Art History

Museum of the City of NY Reopens Research Access

admin

The Museum of the City of New York has reopened access to it’s collections to onsite researchers. On November 1, the Museum resumes accepting appointments from outside researchers and began offering a dedicated space for research as part of their newly renovated collection storage facilities.

To learn how to submit an application for conducting onsite research, send a request to [email protected]. In your request indicate the collections of interest and describe your research need. Before contacting the Museum to inquire about a research appointment, visit the Museum’s Collections Portal (collections.mcny.org) which has over 100,000 digital images of photographs, negative, prints, drawings, postcards, and maps from the Museum’s collections.

The following onsite collections will be open to research appointments:

Manuscripts & Ephemera
Manuscript and ephemera holdings augment and complement other elements of the collections and are particularly strong in late eighteenth- and early nineteenth-century materials. The Manuscripts include papers related to notable New Yorkers, organizations, and events from the 17th century to the present. The ephemera collections include objects such as society dinner menus, trade cards, maps, Valentines, badges, Christmas cards, and material related to public ceremonies, special events, schools, sports, the shipping trade, transportation, statues and monuments, retail trade, and the police and fire departments.

Prints, Drawings, and Photographs
The Prints, Drawings, and Photographs Collection documents the built environment of the city and its changing cultural, political, and social landscape from its earliest days to the present. Photographic holdings include collections on Berenice Abbott, Jacob Riis, and the photographic archives of Gottscho-Scheleisner, LOOK Magazine, Byron Co., and the Wurts Brothers. Drawings range from18th-century pastel portraits and mural studies to political cartoons and architectural renderings. Specific collections include the archives of the Planning Board of the 1939 New York World’s Fair, the Harry T. Peters Collection of hand-colored Currier & Ives prints, and the Martin Wong Graffiti Collection.

Theater
The Theater Collection documents theatrical activity in New York City from the late 18th century to the present day. The heart of the Theater holdings is the John Golden Archive, which consists of approximately 40,000 folders, organized into files on productions, personalities, and performance spaces. The Theater Collection also holds collections on Burlesque, Circus, Minstrelsy, and Vaudeville. Files contain a wide range of material including photographs, contracts, correspondence, playbills, manuscripts, advertising materials, reviews, obituaries, clippings, sheet music, autographs, account records, prompt books, and ephemera.

The Museum also holds collections of Costumes and Textiles, Decorative Arts and Furniture, and Paintings and Sculpture- however, due to the special preparation necessary for handling these objects, access is extremely limited. For specific inquiries into these collections, email [email protected]

Youth and Beauty: Art of the American Twenties

admin

Youth and Beauty: Art of the American Twenties, a new exhibit of 138 paintings, sculptures, and photographs by 67 of the greatest artists of their time has opened at the Brooklyn Museum’s Morris A. and Meyer Schapiro Wing, 5th Floor. The exhibit, which runs to January 29, 2012, is begin billed as the first wide-ranging exploration of American art from the decade between the end of World War I and the onset of the Great Depression.

How did American artists represent the Jazz Age? This exhibition brings together for the first time the work of sixty-eight painters, sculptors, and photographers who explored a new mode of modern realism in the years bounded by the aftermath of the Great War and the onset of the Great Depression. Throughout the 1920s, artists created images of liberated modern bodies and the changing urban-industrial environment with an eye toward ideal form and ordered clarity—qualities seemingly at odds with a riotous decade best remembered for its flappers and Fords.

Artists took as their subjects uninhibited nudes and close-up portraits that celebrated sexual freedom and visual intimacy, as if in defiance of the restrictive routines of automated labor and the stresses of modern urban life. Reserving judgment on the ultimate effects of machine culture on the individual, they distilled cities and factories into pristine geometric compositions that appear silent and uninhabited. American artists of the Jazz Age struggled to express the experience of a dramatically remade modern world, demonstrating their faith in the potentiality of youth and in the sustaining value of beauty. Youth and Beauty will present 140 works by artists including Thomas Hart Benton, Imogen Cunningham, Charles Demuth, Aaron Douglas, Edward Hopper, Gaston Lachaise, Yasuo Kuniyoshi, Luigi Lucioni, Gerald Murphy, Georgia O’Keeffe, Alfred Stieglitz, and Edward Weston.

