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butler_working-draft.jpgSAN MARINO, Calif.—A new exhibition opening this spring at The Huntington Library, Art Collections, and Botanical Gardens examines the life and work of celebrated author Octavia E. Butler (1947-2006), the first science fiction writer to receive a prestigious MacArthur “genius” award and the first African-American woman to win widespread recognition writing in that genre. “Octavia E. Butler: Telling My Stories” opens April 8, 2017, in the West Hall of the Library and continues through Aug. 7. Butler’s literary archive resides at The Huntington.

“Octavia E. Butler: Telling My Stories” On view April 8-Aug. 7, 2017
Huntington Library, Art Collections, and Botanical Gardens
Library, West Hall

“She was a pioneer—a master storyteller who brought her voice, the voice of a woman of color, to science fiction,” said Natalie Russell, assistant curator of literary manuscripts at The Huntington and curator of the exhibition. “Tired of stories featuring white, male heroes, she developed an alternative narrative from a very personal point of view.”

A Pasadena, Calif., native, Butler told the New York Times in a 2000 interview: "When I began writing science fiction, when I began reading, heck, I wasn't in any of this stuff I read. The only black people you found were occasional characters or characters who were so feeble-witted that they couldn't manage anything, anyway. I wrote myself in, since I'm me and I'm here and I'm writing."

Butler would have been 70 in 2017; she died an untimely death at age 58, apparently of a stroke at her home in Seattle.

“Octavia E. Butler: Telling My Stories” follows a roughly chronological thread and includes approximately 100 items that reveal the writer’s early years and influences, as well as highlight specific themes that repeatedly commanded her attention.

After Butler’s death, The Huntington became the recipient of her papers, which arrived in 2008 in two four-drawer file cabinets and 35 large cartons. “She kept nearly everything,” said Russell, “from her very first short stories, written at age 12, to book contracts and programs from speaking engagements. The body of materials includes 8,000 individual items and more than 80 boxes of additional items: extensive drafts, notes, and research materials for more than a dozen novels, numerous shorts stories and essays, as well as correspondence and other materials. By the time the collection had been processed and catalogued, more than 40 scholars were asking to get access to it. In the past two years, it has been used nearly 1,300 times—or roughly 15 times per week, said Russell, making it one of the most actively researched archives at The Huntington.

Butler was born June 22, 1947, to a maid and a shoeshine man. Her father died when she was quite young; an only child, she was raised primarily by her mother. “She discovered writing very early, in large part because, she said, it suited her shy nature, and it was permitted in her strict Baptist household,” said Russell. The exhibition will feature samples of her first stories.

But, says Russell, it was a 1954 science fiction film called Devil Girl from Mars that inspired Butler to take on science fiction. “She was convinced she could write a better story than the one unfolding on the screen,” Russell said.

Butler enrolled in every creative writing course she could find and was active in the Afro-relations club at Pasadena City College, an early indication of her interest in current events and Civil Rights issues. In the early 1970s, at a workshop for minority writers, she met the science fiction author Harlan Ellison, who introduced her to the Clarion Science Fiction Workshop, where Butler learned to hone her craft among other like-minded writers; it was then that she sold her first story. Following Clarion, she took odd jobs to support herself—even trying to establish her own laminating business, documents show; she wrote in the early morning hours before work.

But the road to success was long and slow. "In fact,” she once said, “I had five more years of rejection slips and horrible little jobs ahead of me before I sold another word.”

On display in the exhibition will be a page of motivational notes in which she writes, “I am a Bestselling Writer. I write Bestselling Books . . . . Every day in every way I am researching and writing my award winning Bestselling Books and short stories . . . . Every one of my books reaches and remains for two or more months at the top of the bestseller lists . . . So Be It! See To It.”

In 1975, she sold her first novel, Patternmaster, to Doubleday, quickly followed by Mind of My Mind and Survivor; the trio comprise part of her “Patternist” series, depicting the evolution of humanity into three distinct genetic groups. A review on display in the exhibition lauds Patternmaster for its especially well-constructed plot and progressive heroine, who is “a refreshing change of pace from the old days.”

And her following continued to grow.

By the late 1970s, Butler was able to make a living on her writing alone. She won her first Hugo award in 1985 for the short story “Speech Sounds,” followed by other awards, including a Locus and Nebula.

“Octavia E. Butler: Telling My Stories” will include examples of journal entries, photographs, and first editions of her books, including Kindred, arguably her best-known work. The book is less science fiction and more fantasy, involving an African-American woman who travels back in time to the horrors of plantation life in pre-Civil War Maryland. “I wanted to reach people emotionally in a way that history tends not to,” Butler said about the book. Published in 1979, Kindred continues to command widespread appeal and is regularly taught in high schools and at the university level, as well as chosen for community-wide reading programs and book clubs.

Beyond race, Butler explored tensions between the sexes and worked to develop strong female characters, a hallmark of her writing. “Being a woman in a male-dominated genre lent Butler’s stories a unique voice,” said Russell. “She would, for instance, depict women as resolving their problems through means other than violence—using flexibility, nurturing, and sensitivity instead.”

Butler once remarked, “Girls become women by giving life, and boys become men by taking it.” But she also challenged traditional gender identity, said Russell. Bloodchild, for example, is a story about a pregnant man, and in Wild Seed, the plot develops around two shape-shifting—and sex-changing—characters, Doro and Anyanwu. The exhibition will include notes Butler made about the two characters as she worked to develop them.

Butler sought to meticulously research the science in her fiction, traveling to the Amazon to get a firsthand look at extreme biological diversity in an effort to better incorporate biology, genetics, and medicine in her work. On display will be photographs from that research trip, as well as a small notebook of plant sketches. Climate change concerned her, as did politics, the pharmaceutical industry, and a variety of social issues, and as a result, she wove them all into her writing. “What’s striking,” said Russell, “is her ability to tease out and focus on issues that have had and likely will have currency for decades. She was amazingly prescient and given that, her stories resonate in very powerful ways today. Perhaps even more so than when they were first published.”

Related Programs

To complement “Octavia E. Butler: Telling My Stories,” The Huntington will present curator tours as well as “Octavia E. Butler Studies: Convergence of an Expanding Field,” a conference on June 23 with scholars Ayana Jamieson and Moya Bailey.

Image: Octavia E. Butler, working draft of Kindred (formerly titled To Keep thee in All Thy Ways) with handwritten notes by Butler, ca. 1977. The Huntington Library, Art Collections, and Botanical Gardens.

 

Screen Shot 2017-02-13 at 8.38.25 AM.pngThe Van Gogh Museum is devoting itself this spring to Prints in Paris 1900: From Elite to the Street - a major exhibition of work from its own fin-de-siècle print collection, which is one of the finest of its kind in the world. Over 250 prints of the highest quality, including colourful works by Bonnard, Chéret, Steinlen and Toulouse-Lautrec will be on show, among them world-famous posters like Le Chat Noir and Le Moulin Rouge. The prints will be shown alongside paintings, historical photographs, furniture for collectors and decorative objects, and will take visitors on a sensual journey through the cosmopolitan life of the French fin-de-siècle (1890-1905). The exhibition has been designed by Maarten Spruyt.

The Van Gogh Museum manages one of the finest collections of fin-de-siècle printmaking in the world. As a centre of knowledge and expertise, the museum has been collecting prints intensively for sixteen years and has also carried out five years of in-depth research so that it can now present its print collection in magnificent fashion. Prints that, because of their sensitivity to light, are kept in storage and only displayed sporadically and on a small scale can now be seen in all their glory and in large numbers in the museum’s exhibition wing.

The most beautiful of all the graphic work produced by artists like Henri de Toulouse- Lautrec (1864-1901), Pierre Bonnard (1867-1947), Théophile-Alexandre Steinlen (1859-1923), Edgar Degas (1834-1917) and Jules Chéret (1836-1832) will be on show at the exhibition, which will feature the finest print series and the rarest impressions. Over 250 prints will be shown alongside paintings, historical photographs, furniture for collectors and decorative objects. There are little jewels like the dark lithographs of Odilon Redon (1840-1916), evoking nightmarish fantasies, and the still series of woodcuts by Félix Vallotton (1865-1925), showing musicians playing in shadowy interiors.

The overarching story of the world of printmaking in Paris - from elite (the private collector) to the street (the mass of the people) - has never previously been told in an exhibition. Prints in Paris 1900 takes visitors on a journey beginning with prints from fashionable art circles, which were kept and viewed in the intimacy of richly decorated interiors. They will see the imposing Bibliothèque - rarely loaned for exhibitions - designed by François-Rupert Carabin (1890, Musée d’Orsay), an exuberantly decorated bookcase several metres tall with carvings of nude women, in which costly books and prints were stored by a private collector.

We then enter an entirely different world - that of popular prints for the masses. Here we find the fleeting impressions of the visual spectacle of modern life in the public sphere, full of colour, light and pleasure. Artistic posters, sheet music and magazine illustrations with their bright colours, large letters and powerful silhouettes, vie for attention. The highlight is Steinlen’s poster The Street, which, with an area of no less than 7.5 m2, is a genuine ‘fresco for the masses’. The prints also tempt visitors into the magical world of Parisian nightlife.

We then see how the elite took public printmaking and pulled it back into their interiors, where posters were now also hung on the walls as decorations. The exhibition concludes by showing a variety of printing techniques, with the original lithography press of the printer Auguste Clot (1858-1936) as the main attraction. A selection of trial proofs and videos explains the techniques of etching, woodcuts and lithography.

Parisian fin-de-siècle

The fin-de-siècle (1890-1905) was the heyday of French printmaking. It was the time where avant-garde art blended with everyday life in cosmopolitan Paris. Artists no longer put their talent to work exclusively on the creation of ‘high’ art, but also threw themselves into what were considered ‘lower’ art forms, such as decorative designs, prints, posters and magazine illustrations, with the common theme of modern cosmopolitan life in Paris. Artists experimented intensively with different print techniques and decorated the whole of Paris with their provocative artworks.

Catalogue

The exhibition Prints in Paris 1900: From Elite to the Street is accompanied by a richly illustrated, large-format catalogue written by curator Fleur Roos Rosa de Carvalho and based on years of intensive research into the worlds of printmaking during the French fin-de-siècle: the closed circles of decadent print collectors, the sparkling poster art of the street and magazines on news-stands, and large prints as colourful decoration for the interiors of the beau monde. 194 pages, hardcover. Publisher: Mercatorfonds, Brussels. The book is available in Dutch, English, French and German editions, and will be distributed worldwide.

Prints in Paris 1900: From Elite to the Street

3 March - 11 June 2017

AUSTIN, Texas — Stories of inspiration, adaptation, innovation, confrontation, collaboration and even frustration can be found within the Harry Ransom Center’s extensive cultural collections.

From Feb. 6 to July 16, the exhibition “Stories to Tell: Selections from the Harry Ransom Center” features more than 250 items from the collections. Exclusively drawn from the Center’s holdings, the exhibition provides insight into the creative process while also establishing meaningful, personal connections between the past and the present.

“The Ransom Center’s rich holdings highlight the struggles, the complexity and the rewards of creative work in literature, art, photography, film and the performing arts,” said Cathy Henderson, associate director for education and exhibitions at the Ransom Center. “Through telling these stories, this exhibition unlocks and illuminates the profoundly human reach of archives.”

Visitors will discover:

What ties Homer’s “The Odyssey” to James Joyce’s “Ulysses”?

What made Nigerian author Amos Tutuola finally start writing books in his native language?

What forced famed painter and sculptor Henri Matisse to turn to collage for his art book “Jazz”?

Why was a “sugar coffin” sent to one of Hollywood’s biggest stars of the early 20th century?

What can a dance costume from the Ballets Russes production of “Narcisse” reveal?

How did Robert De Niro prepare for his performance in “Taxi Driver”?

What made the 1968 Democratic and Republican national conventions such great subjects for photographer David Douglas Duncan?

How did staffers from The Washington Post humanize figures involved in the Watergate scandal?

What social issues concerned artist Elizabeth Olds, the first woman to receive a Guggenheim fellowship?

How did author David Foster Wallace approach drafting and editing his work?

What did Harry Houdini and Sir Arthur Conan Doyle think about the afterlife?

The exhibition makes clear the interconnections between seemingly unrelated collections and illuminates how the Ransom Center acquires, preserves and makes these resources available to all. It also documents the creative process across different mediums and divulges the steps and efforts of artistic works, reminding us how the humanities enrich us.

“Stories to Tell” will be on view in the University of Texas at Austin’s Ransom Center Galleries on Mondays through Fridays from 10 a.m. to 5 p.m., with extended Thursday hours until 7 p.m. On Saturdays and Sundays the galleries are open from noon to 5 p.m. The exhibition is free and open to the public. Daily docent-led tours are offered at noon, Thursdays at 6 p.m., and Saturdays and Sundays at 2 p.m.

A charming exhibit of animals pictured in law books opens February 1, courtesy of the Yale Law Library's Rare Book Collection. Titled "Woof, Moo & Grr: A Carnival of Animals in Law Books," the exhibit is narrated from the perspective of the animals themselves and is aimed at animal lovers of all ages.

Twenty books from around the world will be on display, more than half of them printed before the nineteenth century and the earliest published in 1529. They feature illustrations of a wide variety of animals that visitors may be surprised to find in the pages of serious legal literature.

The exhibition is curated by Mark S. Weiner, a writer, filmmaker, and professor on leave from Rutgers Law School. Weiner holds a J.D. from Yale Law School and a Ph.D. in American Studies from Yale University.

"Law is a serious business," said Weiner, "which is why it's important to find a chance to laugh. The exhibit looks at the different roles that animals play in legal literature, and it quietly explores the relation between law and the imagination."

"Woof, Moo & Grr" is on display from February 1 through May 31, 2017, in the Rare Book Exhibition Gallery, Level L2, in the Lillian Goldman Law Library, Yale Law School, at 127 Wall Street in New Haven. It is open to the general public 10am-6pm, seven days a week, and open to Yale affiliates until 10pm.

The images and text from the exhibit are also available online, in the Rare Book Collection's Flickr site, at  <https://www.flickr.com/photos/yalelawlibrary/albums/72157676683194536>.

The Rare Book Collection at Yale Law Library is one of the outstanding collections of historical law books and manuscripts in North America. The growing collection stands at more than 50,000 volumes and hosts an active exhibition program.

55a Foringer Abundan#8724A3 copy.jpgThe paper money we handle every day depicts familiar portraits of presidents and statesmen, but how many people know that a woman's portrait was once a standard likeness on federal currency?  Or that a notorious showgirl's portrait was engraved for bond coupons?  Or that a portrait of one of Queen Victoria's daughters was turned into "Young America" for use on stock certificates?  The exhibition Images of Value: The Artwork Behind U.S. Security Engraving 1830s-1980s, on public view at the Grolier Club from February 22 to April 29, 2017, presents a rare look behind the images that appeared on bank notes and securities produced in the United States for over 150 years. 

For the first time visitors can see a remarkable range of original wash drawings and paintings, period photographs and prints used to engrave the images on documents of value for the United States and countries ranging from Argentina to China to Spain, along with the documents on which the resulting engravings appeared.  The exhibition is primarily from the holdings of Mark D. Tomasko, a private collector, scholar, and researcher who documents the engravers, artists, designers, and bank note firms.  

Much news has been made in recent months about portraits of women coming to U.S. federal paper money, but in reality it’s a case of women coming back to federal paper money. Martha Washington’s portrait was a constant presence on US Silver Certificates from 1886 to the turn-of-the-century, and possible sources for the image used are on display along with the Silver Certificates on which she appeared.

Before the Civil War banks were chartered by the states, and most local banks issued their own bank notes. This created a large demand for quality paper money and gave rise to a thriving group of bank note engraving firms, effectively making the U.S. the world leader in security engraving by the late 1850s.  

Exquisite miniature drawings by Asher B. Durand, George W. Hatch, Henry Inman, and Thomas Birch illustrate the era when artwork needed to be drawn in a very small size to be engraved.  Photography later liberated the artwork from the miniature size (the art could be photo-reduced to the size to be engraved).  The result was the golden age of wash drawings, 1850s-1870s, with marvelous allegorical and genre drawings by American artists including the outstanding F. O. C. Darley, whose drawings of the American scene set a high standard.  Featured in the exhibition are Darley's drawings of Union Civil War soldiers, and some of his genre subjects.  Other noted artists shown for this era include James D. Smillie and Walter Shirlaw. 

