature works of an artist who fled his home in Orleans, known for their skewed perspectives Nero and Tacita Dean. Cuba where he was born, and emigrated to the and exaggerated points of view. q “The U.S.: the exhibition examines his life’s work Blackbelt of Alabama: A Response to Home” Northern Illinois University Art Museum, and how exile effected a transformation of his (June 18) Selma (AL) native records his home Duluth q Through May 20: “Hand in Hand: style from the geometric abstract in Cuba in town in photographs that reveal his attachment The Visual Arts as a Means of Social and the 1950s to his later, biomorphic and organic to the town and the surrounding countryside. Political Protest and Commentary”; “What a imagery. Frightful Spectacle: Lithographs of Honoré Illinois Daumier” Satirical observations of aristocrats, Jim Dine, The Henry Street Robes, 2006. Black and white spit- Tarble Arts Center, Eastern Illinois University, politicians, and the average citizen caught up bite etching with Epson color inks. In “Pressed for Time,” Charleston q Through May 14: “Mythic Kalamazoo Institute of Arts, MI Macrocosm: Stewart Goldman Paintings” Abstractions from the early 2000s and more recent abstractions based on landscapes in New Zealand, Sicily, and Capri; “Jacco Olivier, Cosmology in Flux” Works that allude to the constant flux of our ecosystems.

Art Institute of Chicago q “Hélio Oiticica: To Organize Delirium” (May 7) First retro- spective in the U.S. of this Brazilian artist’s oeuvre: early works on paper; painterly/ sculptural “Spatial Reliefs” that break free of the wall and “Nuclei,” panels suspended from the ceiling; later installations that change the role of the viewer into participator. q “Doctrine and Devotion: Art of the Religious Orders in the Spanish Andes” (June 25) 17th- 19th- century paintings by South American artists introduce visitors to the Catholic orders dominant in the Spanish Andes as they vied for devotees and power. q “Abstract Experiments: Latin American Art on Paper after 1950” (May 7) Works made during the pivotal period after

 13  spring VIEWS continued Fitchburg Art Museum q Through June 5: “Triibe: same difference” Carefully choreographed photographs, performances, and videos of triplet sisters who originated, with photographer Cary Wolinsky, an artistic collective with the object of provoking examinations of gender, equality, and stereotype; “A Curious Nature: Paintings by Shelley Reed.”

Mount Holyoke College Art Museum, Mount Holyoke q Through May 28: “140 Unlimited” Recent acquisitions on display in honor of the museum’s 140th anniversary; “The Legend of the Lares” Ancient Roman antiquities that supported the cult of the Lares familiars, domestic deities (as opposed to the Olympian gods who dwelled in the monumental temples of Cicero’s Rome) that took the form of statuettes or painted figures and were venerated in household shrines.

Davis Museum, Wellesley College, Wellesley q Through July 9: “The Medici’s Painter: Carlo Dolci and 17th-Century Florence” First exhibition in the U.S. devoted to the life and oeuvre—paintings and drawings—of this 17th-century master; “Reframing the Past: Piranesi’s Vedute di Roma” A print series, in progress from 1747-1778, that depicted Roman memorial monuments while at the same time illuminating 18th-century approaches to antiquity; “On Distant Shores: Landscapes by Constable and Kensett” Two 19th-century master artists’ visions, side by side; “The Fine Print: Andy Warhol, Ferrous, 1975. Acrylic and silk screen on linen. In “Victors for Art,” University of Michigan Museum of Art, MI Selections from the Collection Bequest of Ann Kirk Warren ‘50” Works that range from European Museum of Fine Arts, Boston q Through MIT List Visual Arts Center, Massachu- Old Masters to American prints and drawings. June 18: “Make Way for Ducklings: The Art setts Institute of Technology, Cambridge of Robert McCloskey” A celebration of the q “List Projects: Kenneth Tam” (May 21) achievements of this author/illustrator who was Video installation about interpersonal Michigan a major force in 20th-century picture-book art; dynamics and intimacy between men University of Michigan Museum of Art, Ann q “Imogen Cunningham: In Focus” Photographs investigates private and social boundaries. Arbor “Constructing Gender: The Origins of by a co-founder of Group f/64, with Edward q “An Inventory of Shimmers: Objects of Michigan’s Union and League” (May 7) Original Weston, Ansel Adams, and others who shared an Intimacy in Contemporary Art” (July 16) drawings, renderings, photographs, color studies, aesthetic of sharply-focused images and natural A variety of works that investigate intimate even dance cards, all bring to life the iconic subjects: large-format botanical images, still relationships with objects and or people. buildings on campus—how they were conceived, lifes, portraits; “Terry Winters: The Structure of constructed, and occupied since they opened in q Things” Abstract prints and drawings that recall Cahoon Museum of American Art, Cotuit 1919 and 1929. “Victors for Art: Michigan’s biological systems. q “Conservation in Action: q “Paul Moro: A Painter’s Journey” (April Alumni Collectors—Part I: Figuration” (June 11) Preserving Nirvana” (May 28) Visitors watch 30) Retrospective: Cape Cod in the early Celebrating the university’s 2017 bicentennial: and interact with conservators as they publicly 20th century. the first part of a two-part exhibition presenting a restore Hanabusa Itcho’s¯ rare Death of Buddha (1773). q Through July 9: “Matisse in the Studio” Matisse’s major works paired with objects from his personal collection that he treasured and that inspired him—a range of works from different points in his career are mounted in five sections: The Object Is an Actor, The Nude, The Face, Studio as Theatre, and Essential Forms; “Botticelli and the Search for the Divine” An exploration of the changes in the artist’s style and subject matter, from poetic classical gods to austere sacred themes, which reflect the shifting political and religious climate of Florence under the stern theocracy of Savonarola. q “Club Americano” (June 4) A one-room exhibition inspired by 19th-century gentlemen’s lounges, surrounded by paintings and decorative arts. q “Art in Bloom” (May 1) Artworks from the collection are paired with floral interpretations created by regional garden clubs.