The exhibition was organized by Teresa A. Carbone, Andrew W. Mellon Curator of American Art, Brooklyn Museum.

Photo: Nickolas Muray (American, 1892-1965). Gloria Swanson, circa 1925. Courtesy George Eastman House, International Museum of Photography and Film, Rochester, New York.

Thomas Hicks Trenton Falls Paintings Acquired

admin

Two regionally significant landscape paintings of Trenton Falls, New York by the 19th-century American artist Thomas Hicks (1823-90), recently acquired by the Munson-Williams-Proctor Arts Institute Museum of Art for its permanent collection, are presently displayed in the Edward Wales Root Sculpture Court. The landscapes are just two of the numerous treasures unveiled for the first time in the exhibition, “Enhancing a Legacy: Gifts, Promised Gifts, and Acquisitions in Honor of the Museum of Art’s 75th Anniversary.”

Hicks was one of the United State’s most successful mid-century portraitists. His summer sojourns in central New York State, and his personal friendship with Michael and Maria Moore, who owned and managed the fashionable Trenton Falls Hotel, led him to paint a sensitive group portrait of the Moore family, and the two important landscapes the Museum recently acquired with financial assistance of several donors.

The landscapes are intimate views of two of the sequence of rivulets, cascades, waterfalls, and pools that make up Trenton Falls, a picturesque tourist site in Oneida County. The landscapes hung in the lobby of the Trenton Falls Hotel for many decades. After descending in the Moore family they passed into the hands of a local family who owned them for approximately 60 years before being acquired by the Museum of Art.

Now, installed in mid-19th-century style frames, the two landscapes, along with Hicks’s portrait of the Moore family, are displayed in the Museum for the first time in more than 20 years. To mark this historic event the Museum has published a brochure with an insightful essay about the pictures written by Dr. David Tatham of Syracuse University. Additional insights about the paintings will be presented by Dr. Paul D. Schweizer, Museum Director & Chief Curator, in a lecture titled, “A Look Behind the Falls: The Museum’s Newly Acquired Trenton Falls Landscapes by Thomas Hicks” 4 p.m. Thursday, December 8 in the Museum of Art Auditorium.

Schweizer’s lecture is the second in a three-part series that will be presented by the Museum’s curatorial team in November, December, and January of 2012. Each lecture will provide behind-the-scenes remarks about the reasoning and effort that led to the acquisition of some of the artworks displayed for the first time in the Enhancing a Legacy exhibition. The series is designed to provide insights about the curatorial process, an essential but sometime little-known function for any public museum that collects, preserves, and interprets works of art. All three of the lectures are free and open to the public. Check the “Events” calendar of the Institute’s Bulletin or the Institute’s web site for the dates of the two other lectures in this series.

Illustration: Thomas Hicks (1823-1890), The Musicale, Barber Shop, Trenton Falls, New York, 1866. Courtesy of the North Carolina Museum of Art, Raleigh.

Frick Art Reference Library Photo Archive Goes Online

admin

Scholars in multiple disciplines around the world have long heralded the Photoarchive of the Frick Art Reference Library as uniquely valuable to research that relates to object-oriented study of works of art. Without this repository of an estimated 1.2 million images of works created by more than 40,000 artists, curators, art dealers, and authors of monographic catalogs would be hard pressed to find visual documentation of unpublished art and the preparatory studies, versions, copies, or forgeries that relate to those and even to more famous works.