American and European prints of the mid- and late-nineteenth century include several remarkable mid-century French chromolithographs of female heads, an art engraving of one of Queen Victoria’s daughters (turned into a security engraving entitled “Young America”!), a large theater poster, and a large print of Rosa Bonheur’s Horse Fair (one of the largest paintings in the Metropolitan Museum of Art, at 8’ x 16’).  Horse Fair became an engraving 1 ½” x 3 ½” and was used on documents as diverse as an 1870s Bolivian bank note and an 1880s New York City street railway bond.

By the twentieth century photographs became more commonly used as the artwork source for bank note picture engravings.  On view are photographs of Chinese subjects turned into engravings on bank notes for China but produced by American bank note firms.  Other period photos used for engravings include a large panorama of Lower Manhattan in 1904 and a portrait of Evelyn Nesbit, the “girl in the red velvet swing” who became a decorative engraving for coupon bonds.

Alonzo E. Foringer, a muralist who had worked for Edwin Blashfield, is a star of the show, with his large oil paintings of allegorical females produced from the 1910s to the 1940s.  The finest picture engravers created the best allegorical engravings of the twentieth century from Foringer’s work, a marriage of engraving and art that has never been equaled.  Known today primarily for a World War I Red Cross poster, Foringer’s real achievement is his bank note art, which graced the stocks and bonds of hundreds of U.S. companies and at least 50 bank notes of foreign banks and governments. 

Robert Lavin followed Foringer and became the second greatest security engraving artist of the twentieth century, working in the 1960s-1980s.  His allegorical paintings, and paintings of working people (perhaps best described as “Capitalist Realism”), became the leading picture engravings for stocks and bonds in the later twentieth century.  Some examples of other artists’ work of the 1950s and 1960s are also shown in the exhibition.

CATALOGUE:

The exhibition Images of Value: the Artwork Behind U.S. Security Engraving 1830s-1980s, sponsored by the Grolier Club’s Committee on Prints, Drawings, and Photographs, is accompanied by a full-color catalogue with a preface by William H. Gerdts. 

PUBLIC EVENTS:

Free Lunchtime Exhibition Tours led by curator Mark Tomasko: February 22, March 1, 8, 15, 22, and 29, 1:00 pm - 2:00 pm. 

Illustrated Talk by the curator followed by a Panel Discussion on the Artwork Behind U.S. Security Engraving: Tuesday, March 7, 2017, 3:00 pm - 5:00 pm. 

ABOUT THE GROLIER CLUB: 

Founded in 1884, the Grolier Club of New York is America’s oldest and largest society for bibliophiles and enthusiasts in the graphic arts.  Named for Jean Grolier, the Renaissance collector renowned for sharing his library with friends, the Grolier Club’s objective is to foster the study, collecting, and appreciation of books and works on paper.

VISITING THE GROLIER CLUB: 

47 E. 60th Street, New York, NY  10022

212-838-6690

Hours: Monday-Saturday, 10 AM to 5 PM

Admission: Open to the public free of charge

www.grolierclub.org 

Image: Alonzo E. Foringer. [Standing female with wheat and scythe]. Oil on canvas, 30 x 30.” For American Bank Note Company, 1927. Collection of Mark D. Tomasko.

f98fcc62-8473-4ad2-9939-84c2007dfd15.jpgTaking as its focus one of The Met's most captivating masterpieces, this thematic exhibition affords a unique context for appreciating the heritage and allure of Circus Sideshow (Parade de cirque), painted in 1887-88, by Georges Seurat (1859-91). Anchored by a remarkable group of related works by Seurat that fully illuminates the lineage of the motif in his inimitable conté crayon drawings, the presentation explores the fascination the sideshow subject held for other artists in the 19th century, ranging from the great caricaturist Honoré Daumier at mid-century to the young Pablo Picasso at the fin de siècle. This rich visual narrative unfolds in a provocative display of more than 100 paintings, drawings, prints, period posters, and illustrated journals, supplemented by musical instruments and an array of documentary material intended to give a vivid sense of the seasonal fairs and traveling circuses of the day. Among the highlights is Fernand Pelez's epic Grimaces and Misery—The Saltimbanques (Petit Palais, Paris), of exactly the same date as Seurat's magisterial work and, with its life-size performers aligned in friezelike formation across a 20-foot stage, a match for his ambition. Seurat's Circus Sideshow will be on view at The Metropolitan Museum of Art, New York, from February 17 to May 29, 2017.

The exhibition is made possible by the Janice H. Levin Fund, the Gail and Parker Gilbert Fund, and an Anonymous Foundation.

Circus Sideshow is one of only a half-dozen major figure compositions that date to Seurat's short career. More compact in scale and more evocative in expression than his other scenes of modern life—which he regarded as "toiles de lutte" (canvases of combat)—the painting effectively announced the Neo-Impressionist's next line of attack on old guard turf, signaling a shift in focus away from the sunlit banks of the Seine to the heart of urban Paris. Circus Sideshow initiated a final trio of works devoted to popular entertainment and led the fray as the first to tackle a nighttime setting with the benefit of his innovative technique, alternatively called pointillism or divisionism (the former term emphasizing the dotted brushwork, the latter, the theory behind separating, or dividing, color into discrete touches that would retain their integrity and brilliance). It was his singular experiment in painting outdoor, artificial illumination. The result is disarming. In relying on his finely tuned approach to evoke the effects of ethereal, penumbral light in this evening fairground scene of the Corvi Circus troupe and their public at the Gingerbread Fair in Paris, Seurat produced his most mysterious painting. From the time it debuted at the Salon des Indépendants in Paris in 1888, it has unfailingly intrigued, perplexed, and mesmerized its viewers. Seurat's closest associates, seemingly dumbstruck, largely confined their spare remarks to its novelty as a "nocturnal effect." The laconic artist never mentioned the picture.

Circus Sideshow depicts the free, teaser entertainment set up outside the circus tent to entice passersby to purchase tickets—known in French as a parade and loosely translated as the "come-on" or sideshow. At far right, customers queue up on the stairs to the box office. On the makeshift stage, under the misty glow of nine twinkling gaslights, five musicians, a ringmaster, and clown play to the assembled crowd of onlookers whose assorted hats add a wry and rhythmic note to the foreground of this austere and rigorously geometric composition. As viewers, we observe the show—as if from the rear of the audience, a part of the crowd. 

Seurat took a raucous spectacle that depended on direct appeal, the banter of barkers and rousing music, jostling crowds, and makeshift structures, and he silenced the noise, rendered the staging taut and ordered, hieratic and symmetrical, exquisitely measured and classically calm. Enveloped by the hazy gloom of night, the players and public are presented with the solemnity of an ancient ritual.

For all its uncommon beauty and striking invention, Circus Sideshow courts conventions and associations that were commonplace in representations of the parade. Throughout the 19th century it had been a stock motif in popular print culture, notably for social and political caricature, where it became an acute device for parodying politicians, who like saltimbanques, are trying to sell something. During the 1880s, the parade subject gained ground: it was given a contemporary edge by popular illustrators; it was painted with riveting descriptive detail by artists who sought success at the annual Paris Salon with works that had broad appeal; and it was mined, with spirited stylistic rivalry, by artists who jockeyed for position in the avant-garde. In the 1890s, the great era of the poster, the subject attracted a new wave of creative talents eager to establish their reputations through success in the commercial world. The poster was modern printing technology's extension of the time-honored parade; both functioned to pull the public into the show. The presentation brings this rich illustrated history to bear on Seurat's Circus Sideshow in a context designed to elucidate the genesis of his composition and to puzzle out the sources and parallels for his haunting and enigmatic work.

The exhibition is organized chronologically, with Circus Sideshow at center stage. It will be displayed in tandem with 17 works by Seurat that exceptionally reunite the painting with the conté crayon drawings most closely related to his conception, including preparatory studies, independent sheets that trace his exploration of the motif, and the glorious café-concert drawings that were shown alongside the picture at the Salon des Indépendants in 1888. The same venue featured Seurat's Models (Poseuses), now in The Barnes Foundation (and precluded from travel), which will be represented in the exhibition by the gemlike small version (private collection). This core group of works is seen with relation to contemporaneous images of the Corvi Circus and the Gingerbread Fair, offering a keen sense of time and place.

As the exhibition will highlight, through loans from nearly 50 public and private collections, Seurat's choice of subject attracted a steady stream of artists in the 19th century—from caricaturists, popular illustrators, and poster designers to painters of like ambition—determined to make their mark on the Paris art scene. Daumier, who set a powerful precedent at mid-century, is handsomely represented by satirical lithographs, as well as pithy paintings and watercolors that chart the saga of itinerant circus performers dependent on the fickle whims of the public. His pace-setting imagery and initiatives find a recurrent echo throughout the exhibition, which is punctuated by a veritable encore performance in the cast of players showcased in graphic works by Henri-Gabriel Ibels dating to the early 1890s. 

The appeal the parade motif held for Seurat's Parisian contemporaries will be seen to great effect.In addition to works by other vanguard artists, such as Louis Anquetin, Emile Bernard, Pierre Bonnard, Jules Chéret, Louis Hayet, Lucien Pissarro, and Paul Signac, or those on the cusp, such as Jean-Louis Forain and Jean-François Raffaëlli, the presentation features recently rediscovered pictures shown in the Paris Salons of 1884 and 1885, long lost from sight by artists little-known today, as well as the unprecedented showing in the United States of Fernand Pelez's monumental Grimaces and Misery—The Saltimbanques (Petit Palais, Paris), which was on view at the Salon of 1888, the same spring as Seurat's brooding masterpiece debuted at the Salon des Indépendants.

As a reminder that the "show goes on," the exhibition ends with early works by two artists who continued to explore the parade and its timeless portrayal of the pathos of comic spectacle well into the 20th century: Picasso's moody nighttime scene, Fairground Stall (Museu Picasso, Barcelona), painted on his first visit to Paris in 1900, and Georges Rouault's bravura Sideshow (Parade) of ca. 1907-10 (Centre Pompidou, Musée National d'Art Moderne, Paris).

Seurat's Circus Sideshow may be seen as the natural successor to exhibitions that have had as their focus other great paintings by the Neo-Impressionist artist: Seurat and The Bathers in 1997 at the National Gallery, London, and Seurat and the Making of La Grande Jatte at The Art Institute of Chicago in 2004. The scale and scope of The Met's presentation have been tailored to vivify a painting that is smaller in size and highly evocative in subject. The current one-venue show may also be appreciated with relation to other recent projects, such as Cézanne's Card Players (2011), Madame Cézanne (2014-15), and Van Gogh: Irises and Roses (2015) that have likewise furnished a fresh context for appreciating the heritage of best-known and loved 19th-century paintings in The Met's collection. 

Image: Georges Seurat (French, 1859-1891). Circus Sideshow (Parade de cirque), 1887-88. Oil on canvas. The Metropolitan Museum of Art, Bequest of Stephen C. Clark, 1960.

1 ambrotype copy.jpgCONCORD, MA--(January 2017) -The Concord Museum today announced a year-long celebration of the Bicentennial of Henry David Thoreau’s birth. One of the world’s most original writers and thinkers (1817-1862), Thoreau is best remembered for living in a 10 x 15 foot house near Walden Pond, where he wrote Walden. In addition to being a great American author, Thoreau is renowned as a Transcendentalist, an abolitionist, a naturalist, a pioneer of ecological awareness and climate change, and an innovator of civil disobedience.

While the Bicentennial of Thoreau’s birth will be recognized world-wide and in his hometown of Concord, it is of special significance to the Concord Museum, which holds the world’s largest and most comprehensive collection of artifacts related to Henry Thoreau, including the simple green desk on which he wrote Walden.

David F. Wood, Concord Museum’s Curator and author of An Observant Eye: The Thoreau Collection at the Concord Museum, stated, “Thoreau’s Bicentennial is something of a family affair for the Concord Museum. Henry David Thoreau knew the Museum’s founder, and called the collection he had formed ‘our museum’. Thoreau should perhaps be considered the most sophisticated material cultural historian at work in the mid-nineteenth century.”

Margaret Burke, Executive Director of the Concord Museum, explained, “Two centuries after his birth, we believe that much can be learned from Thoreau and his perception of the world. Thoreau’s insistence on thinking, observing, and living deliberately continues to suggest frameworks for both understanding the past and navigating the present.”

To celebrate the Thoreau Bicentennial year, the Concord Museum has created a year-long initiative titled “BE THOREAU”, which includes a series of special exhibitions and public programming such as workshops, gallery talks, and children’s activities. Margaret Burke explained, “The series encourages us to explore Thoreau’s writings from historical and contemporary perspectives and we sincerely hope will inspire new generations.”

Beginning on February 10, 2017, the Concord Museum will launch the Thoreau Bicentennial celebration with a deeply personal exhibition by photographer Abelardo Morell. Walden: Four Views | Abelardo Morell will be on exhibit in the Concord Museum’s Wallace Kane Gallery through August 20, 2017. The exhibition will also be accompanied by a broad range of special programs. 

In collaboration with The Morgan Library & Museum, New York, and the Concord Museum, on September 29, 2017, This Ever New Self: Thoreau and His Journal, the most comprehensive exhibition ever devoted to the life of one of America’s most influential writers and thinkers, will open at the Concord Museum.

The newly-created exhibition, This Ever New Self: Thoreau and His Journal brings the remarkable holdings from the world’s two most significant Thoreau collections: journals, manuscripts, letters, and books, and field notes from The Morgan Library & Museum; and from the Concord Museum, unique personal items that have never before left Thoreau’s hometown, including the very desk on which he wrote his journal.

Every private journal tells the story of self. For his entire adult life, Thoreau filled notebook after notebook with his observations and reflections, strong in the belief that a closely examined life would yield infinite riches. His journal was his everyday companion, an essential tool for a mindful existence, and grist for Walden, one of the world’s most influential books. The exhibition takes Thoreau’s manuscript journal as a point of departure to introduce the many facets of this extraordinary man - the student, reader, writer, worker, thinker, Concord neighbor, and, above all, keen observer of the inner and outer world. It reveals how Thoreau used his journal as a place to cultivate - and constantly renew - his very own self. 

The Morgan Library & Museum, June 2- September 10, 2017

Concord Museum, September 29, 2017 - January 21, 2018           

About the Concord Museum: The Concord Museum is where all of Concord’s remarkable past is brought to life through an inspiring collection of historical, literary, and decorative arts treasures. Renowned for the 1775 Revere lantern and Henry Thoreau’s Walden desk, the Concord Museum is home to a nationally significant collection of American decorative arts, including clocks, furniture, and silver. Founded in 1886, the Museum is a gateway to historic Concord for visitors from around the world and a vital cultural resource for the town and region. www.concordmuseum.org

Image: 

Henry D. Thoreau, 1862

Edward Sidney (E.S.) Dunshee (1823-1907), New Bedford, Massachusetts

Ambrotype, leather, glass, velvet

3¾ x 3¼ x ¾, closed case; 2¾ x 2¼, oval image

Gift of Mr. Walton Ricketson and Miss Anna Ricketson (1929) Th33b

Objects from the Concord Museum Thoreau Collection

Photographs by David Bohl, courtesy Concord Museum

Kansas City, MO. Jan 26, 2017-Contemporary English photographer Richard Learoyd, using a large camera obscura in his East London studio, creates figure studies, portraits and still lifes that are neither glamorous nor retouched, yet they exude serene power along with mesmerizing detail. Richard Learoyd: In the Studio, an exhibition organized by the J. Paul Getty Museum in Los Angeles and curated by Arpad Kovacs, Assistant Curator in the Department of Photographs at the Getty, opens at The Nelson-Atkins Museum of Art in Kansas City Feb. 10. Learoyd will be in Kansas City and in conversation with Photography Curator April M. Watson in Atkins Auditorium on Friday, Feb. 17 at 6 p.m., sponsored by The Photography Society. Tickets are free and can be reserved at www.nelson-atkins.org.

The exhibition includes 18 large-scale color photographs and two artist’s books.

“Richard Learoyd is internationally recognized as one of the most compelling contemporary photographers of our time,” said Julián Zugazagoitia, Menefee D. and Mary Louise Blackwell CEO & Director of the Nelson-Atkins. “His images convey both a psychological depth and a physical weight. We find in them the timeless qualities that make us human: strength, vulnerability, boredom, determination, confidence and shame.”