Robert McCloskey, “There they waded ashore and waddled along till they came to the highway.” Drawing for Make Way for Ducklings, 1941. In “Make Way for Ducklings,” Museum of Fine Arts, Boston, MA

 14  spring VIEWS continued diverse selection of works by a diverse group Zimmerli Art Museum, Rutgers Univer- of alumni representing some 70 years of sity, New Brunswick q “Fletcher and the graduating classes. Knobby Boys: Illustrations by Harry Devlin” (June 25) Drawings for two of Devlin’s early Kalamazoo Institute of Arts q “Pressed for children’s stories, The Knobby Boys to the Time: History of Printmaking” (July 2) Survey Rescue and How Fletcher Was Hatched, tales of the four major processes in the Western that, like many of his stories, explore common world from the 15th century to the 21st: Durer, childhood fears and emotions through animal Rembrandt, Whistler, Picasso, Bearden, characters. q “Innovation and Abstraction: Warhol, and others Women Artists and Atelier 17” (May 31) Experimental, sometimes unorthodox prints, Marshall M. Fredericks Sculpture Museum, paintings, and sculptures by eight artists— Saginaw Valley State University, University Louise Bourgeois, Minna Citron, Worden Center q “Mingled Visions: Images from the Day, Dorothy Dehner, Sue Fuller, Alice North American Indian Collection by Edward Trumbull Mason, Louise Nevelson, and Anne S. Curtis” (May 20) Original photogravure Ryan—all of whom worked at the Atelier 17 prints from the Dubuque Museum of Art printmaking studio, the catalyst and inspira- (IA), an overview of Curtis’s collection of 20 tion to the reshaping of American abstraction. volumes of ethnographic texts illustrated with high-quality photoengravings, originally a Nevada 5-year project; in the end, the 20 folios Nevada Museum of Art, Reno q Through included 722 photogravure prints, but the July 16: “Maynard Dixon: The Paltenghi project took 30 years to complete. Collections” Drawings and paintings that Erica Deeman, Untitled 08, from the series Silhouettes, 2014. describe the artist’s life in the American Digital chromogenic print. In “Erica Deeman: Silhouettes,” West; “Miradas: Ancient Roots in Modern & Berkeley Art Museum and Pacific Film Archive, CA Contemporary Mexican Art from the Bank of America Collection” Paintings, prints, and Goldstein Museum of Design, University of photographs by artists on both sides of the Minnesota, St. Paul q “Global Technique, Local border. q Through May 21: “A Place in the Pattern: Ikat Textiles” (May 14) Hand-crafted, Country: Aboriginal Australian Paintings” patterned textiles from Indonesia, Thailand, Non-representational paintings by female Cambodia, Uzbekistan, Japan, and the South Aboriginal artists whose work describes both American Andes. q “A Catalog of Difference” geography and belief; “Kristin Posehn: (April 30) A study of change across material and Architectures” Fragments of architecture perceptual environments: the role of light as a make up this sculptor/writer/photographer’s generator for non-geometric models of material artworks. q Through May 28: “Peter Stichbury: objects. Anatomy of a Phenomenon” UFO sightings and portraits of the people who did the sight- Mississippi ing; “Spinifex: Aboriginal Paintings from the Lauren Rogers Museum of Art, Laurel q Robert Daplan and Margaret Levi Collection” “In Miniature” (July 23) Small-scale baskets, Works made by the Spinifex people of the portraits, netsuke, snuff bottles, a Thorne room, Great Victoria Desert in western Australia. q African gold weights, Zuni carvings, and eye “Altered Landscape Photography” (July 5) portraits from Africa, Asia, Europe, and North From the Landscape Photography Collection. America; magnifying glasses provided. q “Tilting the Basin: Contemporary Art of Nevada” (May 14) Work by significant artists Missouri living and working in Nevada. Springfield Museum of Art q “American Left: Maynard Dixon, Grazing Buffalo, 1938. Pencil on paper. In “Maynard Dixon: The Paltenghi Collections,” Impressionism: The Lure Nevada Museum of Art, NV of the Artists’ Colony” July 2) Paintings and works on paper dating from the Minnesota 1889s through the 1940s, Tweed Museum of Art, University of arranged by artist colonies Minnesota, Duluth q “New Acquisitions” that played a critical role (May 5) Objects collected as educational in the development of resources and as preservers of the culturally Impressionism: shown here diverse heritageof the western Lake Superior is artwork produced in Cos region and beyond. q “Midwestern Moderns” Cob and Old Lyme, CT; (June 11) Paintings and prints by 20th-century Cape Cod, Cape Anne, and Midwestern artists, among them Thomas Rockport, ME; New Hope Hart Benton, Fletcher Martin, Gene Ritchie and Philadelphia, PA; and Monahan,Grant Wood, and George Morrison. Taos, NM, among others.