In recent years, the Frick’s Photoarchive has also played a key role in helping researchers compile provenance information about art looted during World War II. Lynn Nicholas, the highly respected author of The Rape of Europa: The Fate of Europe’s Treasures in the Third Reich and the Second World War (New York, 1994), recently noted that “to do provenance research, of course, one of the very first places to go is the Frick&#8230-”

Until now, online access to these valuable resources has been limited to searches for the artists’ files, the results of which indicate the amount of material the Photoarchive has for a given artist, but no specific information about individual works of art. For that, researchers had to visit the Library premises, and manually browse the photographs stored on file.

The Frick Art Reference Library and its partners in the New York Art Resources Consortium (NYARC)—the libraries of The Museum of Modern Art and the Brooklyn Museum have announced that through a complex process of data migration, all of the Photoarchive’s research database records created since 1996 (and all future records created both for the existing collection and for new acquisitions) may now be accessed via NYARC’s online catalog Arcade.

These online records in Arcade offer detailed historical documentation for the works of art, including basic information about the artist, title, medium, dimensions, date, and owner of the work, as well as former attributions, provenance, variant titles, records of exhibition and condition history, and biographical information about portrait subjects.

Andrew W. Mellon Chief Librarian Stephen Bury comments, “For us the incorporation of the Photoarchive records in Arcade means that the richness of all of the Frick’s research collections will be available to scholars everywhere and the image collection will be discoverable as easily as our other special collections of auction catalogues and exhibition ephemera through a single search in Arcade. We know that the road that will take us to full digitization of the archive is long (currently online access is possible to only 125,000 items in the archive, but the Frick is committed to the digital future of this exceptional resource).”

To cite a typical example of the advantages users will gain from the seamless searchabilty across text and image collections that the Frick now makes possible: locating the catalog of the Stroganoff sale at Lepke in 1931 now yields not only the publication, itself, but also the works of art listed documented as sold there by the Photoarchive, one of which was part of the Goudstikker collection that was recently restituted to the heirs.

In addition to global access to the historical documentation for works of art recorded in the Photoarchive, a new interface, the Frick Digital Image Archive has been created to link the images of 15,000 works of art captured during the Frick’s photography expeditions throughout the United States from 1922 to 1967 to the documentation in Arcade.

Researchers can retrieve images by keyword or field searching, display large preview images, download small jpeg image files, and link to the matching Arcade records. This image archive, which may be accessed via the website of The Frick Collection, was made possible by funding from the National Endowment for the Humanities (NEH) and the Henry Luce Foundation.

The NEH also designated the project as part of its “We the People” initiative to encourage and strengthen the teaching study and understanding of American history and culture. Through this two-year project, the Frick digitized 15,000 endangered negatives within the larger collection of 60,000 Library negatives and developed the interface to make the images freely available online. The negatives were the products of photography expeditions during the first half of the twentieth century to Alabama, California, Connecticut, Delaware, Georgia, Illinois, Kentucky, Louisiana, Maine, Maryland, Massachusetts, Missouri, New Jersey, New York, North Carolina, Ohio, Pennsylvania, Rhode Island, South Carolina, Vermont, Virginia, and Washington, D.C.

In many case Frick Art Reference Library the images record early states of the works of art, prior to restoration or deterioration, and in some instances, they remain the only record of a work that has been subsequently lost or destroyed. Much of the documentation for these works is also uniquely recorded at the Frick because it was obtained from the owners (particularly true of the provenance and portrait subject information) or from scholars who consulted the images years after they were captured by the Library’s photography team.

During the course of the NEH project, Library staff updated the ownership and attribution information for nearly 1,500 works, relying on notations by researchers of the past and on the Inventories of American Paintings and Sculpture online database. Access to these images will complement the collection of 25,000 Frick Library negatives earlier digitized with the support of ARTstor and the Carl and Lily Pforzheimer Foundation and available through subscription to ARTstor.