Learoyd’s process is as singular as the artist himself. Using a room-sized camera obscura, which is a dark chamber fitted with a lens, he creates an upside-down image and exposes it on a large sheet of light-sensitive paper. He then feeds the paper into a color-processing machine attached to the camera. Since the resulting print is not enlarged from a negative, each photograph is unique and exceptionally sharp. He admits his process is restrictive and labor-intensive.

“Learoyd creates visually seductive images that invite viewers to slow down and engage with the art,” said Watson. “His works inspire thoughtful consideration of the many beautiful complexities that make us human.”

Richards’s still lifes are unconventional. In one piece, two cuttlefish have been trussed in thread as ink dribbles down the silvery flesh, hanging in midair. Recalling the still life paintings of Francis Bacon, the photograph becomes an abstract study in the tension between organic and geometric forms. Another photograph, both beautiful and disturbing, features the lifeless, contorted body of a flamingo perched on a piece of glass against a plain studio backdrop.

Richard Learoyd: In the Studio runs through June 11.

This exhibition has been organized by the J. Paul Getty Museum, Los Angeles and curated by Arpad Kovacs, Assistant Curator in the Department of Photographs at the Getty. In Kansas City, the show is supported by the Hall Family Foundation.

The Nelson-Atkins Museum of Art

The Nelson-Atkins in Kansas City is recognized nationally and internationally as one of America’s finest art museums. The Nelson-Atkins serves the community by providing access and insight into its renowned collection of nearly 40,000 art objects and is best known for its Asian art, European and American paintings, photography, modern sculpture, and new American Indian and Egyptian galleries. Housing a major art research library and the Ford Learning Center, the Museum is a key educational resource for the region. The institution-wide transformation of the Nelson-Atkins has included the 165,000-square-foot Bloch Building expansion and renovation of the original 1933 Nelson-Atkins Building.

The Nelson-Atkins is located at 45th and Oak Streets, Kansas City, MO. Hours are Wednesday, 10 a.m.-5 p.m.; Thursday/Friday, 10 a.m.-9 p.m.; Saturday, 10 a.m.-5 p.m.; Sunday, 10 a.m.-5 p.m. Admission to the museum is free to everyone. For museum information, phone 816.751.1ART (1278) or visit nelson-atkins.org.

__Shiftlab_CatalogCover.jpgSeager Gray Gallery, in Mill Valley, California, presents Trace, an exhibition of works by Shift-Lab, a collaborative group of artists working in the print and artist book media.  The artists include Katie Baldwin, Denise Bookwalter, Sarah Bryant, Macy Chadwisk and Tricia Treacy. Trace is a set of maps: a large collaborative map and five smaller maps by each individual artist, that fold into single sheet books. A series of framed prints, printed ephemera, a digitally printed newspaper, and sound file accompany the work. Trace utilizes a range of media including embroidery, letterpress, risograph, processing software, screenprint, and video/audio capture. The exhibition will run from February 1 to February 28 with a reception for the artists on Saturday, February 4 from 5:30 to 7:30. 

The exhibition comes as a celebration of Codex, the Biennial fair beginning the following day at the Craneway Pavilion celebrating the book as a medium for art with exhibitors from around the globe.

A full color catalog of the exhibition is available through the gallery and at Codex: http://bit.ly/Shift_Lab_TraceCatalog.

GERMAN SCHOOL_Adoration of the Magi_Germany, Swabia or Franconia, c. 1465-70.jpgSince 1991 Les Enluminures has sold important examples of early drawings both to major public institutions and to private collectors. Today, opportunities to purchase drawings before 1500 are extremely limited, and even drawings before 1600 have become scarce on the art market. Les Enluminures is pleased to present a selling exhibition of 13 exceptional drawings. The drawings presented here include a wide variety of media, and they show notable shifts in technique over two centuries. They fit into three basic categories: copy drawings, sketches for eventual compositions, and fully worked out compositions.

January 20th to 28th, 2017 at Les Enluminures

23 East 73rd Street • 7th Floor

Penthouse • New York, NY 10021

Tel +1 212 717 7273

newyork@lesenluminures.com

www.lesenluminures.com

Click here for PDF version of the catalogue

“There remains much to be learned from early drawings, and because of their increasing rarity, as well as intrinsic artistic interest, every example merits close attention and further study. Here is an uncommon opportunity for private collectors and institutions alike to acquire an Old Master drawing that documents an early moment in the history of drawing.” -----Dr. Sandra Hindman

“My fascination with the history of collecting illuminated manuscript leaves and cuttings in part fueled my interest in early drawings. I noted that many collectors of Old Master drawings often included fragments of illuminated manuscripts - both leaves and cuttings - in their collections. It is worth noting that many museums worldwide house miniatures with drawings in their departments of prints and drawings (this is the practice at the Art Institute of the Chicago and the Musée du Louvre, among many others).” -----Dr. Sandra Hindman

Image: GERMAN SCHOOL. Adoration of the Magi, Germany, Swabia or Franconia, c. 1465-70. 

1483544578873.jpgWashington, DC—Before venturing west to capture America's frontier in paintings and photographs, 19th-century artists explored the eastern landscape, which served as a powerful source of mythmaking for a nation finding its identity in the nineteenth century. However, with the exception of images from the Civil War, photography of the East during the period has never before been the exclusive focus of an exhibition or catalog. As the first of its kind, East of the Mississippi: Nineteenth-Century American Landscape Photography will explore this fundamental chapter in America's photographic history through 175 photographs, including daguerreotypes, salted paper prints, albumen prints, stereo cards, and albums. On view at the National Gallery of Art, Washington, West Building from March 12 through July 16, 2017, the exhibition showcases photographers who documented the nation's transition over the course of the century, exploring the untouched wilderness, the devastation of the Civil War, and the dramatic transformations of industrialization.

"We are delighted to present the first exhibition devoted to this foundational period in both the history of photography and of our nation," said Earl A. Powell III, director, National Gallery of Art, Washington. "The assembling of such an extraordinary selection of photographs, many of which are rarely displayed, could not have been undertaken without the generous support of the Trellis Fund and Kate and Wes Mitchell."

Exhibition Organization and Support

The exhibition is organized by the National Gallery of Art in association with the New Orleans Museum of Art, where it will be on view from October 5, 2017 through January 7, 2018.

The exhibition is made possible through the generous support of the Trellis Fund. Additional funding is kindly provided by Kate and Wes Mitchell.

Exhibition Highlights

Organized chronologically and thematically, East of the Mississippi begins with some of the earliest American photographs, created shortly after news of the Frenchman Jacques-Louis-Mandé Daguerre's invention reached eastern cities in late 1839. While Niagara Falls was already a favorite subject for paintings and prints, the first extant daguerreotypes of the natural wonder were made by British scientist Hugh Lee Pattinson in April of 1840. Soon after, dentist Samuel Bemis captured New England's White Mountains in an extraordinary series of daguerreotypes.

As areas of the East Coast's picturesque terrain became a popular destination for urban dwellers of Boston, New York, and Philadelphia, photography became a means of marketing sites to tourists. In July of 1845 the Langenheim Brothers adopted the panorama format popular in the nineteenth century by making five daguerreotypes of Niagara Falls and mounting them side-by-side in a single frame. Photographers James Wallace Black and Franklin White journeyed to the White Mountains, making some of the earliest series of salted paper prints of the area, while others such as James McClees, Frederick DeBourg Richards, and Jay Dearborn Edwards trained their cameras on the built environment as urban centers experienced growth and transformation. George Kendall Warren, a pioneer of the college yearbook, photographed landscapes around college campuses including West Point.

The exhibition continues with photographs and paintings from the late 1850s and early 1860s, demonstrating the close ties between the two media as photographers sought to make landscapes more deeply attuned to contemporary aesthetic concern. Influenced by the ideas of painter Thomas Cole, art critic John Ruskin, and transcendentalist philosophers such as Ralph Waldo Emerson and Henry David Thoreau, these photographers worked in close collaboration with painters or were even painters themselves. Photographer John Moran and his brother, the painter Thomas Moran, worked side by side in the environs of Philadelphia and the mountains of Pennsylvania. Samuel Masury photographed the Loring Estate on the coast of Beverly, Massachusetts as John Frederick Kensett painted the same landscape for Coastal Scene (c. 1860-1870). Further north, Charles and Edward Bierstadt collaborated with their brother Albert on a series of albumen prints of the White Mountains before Albert painted a similar scene in 1863, Mountain Brook.

The following section presents a range of photographs that document the impact of the Civil War on the eastern American landscape, showing selections from two of the most significant photographic publications of the 19th century—Alexander Gardner's Gardner's Photographic Sketch Book of the War (1866) and George Barnard's Photographic Views of Sherman's Campaign (1866), both of which revealed the modification and devastation of the land from the war. Also featured are Andrew J. Russell's photographs of the building of military infrastructure in northern Virginia.

Two sections focus on the many ways in which photographers approached landscapes altered by industrialization. Thomas H. Johnson captured the coal mines expanding across northeastern Pennsylvania, while James F. Ryder and William H. Rau were hired by railroad companies, in 1862 and the 1890s respectively, to record newly laid train routes and showcase the scenic views made possible by the new infrastructure. Included are seven of Henry Peter Bosse's cyanotypes created while on a mapmaking survey of the upper Mississippi River. Undertaken to plan improvements to the river aimed at facilitating commerce and industry, the series illustrate photography's role in shaping development.

Finally, the exhibition presents photographers in the last decades of the century who made a living marketing the East's natural beauty while also advocating for its preservation. George Barker produced striking mammoth-plate albumen prints of Niagara Falls and Florida resorts. After finding success selling scenes of the Adirondacks to tourists and industrialists, Seneca Ray Stoddard made photographs such as Drowned Lands (c. 1888) which captured the forest ravaged by the timber industry. Stoddard used his photographs to advocate for the passing of a law to create Adirondack Park. In Wisconsin, Henry Hamilton Bennett began by selling stereographic prints of the Dells to the growing number of the river's steamboat tourists. He later protested plans for a dam that would submerge the sandstone formations he had so beautifully photographed. Finally, works by Alfred Stieglitz and Edward Steichen conclude the exhibition, hinting at the future of American landscape photography in the 20th century.

Curator, Catalog, and Related Activities

The exhibition is organized by Diane Waggoner, curator of nineteenth-century photographs, National Gallery of Art.

The exhibition is accompanied by a fully illustrated catalog copublished by Yale University Press and written by Diane Waggoner; with additional essays by Russell Lord, Freeman Family Curator of Photographs, New Orleans Museum of Art and Jennifer Raab, assistant professor in the history of art, Yale University. Featuring 220 color illustrations, the 288-page hardcover catalog will be available at shop.nga.gov/, or by calling (800) 697-9350 or (202) 842-6002; faxing (202) 789-3047; or e-mailing mailorder@nga.gov.

Image: Henry Peter Bosse, Construction of Rock and Brush Dam, L.W., 1891, cyanotype, National Gallery of Art, Washington, Gift of Mary and Dan Solomon

delitium.jpgNew York, NY, December 22, 2016 — Delirium: The Art of the Symbolist Book, opening January 20 at the Morgan Library & Museum, explores creative encounters between Symbolist authors and the artists in their circles.  The movement coalesced during the second half of the nineteenth century as writers in France and Belgium sought a new form of art—one that referenced the visible world as symbols that correlate to ideas and states of mind. The Symbolists celebrated subjectivity, expressed through a nuanced language of reverie, delirium, mysticism, and ecstasy. For these writers, literature suggests meaning rather than defines it.

The Symbolist movement was a revolt against naturalism, with an emphasis on allusion and self-expression that resonated with contemporary painters, who were in turn inspired to translate these ideas to visual art. Collaborations in print with Symbolist writers presented artists with a paradox: to create illustrations for words deliberately detached from explicit meaning or concrete reality. Divergent attempts to meet this challenge helped to liberate illustration from its purely representational role, introducing an unchartered dialogue between text and image. These developments informed the emergence of the concept of the book-as-art, a tradition that continues today. 

“With its renowned collections of printed books, manuscripts, and drawings, the Morgan Library & Museum is an ideal venue for this exhibition,” said Colin B. Bailey, director of the museum. “The works in Delirium, which are drawn primarily from our own holdings, reveal the innovations and all-encompassing aspirations of the Symbolist aesthetic. The movement would have a profound effect on avant-garde literature, artists’ books, and modern theories of art.” 

The exhibition, on through May 14, features works by more than thirty leading figures, including Charles Baudelaire (1821-1867), Stephane Mallarmé (1842-1898), Paul Verlaine (1844-1896), Alfred Jarry (1873-1907), Maurice Maeterlinck (1862-1949), Odilon Redon (1840-1916), Maurice Denis (1870-1943), Pierre Bonnard (1867-1947), Henri Fantin-Latour (1836-1904), Henry van de Velde (1863-1957), and Fernand Khnopff (1858-1921). 

THE EXHIBITION

Delirium opens with an introduction to some of the movement’s literary and artistic precursors: works by Charles Baudelaire (1821-1867) and the painters Eugène Delacroix (1798-1863) and Puvis de Chavannes (1824-1898). Baudelaire’s writings on Delacroix helped shape the foundation of Symbolist poetics. A manuscript of an early poem about Delacroix’s Tasso in the Madhouse (1839) is juxtaposed with a study for one of the many works championed by the poet: The Struggle of Jacob with the Angel (1850). What moved Baudelaire was the painter’s ability to convey his interior life through the suggestive use of color, contour, and movement. These effects provoked memories, involuntary associations, and reverie in each viewer. Baudelaire adapted these ideas to poetry in his ground-breaking works: Fleurs du mal (1857) and Les épaves (1866), illustrated by the Belgian artist Félicien Rops (1833-1898).

There is not a uniform or guiding artistic style connected with the Symbolist movement, which is immediately apparent among the illustrations in the books on view. The writers counted among their friends visual artists associated with many avant-garde groups: Impressionists (Manet), the Decadents (Rops), the Nabis (Vallotton, Rippl-Ronai), post-Impressionists (Denis, Bonnard), Les XX (Khnopff, Minne), and Art nouveau (van de Velde, Rysselberghe). Each artist brought their individual aesthetic styles to the challenge of illustrating Symbolism— a literary movement, which itself lacked coherence.

At the center of the gallery, the first and last artist’s book associated with the movement are presented: Stéphane Mallarmé’s L’après-midi d’un faune (1876), illustrated by Édouard Manet; and Paul Verlaine’s Parallèlement (1900), illustrated by Pierre Bonnard. With its delicate imagery, oscillating typography, and Japanese-inspired book design, L’après-midi d’un faune beautifully conveys Mallarmé’s alternating states of reality, dream, and memory. Like several poets and novelists in the exhibition, Mallarmé expressed ambivalence toward illustration, believing that poetry needed no elaboration. Nevertheless, Mallarmé solicited illustrations from his friends throughout his career.

The variations in Bonnard’s intimate designs for the deluxe edition of Verlaine’s Parallèlement present an entirely different aesthetic. This is the result of the artist’s personal responses to each poem. His visual plays of association are depictions not necessarily of the subject matter but of whatever thoughts and visions emerged as he was reading. Bonnard’s asymmetric and erotic imagery skirts the margins or transgresses the linear order of the book’s classic typography. The artist kept pace with his spontaneous impressions of Verlaine’s text by sketching some designs directly onto typeset pages.

The artwork within the Symbolist books may be understood as a single artist’s interpretation of and reaction to the words on the page. Other artist collaborations on view that exemplify such individual responses to literature include George Minne’s melancholy imagery for Maurice Maeterlinck’s Serres chaudes, Redon’s haunting frontispieces for the poet Iwan Gilkin, and Maurice Denis’s evocative designs for André Gide’s Le voyage d’Urien.

While much of the artwork that corresponds with the Symbolist movement is anti-naturalistic, the legacies of some writers associated with the movement are tied to their public image and well-known portraits that were disseminated in print. Félix Vallotton (1865-1925), ubiquitous in periodicals of the 1890s, is known for his many thumbnail portraits of Symbolist writers. One of his first artistic woodcuts, a portrait of Paul Verlaine, is on view, along with images of Arthur Rimbaud by Fantin-Latour and Carjat, Manet’s engraved portrait of Baudelaire, and Nadar’s photograph of Mallarmé.