Walker Art Center, Minneapolis q “Ques- New Jersey tion the Wall Itself” (May 21) A multimedia, Newark Museum q multigenerational examination of the ways “What Will Come” (May interior spaces and décor can be fundamental 31) Video installation to understanding cultural identity: rooms— inspired by Italy’s invasion an anteroom, a prison cell, a living room, a of Ethiopia in 1935 when library—exist between artwork, prop, and set 275,000 people died. or stage.

Nick Aguayo, Untitled, 2015. Acrylic and marble dust on canvas. In “Be With Me,” New Mexico Museum of Art, NM  15  spring VIEWS continued

CROSSWORD by Myles Mellor (answers on next page) New Mexico New Mexico Museum of Art, Santa Fe q Through 1 2 3 4 5 6 7 April 30: “Conversations in Painting, Early 20th Century to Post-War American Art” The evolution of 8 9 abstraction: federal support for art and artists during the Depression Era, the Transcendental Painting 10 11 Group, Abstract Expressionism, Hard Edge Painting and Minimalism; “Be With Me, a Small Exhibition 12 13 of Large Paintings” Abstract works that utilize the physical and material qualities of paint as a means of 14 15 16 expression.

17 18 New York Albany Institute of History & Art q “Captured 19 20 21 22 Moments: 170 Years of Photography from the Albany Institute” (May 21) Daguerreotypes, tintypes, albumen 23 24 25 prints, cyanotypes, digital inkjet prints, photo albums, and more, portray the history of Albany and 26 27 28 29 the surrounding region. q “Wampum World: An Art Installation by Renée Ridgway” (June 18) An artist’s 30 interpretation of the changing meaning of wampum from culture to culture and time period to time 31 32 33 34 period: video installations and the artist’s watercolors and collages.