With this new online access to the Frick Photoarchive research database records and the digital image archive, the Frick is now poised to incorporate a growing number of documented images from its visual resource holdings. These images complement other visual resources contributed by the NYARC partners, thereby ensuring that a broader community of researchers will have access to these unique collections.

Brooklyn Museum Planning Keith Haring Exhibit

admin

Keith Haring: 1978-1982, the first large-scale exhibition to explore the early career of one of the best-known of American twentieth-century artists, will be presented at the Brooklyn Museum from April 13 through August 5, 2012. Tracing the development of the artist’s extraordinary visual vocabulary, the exhibition includes 155 works on paper, numerous experimental videos, and over 150 archival objects, including rarely seen sketchbooks, journals, exhibition flyers, posters, subway drawings, and documentary photographs.

&#8220We are delighted to have this exceptional opportunity to present this groundbreaking exhibition of these dynamic works created by one of the most iconic and innovative artists of the late twentieth century as his formidable talents emerged,&#8221 comments Brooklyn Museum Director Arnold L. Lehman. &#8220The works of art and the accompanying documentary material place in new perspective the development of this unique talent.&#8221

Organized by the Contemporary Arts Center, Cincinnati, Ohio, by Raphaela Platow, Director and Chief Curator, and the Kunsthalle Wien, Austria, the Brooklyn presentation will be coordinated by Associate Curator of Photography Patrick Amsellem.

The exhibition chronicles the period in Keith Haring’s career from the time he left his home in Pennsylvania and his arrival in New York City to attend the School of Visual Arts, through the years when he started his studio practice and began making public and political art on the city streets. Immersing himself in New York’s downtown culture, he quickly became a fixture on the artistic scene, befriending other artists such as Jean-Michel Basquiat and Kenny Scharf, as well as many of the most innovative musicians, poets, performance artists, and writers of the period. Also explored in the exhibition is how these relationships played a critical role in Haring’s development as a facilitator of group exhibitions and performances and, as a creator of strategies for positioning his work directly in the public eye.

Included in Keith Haring: 1978-1982 are a number of very early works that had previously never before been seen in public, twenty-five red gouache works on paper of geometric forms assembled in various combinations to create patterns- seven video pieces, including his very first, Haring Paints Himself into a Corner, in which he paints to the music of the band Devo, and Tribute to Gloria Vanderbilt- and collages created from cut-up fragments of his own writing, history textbooks, and newspapers that closely relate to collage flyers he created with a Xerox machine.

In 1978, when he enrolled in the School of Visual Arts, Keith Haring began to develop a personal visual aesthetic inspired by New York City architecture, pre-Columbian and African design, dance music, and the works of artists as diverse as Alechinsky, Dubuffet, Picasso, Willem deKooning, and Jackson Pollock. Much influenced by the gestural brushwork and symbolic forms of the abstract expressionists, his earliest work investigated patterns made of geometric forms, which evolved as he made new discoveries through experimentation with shape and line as well as the media. He meticulously documented his aesthetic discoveries in his journals through precise notes and illustrations. In 1980 he introduced the figurative drawings that included much of the iconography he was to use for the rest of his life, such as the standing figure, crawling baby, pyramid, dog, flying saucer, radio, nuclear reactor, bird, and dolphin, enhanced with radiating lines suggestive of movement or flows of energy.

The exhibition also explores Haring’s role as a curator in facilitating performances and exhibitions of work by other artists pursuing unconventional locations for shows that often lasted only one night. The flyers he created to advertise these events remain as documentation of his curatorial practice. Also examined is Haring’s activity in public spaces, including the anonymous works that first drew him to the attention of the public, figures drawn in chalk on pieces of black paper used to cover old advertisements on the walls of New York City subway stations.

Keith Haring died in 1990 from AIDS-related complications. His goal of creating art for everyone has inspired the contemporary practice of street art and his influence may be seen in the work of such artists as Banksy, Barry McGee, Shepard Fairey, and SWOON, as well as in fashion, product design, and in the numerous remaining public murals that he created around the world.