Delirium culminates with an examination of cover and title designs. Symbolist publishers, particularly in Belgium, were at the forefront of using cover designs as visual preludes to the literature within. The Pre-Raphaelite influence on Symbolist imagery is apparent in Carlos Schwabe’s (1866-1926) aspirant figure on the cover of Dreams by Olive Schreiner—a rare example of a Symbolist artist illustrating work by a female author. Also represented are the Belgian artists Théo van Rysselberghe and Henry van de Velde, whose book decorations heralded a new form of non-representational ornament. Their works encompass the influence of the Arts and Crafts movement, Seurat’s ideas about the affective qualities of line, and the emergent Art Nouveau. The experimental typography of author and artist Alfred Jarry, whose illegible title design is itself a Symbolist work of art, is also on view.

Translation Feature

Selected translations of poetry associated with objects on view will be made available on a hand-held card in the gallery. For this special feature, the Morgan collaborated with the contemporary poets Ariana Reines, Mark Polizzotti, Barry Schwabsky, Luc Sante, Marcella Durand, and John Godfrey to enrich the public’s experience by providing works by Baudelaire, Mallarmé, Rimbaud, and others in English.

Image: Odilon Redon (1840-1916), Centaure lisant, 19th century, Charcoal on light brown paper. The Morgan Library & Museum, Thaw Collection.

A new selection of 28 posters, prints, drawings and photographs is now on display in the ongoing Library of Congress exhibition “World War I: American Artists View the Great War.” 

The exhibition opened in May 2016 and is on view through Saturday, Aug. 19, 2017 in the Graphic Arts Galleries on the ground floor of the Library’s Thomas Jefferson Building, 10 First St. S.E., Washington, D.C.  It is free and open to the public Monday through Saturday, 8:30 a.m. to 4:30 p.m.  Tickets are not needed.

In the new rotation of art, notable themes include the vilification of the German enemy; trench warfare and the use of poison gas; the service of Red Cross nurses and volunteers; and the aftermath of the war and recovery.  Artists represented include George Bellows, Kerr Eby, Charles Dana Gibson, Gordon Grant, Edwin Howland Blashfield and Samuel J. Woolf; poster artists Frances Adams Halsted, James Montgomery Flagg and John Norton; cartoonists McKee Barclay and Otakar Valasek; and photographer Lewis Hine. 

The works of art are drawn from the Library’s Prints and Photographs Division collections.  In addition to the 28 new items on display, a monitor slideshow highlights another 60 items.

The exhibition examines the use of wartime art for patriotic and propaganda messages—by government-supported as well as independent and commercial artists.  Many of the artists worked for the federal government’s Division of Pictorial Publicity, a unit of the Committee on Public Information.  Led by Charles Dana Gibson, a pre-eminent illustrator, the division focused on promoting recruitment, bond drives, home-front service, troop support and camp libraries.  In less than two years, the division’s 300 artists produced more than 1,400 designs, including some 700 posters.

Heeding the call from Gibson to “Draw ‘til it hurts,” hundreds of leading American artists created works about the Great War (1914-1918).  Although the United States participated as a direct combatant in World War I from 1917 to 1918, the riveting posters, cartoons, fine art prints and drawings on display chronicle this massive international conflict from its onset through its aftermath.

“World War I: American Artists View the Great War” is made possible by the Swann Foundation for Caricature and Cartoon, and is one in a series of events the Library is planning in connection with the centennial of the United States’ entry into World War I.  An online version of the exhibition is available at loc.gov/exhibits/american-artists-view-the-great-war/.  Katherine Blood and Sara Duke from the Prints and Photographs Division at the Library of Congress led the division’s curatorial team.  Betsy Nahum-Miller from the Library’s Interpretive Programs Office is the exhibition director. 

The art exhibition complements the upcoming major exhibition “Echoes of the Great War: American Experiences of World War I,” which will open Tuesday, April 4, 2017.  “Echoes” will feature more than 200 items and will draw from a wide array of original materials from the Library of Congress, which has the most comprehensive collection of multi-format World War I holdings in the nation.  In combination, these exhibitions reveal the extraordinary stories of this turbulent time in our nation’s history and the powerful global forces that war unleashed.

Now through April 2017, the Library of Congress is featuring twice-monthly blogs about World War I, written by Library curators who highlight stories and collection materials they think are most revealing about the war.  The blogs can be viewed at loc.gov/blogs/.  In 2017 and 2018, the Library will offer lectures, symposia and other programming on World War I, produce educational materials, publish a book about the war, and plant Victory Gardens in the front beds at its Jefferson and Adams buildings. 

The Library of Congress Prints and Photographs Division holds nearly 16 million photographs, drawings and prints from the 15th century to the present day.  International in scope, these visual collections represent a uniquely rich array of human experience, knowledge, creativity and achievement, touching on almost every realm of endeavor: science, art, invention, government and political struggle, and the recording of history.  For more information, visit loc.gov/rr/print/.

The Library of Congress is the world’s largest library, offering access to the creative record of the United States—and extensive materials from around the world—both on site and online. It is the main research arm of the U.S. Congress and the home of the U.S. Copyright Office. Explore collections, reference services and other programs and plan a visit at loc.gov, access the official site for U.S. federal legislative information at congress.gov, and register creative works of authorship at copyright.gov.

Signature Image.jpgNew York, NY, December 2016 — One of the most popular and enigmatic American writers of the nineteenth century, Emily Dickinson (1830-1886) wrote almost 1,800 poems. Nevertheless, her work was essentially unknown to contemporary readers since only a handful of poems were published during her lifetime and a vast trove of her manuscripts was not discovered until after her death in 1886.  

Often typecast as a recluse who rarely left her Amherst home, Dickinson was, in fact, socially active as a young woman and maintained a broad network of friends and correspondents even as she grew older and retreated into seclusion. Bringing together nearly one hundred rarely seen items, including manuscripts and letters, I’m Nobody: Who are you?—a title taken from her popular poem—is the most ambitious exhibition on Dickinson to date. It explores a side of her life that is seldom acknowledged: one filled with rich friendships and long-lasting relationships with mentors and editors.  

The exhibition closely examines twenty-four poems in various draft states, with corresponding audio stops.  In addition to her writings, the show also features an array of visual material, including hand-cut silhouettes, photographs and daguerreotypes, contemporary illustrations, and other items that speak to the rich intellectual and cultural environment in which Dickinson lived and worked. The exhibition is organized in conjunction with Amherst College. 

“Emily Dickinson’s work—and life—remain endlessly compelling to literary scholars and to the larger artistic community,” said Colin B. Bailey, director of the Morgan Library & Museum. “With its experimental poetics and vivid language, her verse continues to be a source of critical inquiry, while her quiet, unassuming years in Amherst are celebrated in music, theatre, and the cinema. The Morgan’s exhibition explores a less well-known aspect of her life—her personal and professional friendships—that will surely delight and surprise exhibition-goers.”

THE EXHIBITION

I. Childhood Years

“I attend singing school.”

Born in 1830, Emily Dickinson was part of a tight-knit family at the social center of Amherst, a small college town in western Massachusetts. She lived almost her entire life in the shadow of Amherst College, which was cofounded by her grandfather and where her father served as treasurer between 1835 and 1873. Life in such an environment brought a steady stream of visitors from far and wide, and Dickinson lived within an intellectually stimulating community that would later be reflected in her letters and poetry. Her father was protective, yet encouraged his children to pursue educational opportunities. Primary schooling for young women was not uncommon in Dickinson’s time, and she formed many strong attachments to her schoolmates and instructors at Amherst Academy, where she was part of a close group of friends known as the circle of five. Her exposure to poetry and keen use of language dates to her youth, as does her interest in the natural world and aesthetic presentation, evident in the books from her library, early letters, and her herbarium, an album of carefully pressed botanical specimens.

II. A Year at Mount Holyoke

"Everything is pleasant & happy here.”

At the age of sixteen, Dickinson left home to study at Mount Holyoke Female Seminary, a women’s college, in nearby South Hadley, Massachusetts. She tested into the first of three academic levels but was promoted to the second by midyear and took courses in chemistry, botany, history, and languages. She was roommates with her cousin Emily Norcross and her time there is well documented in the surviving letters she sent to her brother, Austin, and friend Abiah Root, one of the circle of five friends from Amherst Academy. It was not unusual for women to attend only a single year of higher education, and Dickinson returned to Amherst at the end of the academic year.

III. Companions and Correspondents

“Stay! My heart votes for you.”

Dickinson was not a student at Amherst College—which was established in 1821 with the explicit goal of educating, in Noah Webster’s phrase, “indigent young men of promising talents and hopeful piety” for the Christian ministry—but, as the daughter of the college treasurer, she was expected to attend public events such as commencement and to assist with the annual trustee’s reception hosted at her father’s house. After the Civil War, the college drifted away from its focus on missionary training, but during Dickinson’s lifetime it was a hotbed for religious revivals. She led a socially active life when she was young, attending performances, concerts, and lectures and remaining close to friends she had made as a child at Amherst Academy. She also formed new relationships, often through her brother, Austin. He introduced her to his social circle and Dickinson would have a brief flirtation with one member. Later, Austin’s wife, Susan, would become one of the poet’s dearest friends. Even as she became more reclusive, and increasingly withdrew from society in the 1860s, Dickinson maintained an active correspondence, composing more than one thousand letters in her lifetime.

IV. Literary Influences and Connections

“After long disuse of her eyes she read Shakespeare & thought why is any other book needed?”

One benefit of life in a college town was access to books, newspapers, and magazines that might not otherwise be readily available. The Dickinson family kept a respectable library in their home, and Dickinson also borrowed books from friends. In addition to her wide-ranging reading habits, she was acquainted with some major figures in the worlds of publishing and literature, chief among them the editors Samuel Bowles, Thomas Wentworth Higginson, and Thomas Niles, as well as the writer and activist Helen Hunt Jackson. Although Bowles and Higginson both championed women writers, their views were far from universal. Helen Hunt Jackson forged her own career as an author and urged Dickinson to publish her poetry, with one small success.

V. Civil War Years

“I heard a Fly buzz-when I died-” 

Massachusetts played an important role in the Civil War, politically and militarily. For a brief time, the state’s Springfield Armory, not far from Amherst, was the sole government manufacturer of muskets and other arms. Hundreds of local residents, both white and African American, joined the Union army, although Dickinson’s brother Austin avoided service. Students and faculty from the college also joined the conflict. Charity events related to the war became a regular feature of daily life. Dickinson began collecting her rapidly increasing output of poems into hand-sewn manuscript booklets, known as fascicles, as early as 1858, but the war years saw a sharp increase in her productivity. Thirty out of forty fascicles and at least five unsewn sets of poems—each of which could include more than twenty drafts—date from the years 1861-65. Most of Dickinson’s poems that were published during her lifetime also appeared during this period.

VI. Lifetime Publications

“I had told you I did not print.”

Closely examining Dickinson’s unique manuscript practices provides a partial answer to the question of why she did not pursue publication. While Dickinson’s social network included supporters of her writing and the work of women writers in general, there were equally strong voices arguing the opposite position. She regularly exchanged letters with influential editors,including Bowles, Niles, and Higginson. But, for all of their progressive views—Bowles, for instance, hired Fidelia Hayward Cooke as literary editor at The Springfield Republican in 1860—Dickinson was constrained by the disapproval of her father and of other figures she admired. Only ten of Dickinson’s 1,789 poems were published during her lifetime but always with added titles and altered punctuation. With one exception, the poems appeared in newspapers and periodicals on densely printed pages and surrounded by articles and advertisements, as was typical for the period. Dickinson is never credited—her poems all were published anonymously—and it is probable they were printed without her consent. At the same time, she did not shun publication altogether. She submitted several poems to Niles who never printed them while Dickinson was alive, but would later publish the first three posthumous editions of her work to great success.

VII. Posthumous Publications and Legacy

“It was not death for I stood up.”

Emily Dickinson died at her home on May 15, 1886, possibly of kidney disease. Of her trove of poems, hundreds had been shared with her network of friends and correspondents, but Dickinsonhad kept sets and fascicles entirely private. These poems were only discovered by her sister, Lavinia, after her death.

Lavinia looked to Susan Dickinson, her sister-in-law and one of the poet’s closest friends, to publish them. But work proceeded slowly, and Lavinia eventually turned the manuscripts over to Mabel Loomis Todd, Austin’s mistress. Todd dedicated much of the rest of her life to editing and publishing Dickinson’s poetry. The first two books—in 1890 and 1891—were coedited by Higginson, the poet’s old literary mentor. Todd and Higginson faced many difficulties when interpreting Dickinson’s challenging manuscripts and were further hindered by technology (Todd’s typewriter did not have lowercase letterforms). They worked to regularize Dickinson’s lines and alter her punctuation in order to make the verse “look” more like conventional poetry. Nevertheless, more than four hundred poems were brought out within ten years of Dickinson’s death, and her indisputably strong literary reputation was quickly established.

Today, Dickinson is widely recognized as one of the most important poets of the nineteenth century and her work is acknowledged as a precursor to modernism. She profoundly influenced later generations of poets, writers, musicians, and visual artists, including Hart Crane, Robert Frost, Elizabeth Bishop, Adrienne Rich, Charles Wright, and Susan Howe; Aaron Copland and Dawn Upshaw; Joseph Cornell and Jen Bervin.

Image: The only authenticated image of Emily Dickinson, Daguerreotype, ca. 1847. The Emily Dickinson Collection, Amherst College Archives & Special Collections. Gift of Millicent Todd Bingham, 1956, 1956.002.

 

9. Hunt IX, 2016 © Hugo Wilson, Courtesy Shapero Modern    small.jpgShapero Modern is delighted to present Chroma hunt, an exhibition of hand-coloured etchings by the celebrated British artist, Hugo Wilson.

The images in this portfolio of nine etchings are closely related to Wilson’s recent series of paintings which portray the most primal of all rituals, the hunt. Hunting scenes were popular with wealthy collectors in the seventeenth and eighteenth centuries. They represented a kind of ‘trophyism’ and a way of displaying mastery over nature. Wilson’s etchings are based on, or inspired by, famous paintings by old masters such as Rubens and Stubbs and show bizarre events where great beasts such as lions and crocodiles have been trained to hunt other animals. These images of writhing, snarling forms, some recognisable, others indistinct, portray immense animal strength - but the hunter remains unseen. Suggestive of mythic battle scenes, Wilson’s paintings shake the foundation of the context that they appear to mimic.

Wilson’s classical training is evident in his extraordinary technical facility - he studied at the renowned Charles H. Cecil Studio in Florence, Italy - as well as in his reverence for the masters of the Western artistic canon. His work suggests both a devotion to and subversion of this tradition. Wilson’s interest in mutability and instability is manifested in these works that take elements from European old master paintings and classical sculpture, and subjects them to a process of transformation. In the finished works reconfigured elements from the originals hover at the edge of legibility whilst new possibilities for meaning emerge.

The art historian Alison Bracker has written: ‘As his stunning new work confirms, Wilson translates the aesthetics of past centuries and cultures into an oeuvre that continually wrestles with one question in particular: why has man persisted in creating and sustaining ideological structures throughout time? The question invigorates the artist’s ‘Hunt’ paintings, which re- imagine the hunting rituals and mythologies enacted within works by Rubens, Stubbs and Venetian painter Jacopo de’ Barbari.’ †

Wilson works across a range of media including painting, drawing, sculpture and printmaking. His use of etching in these works also recalls eighteenth and nineteenth century natural history illustrations, particularly John James Audubon’s ornithological masterpiece, The Birds of America, 1827. Wilson’s interests are wide-ranging and encompass science, religion and culture, systems of classification, history and memory. Addressing such diverse subjects, his work enacts an investigative process in which the outcome is by no means certain. The work forms a series of open-ended questions and correspondingly provisional answers.

† Alison Bracker, from ‘Never a Single Approach,’ in Hugo Wilson, Parafin, London, 2015

Shapero Modern
14th December 2016 - 10th January 2017
Private View: Tuesday 13th December, 6—8.30 pm

Image: Hunt IX, 2016 © Hugo Wilson, Courtesy Shapero Modern.