Wellin Museum of Art, Hamilton College, Clinton q Through July 2: “Julia Jacquette: Unrequited and 35 36 37 38 39 Acts of Play” A first retrospective includes paintings, site-specific murals, and a series of gouache draw- ings of commercial objects of desire—images from cookbooks and glossy magazine ads, interiors of 40 41 42 expensive homes, and more; “Permanent Collection Highlights: Art and Artifacts” Open storage evokes a modern-day cabinet of curiosities; floor-to-ceiling Across Down glass cases contain Greek and Roman antiquities, art 1. Art dealing French-American dynasty 1. One of America’s greatest illustrators of the ancient Americas, Native American pottery and 8. It might say “You are here” 2. Creator of Dress Impression with rattles, and much more. 10. Tennyson’s “doves in immemorial Train, Karen ______” 3. Capitan or Greco Fenimore Art Museum, Cooperstown q “50 Years, 11. Modern abstract and conceptual 4. Relating to some vertebrae 50 Works, 50 Reasons: Maurice Sendak, the Memo- painter, from Bologna 5. Having a smooth surface rial Exhibition” (May 14) Original illustrations, set 6. The Beauty Myth author Wolf design and costume sketches, animation reels, post- 12. To voice ers, sculpture, and more: works of art are accompa- 14. Renoir’s painting of his son, Jean 7. “The only animal that blushes,” –Twain nied by quotes from celebrities, illustrators, friends, as a ____ 8. Member of a younger demographic politicians, and others who were inspired, influenced, 16. The ____s of the Earth by Ken Follett 9. Major art collector, _____ Chen and touched by this creator of artworks powered by 12. Top grades children. 17. Hopped off 19. Brit’s monochromes 13. Personal statement intro, 2 words 21. Van Gogh, Cezanne and Picasso 15. Cold air quality were all inspired by this region 18. Equestrian pace and its magical light 19. African antelope 23. Classify, informally 20. Nation where St. Peter in Tears was created 26. Japanese artist who created 22. Enthusiasm Courtesans of the Matsubaya 24. Hosp. unit 28. Chief curator of painting and 25. “Black paintings” creator sculpture at MOMA, Ann _____ 27. Works of art featuring the Greek god of light, by Bernini and 31. Series of abstract geometric Adriaen deVries and others paintings by El Lissitzsky 29. The Name of the Rose writer 32. Greek citadel 30. Soul 35. Result of the application of 3D 31. L’Orangerie locale printing to duplication of famous 33. Legendary director of the Museum paintings of Modern Art, William 38. Based on country themes 34. Northern Scottish tribes who created 40. Chapel famous for its art art in stones 41. Figs. 36. First name of a major art collector in LA 42. Visit 37. Canon branch launching a new service called Verus Art, recreating artwork 39. Fleur-de-___ Daniel Hauben, Reflecting on the Familiar (detail), 2017. Oil on canvas. In “Daniel Hauben,” Bronx Museum, NY  16  spring VIEWS Katonah Museum of Art q “Picturing Love: Photography’s Pursuit of Intimacy” (June 25) A look at the history of this subject from photography’s early days to the present. Bronx Museum, New York City q Through July 3: “Wild Noise / Ruido Salvaje” Contemporary Cuban art from the 1970s to the present: how Cuban artists both on the island and abroad have grappled with issues of identity, community, and the urban experience; “Daniel Hauben: Reflecting on the Familiar” Seven-part painting that captures life in the Bronx, a congested, enveloping, often incomprehensible urban environment. q “The Neighbors, part three: Love They Neighbor” (June 11) Third and final part of an exhibition series that addresses cultural uprooting, belonging, social mobility, and political resistance. q “Arlene Slavin: Intersections” (June 25) A group of sculptures from a series that plays off the principle of the sundial: crisscrossed translucent colored webs, the shadows and colors of which change as the sun moves. Marsden Hartley, Fishermen’s Last Supper, Nova Scotia, 1940-41. Oil on canvas. In “When Modern Was Contemporary,” Brooklyn Museum, New York City q “Georgia Westmoreland Museum of American Art, PA O’Keeffe: Living Modern” (July 23) How the renowned modernist proclaims her progressive, of Fragile Mirrors” Films on continuous play its inhabitants. q “Marisa Merz: The Sky is independent lifestyle through a self-crafted public that portray the artist’s own interpretation of the a Great Space” (May 7) First U.S. retrospec- persona, including her clothing and the way she realities in Haiti and Puerto Rico, focusing on tive of the only female of the Arte Povera poses for the camera: a focus on her wardrobe, indigenous cosmologies, post-military spaces, movement: five decades of work from early shown alongside paintings and photographs by and religions of the Caribbean; “Videoarte: experiments with nontraditional materials to the likes of Stieglitz, Adams, Leibovitz, Halsman, Rotative Repository of Latin American Video mid-career installations to enigmatic portrait Karsh, Beaton, Warhol, and others. Art: Mono Canal” The work of Latin American heads. video artists and their different approaches to Drawing Center, New York City q Through the single-channel format; “uno x uno: Melissa Morgan Library & Museum, New York July 16 “Exploratory Works” Drawings from the Calderon” Conceptual work built around themes City q Through May 14: “Treasures from Department of Tropical Research Field Expedi- exploring social and political landscapes, cre- the Nationalmuseum of Sweden: The tion: images that illustrate the formation of our ated by self-taught multimedia artist for this Collections of Count Tessin” Works by modern definition of nature; “Jackie Ferrara: series of solo projects by contemporary artists; Dürer, Raphael, Rubens, Rembrandt, Lines” Wall drawings, each anchored by imagined “uno x uno: Miguel Trelles” Chino-Latino paint- Watteau, and Boucher are among the architecture or architectural elements along with ing that combines classic Chinese painting with masterpieces assembled by Count Tessin in lists of film titles rendered in Morse code, adding Pre-Columbian and Latin American imagery. the early 17th century when, on diplomatic another element to the images. assignment in Paris, he commissioned and Frick Collection, New York City bought many works from the leading El Museo del Barrio, New York City q Through q “Turner’s Modern and Ancient Ports: Passages artists of the time, and acquired Old Master April 30: “Beatriz Santiago Muñoz: A Universe through Time” (May 14) Works from the 1810s paintings and drawings at the major sales; through the late 1830s in oil, watercolor, and “Delirium: The Art of the Symbolist Book” graphite that capture contemporary cities in A look at the creative encounters between England, France, and Germany, as well as Symbolist authors and the artists in their imagined scenes set in the ancient world. circles during the late 19th century, writers Grey Art Gallery, New York revolting against the prevalent naturalism, University, New York City q “Mark and painters inspired to translate ideas into Mothersbaugh: Myopia” (July 15) 1 2 3 4 5 6 7 W I L D E N S T E I N S M Objects such as documents, 8 9 costumes, home recordings, prints, Y A L A V A M A P 10 11 drawings, paintings, sculptures, E L M S C R E M O N I N I rugs, videos, installations, postcard- 12 13 T O A I R N M L E sized drawings—all by this 14 15 16 polymath who moves between H U N T S M A N P I L L A R 17 18 various mediums investigating the T A L I T E R relationship between technology 19 20 21 22 and individuality. G R E Y S P R O V E N C E 23 24 25 N P E G O I N Met Breuer, New York City q 26 27 28 29 U T A M A R O T E M K I N “Marsden Hartley’s Maine” (June 18) 30 An exploration of Hartley’s relation- P I Y C A P 31 32 33 34 ship with his native Maine—from P R O U N A C R O P O L I S the early Post-Impressionist inland A L U I Y landscapes to the later rough render- 35 36 37 38 39 ings of Maine’s rugged coastline and R E L I E V O B U C O L I C I O L C I T I H Alfred Stieglitz, Georgia O’Keeffe, c. 1920-22. Gelatin silver print. In “Georgia O’Keeffe: 40 41 42 Living Modern,” Brooklyn Museum, NY S I S T I N E N O S S E E  17  spring VIEWS continued