Photo: Keith Haring, Untitled, 1978. Courtesy Keith Haring Foundation.

Exhibit Highlights Len Tantillos Historical Work

admin

The Schenectady County Historical Society has opened their newest exhibit &#8220A Journey through History: The Artistic Works of Len Tantillo&#8221 at the newly opened George Franchere Education Center at the Mabee Farm in Rotterdam Junction.

According to a recent press release: &#8220The artwork by Len Tantillo included in this exhibit has the power to bring the visitor back in time. These very well researched paintings help in our understanding of history, especially locally, at a basic level. Len Tantillo is able to display often overlooked aspects of history, especially in everyday life, that are actually the real foundations of our local area, state, and country.&#8221 Read more →

Thomas Cole Historic Site Community Day

admin

It has been ten years since the Thomas Cole National Historic Site opened its doors, and they have a great many milestones to celebrate, so they are opening their doors on Sunday, September 25, from 1-4 pm for a Community Day, featuring a new exhibition focusing on the past decade. Admission is free.

In the ten years since the 2001 opening, over 60,000 people have visited the historic site and attendance is now 400% higher than it was in the first year. Once near ruin, the house and grounds now provide an evocative environment where visitors can learn about the founder of the Hudson River School of art.

Curators Finds Focus of John Jay Talk

admin

Curator’s Fabulous Finds, a series of artifact talks at John Jay Homestead, will continue on Sunday, October 2 at 2:00 p.m., and will be repeated on Thursday, October 6 at 7:00 p.m. This fall’s lecture will examine and discuss portraits of members of the Jay family from the Homestead’s historic collection. The cost of admission will be $10.00 per person- members of the Friends of John Jay Homestead may attend at no charge.

The functions of portraiture and the differing ways people were portrayed over history will be explored, discussing pictures by such famous painters in the Homestead’s collection as John Trumbull and John Singer Sargent. The techniques of oil painting and watercolor will also be covered. Participants will get a close look at several paintings, and details of the lives of the people in them will round out the talk.

Space at the lecture is limited, and reservations are strongly suggested. To reserve seats, call John Jay Homestead at (914) 232-5651, extension 105.

John Jay was a President of the Continental Congress, the second U.S. Secretary for Foreign Affairs, the first Chief Justice of the U.S. Supreme Court, and the second Governor of New York State. He retired to Bedford in 1801 to live the life of a gentleman farmer. His home is now a beautiful sixty-two acre historic site that includes lovely walks, several gardens, farm buildings, and a richly-decorated main residence restored to the 1820s, the last decade of Jay’s life.

John Jay Homestead State Historic Site is located at 400 Route 22, Katonah, N.Y. John Jay Homestead is regularly open for guided tours Sunday through Wednesday from 10:00 a.m. to 4:00 p.m., and at other times by appointment. The site is one of six historic sites and 15 parks administered by the New York State Office of Parks, Recreation and Historic Preservation – Taconic Region. For additional information about John Jay Homestead, please visit www.johnjayhomestead.org.

First Quilt Exhibit at Fenimore in 15 Years

admin

The Fenimore Art Museum in Cooperstown, New York will open a new exhibition on September 24 titled Unfolding Stories: Culture and Tradition in American Quilts, organized by renowned quilt scholar Jacqueline M. Atkins. The exhibition will be on view through December 31. This marks the first time in over 15 years that the Fenimore will display selections from its substantial collection of historical quilts some dating from the early 19th century.

The exhibition explores the many connections that are made throughout and across cultures through the art ofquilting, as well as how these connections have changed over time and place. Almost every culture offers some form of quilting within its textile tradition, yet only in the United States do we see a confluence of traditions, cultures, ethnicities, and innovations that produces the richly diverse quilting culture that exists today.