Screen Shot 2016-12-05 at 9.13.47 AM.pngLos Angeles, CA — Depart Foundation announced that it will present a comprehensive exhibition of rare and important historical works by one of the most influential photographers of the American West, Edward S. Curtis (1868-1952). Curated by Bruce Kapson, Rediscovering Genius: The Works Of Edward S. Curtis will mark the premier institutional showing of Curtis’s masterwork body of Copper Photogravure Printing Plates used in the production of his epic publishing venture The North American Indian, and will include examples from every photographic medium in which the artist worked.

The Copper Photogravure Printing Plates are the source of origin for every vintage photogravure print extant and produced in The North American Indian. The exhibition's compilation of 30 individual Plates, presented in their original copper and inked state, is being shown for the first time in the 110-year history of this rediscovered body of the artist’s work. Each Plate is a unique work and a primary document of one of the most significant publishing ventures of the 20th century. Curtis spent more time refining and perfecting the imagery in these Plates than in any other medium. “Their three-dimensionality offers a wholly new material and aesthetic experience that is distinct from Curtis’s more widely exhibited gravures, photographic prints, and orotones. The immediacy of the copper Plates is unlike any other vehicle for these iconic images; it is as though they allow the viewer to be transmitted through the frame to the very moment the image was captured,” said Kapson.

In addition to these unique Copper Photogravure Printing Plates, Rediscovering Genius will showcase rare and notable examples drawn from every other photographic medium with which Curtis worked to help contextualize their significance. Among them, a very rare Hand-Colored Glass Lantern Slide from Curtis's "Musicale" lecture series, in which he displayed photographic images alongside his early recordings of Native American music and languages to illustrate their rituals and traditions.

A pioneer in many respects, Curtis in 1904, only a few years after field motion picture cameras were available, was using them to document Navajo, Hopi and Cheyenne rituals. As part of the exhibition, Curtis’s pioneering 1914 feature film, In the Land of the Head-Hunters (War Canoes) will run continuously and Anne Makepeace's biographical documentary on Curtis, Coming to Light, Edward S. Curtis and the North American Indians, will be screened as a separate event at Depart Foundation in Los Angeles on Friday, December 9, 2016. Kapson says, "Believing that motion pictures were increasingly the medium to reach the masses - and that this first film might lead to other motion pictures based on Indian subjects - Curtis founded his own film company in Seattle and created a full-length film on Kwakiutl Indian life in 1914. Curtis lived and worked with the Kwakiutl for three years, and as Makepeace's documentary Coming to Light reveals, Curtis and his work are still cherished and honored by the descendants of those who participated."

Edward S. Curtis's work had the duality of being an incredible artistic creation and a document of a people. He was the first photographer to portray American Indians as anything other than objects of curiosity, and the first photographer to involve them as both active participants and contributing collaborators in the making of their own image.

Curtis created a vision of the American Indian that had never existed and never been surpassed. He produced images that not only record real daily activity, but also convey a dignity, universal humanity and majesty.

Bruce Kapson

Bruce Kapson is a respected expert on Edward S. Curtis and is widely regarded as the leading research authority on the Master Exhibition Prints of Curtis. As a Curtis curator and independent research scholar, he is responsible for several groundbreaking discoveries in the field and he has appraised major institutional and private collections. The consulting expert and a partner in the world’s largest archive of Original Copper Photogravure Plates from Curtis’s The North American Indian, Kapson’s gallery is considered the expert source for original works.

DEPART Foundation
DEPART Foundation provides an alternative platform for creative experimentation and exploration, set within a global context, that thrives outside of conventional, cultural structures. The impact of its work can best be understood as the charting of new artistic destinations with every project and program it undertakes.

Since its founding in 2008, DEPART Foundation has served as a catalyst for the Italian art and cultural community, strengthening the dialogue between Italy and the international art world. Like multiple outposts in Europe and U.S., DEPART Foundation has actively encouraged artistic production through sponsorship of young and established artists and the provision of spaces and resources conducive to the research, production and exhibition of new work, and to the presentation of educational and public programs.

Some of the most interesting and dynamic artists of our time, from around the world, have been presented for the first time in Rome by DEPART Foundation. They include Cory Arcangel, Joe Bradley, Nate Lowman, Ryan McGinley, Tauba Auerbach, Darren Bader, Louis Eisner, Roe Ethridge, Sam Falls, Mark Flood, Elias Hansen, Brendan Lynch, Oscar Murillo, Sarah Braman, Seth Price, Jon Rafman, Stephen G. Rhodes, Amanda Ross-Ho, Sterling Ruby, Lucien Smith, Valerie Snobeck and Frances Stark.

NOVEMBER 18, 2016-JANUARY 7, 2017

FOR FURTHER INFORMATION

Lyn Winter, +1 213 446 0788, lyn@lynwinter.com Livia Mandoul, +1 407 919 93924, livia@lynwinter.com

DEPART FOUNDATION

Damiana Leoni and Lorena Stamo, roma@departfoundation.org

Image: Edward S. Curtis, Pulini and Koyame - Walpi, Volume 12, 1921, Copper Photogravure Printing Plate, 9 x 6 inches.

image003.pngOxford, November 2016 - From fire-belching mountains to blood-red waves of lava, volcanoes have captured the attention of scientists, artists and members of the public for centuries. A new exhibition at the Bodleian Libraries uses a spectacular selection of eye witness accounts, scientific observations and artwork to chart how our understanding of volcanoes has evolved over the past two millennia.

The exhibition examines some of the world’s most spectacular volcanoes including the 79 AD eruption of Vesuvius, one of the most catastrophic eruptions in European history, and the 19th century eruptions of Krakatoa and Santorini, two of the first volcanic eruptions to be intensely studied by modern scientists.

Today, satellites monitor volcanic activity and anyone with internet access can watch volcanic eruptions live in real time. In the past, volcanic eruptions were described in letters, manuscript accounts and early printed books, and illustrated through sketches, woodcuts and engravings. Many of these fascinating accounts are preserved in the Bodleian’s historic collections and will be on display in Volcanoes at the Weston Library.

The human encounters with volcanoes that are traced in the exhibition range from Pliny the Younger’s account of the dramatic eruption of Vesuvius in 79 CE to early Renaissance explorers who reported strange sightings of mountains that spewed fire and stones. Also explored is how scientific understanding of volcanoes and the Earth’s interior have developed over time, from classical mythology and early concepts of subterranean fires to the emergence of modern volcano science, or volcanology, in the 19th century. The exhibition brings together science and society, art and history and will delight visitors of all ages.  

The exhibition is curated by David Pyle, Professor of Earth Sciences at the University of Oxford, whose research uses historical sources to improve our knowledge of past volcanic activity and to shed light on what might happen in the future at young or active volcanoes.

It will feature treasures from the Bodleian Libraries, some of which have never been on public display before. In addition, the exhibition will feature items on loan from the Natural History Museum in London and from the University of Oxford’s Museum of Natural History, the Museum of the History of Science and Magdalen College. 

Highlights of Volcanoes include:

·         Fragments of ‘burnt’ papyrus scrolls from the ancient Roman town of Herculaneum, which were buried during the 79 AD eruption of Vesuvius

·         The earliest known manuscript illustration of a volcano, found in the margin of a 14th century account of the voyage of St Brendan, an Irish monk who travelled across the north Atlantic in the 6th century

·         A stunning illustration of the Earth’s subterranean fires from Athanasius Kircher’s Mundus Subterraneus, an influential 17th century work which proposed that volcanoes were created where the Earth’s internal fires escaped at the surface

·         Spectacular 18th century studies of Vesuvius, by Scottish diplomat and early volcanologist William Hamilton who wrote one of the first descriptive monographs of an active volcano

·         18th and 19th century weather diaries and paintings, that capture the distant effects and freak weather conditions caused by major volcanic eruptions in Iceland and Indonesia

·         ‘Infographics’ from 19th century natural historians Alexander von Humboldt and Charles Daubeny whose work has contributed greatly to our current understanding of volcanoes

·         Lava and rock samples, maps, lecture notes and scientific equipment from 19th century volcanologists and explorers

The exhibition curator David Pyle said: ‘Humans have lived with volcanoes for millions of years yet scientists are still grappling with questions about how they work. This exhibition features historical representations and ideas about volcanoes that are captivating and dramatic but most importantly these works provide scientists today with valuable insights into how these enigmatic phenomena behave. Looking back at history can help us learn valuable lessons about how best to reduce the effects of future volcanic disasters.’ 

Richard Ovenden, Bodley’s Librarian said: ‘Volcanoes are one of the most extraordinary marvels of the natural world and have fascinated us for millennia. This exhibition draws on both the rich collections held at the Bodleian and cutting edge scientific research to demonstrate the power and fascination of volcanoes through time.’

Volcanoes at the Weston Library, Bodleian Libraries, Oxford

Friday 10 Feb - Sunday 21 May 2017

Free admission, no booking required

An exciting programme of talks and events, including family-friendly activities, will be held over the course of the Volcanoes exhibition, which will be held at the Bodleian’s Weston Library. For more information visit www.bodleian.ox.ac.uk/whatson.

The Weston Library is one of the newest cultural destinations in Oxford and has welcomed more than 1.1 million visitors since opening to the public in March 2015. The Library has also won a string of architectural awards and was shortlisted for the RIBA Stirling Prize 2016.

An accompanying publication to the exhibition, Volcanoes: Encounters through the Ages, will be released by Bodleian Library Publishing on 10 February 2017, and is available for pre-order at £20.00 from www.bodleianshop.co.uk.

Screen Shot 2016-11-23 at 9.01.01 AM.pngOn November 11, 2016, the Library Company of Philadelphia opened its new exhibition Together We Win: The Philadelphia Homefront During the First World War. Co-curated by Reference Librarian Linda August and Curator of Prints and Photographs Sarah Weatherwax, this exhibition commemorates the 100th anniversary of America's entrance into the war and the sacrifices and contributions Philadelphians made to the Allied cause. More specifically, the exhibition explores the role that the Library Company, its staff, and its shareholders played in supporting the war effort. Visitors will experience the sights and sounds of Philadelphia during this time period through the exhibition's incorporation of music, flags, colorful posters, photographs, books, maps, scrapbooks, and many other kinds of ephemera.

During the war, the American Library Association, of which the Library Company was a founding member, collected millions of books and magazines to send to the troops. In keeping with that tradition, the Library Company is collecting new or gently-used paperback books to donate to Operation Paperback, an organization that sends books to members of the military. A dollar bill tucked inside each donated book would be greatly appreciated to help defray the cost of shipping the books overseas.

Together We Win will run from November 11 until April 21, 2017. The gallery is open Monday-Friday 9:00am-4:45pm and admission to the exhibition is free. Programming related to the exhibition will include:

PAFA Performances: The Music of World War I

Saturday, February 11, 2017 at the Pennsylvania Academy of the Fine Arts

Co-sponsored by the Library Company of Philadelphia and the Pennsylvania Academy of the Fine Arts

Citizen Artists: World War I and the Creative Economy Symposium, Saturday, March 11 -Sunday, March 12, 2017 at the Pennsylvania Academy of the Fine Arts at 2 p.m.

Curated tour of Together We Win at the Library Company of Philadelphia, Saturday, March 11, 2017 at 4 p.m.

Gallery tour for Library Company members of the Pennsylvania Academy of the Fine Arts' exhibition World War I and American Art, Saturday, March 25, 2017 at the Pennsylvania Academy of the Fine Arts at 2 p.m.

Additional ticket information will be available closer to the date of each event. Please register for Library Company events and programs in advance at www.librarycompany.org/events  or call Clarissa Lowry at 215-546-318. Check our website for more updates on upcoming events at www.togetherwewin.librarycompany.org 

Images: From left to right: August William Hutaf, Treat 'Em Rough! Join the Tanks, 1917. Color lithograph. / Charles Buckles Falls, Books Wanted for Our Men, 1918. Color lithograph. / Lloyd Harrison, Corn, The Food of the Nation, 1918. Color lithograph. Library Company of Philadelphia.

About The Library Company of Philadelphia

Founded in 1731 by Benjamin Franklin, the Library Company of Philadelphia is an independent research library and educational institution specializing in American and global history from the 17th through the early 20th centuries. Claiming one of the world's largest holdings of early American imprints, the Library Company also has internationally-renowned collections in early African American history, economic history, women's history, the history of medicine, and visual culture. The Library Company promotes access to these collections through fellowships, exhibitions, programs, and online resources. To find out more, please visit www.librarycompany.org.

F209B4D3-E8DD-4A99-9067-A1C82330D1E8.pngMaestro Arts in collaboration with Shapero Modern are delighted to present Jan Hendrix’s first UK solo exhibition, featuring works from The Aeneid Book VI, his most recent collaboration with Seamus Heaney.

Shortly before his death in August 2013, Heaney had completed his translation of the Aeneid Book VI and had started working on a collector's publication with Jan Hendrix and Hans van Eijk (Bonnefant Press). It was the proofs from this draft that enabled the Heaney family/estate and Faber & Faber (official publisher of Heaney’s work) to decide on the ‘final’ edition, published earlier this year to international acclaim.

Hendrix and Heaney had formed a friendship collaborating on two previous occasions. In 1992 Hendrix had illustrated The Golden Bough, Heaney’s earlier translation of a part of Aeneid Book VI. A second book, The Light of the Leaves, followed in 1999: poems mostly dedicated to his friends, all poets, Hughes, Brodsky, Herbert. It also carried images of the landscape of Yagul, this time printed in stark black and white on Nepalese paper.

For this latest collaboration, Hendrix has chosen to portray the landscape in a Dantesque setting in accordance with Book VI. Says Hendrix: “...As a farewell to a dear friend and a dear place, I have vowed never to return to Yagul again. The images are made in a panoramic fashion, as if standing on the great rock watching over the surrounding valleys. Strangely enough the cactuses that I portrayed in 1992 and 1999 and the years in between are now dying and disappearing.”

The exhibition and book launch on 24th January have the full support of the Heaney family and will be introduced by Seamus Heaney's daughter, Catherine Heaney.

Related Events:

In conversation with Jan Hendrix:

Saturday 28 January, 11am - 12pm Shapero Modern,
32 St George St,
London

The art of the bookplate is alive and well among Grolier Club members—just as it has been for 130 years.

The functional purpose of the bookplate is simple: collectors paste the small pieces of paper or leather into their volumes to identify ownership and establish a trail of provenance. Yet for centuries, bookplates have also served as visual testaments to book collectors’ personalities, passions, and legacies. The ex libris is a relatively obscure art form. Its heyday lasted from roughly 1880 to 1950, but bookplate design, printing, and use remain central to many book collectors’ activities. The plates of past Grolier Club members rank as some of the finest examples of the art form, and many current Club members continue to commission and use bookplates. This exhibition links historic and contemporary bookplates to celebrate the continued vitality of the art form, both within and beyond the Grolier Club.

Bookplates are more than decorative embellishments. In many cases, thoughtful collectors work closely with artists and printers to design fitting testaments to their individual interests. Knowing that their bookplates will likely remain pasted into their treasured volumes for years to come, collectors use the art form to establish their legacy among future owners and readers. Each plate on exhibit exudes the character of its owner and the design savvy of its maker. 

The show is replete with hundreds of examples of the ex libris art form, each imbued with special meaning for maker, user, and viewer alike. “Grolier Club Bookplates, Past and Present” emphasizes the meaning behind the symbolism in the plates on display, and the artistic legacy of the artists who bring patrons’ dreams to fruition.

Drawn almost entirely from the Grolier Club's own collection, the exhibition begins with one of the Grolier Club’s own bookplates, then moves to parallel bookplates of past members from the 1880s through the 1990s with the bookplates of nearly sixty current members. Notable designers include such famous artists as Walter Crane, Louis Comfort Tiffany, Lucien Pizarro, Eric Gill, Rockwell Kent, and Leonard Baskin, whose works are shown alongside that of the two most famous American masters of the bookplate genre in the early twentieth century, Edwin Davis French and Sidney Lawton Smith. There are bookplates printed by William Morris's Kelmscott Press, the Merrymount Press of Daniel Berkeley Updike, and the Spiral Press of Joseph Blumenthal. More recent typographers and calligraphers represented include Leo Wyatt, Will and Sebastian Carter, Reynolds Stone, Sheila Waters, Jerry Kelly, and Russell Maret, among others. A highlight is the original drawing—unpublished and never before exhibited—by Maurice Sendak for the bookplate of bookseller and collector Justin C. Schiller.