visual art. q “I’m No- South Street Seaport, body! Who are You? New York City q “The The Life and Poetry Original Gus Wagner: of Emily Dickinson” The Maritime Roots of (May 28) Manuscripts, Modern Tattoo” (June letters and poems, 4) Tattooing tools, hand-cut silhouettes, drawings and sketches photographs and da- of tattoo designs, guerreotypes, contem- pages from Wagner’s porary illustrations, scrapbook. and more. q “Rocks and Mountains: Oil Studio Museum in Sketches from the Harlem, New York Thaw Collection” City q “Excerpts” (June 18) To 18th- (July 2) How artists century artists, oil have used text and painting on paper books to challenge while working the purveyors of outdoors became an knowledge; how they important way to study use books and language and explore the details as a form of resistance, of nature, its light, putting pressure on color, and texture; the way knowledge is included are oil written and shared, thus sketches by Rousseau, providing new under- Delacroix, and others. standing for themselves and viewers. Museum at Eldridge Street, New York City Whitney Museum q “Vintage Postcards François Boucher, The Triumph of Venus, 1740. Oil on canvas. of American Art, of Central and Eastern European In “Treasures from the National Museum of Sweden,” Morgan Library & Museum, NY New York City q “Fast Synagogues” (June 8) From Prague-based philosopher, gardener, farmer, and architect, re- Forward: Painting from collector Frantisek Bányai, these images vealed through the documents he created. q “Saving the 1980s” (May 14) In the face of a media- depict a world that was all but destroyed Washington” (July 30) The Center for Women’s saturated environment, 1980s artists recom- during WWII—the diversity of synagogue History’s inaugural exhibition illuminates political mitted to painting, exploring figuration and styles, the busy ghetto streets that surrounded power in the early republic and the role of women history painting and coming up with new them, traditional scenes of weddings and in translating revolutionary ideals into reality. q interpretations of abstraction: Basquiat, Levine,

Jewish holidays. “Hudson River School Legacy” (June 4) The Arthur Salle, Schnabel, and other lesser known painters. q and Eileen Newman legacy—15 Hudson River “Whitney Biennial 2017” (June 11) The Museum of Modern Art, New York City longest running survey of contemporary art q School paintings—is shown alongside a selected “The Shape of Things: Photographs from group of the society’s holdings. q “Big Bird: in the United States; among this year’s key Robert B. Menschel” (May 7) Works covering Looking for Lifesize” (June 11) Two time periods themes are the formation of self and the more than 150 years of photography, from contrasted: a group of European watercolors from individual’s place in a turbulent society, both an 1843 view of Paris to depictions of U.S. the 1500s, when the largest paper available was articulated by 63 participants in painting, military preparations for war in Iraq and sculpture, drawing, installation, film and video, q roughly 11 x 16 inches and only small birds could Afghanistan. “Making Faces: Images of be painted in life size, and examples of the watercolor photography, activism, performance, music, Exploitation and Empowerment in Cinema” models by Audubon from his folio series, made at and video game design. (April 30) Images that Hollywood studios the time when technology had enabled him to create