On view will be approximately 24 quilts distinguished by their design, pattern, and workmanship. The quilts are organized to examine six themes ranging from the history and inventiveness of this time-honored practice to the role that quilts play in revealing values, culture, traditions, and beliefs. Unfolding Stories pieces together this intricate patchwork of diverse connections into a fascinating narrative that grows out of stories embedded in the quilts themselves. Quilts on display include pictorial narratives, one-patch designs, crazy quilts, cut-outs, star quilts, and signature quilts.

“Unfolding Stories looks at how various cultures interpret different designs within the quilting tradition,” remarked Director of Exhibitions at the Fenimore Art Museum, Michelle Murdock. “It demonstrates how cultural and cross-cultural connections are made through design processes as well. Quilts continue to provide visually powerful yet ever-changing texts for us to read, interpret, learn from, andenjoy,” Murdock added.

Also included are the three award-winning quilts from The Farmers’ Museum’s 2010 New York State of Mind Quilt Show. The exhibition is sponsored in part by Fenimore Asset Management.

The exhibition will compliment the many folk art related activities taking place this fall at the Museum including the exhibition Inspired Traditions: Selections from the Jane Katcher Collection ofAmericana opening October 1. Join us across the street at The Farmers’ Museum for this year’s A New York State of Mind Quilt Show – October 8 and 9.

The Fenimore Art Museum’s 2011 Americana Symposium will be held on September 30 and October 1. This new annual event will bring together leading scholars and experts on American history, art, and culture.

Photo: &#8220Trade and Commerce&#8221 Quilt Top by Hannah Stockton Stiles (b. 1800), ca. 1835. Possibly Delaware River Valley. Cotton, cotton chintz. 105 x 89 in. Gift of Hannah Lee Stokes. Fenimore Art Museum, Cooperstown, New York.

Landscape Photography Workshop at Olana

admin

The Olana Partnership will host a two-day landscape photography workshop, Growing your skills beyond the snapshot phase, on Saturday, September 17 and Sunday, September 18 from 1-7:30 pm at the Wagon House Education Center at Olana. Photographer Greg Miller will teach participants how to blossom from a snapshot shooter to a photographer who makes compelling photos that elicit strong emotional reactions. Participants will learn about proper lighting, technical vs. artistic skills, composition, equipment, and technique, and will have an opportunity to shoot intimate scenes and vistas in Olana’s picturesque landscape.

Cost of the workshop is $75 for Saturday only or $125 for both days for non-members, and $50 for Saturday only and $100 for both days for members of The Olana Partnership. An additional $5.00 entry fee per vehicle will be charged (waived for members of The Olana Partnership). This fee may be credited toward a house tour as long as tickets are available. Register now while space is available. Contact Sarah Hasbrook, education coordinator for The Olana Partnership, at [email protected] or call (518) 828-1872 x 109.

Greg Miller’s books include The Hudson River: A Great American Treasure (Rizzoli, 2008) which was selected for the “2008 Editors’ Favorite Books of the Year” list by The Bloomsbury Review. Miller’s second book, Panorama of the Hudson River (SUNY Press, 2009), was commissioned by Open Space Institute and the Samuel Dorsky Museum of Art at SUNY New Paltz. His selected permanent collections include the Center for Fine Art Photography in Ft. Collins, Colorado, Royal Netherlands Embassy in Washington D.C. (five prints), and Catskill Regional Medical Center (eighteen prints), to name a few. Miller was selected to be a 2009 “Artist in Residence” for Acadia National Park and was a finalist for the “2003 Photography Now” award from The Center of Photography at Woodstock. In addition, Miller is a workshop leader for the Center of Photography at Woodstock, and photography tour leader for the Adirondack Photography Institute. More information and photographs can be found on Greg Miller’s website

Wagon House Education Center programming is made possible in part through support provided by public funds from the New York State Council on the Arts, a State agency- the Hudson River Bank & Trust Foundation- the Educational Foundation of America- the John Wilmerding Education Initiative, and the members of The Olana Partnership.

Photo: Hudson Valley by Greg Miller.