GALLERY HOURS: The exhibition is open to the public, free of charge, Monday-Saturday 10 am-5 pm through January 14, 2017. We will be closed Thursday and Friday, November 24-25, for the Thanksgiving Holiday, and December 24-31 for the Winter Holidays.

NCSML Lowry Travel Posters .jpgCEDAR RAPIDS, Iowa - The original exhibition, Czech Travel Posters from the Lowry Collection opens Saturday November 5, 2016. Both George and Nicholas Lowry, the father-son collectors, will attend the opening reception on Sunday, November 6, discussing the tradition and importance of travel posters within the Czech lands.

Viewers of PBS’s Antiques Roadshow will recognize Nicholas Lowry as a regularly appearing expert. George Lowry was born in Czechoslovakia, escaping on the eve of World War II and Hitler’s occupation of the country. George and Nicholas Lowry own Swann Auction Galleries in New York. Founded in 1941, Swann is the largest auctioneer of Works on Paper in the world, dealing with items ranging from books to photographs to posters. At over 1,000 works, the family owns the largest collection of Czech posters in the world outside the Czech Republic. The collection grew over the last 25 years out of the family’s Czech origins and George and Nicholas’s mutual passion for the images. Carefully curated by Nicholas Lowry, the exhibit Czech Travel Posters from the Lowry Collection showcases 43 travel posters that span several decades, many of them being exhibited for the first time.

For a small country, Czechoslovakia produced a large number of posters, owing to a combination of the country’s rich artistic legacy and strong economic climate. The travel posters are a unique form of advertising showcasing the beauty, intrigue, and architecture of the Czech lands, sometimes urging tourists (in German, English or French) to visit such wonders in Czechoslovakia as Brno or Kutna Hora. Other posters extol the sporting opportunities in Czechoslovakia, such as golf or skiing. A few are in Czech, printed to promote internal tourism and travel.

Details about the opening reception at http://www.ncsml.org/event/opening-reception-travel-posters-lowry-collection/ Please RSVP online.

Opening Reception Schedule, Sunday November 6, 2016:

1:00 - 2:00pm: Presentation by Nicholas Lowry in WFLA/ZCBJ Heritage Hall
2:00 - 3:00pm: Nicholas and George Lowry will be available in Petrik Gallery to discuss the artwork and their collection. Light refreshment provided

Regular admission is required to enter the museum’s galleries. NCSML Members receive free admission to all galleries. The portion of the event held in WFLA/ZCBJ Heritage Hall is completely free. Please note: while Nicholas Lowry is a favorite expert on Antiques Roadshow, he will not be available to appraise items during this visit to the NCSML. The public is asked to please not bring items for this purpose.

Additionally, NCSML members and volunteers are invited to a special shopping event in the Museum Store. Members and volunteers receive 25% off their purchases between 12:00pm and 5:00pm on Sunday, November 6 only, plus receive a free glass of wine at the cash bar. The public is also welcome to shop during the Museum Store event, but will not receive the exclusive member and volunteer discount. Memberships will be available for purchase on the day of the event. Details at http://www.ncsml.org/event/member-volunteer-appreciation-day-museum-store/

Bernard Shapero of Shapero Rare Books and Sandra Hindman of Les Enluminures are delighted to present 2000 Years of Jewish Culture: an exhibition of books, manuscripts, art, and jewellery.

A selling show, it is the first of its kind ever staged in the UK in a private space, and, accordingly, it will be marked by the publication of a fully illustrated catalogue. It encompasses every aspect of Jewish life, including philosophy, religion, literature, photography, fine art and jewellery. 

Says curator Bela Goldenberg Taieb: Each of the assembled artifacts - the oldest of which is a fragment of the Dead Sea Scrolls -  is representative of a particular field of endeavour, and as such they collectively offer a truly compelling picture of the Jewish contribution to world culture.'

The exhibition, which features over 100 objects, will be arranged over the basement, ground and first floor of Shapero’s Mayfair premises. It presents several important rare books, the subjects of which span the tenth to the twentieth centuries, including first editions of some important examples of Anglo-Judaica. 

Books and Manuscripts:

  • A group of 5 fragments from the Dead Sea Scrolls
  • A 13th century Hebrew manuscript of The Book of Genesis on vellum, originating in Germany; a 12th-13th century manuscript of The Book of Psalms and a 14th -15th century Byzantine manuscript of the Passover Haggadah.
  • The first English translation of the Haggadah. The book was issued in two editions and represents the only known appearance of Ladino in Hebrew letters in a London imprint. The present edition is in fact so rare that it is not found in either the British Library nor the Bodleian Library. Its translator, Alexander ben Judah Leib, was one of the pioneers of the Hebrew printing in London, and was responsible for establishing the Hebrew Press in London in 1770. This Haggadah was the second book published by him, following an earlier bilingual Common-Prayer-Book, also featured in this exhibition, along with his first edition of the Pentateuch.
  • The first book by Ka-Tzetnik. Entitled Tzveiuntzvantzik - Lider (Twenty-Two Poems), the book is possibly the most complete copy currently in existence of Ka-Tzetnik’s first book of Yiddish poetry, published in 1931.  Born Yehiel Feiner, he is one of the most important Israeli authors. During WWII, Feiner spent two years (1943-1944) as a prisoner in Auschwitz concentration camp, and was the sole survivor out of his entire family. While being led out of the camp to be shot, he managed to escape and in 1945 arrived in Palestine and became a famous Holocaust novelist. His nom de plume, Ka-Tzetnik 135633, refers to the words ‘Concentration Camper’ in Yiddish slang, and his prisoner number. Ka-Tzetnik famously hunted down his only pre-war book in public libraries and has creatively destroyed most of them.
  • A collection of Zionist books and artifacts, including Herzl’s portrait by Hermann Struck, signed by Herzl himself; first editions of Herzl’s seminal work Der Iudenstaat, photographs and letters. 

Photographs of and by distinguished twentieth century Jews:

  • Autographed photographs of Albert Einstein and Sigmund Freud. The latter portrait is inscribed with a note of remembrance from Sigmund Freud to Dr. Smiley Branton, an intimate friend and a former patient, who underwent psychoanalysis in 1929. Blanton was the author of the best-selling self-help guide, Love or Perish, 1956, a speech pathologist and psychoanalyst in New York for many years.
  • A seminal photograph by Alfred Stieglitz. The Steerage is Stieglitz’s most iconic photograph, and was proclaimed by the artist and illustrated in histories of the medium as his first Modernist photograph. Taken in 1907 aboard the SS Kaiser Wilhelm II, the work marks Stieglitz’s transition away from painterly prints of Symbolist subjects to a more straightforward depiction of life.

Depictions of the Holy Land:

  • One of the most impressive engraved panoramic views of Jerusalem by Wencelaus Hollar (Ierusalem, 1660). Its representation of the First Jewish Temple at Jerusalem (aka Solomon's Temple) is based on earlier engravings that were published in Rome in 1604. Inside the city’s walls, Solomon’s Temple and the Palace of King David are figured prominently on the Temple Mount. Hollar was a prominent Bohemian etcher in the 17th century. In a career of some 50 years, he produced almost 3,000 etchings on a variety of subjects, with the direct, realist style that makes them very valuable historical documents. The British Museum, the print room at Windsor Castle and the National Gallery in Prague all hold near complete collections of Hollar’s work.
  • A spectacular early photograph of the old city of Jerusalem and its surrounding hills by the renowned British photographer, Francis Frith. From his perspective on the Mount of Olives, Frith captured the walls of the ancient city with houses and buildings indistinguishable within. Some early photographs of Jerusalem by Felix Bonfils will also be exhibited.
  • A coloured woodcut map of the Holy Land by Claudius Ptolemaeus is a fine example with rich original colour. Printed in 1482, it provided the basic image of the Holy Land until the 18th century.

Jewellery:

  • A collection of Jewish wedding rings. Dating from between the 16th and 19th centuries, the rings feature miniature palaces, castles and temples in the place of gemstones, the roofs of which often open like a locket to reveal a Hebrew inscription.

Cuisine:

  • Jewish cuisine is represented by Lady Judith (Cohen) Montefiore’s Jewish Cookery by a Lady. When this book was first published in 1846, the identity of ‘the Lady’ to whom the work is accredited was unknown. Only after later scholarship did the identity become apparent. The Montefiores observed the Mosaic dietary laws and kept a strictly kosher kitchen. This required that their meat be ritually slaughtered and that they observe the biblical injunctions on mixing dairy with meat, and avoid eating pork, shell-fish, hares, rabbits and swans.
  • A seminal 16th century Hebrew manuscript on vellum listing the rules and laws of Kosher slaughter and food preparation -  Sefer Shechitot U’Bedikot by Rabbi Ya’akov Weil. 

Art:

  • Colour lithographic limited edition artist books by Mark Chagall, including Drawings for the Bible (1960), Vitraux pour Jérusalem (1962) and Psaumes de David (1979).
  • Folio of lithographic portraits by Oscar Kokoschka, entitled Jerusalem Faces (1973), which includes a portrait of Golda Meir.
  • Folio of woodcut prints by Reuven Rubin entitled The God Seekers (1923). Rubin was a Romanian-born Israeli painter and Israel's first ambassador to Romania. He is considered one of the founders of the Eretz-Yisrael style in painting.
  • Magnificently illustrated limited edition Passover Haggadah, on vellum, with illustrations by Arthur Szyk, signed by both Szyk and Cecil Roth (the editor) produced in 1939. Arthur Szyk was a Polish-Jewish artist, illustrator and caricaturist, who produced works characterised in their material content by social and political commitment, and in their formal aspect by the rejection of Modernism and the influence of the traditions of Medieval and Renaissance painting, especially illuminated manuscripts from those periods. Unlike most caricaturists, Szyk always showed great attention to the colour effects and details in his works.
  • The first illustrative drawings of Lucian Freud. These appeared in a collection of poems by Nicholas Moore. Published in 1944, the same year as Freud's first solo exhibition, the illustrations include a number of motifs that Freud would revisit, making this an interesting record of his early work. Additionally, an early Lucian Freud drawing from c.1942 will be shown. 

 

Exhibition dates: 4th November - 19th November, 2016

Shapero Rare Books

32 St. George Street

London W1S 2EA

A number of events have been planned to complement the exhibition. These include the following:

Gallery Talks (to take place at Shapero Rare Books):

Speaker: Sharon Liberman Mintz, the Curator of Jewish Art, The Library of the Jewish Theological Seminary

Subject:  ‘Hebrew Manuscripts and Jewish Culture’

Date: Tuesday November 1st, 7 pm (opening night)

Speaker: Beatriz Chadour-Sampson, Jewelry historian, curator and author 

Subject: ‘Jewish Wedding Rings’

Date: Thursday November 3rd, 7 pm

 

Although the Marquis de Lafayette is popularly known as “America’s Favorite Fighting Frenchman” in the current Broadway musical Hamilton, his role as an ardent abolitionist has not received the same kind of attention as his contributions to the American Revolution.  The groundbreaking exhibition A True Friend of the Cause: Lafayette and the Antislavery Movement, on view at the Grolier Club from December 7, 2016 to February 4, 2017, is designed to offer a more comprehensive look at the man who was a “hero of two worlds”.  While Lafayette’s contributions in the areas of politics, diplomacy, and the military have received renewed scholarly and public recognition, his abolitionist activities are not widely known, nor have they been adequately explored in any major exhibition or publication in the last twenty-five years.  This exhibition brings into focus Lafayette’s sustained efforts in France, the United States, and South America on behalf of the abolition of slavery.

Co-curators Olga Anna Duhl, Oliver Edwin Williams Professor of Languages, and Diane Windham Shaw, Director of Special Collections and College Archivist, Skillman Library, Lafayette College, offer a comprehensive view of Lafayette’s activities.  Drawn from Lafayette College’s rich collections of 18th and 19th century rare books, manuscripts, paintings, prints, and objects, some of which are on public view for the first time, the approximately 130 works in the exhibition also include loans from Cornell University and the New-York Historical Society. 

The Marquis de Lafayette (1757-1834) fought in the American War of Independence; was a friend to the Native Americans; defended the rights of French Protestants and Jews during the French Revolution; supported the national emancipation movements of the people of Poland, Ireland, Italy, Greece, and South America; and promoted the ideas and causes of women.  Most significantly, he remained throughout his life a fervent advocate of the abolition of slavery and the African slave trade, earning the recognition of prominent British abolitionist, Thomas Clarkson, as “a true friend of the cause.”

Early on, Lafayette learned that the ideals of liberty and equality during the revolutionary era hardly benefitted all members of society. In fact, one of the most daunting paradoxes of that era, which became a source of reflection and action for him, was the incompatibility between the national independence of the newly formed United States and the practice of slavery and slave trade.  

The exhibition traces Lafayette’s first encounters with slaves on the South Carolina coast upon his arrival in America in 1777.  Highlights of his role in service with the Continental Army are revealed in his letters to his mentor, George Washington, written from Valley Forge, Newport, and Virginia during the Yorktown Campaign, where Lafayette writes of the intelligence gathered by one of his spies, James, an enslaved African American.  On view is a highly significant letter written by Lafayette to Washington requesting his partnership in a venture to free slaves.  Stunning French prints of the American Revolution are included, as is an influential portrait, Lafayette at Yorktown, by Jean-Baptiste Le Paon.

The impact of abolitionist ideas on Lafayette is represented by the Marquis de Condorcet’s seminal work of 1781, Réflexions sur l’esclavage des nègres, and writings of British abolitionists Thomas Clarkson and Granville Sharp.  Lafayette’s decision to move forward on his own by purchasing property in French Guiana to carry out his experiment in gradual emancipation is documented by an extraordinary group of documents on loan from the Cornell University Library.  Included among them is a list of the enslaved who were selected to work on the property.  Maps, prints, and early travel volumes recreate the image of this South American colony.

Lafayette’s complicated story during the French Revolution includes his membership in the French Society of the Friends of Blacks. Publications of the Society are on view, as are printed versions of landmark French documents—the Declaration of the Rights of Man (1789), the French Constitution (1791), and the decree abolishing slavery in the French colonies (1794).  Lafayette’s hasty departure from France in 1792 to avoid the guillotine is documented by the beautiful sword that was taken from him when he was arrested and imprisoned by the Austrians, which stands as a symbol of his personal experience with captivity.  Lafayette’s return to a quiet life in France in 1800 found him still passionately committed to the antislavery movement, rejoicing when England outlawed the slave trade in 1807.  Commemorative volumes and prints celebrate that milestone.

Lafayette’s last visit to America in 1824-25 was an extravagant moment in the nation’s history.  The exhibition includes some of the spectacular souvenirs that were made to commemorate his visit—china, textiles, and even a clothes brush with the bristles dyed to spell “Lafayette 1825.”  Lafayette’s emphasis on greeting all Americans is highlighted, including his visit to the African Free School in New York City, where he received a welcome address by an eleven-year-old student.  Calligraphed and delivered by the student himself, James McCune Smith, who went on to become one of America’s first black physicians and a noted abolitionist, this text is a loan from the New-York Historical Society Library.  The Farewell Tour section also documents Lafayette’s friendship with fellow antislavery advocate, Frances Wright, and his support of her gradual emancipation project “Nashoba” near Memphis, Tennessee.

Also included are letters from James Madison, Thomas Jefferson, and John Marshall, and letters from Lafayette to Albert Gallatin, William H. Crawford, Joel Poincett, and others.  Even after his death in 1834, his influence continued, particularly in America, where abolitionists, both black and white, continued to cite his example.  Finally, the exhibit includes special items chosen to remind us of the human face of slavery—manumission papers of a woman and a man freed by their Quaker owners; the pension records of an African American Revolutionary soldier from Connecticut; and the first American printing of the Brooks engraving of slaves tightly packed on board a slave ship.

Despite the changing fortunes and conflicting reviews of his career, Lafayette has remained a compelling figure in world history, and the interest in his contributions shows no sign of diminishing.  

CATALOGUE:

The 75 page full-color catalogue includes and introduction and four essays on the themes of the exhibition.

PUBLIC PROGRAMS:

Lunchtime Guided Tours by the curators: 

December 7 and 14, January 18, and February 1

Roundtable Discussion: 

January 24, 2-3:30 pm.  Reception to follow.