used to sell their vision—how they thought images of large birds on double-elephant-size paper Loeb Art Center, Vassar College, Poughkeepsie q people should look, dress, and behave—ex- measuring around 40 x 26.5 inches. “In the Light of Naples: The Art of Francesco plicitly made to advertise upcoming releases, de Mura” (July 2) Elaborate illusionistic focusing on “outsiders” in films and the ways Onassis Cultural Center, New York City q “A palace and church decorations, smaller race and gender were represented onscreen. World of Emotions: Ancient Greece, 700 B.C.-200 portraits, biblical and historical paintings, all by de Mura (1696-1782), the court painter of q A.D.” (June 24) An exploration into the ideas and Neue Galerie, New York City “Alexei attitudes of people in classical antiquity toward the Bourbon King Charles VII of Naples Jawlensky” (May 29) First retrospective in emotions and how they were depicted. during the kingdom’s Golden Age. the U.S. devoted to the work of this Russian- q born Expressionist painter, from 1900-1937: Solomon R. Guggenheim Museum, New York Everson Museum of Art, Syracuse early figure paintings of the 1900s through City q “Doug Wheeler: PSAD Synthetic Desert III, “More Real, More a Dream” (April 30) The phases of pure color and semi-abstraction to 1971” (July 5) One aspect of a yet-to-be-realized development of abstraction in America from spiritual images created toward the end of series of installations conceived during the late the mid-20th century and after: sculptures, his life. 1960s and 70s; in each work of the series, the prints, drawings, photographs, and ceramics q architectural modification of an existing room by an eclectic selection of artists. “Salt New-York Historical Society, New York City Abstraction: Abstract Works from the q allows subtle manipulations of light, space, and City “Tattooed New York” (Apr. 30) The sound, creating a chamber that suppresses most Permanent Collection” (May 31) Modern and story of the development of modern tattooing, ambient sound, and also induces the impression of contemporary abstract artists who have lived in for more than 300 years from its origins in infinite space. q “The Hugo Boss Prize 2016” central New York—Cruz, Robert De Niro Sr., Native American body art, to tattoo craft Ridlon, Susan Roth, and others. q “Bradley q (July 5) The work of Anicka Yi, 2016 winner of this by sailors, to the city’s three-decade ban. biennial award for contemporary art: installations Walker Tomlin: A Retrospective” (May 14) “Thomas Jefferson: The Private Man, From that utilize fictional scenarios in concert with scien- Early figural illustrations to late abstract paint- the Collections of the Massachusetts Historical tific research, interweaving the biological, social, ings show the progression of 20th-century Society” (July 16) Jefferson’s life outside the political, and technological aspects of everyday life. American art; “Vanessa German: de.structive public sphere as a writer, political

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Louis-Auguste Bisson and Auguste Rosalie Bisson, Cathedral of Notre Dame, Paris (detail of façade), c. 1853. Albumen silver print from a glass negative. In “The Shape of Things,” Museum of Modern Art, NY

Pennsylvania Michener Art Museum, Doylestown q “Charles Sheeler: Fashion, Photography, and Sculptural Form” (July 9) While working as a staff photographer on Condé Nast magazines Vogue and Vanity Fair, Sheeler brought the glamor of the Jazz Age to life through his portraits, fashion photographs, and multi- media vignettes. q “Light & Matter: The Photographic Object” (June 25) The work of regional contemporaries who continue to diversify the forms photography now embodies. q “Magical & Real: Henriette Wyeth and Peter Hurd, a Retrospective” (May 6) Influences from the East Coast and the Southwest come together in this couple’s individual works: Hurd a native of Roswell, New Mexico, who came east to study in Chadds Ford with N.C. Wyeth, and Wyeth, daughter of N.C., who was raised and who studied in the environs of Philadelphia.