“Lafayette and the Antislavery Movement” with co-curators and moderators Ms. Duhl and Ms. Shaw and featuring panelists Laura Auricchio (The New School), François Furstenberg (Johns Hopkins University), and John Stauffer (Harvard University).

About the Grolier Club

The Grolier Club of New York is America’s oldest and largest society for bibliophiles and enthusiasts in the graphic arts.  Founded in 1884, the Club is named for Jean Grolier, the Renaissance collector renowned for sharing his library with friends.  The Club’s objective is to foster the literary study and promotion of arts pertaining to the production of books.

VISITING THE GROLIER CLUB: 

47 E. 60th Street, 

New York, NY  10022

212-838-6690

Hours: Monday-Saturday, 10 AM to 5 PM

Admission: Open to the public free of charge

www.grolierclub.org

New York, October 24, 2016—The exhibition The Shape of Things: Photographs from Robert B. Menschel presents a compact history of photography, from its inception to the early 21st century, in 100 images. On view from October 29, 2016, through May 7, 2017, the exhibition is drawn entirely from the 504 photographs that have entered The Museum of Modern Art’s collection over the past 40 years with the support of longtime Museum trustee Robert B. Menschel. It includes a notable selection of works from his personal collection that were given in 2016 and are being shown here for the first time. The Shape of Things is organized by Quentin Bajac, the Joel and Anne Ehrenkranz Chief Curator of Photography, with Katerina Stathopoulou, Curatorial Assistant, Department of Photography, MoMA.

Borrowing its title from the eponymous work by Carrie Mae Weems (American, b. 1953), the exhibition presents the history of the medium in three parts, emphasizing the strengths of Menschel’s collection and mirroring his equal interest in historical, modern, and contemporary photography. Each section focuses on a moment in photography’s history and the conceptions of the medium that were dominant then: informational and documentary in the 19th and early 20th centuries, more formal and subjective in the immediate postwar era, and questioning and self-referential from the 1970s onward. The installation occasionally diverges from a strict chronological progression, fueled by the conviction that works from different periods, rather than being antagonistic, correspond with and enrich each other.

Historical

From 1840 to 1900, in photography’s infancy as a medium, artists principally sought to depict truthful representations of their surrounding environments. This primal stage is distinguished by a debate on the artistic-versus-scientific nature of the invention. Photographers engaged with the aesthetic and technical qualities of the medium, experimenting with tone, texture, and printing processes.

The exhibition begins with seminal photographs such as William Henry Talbot Fox’s (British, 1800-1877) 1843 picture Rue Basse des Remparts, Paris, taken from the windows of the Hôtel de Douvres. Also on view is the astronomer Jules Janssen’s (French, 1824-1907) masterpiece L’ Atlas de photographies solaires (Atlas of solar photographs), published in 1903. Summing up a quarter-century of daily photography at Janssen’s observatory in Meudon, France the volume on view contains 30 images of the photosphere, demonstrating photography’s instrumental role in advancing the study of science. Other artists included in this section are Louis-August and Auguste-Rosalie Bisson (Bisson brothers), Eugène Cuvelier, Roger Fenton, Hugh W. Diamond, Charles Marville, and Henri Le Secq

Modern

As photographers grappled with war and its aftermath, they began to turn their focus away from documenting the world around them and toward capturing their own personal experiences in a more formal, subjective way. A selection of works from 1940 to 1960 explores this theme, including works by two artists whose images Menschel collected extensively: Harry Callahan (American, 1912-1999) and Aaron Siskind (American,1903-1991).

A selection from Callahan’s quintessential photographs of urban environments—from Chicago and New York to Aix-en Provence and Cuzco, Peru—double exposures of city views, and portraits of his wife Eleanor and daughter Barbara, underscore the breadth of his oeuvre. In the summer of 1951, while teaching alongside Callahan at Black Mountain College in North Carolina, Siskind began the series of pictures of the surfaces of walls for which he is best known. One of the early works in the series on view, North Carolina 30 (1951), shows the bare legs of a woman framed by the words “IN” and “AND” amid layers of peeling layers of posters. In their planarity and graphic quality, these pictures also have a kinship with paintings by the Abstract Expressionists, alongside whom Siskind began exhibiting in the late 1940s. Other artists in this section include Berenice Abbott, Robert Frank, Lee Friedlander, John Gossage, André Kertész, Clarence John Laughlin, and Dora Maar.

Contemporary

From the 1970s onward, photographers began working in what A.D. Coleman defined as “The Directorial Mode,” wherein the photographer consciously creates events for the sole purpose of making images. John Coplans (British, 1920-2003) took his own body, naked and with the head invisible, as the subject of his work—both carrying on and contradicting the tradition of the self-portrait centered on the face—as seen in Self-Portrait (Back with Arms Above) (1984).

Joan Fontcuberta’s (Spanish, b. 1955) series Herbarium appears at first glance to be a collection of botanical studies, depicting plants with new and distinctive contours and rigorously scientific names. However, as revealed by his fictional character Dr. Hortensio Verdeprado (“green pasture” in Spanish), the “plants” are actually carefully composed by the photographer using scrap picked up in industrial areas around Barcelona. Made of bits of paper and plastic, small animal bones, and other detritus, these forms are not only non-vegetal—there is almost nothing natural about them at all. Fontcuberta is interested in the way data assumes meaning through its presentation and in the acceptance of the photographic image as evidence of truth. Other artistsn this section include Jan Groover, David Levinthal, An-My Lê, Michael Spano, JoAnn Verburg, and William Wegman.

About Robert B. Menschel

Robert B. Menschel started collecting photographs in the 1970s, acquiring over the years hundreds of prints ranging from early to contemporary photography. He joined The Museum of Modern Art’s Committee on Photography in 1977, immersing himself not only in photography, its history, and its present, but also in the Museum’s culture. In 1989, he was elected to the Board of Trustees, becoming its President in 2002 and Chairman of the Board in 2005. In 2007, he was elected Chairman Emeritus and a Life Trustee of the Museum. From 1998 to 2002 he was Chair of the Committee on Photography.

SPONSORSHIP:

The exhibition is supported by the Annual Exhibition Fund.

PUBLICATION:

The exhibition is accompanied by a publication that explores 60 remarkable photographs from the collection of The Museum of Modern Art, all acquired with the support of Robert B. Menschel and selected for the book by the Museum’s Chief Curator of Photography, Quentin Bajac. Ranging from the contemporary artist Andreas Gursky to William Henry Fox Talbot, one of the medium’s founding figures, these works collectively tell the story of photography from its beginnings, but upend and newly illuminate that story through their arrangement in reverse chronological order. Each image is the subject of a brief, elegant text. 152 pages, 65 color and duotone illustrations. Hardcover, $50. ISBN: 978-1-63345-022-6. Published by The Museum of Modern Art and available at MoMA stores and online at momastore.org. Distributed to the trade through ARTBOOK|D.A.P. in the United States and Canada. Distributed outside the United States and Canada by Thames & Hudson.

Screen Shot 2016-10-21 at 9.30.37 AM.pngAccompanied by a publication by Drs. Sandra Hindman and Beatriz Chadour-Sampson “Rings Around the World” explores the eternal forms, inspirations, and aesthetics of finger rings across many cultures throughout history, with over forty rings deriving from China, the Middle East, Europe, and America. Covering over four millennia, from the Bronze Age to the present day, the exhibition will also feature pieces by celebrated contemporary jewelry artists Wallace Chan and Giovanni Corvaja.

Organized chronologically, the catalogue will include scholarly descriptions of each ring. It will also call attention to links between forms, periods, and cultures. For example:

*Renaissance Posy Rings from England inscribed with sentimental expressions find their parallel in a Chinese jade philosopher’s ring with an inscription “Quit Alcohol.”

*Included are rings of many periods and different origins that adapt forms from monumental media (sculpture in an Art Nouveau Ring and architecture in an Arts and Crafts ring and a Jewish Wedding Ring).

*Magic and belief in superior beings is reflected in Egyptian faience rings (which also resemble repousse rings of the early European Renaissance) and a Sumatran astrological ring.

These are just a few examples of some of the fascinating associations the exhibition and catalogue evoke between objects.

This all-encompassing exhibition will open in London (hosted by Sam Fogg, 15D Clifford Street) from 2nd to 11th November and travel to Les Enluminures New York (23 East 73rd Street, NYC 10021), from 17th November to 3rd December 2016.

States-of-MindFull-Exhibition-Image2-1.jpgPasadena, CA—The Norton Simon Museum presents States of Mind: Picasso Lithographs 1945-1960, a revelatory exhibition exploring Pablo Picasso’s prolific work in the medium of lithography. Drawing from the Norton Simon Museum’s holdings of more than 700 Picasso prints—among the deepest collections of its kind anywhere in the world—States of Mind traces the evolution of the artist’s individual compositions from the 1940s and 1950s through multiple states, subtle adjustments and radical revisions. The 86 prints on view, many presented for the first time in 40 years, give viewers a rare chance to encounter this groundbreaking body of work by one of history’s most celebrated artists.

By the end of the Second World War, Pablo Picasso (Spanish, 1881-1973) had reached what he called “the moment... when the movement of my thought interests me more than the thought itself.” This new interest in “movement” found its most remarkable expression in Picasso’s practice as a printmaker. Whereas oil paintings inevitably covered their tracks, concealing the process of their making under layers of opaque color, prints—especially lithographs—promised to record their own development through sequential stages, charting the movement of their maker’s thoughts from state to state. Picasso could work up a design, print it (in a first state), rework it and print it again (in a second state), repeating the process two or 10 or 20 times to chart the metamorphoses of a particular compositional idea.

On Nov. 2, 1945, with France still under a provisional government and groceries still rationed in Paris, Picasso walked into the Mourlot Frères print shop in the rue de Chabrol. “He arrived as though he were going to battle,” the firm’s director, Fernand Mourlot, later recalled, and indeed the demands Picasso would place on Mourlot’s master printers were without precedent. He had produced only a few dozen lithographs in the 1910s and 1920s—all more or less conventional in their approach—but the designs he brought to Mourlot’s shop were far more daring, incorporating grattage, collage and mixed media. “How could anyone possibly print from that?” demanded Gaston Tutin, one of Mourlot’s master printers, calling the artist’s disregard for proper lithographic technique “a monstrosity.” But, cajoling his reluctant collaborators, Picasso swiftly and decisively transformed the practice of lithography, producing 185 plates over the next three years and more than 400 by the end of the 1960s.

The subjects of Picasso’s early lithographs are often ordinary: a dish of fruit, a cup of tea, a boy in a striped shirt. There are experiments with lithographic ink and doodles of animals. The face of a beautiful woman, one eyebrow slightly cocked, gazing calmly back at the observer, appears again and again. The young painter Françoise , Picasso’s companion from 1946 to 1953, provided the inspiration for many of these compositions; through two or four or 10 printed states, her features metamorphose past likeness into abstraction in a process the artist also applied to various other motifs. Perhaps the most famous example is that of The Bull, which treats a subject close to the Spanish painter’s heart. From a simple brush and ink drawing to a glowering behemoth, to a schematic portrayal reminiscent of a butcher’s chart, to a playful outline, concise as a cave painting, Picasso transformed this creature over 11 states from Dec. 5, 1945, to Jan. 17, 1946. As for several of the artist’s most iconic lithographs of the 1940s, the exhibition includes all the editioned states of The Bull as well as a unique working proof of an unnumbered state.

Picasso at the Norton Simon Museum

Over the course of his collecting career, Norton Simon purchased 885 works by Picasso, more than by any other artist except Goya. These comprised some 20 paintings in oil and pastel, nine bronzes, six drawings and 850 prints (some of which were sold at a later date). His largest single acquisition of Picasso artworks occurred in 1977 with the purchase of 228 lithographs, dated from the 1940s and 1950s and originating from the collection of Fernand Mourlot himself. The group included trial proofs (sometimes printed just once or twice), artist’s proofs (printed in private editions of 18, often years before the larger commercial editions of 50) and 168 final proofs marked Bon à tirer (“O.K. to print”) in Picasso’s brisk, confident hand. Opening up this rare trove, the exhibition presents 86 prints that chart Picasso’s discovery of lithography and his continuing reliance upon the medium to record the movement of his thoughts.

Picasso and Lithography

Unlike intaglio printmaking techniques like engraving and etching, lithography is essentially a planographic (flat) process. It relies on the repulsion of grease and water to transfer a hand-drawn image from a smooth surface (originally a piece of limestone) onto a sheet of paper. In its most rudimentary form, the lithograph requires an artist to draw or paint with a greasy crayon or greasy ink (the tusche) directly on the stone, which is then chemically fixed, wet, inked and printed, producing an exact, reversed copy of the tusche drawing. Since the development of transfer papers in the 19th century, an artist has been able to work up his or her design in the studio and send it off to the printer’s shop for chemical transfer, reversal and production. The result is an exactly reproducible image that captures all the tonal subtleties of even a pencil drawing, but requires no specialized printmaking skills on the artist’s part.

As a printmaker, Picasso was most closely associated with intaglio techniques, particularly etching and aquatint, but lithography presented him with a new challenge and a new set of tools. What may have interested him most about the process seems to have been its flexibility: tusche applied in a liquid wash one day might be scraped off the next, mimicking the effect of a wood engraving, a child’s drawing or a graffito. A paper cutout design, inked in various colors, might be printed on its own or layered with a crayon drawing, adding new dimension to each. A figure worked up in black on a white background could be incised, covered and drawn anew as a white figure on a black background. The possibilities were endless.

The 1950s and the Women of Algiers

By 1955 (10 years after his arrival at Mourlot’s studio), Picasso was unquestionably the most celebrated living artist, for Henri Matisse, his only real rival, had died in 1954. The story of Picasso’s lithographs is entwined from the beginning with that of his relationship to Matisse, for two designs of the first three Picasso brought to Mourlot’s shop—white heads scraped into black tusche grounds—seem to have been inspired by white-on-black book illustrations Matisse had published the previous year. The older artist, moreover, shared Picasso’s frustration with the “disappearance” in painting of earlier stages and had attempted to solve the problem as early as 1940 by having photographs taken of his work in progress. The display at a Parisian gallery in 1945 of a finished picture by Matisse surrounded by sequential photographs taken as it was painted may have inspired Picasso’s most ambitious attempts at recording the “movement” of his own thoughts through lithography—The Bull and Two Nude Women, printed in 11 and 18 states, respectively, between November 1945 and February 1946. Both works are represented in the exhibition, which includes a precious proof with The Bull on one side and Two Nudes on the other.

After the death of Matisse, Picasso plunged into a project still more explicitly inspired by the older artist’s work, remarking, “When Matisse died, he left his odalisques to me.” Picasso here referred to his own most-sustained experiment in seriality to date: the Women of Algiers, a series of 15 paintings (designated by the letters “A” to “O”), numerous drawings and intaglio prints, and two lithographs (one of them printed in four states) executed from late December 1954 through February 1955. With this project, Picasso measured himself not only against Matisse, the modern master of such imaginary harem scenes, but also against Eugène Delacroix, the 19th-century Romantic painter who had more or less invented the genre. When challenged for turning to an ostensibly old-fashioned subject, Picasso offered a second explanation for the series, citing the dark features and graceful profile of Jacqueline Roque, the artist’s muse and companion from 1954 until the end of his life: “Besides, Delacroix had already met Jacqueline.”

The exhibition concludes with Picasso’s monumental lithographic portraits of Roque—most often captured in profile, in paired states (one light, the other dark)—and with the Women of Algiers, represented not only by the complete lithographic output, but by a large, brightly-colored canvas, letter “I” in the series, a painted trace of thought in motion.

States of Mind is organized by Emily A. Beeny, associate curator at the Norton Simon Museum. In conjunction with the exhibition, the Museum is organizing an extensive series of related events that will be publicized later this year. 

Image: Pablo Picasso (Spanish, 1881-1973), Long-Haired Young Girl, November 9, 1945, Lithograph, 3rd state; 1 of 18 artist reserved proofs plate, plate: 15 x 12-1/2 in. (38.1 x 31.8 cm); sheet: 17-1/2 x 12-3/4 in. (44.5 x 32.4 cm), Norton Simon Art Foundation, Gift of Jennifer Jones Simon, M.2001.1.43.G © 2016 Estate of Pablo Picasso / Artists Rights Society (ARS), New York.