dis.tillation” (May 7) Installations based on & Armor” Introducing samurai culture and the artist’s hard life in a Pittsburgh community arts from the 16th-19th centuries: warrior- devastated by poverty. q Through June 30: “A related objects and battle prints, paintings, Century of Collecting: 100 Years of Ceramics at metal crafts, banners, and costumes. q “The the Everson” Commemorating the 100th anniver- Poetry of Place: William Clift, Linda Connor, sary of the museum’s first ceramics purchase and and Michael Kenna” (June 11) B/W photo- its subsequent commitment to the ceramic arts; graphs featuring interpretations of moments “From the Earth: Contemporary Haudenosaunee in history. Clay and Stone” Objects that follow a tradition of the Haudenosaunee alliance (Mohawk, Contemporary Arts Center, Cincinnati q Oneida, Onondaga, Cayuga, Seneca, and Through June 18: “Solar Bell Ensemble” Tuscarora Nations). Installation by Tomás Saraceno: a series of pyramid-shaped, kite-like structures sus- Parrish Museum, Water Mill q “Parrish Per- pended from the center’s lobby—a joining spectives: New Works in Context” (April 23) A of art, architecture, and science based on selection of works from the hundreds acquired the work of Alexander Graham Bell and his since the museum’s move from Southampton to tetrahedral kite frame construction; “Noel its new facility in Water Mill. Anderson: Black Origin Moment” Prints, woven photographic textiles, videos, and live North Carolina performances that examine black male identity; Nasher Museum of Art, Duke University, “Andrea Bowers: Womxn Workers of the Durham q “Nina Chane Abney: Royal Flush” World Unite!” Contemporary causes (July 16) Narrative figurative paintings, water- unleashed through the intersections of colors, and collages that articulate the social drawing, photography, video, collage, craft, dynamics of contemporary urban life—racial performance, participation, and archival dynamics, criminal justice, consumerism, research: focus is on a survey of the feminist celebrity culture, and more—in a jumble of movement and its evolution. figures, words, and shapes. q “The Collection Galleries” (May 31) 5,000 years of art—the Oklahoma collection’s strengths in eight galleries. Fred Jones Jr. Museum of Art, University of Oklahoma, Norman q “The Cultivated Ohio Connoisseur: Works on Paper from the Cincinnati Art Museum q Through May 7: Creighton Gilbert Bequest” (June 4) Works “Transcending Reality: The Woodcuts of from the 14th to the 20th century; a broad Ko¯saka Gajin” Monochromatic woodcuts, some collection, but focused on Old Master prints approaching the abstract, that focus on historic and drawings from the Renaissance, and modern architecture, scenic places, and the Baroque, and Rococo periods. natural world; “Dressed to Kill: Japanese Arms Japan, Suit of Armor, 19th century. Metal, leather. In “Dressed to Kill,” Cincinnati Art Museum, OH

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Williams Center for the Arts, Lafayette emancipation, and imagined College, Easton q “Marguerite Louppe & chronicles of the past; Maurice Brianchon: Painters’ Life” (May 20) “Painting the Southern Paintings, prints, drawings, book illustrations, Coast: The Art of West set designs, letters, photographs, and docu- Fraser” Paintings that ments that tell the story of two artists, husband capture the Low country as and wife, who were at the center of a Parisian well as other parts of the artistic circle that influenced French visual world in the representational culture in the mid-20th century. and plein air traditions.

Westmoreland Museum of American Art, Tennessee Greensburg q “When Modern Was Contem- Fine Arts Gallery, Vanderbilt porary: Selections from the Roy R. Neuberger University, Nashville q Collection” (May 21) Calder, Stuart Davis, de “The Dada Effect: An Anti-Aesthetic and its Jeffrey Kent, Pain (Batman and Robin), 2005. Acrylic on canvas. In “Here I Come to Save the Day,” Everhart Kooning, Hartley Jacob Lawrence, O’Keeffe, Influence” (May 27) How Dadaism directly Museum, PA Pollock, and many others: the development of influenced modern art and literature in many modern art in the U.S. from representational subsequent movements, including Surrealism, Virginia through Abstract Expressionist. Pataphysique, and Neo-Dada: books; artworks University of Mary Washington Galleries, by Cage, Dalí, Miró, Rauschenberg, and Arp, Fredericksburg q “Margaret Sutton: Life + Everhart Museum, Scranton q “Here I Ernst, Picabia, Ray, Richter, Tanguy, and Work” (June 29) Come to Save the Day! The Science, Culture others; film clips by Cocteau and Ray; & Art of Superheroes” (July 17) Contempo- re-creations of the Cabaret Voltaire stage set Chrysler Museum of Art, Norfolk q rary artworks and historical artifacts serve to and Schiaparelli’s Surrealist dresses. “Monir Shahroudy Farmanfarmaian: Infinite explore the animal powers of these comic book Possibility—Mirror Works and Drawings, characters. Texas 1974-2014” (July 30) Artworks that reflect Nasher Sculpture Center, Dallas q “Richard two cultures—the patterns and geometry of the Palmer Museum of Art, Pennsylvania State Serra Prints” (April 30) Retrospective of the artist’s native Iran and the modern abstraction University, University Park q Through April artist’s work in printmaking, from the first of the New York City avant-garde. 30: “Eva Watson-Schütze: Pictorialist Portraits” lithograph in 1972 through his Reversal series Soft-focus figure studies and portraits, many in 2015. University of Richmond Museums, Rich- of women and children, taken at the start of the mond q At the Harnett Museum of Art: 20th century when the Woodstock art colony Kimbell Art Museum, Fort Worth q Through “Crooked Data: (Mis)Information in Contem- Byrdcliffe was established; June 25: “Louis Kahn: The Power of Architecture” porary Art” (May 5) Works by contemporary “Morris Backburn: Prints and Paintings in Architectural models, original drawings, artists and studios who work with data in non- Process” Abstract works by this teacher/artist photographs, and films all about Kahn, the traditional ways. q “Sonata: Print Series by whose experience was colored by experimental architect of the Kimbell, and his projects Nam June Paik” (June 2) The artist’s historical printmaker Stanley William Hayter at the Print displayed in six thematic sections—City, Fluxus performances, events, videos, sculp- Club (Center) starting in 1945; “A Kaleido- Science, Landscape, House, Eternal Present, tures, his musical compositions, text, draw- scope of Color: Studio Glass at the Palmer” A Community; “The Color of Light, The Treasury ings, and photographs of himself, his family, pride of the museum. of Shadows: Pastels by Louis I. Kahn from the and other artists associated with his work. q Collections of His Children” A complementary “Night and Day the River Flows: Waterscapes South Carolina exhibition presents a selection of images of the from the Harnett Print Study Center Collec- Gibbes Museum of Art, Charleston q great historic monuments and public spaces tion” (July 2) A variety of takes on waterways, Through April 30: “History, Labor, Life: The of Italy, Greece, and Egypt that date from a from abstract to realistic, from topographic to Prints of Jacob Lawrence” The major themes three-month period in 1950-51 when Kahn contemplative, presented with complementary of Lawrence’s graphic works: the African- was architect in residence at the American quotes from novels, books, songs, and poems. American experience and history—observa- Academy in Rome. tions of community life, work, struggle, and Washington Frye Art Museum, Seattle q “Archipenko: A Modern Legacy” (April 30) Works made during a long career in New York (born in 1887 in Ukraine, he moved from there to Moscow, to Paris, and then Berlin) from 1923 to his death in 1964; the display highlights his interest in abstrac- tion with examples of mixed-media reliefs and free-standing sculptures

Alexander Archipenko, Cleopatra, 1957. Wood, Bakelite, found objects, paint. In “Alexander Archipenko: A Modern Legacy,” Frye Art Museum, WA

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of terra-cotta, marble, and bronze. q Villa Terrace “Between the Frames: The Frye Collection Decorative Arts After 1952” (April 29-July 23) Favorites Museum, Milwaukee alongside seldom-viewed works—a q “Ornate/Activate” chronology of the museum’s 65-year history. (May 14) An examination of the use Henry Art Gallery, Seattle q Through of decorative motifs, May 21: “Cherdonna Shinatra: Clock that architectural elements, Construct” Series of performances that cursive scripts, tradi- draw on traditions of feminist and queer tional and other forms presentation; “Selections from the of pattern-making by Collection” Works that address performance, South Asian artists to identity, the individual, and cultural reclaim decoration and expectations, presented in conjunction craft as art forms. with “Cherdonna Shinatra.” Leigh Yawkey Wisconsin Woodson Art Charles Allis Art Museum, Milwaukee Museum, Wausau q “Carlos Hermosilla Álvarez and Colin q Through May 28: Matthes: Echoing Concerns” (June 26) “M.C. Escher: Reality The works of two printmakers, distanced and Illusion” Woodcuts, by place and time, present a dialogue on lithographs, mezzo- tints, and drawings printmaking, traditionally the distributor of Andrew Lucia, Intrinsic Curvature Study of a Deformed Plane (5), 2014. political ideas. including early figure drawings, In “A Catalog of Difference,” Goldstein Museum of Design, MN

book illustrations, Italian landscapes, tessellations, and architectural fantasies; “Illustrating Illusions: Drawings by Robin Lauersdorf” Pencil drawings by an artist inspired and influenced by Escher’s work. q “Audubon to Wyeth: Paintings, Drawings, and Sculptures” (May 21) Bird imagery spanning the early 19th through late 20th centuries: Audubon, Heade, Cropsey, Bierstadt, N.C. and Andrew Wyeth, and others.

Museum of Wisconsin Art, West Bend q “Della Wells: A Spiritual Journey” (May 14) Collages, drawings, dolls, and quilts that tell stories that blend issues of race and gender, revealing general truths. q “Tom Bamberger: Hyperphotographic” (May 21) Retrospective that progresses from family portraits, to photographs of pavement, to women’s faces and bodies, to “Power Portraits” of Milwaukee’s business community, to an established reputation for B/W psychological portraits, to complex groupings of people from the supermarket to the country club, to landscapes, to digitally manipulated images. q

Isaac Abrams, Hello Dali, 1965. Oil on canvas. In “Hippie Modernism,” Berkeley Art Museum, CA 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 and Bloomberg Philanthropies. museumVIEWS is published 4 times a year: Winter (Jan. 1), Spring (April 1), Summer (July1), and Fall (October 1). Deadlines for listings and artwork are Nov. 15, Feb. 15, May 15, and Aug 15.

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