BOSTON - October 14, 2016 - 2016 marks the 400th anniversary of William Shakespeare’s death, and Boston Public Library honors the Bard’s lasting legacy with its Shakespeare Unauthorized exhibition, opening today in the McKim Exhibition Hall at the Central Library in Copley Square. The exhibition is presented in conjunction with the BPL citywide initiative All the City’s a Stage: A Season of Shakespeare at the Boston Public Library, connecting audiences to theater and the dramatic arts with programs throughout the library system. Boston Public Library holds one of the largest and most comprehensive publicly-held collections of Shakespeare, including the first four folios of his collected works, 45 early quarto editions of individual plays, and thousands of volumes of early source material, commentaries, translations, manuscripts, and more. Visit www.bpl.org/shakespeare to view the complete offerings of the initiative.

“At some point in life, everyone has experienced the work of Shakespeare," said Mayor Martin J. Walsh. "These opportunities at the Boston Public Library give all the chance to learn more about the creative genius of Shakespeare and how his legacy lives on today." 

“Shakespeare Unauthorized is sure to engage and inspire people of all ages, and we hope visitors leave with a better understanding of not only Shakespeare’s works, but an appreciation for the world-class Shakespeare holdings of one of Boston’s finest cultural institutions,” said Julie Burros, Chief of Arts & Culture for the City of Boston. “We applaud the Boston Public Library for ensuring these works are accessible to everyone.” 

Shakespeare Unauthorized: Experience the original works of “The Bard”

Shakespeare Unauthorized, a major gallery exhibition on view from October 14, 2016 through March 31, 2017, includes extraordinarily rare first and early editions of familiar and beloved plays like A Midsummer Night’s Dream, Hamlet, and The Merchant of Venice, as well as all four Shakespearean folios, most notably the BPL’s own copy of the world-famous First Folio. Through the pages of these precious books, visitors can experience Shakespeare in his original language and spelling, just as he would have been read by book lovers and theater-goers hundreds of years ago. 

Shakespeare Unauthorized is made possible through the financial support of Iron Mountain Incorporated (NYSE: IRM), the global leader in storage and information management services. Based in Boston, Iron Mountain provides charitable grants of funding and in-kind services to cultural and historical preservation projects like Shakespeare Unauthorized through its Living Legacy Initiative.

“We’re proud to help bring this exhibition to life in our home city of Boston,” said Ty Ondatje, senior vice president, Corporate Responsibility and Chief Diversity Officer at Iron Mountain. “Our philanthropic mission is to preserve and create access to our world’s cultural and historical treasures, those ideas and artifacts that make up the human experience, so that they can be shared and enjoyed by everyone. The works and legacy of Shakespeare are the very definition of iconic and timeless treasures, and we’re honored to help present the Library’s impressive collection to the world.”

Shakespeare Unauthorized contains far more than just books of plays: this exhibition features surprising rarities and mysterious objects; scandalous forgeries made by con men and accomplished scholars; books from the luxurious private libraries of early English aristocrats; and memorabilia from four centuries of acting and stagecraft.

“We are indebted to Iron Mountain for their leadership grant to the Boston Public Library Foundation, and for partnering with the BPL to display our extensive collection of Shakespeare materials,” said Boston Public Library President David Leonard. “This exhibition of rare and valuable items promises to provide an inspiring adventure for all who visit. We are also very grateful for the critical funding provided by The Boston Foundation, and the Associates of the Boston Public Library, for curatorial and conservation work that supported this project.”

C&G Partners created the engaging exhibition design that showcases the extraordinary historic material on display in Shakespeare Unauthorized

“Many know the name Shakespeare, but might not know how to experience something like a rare book, however precious it may be,” said Jonathan Alger, Co-founder of C&G Partners. “So it was very important to us to help that process along for modern visitors. We designed a space that is itself theatrical, intriguing and deliberately ambiguous, veiling what’s to come as any good playwright would.”

Shakespeare’s Here and Everywhere

The Norman B. Leventhal Map Center at the Boston Public Library, an independent, non-profit institution, features a complementary exhibition, Shakespeare’s Here and Everywhere, which opened on September 3 and runs through February 2017, with associated programming offered. William Shakespeare’s comedies, tragedies, and histories take place in a number of fascinating and often picturesque locations throughout Europe, Asia and Africa, in eras from classical times to the Renaissance.  In this exhibition of forty maps, images and three-dimensional objects, visitors view these locales by seeing items from Shakespeare’s lifetime, learning about the world in the time of Shakespeare, and understanding the symbolic role that geography held to the dramas.

Kronborg Castle in Denmark, known as Elsinore in Hamlet, is highlighted in the exhibition. A 1629 Dutch map depicting the Danish Kingdom, along with a vignette illustrating “Elsenor,” is on display. Complementing this map is an original print of “Cronenburg” from Samuel von Pufendorf’s 1696 historical atlas. Geographically-significant quotes from the dramas set the stage for the visitors, such as Marcellus’ line from Hamlet, “Something is rotten in the state of Denmark” (Act 1, scene 4). Visitors also see Heinrich Bünting’s famous “Clover leaf map” from 1581 and Abraham Ortelius’ 1570 edition of Theatrum Orbis Terrarum.

“This is an opportunity for visitors to appreciate Shakespeare in a whole new way, through viewing the cartographic treasures from the collections of the Boston Public Library and our founder Norman B. Leventhal,” said Connie Chin, President of the Norman B. Leventhal Map Center.

Amherst, MA (October 13, 2016) - When Michael Droller received a framed reproduction of a Maxfield Parrish painting as a graduation present from medical school, it ignited a passion for illustration—a passion that has long sustained him outside a career in medicine. It led Michael and his wife Esther to amass an enviable collection of picture book art rich in history and artistic achievement. The Eric Carle Museum of Picture Book Art is pleased to bring this private collection to light in the exhibition The Golden Age to the Modern Era: The Michael and Esther Droller Collection, on view from November 6, 2016 through January 29, 2017. Curated by H. Nichols B. Clark, The Carle’s founding director and chief curator emeritus, the exhibition features art by both legendary names and contemporary geniuses from the world of children’s literature.  

On view are artists from the Golden Age of Illustration—a period of extraordinary creative ferment from 1875 to World War I—such as Randolph Caldecott, Walter Crane, and Kate Greenaway, as well as later but accomplished practitioners Frank Adams, L. Leslie Brooke, and W. Heath Robinson. The Drollers’ modern holdings, spanning the last quarter of the 20th century, comprise such luminaries as Barbra Cooney, Alice and Martin Provensen, and Maurice Sendak. Thematic subjects bridge both epochs, allowing for artistic comparisons between Arthur Rackham’s and Jerry Pinkney’s versions of Aesop’s Fables to Charles Robinson’s and Michael Hague’s interpretations of Alice’s Adventures in Wonderland

“Here at The Carle, we are fortunate to befriend many picture-book art collectors—individuals and couples of great passion and determination,” says Alix Kennedy, Executive Director. “This exhibition represents only a fraction of the books and illustrations Michael and Esther Droller have collected over more than 40 years.”

The Beginning of a Collection:

It was while in residency in California that Michael Droller learned the Parrish picture he was gifted at his medical school graduation was from Eugene Field’s Poems of Childhood (1904). He began to search everywhere for the book; Esther, not yet his wife at the time, found it at a flea market. “Through this search,” says Droller, “I was introduced to the world of children’s books from what is known as the Golden Age of Illustration. Unknowingly, Esther’s purchase started me on a hobby that I would pursue obsessively in the years to come. This path would provide me with priceless experiences and enjoyment far beyond my work in medicine.”

Together the Drollers discovered the imaginative art of others from the Golden Age, highlighted by the illustrations of Arthur Rackham and Edmund Dulac in their portrayals of fairy tales, nursery rhymes, and folk legends. During a research fellowship to Stockholm, Droller encountered the equally magical illustrations of John Bauer and Gustaf Tenggren. “What struck me,” he said, “was that these paintings not only added a sense of fantasy and mystery to the stories they portrayed, but actually seemed to extend the imaginative thoughts, concepts, and atmosphere created by the texts. The books themselves were veritable works of art....”

In addition to collecting antiquarian children’s books, Michael and Esther also began acquiring original art by the illustrators. A busy academic physician, Droller devoted increasing attention to the pursuit of their collection. He attended book shows, library fairs, and met with numerous dealers in search of first editions; he scoured thrift shops, flea markets, and later the Internet for the original illustrations. When he traveled for medical conferences, he explored used bookstores in various cities—often returning with a suitcase full of new items for the collection.

“Although, my primary attention focused on my medical work, I also developed a routine in which I was able to pursue my children’s book activities,” says Droller. “Ironically, as my emotions were drawing me increasingly towards the children’s book world, I began to perceive that this developing passion was actually providing a welcome distraction from the challenges and sometime stresses I experienced in my everyday academic and clinical activities. My hobby seemed to become a valuable counterpoint to and to reinvigorate me in my professional activities, each in effect enhancing my appreciation and enjoyment of the other.”

Collecting Leads to Friendships

Michael Droller didn’t anticipate the extent to which his collection would soon expand. In the 1980s he chanced upon a children’s bookshop to find Arnold Lobel reading stories from the latest book in his Frog and Toad series. He described how he created his characters; then he signed and sketched in the books. Droller was entranced by the idea of a contemporary children’s book artist actually personalizing his books. Another time, he met Chris Van Allsburg at a signing and was able to talk to him at length about his concept and artwork for his new book, Jumanji.

“I felt a wonderful sense of satisfaction not only in having met another gifted and creative artist, but also in acquiring this contemporary children’s book with its imaginative illustrations, now personalized by the artist with an inscription and original sketch, and made special because of this.”

The Drollers’ focus shifted from an initial interest in antiquarian children’s books and art to incorporating an appreciation for contemporary children’s book illustrations. “I was able to expand my collection in new directions and extend my interactions beyond a simple book signing and brief conversations,” Droller said. In addition to their collection, Michael and Esther developed special friendships with many of the artists whose work they collect, including Maurice Sendak, Jan Brett, Etienne Delessert, and Lisbeth Zwerger. In fact, the Drollers’ children served as models for two of Brett’s books.

“This personal involvement superseded the abstract process of simply seeking and acquiring objects for a collection. It became a profound privilege to interact on a personal level with these highly creative individuals and allowed me to enter the imagination of the artists,” Droller said.

Of special interest in the Exhibition:

Frank Adams (British, 1871-1944)

“Said the Pye-man to Simon Show me now your penny”
The Story of Simple Simon [Dodge Publishing Company, ca. early 1900s]
Ink and gouache on illustration board

Maginel Wright Enright Barney
(American, 1881-1966)

“Pied Piper”
[unpublished]
Pen and ink with coloring on paper 

Jan Brett (American, b. 1949)
“How pleased Goldilocks was . . . ”
Goldilocks and the Three Bears [Dodd, Mead & Company, 1987]
Watercolor on paper

Randolph Caldecott (British, 1846-1886)
“Babes with Huntsman”
Babes in the Woods, Toy Book Series [Routledge, 1879]
Pen and ink on paper

Barbara Cooney (American, 1917-2000)
“And he carved a new yoke”
Oxcart Man by Donald Hall [The Viking Press, 1979]
Acrylic on paper

Walter Crane (British, 1845-1915)
“Finding the Babes”
Babes in the Woods, Toy Book Series [Routledge, n. d.]
Pen and ink on illustration board

Charles James Folkard
(British, 1878-1963)
“Pinocchio’s Nose Growing”
Pinocchio by Carlo Collodi (Carlo Lorenzini) [Dutton, 1911]
Ink and watercolor on paper

Kate Greenaway (British, 1846-1901)
“Deaf Martha”
Little Ann and Other Poems by Ann and Jane Taylor [George Routledge & Sons, ca. 1883]
Watercolor and ink on paper

Arthur Rackham (British, 1867-1939)
“Gnome [Rackham caricature], Crow, Rabbit, and Boy in Horse-Drawn Wagon”  [unpublished]
Watercolor and ink on paper

Maurice Bernard Sendak (American, 1928-2012)
“One took off his shoes, one his stockings” from “The Poor Miller’s Boy and the Little Cat,” 1973, The Juniper Tree and Other Tales from Grimm, translated by Lore Segal [Farrar Straus and Giroux, 1973]
Lithograph on paper, Ed. 85/125

EXHIBITION PROGRAMMING

Gallery Talk: A Passion for Collecting

November 6, 2016
1:00 pm
Free with Museum Admission

Collector Michael Droller joins Guest Curator Nick Clark for a gallery talk on The Golden Age to the Modern Era: The Michael and Esther Droller Collection. Dr. Droller will share insights and inspirations of building a world-class illustration collection over the past 40 years, and reflect on the many artist friendships he formed along the way.

Screen Shot 2016-10-03 at 9.29.01 AM.pngBoston, MA - October 1, 2016 - The Boston Athenæum is pleased to present Daniel Chester French: The Female Form Revealed. The exhibition will run from October 7, 2016-February 19, 2017 with a public gallery preview on October 6 featuring illustrated remarks by the exhibition’s co-curator, David Dearinger, and a reception.

Daniel Chester French (1850-1931) was one of America’s foremost sculptors of public monuments, best known for his heroic bronze The Minute Man (1875) at Concord, MA and his colossal marble Abraham Lincoln (1922) at the Lincoln Memorial in Washington, DC. French’s reputation for these images of men is merited; but as curator David Dearinger notes, “as a classically-trained artist of the American Renaissance, French was naturally fascinated with the female form.” In fact, “he was probably more inspired by the women he knew—his wife and daughter, his female apprentices, and the professional models he employed—than anything or anyone else.” Indeed, feminine beauty in its idealized form was often at the forefront of French’s work.

This aspect of French’s oeuvre, which has previously received little scholarly attention, is the focus of this ambitious exhibition, described by Elizabeth E. Barker, the Athenæum’s Stanford Calderwood Director, as a “feat not only of ideas but also of art-shipping logistics.” The exhibition features important loans from Chesterwood, the artist’s country home and studio in Stockbridge, MA, of over forty preliminary models and studies for some of French’s most famous works, including Mourning Victory, Maquette (1906; opposite) and Spirit of the Waters, Maquette (1913; below). The objects on display range in size from 5 inches to 50 inches and over 200 pounds. The exhibition will mark the public debut of French’s Wisdom (1898), a recent acquisition by the Boston Athenæum.

Daniel Chester French: The Female Form Revealed is a collaboration between Chesterwood and the Boston Athenæum. Curators David B. Dearinger, PhD, Director of Exhibitions and Susan Morse Hilles Senior Curator of Paintings and Sculpture at the Boston Athenæum, and Donna Hassler, Executive Director of Chesterwood and Administrator at the Historic Artists’ Homes and Studios Program of the National Trust for Historic Preservation, are eager to foster a “fresh, scholarly investigation” of French’s work and to expose a previously “neglected part of French’s career” to the public by exhibiting rarely-displayed works.

The exhibition will be enhanced by a series of related programs including lectures, gallery talks, a mobile application, and an online version of the installation. A full-color catalogue of the exhibition is available for purchase.

About the Boston Athenæum:

The Boston Athenæum, a membership library and fine art museum, first opened its doors in 1807 as a sanctuary of arts and letters for Boston intellectuals. Today, it offers a distinguished circulating and research collection, rich archival collections specializing in Boston and New England history, extensive electronic resources, handsome reading spaces, and a dynamic programming schedule. The Norma Jean Calderwood Exhibition Gallery and many events are open to the public. Membership is open to all. For more information, visit bostonathenaeum.org.

Image: Daniel Chester French, The Melvin Memorial: Mourning Victory (detail), 1906-1908, marble. Sleepy Hollow Cemetery, Concord, Massachusetts. Photograph © Richard Cheek.

2014-31-19_Henner-StaphorstAmmunitionDepot_recto_email copy.jpgKansas City, MO, September 2016--Surveillance cameras in the 21st century are practically everywhere-on street corners, in shops, in public buildings, silently recording our every movement. Yet this is not a construct of modern times. As soon as cameras were introduced in the 1880s, anyone could be unknowingly photographed at any time. It was an unfortunate fact of life. The exhibition Surveillance opened at The Nelson-Atkins Museum of Art in Kansas City September 16, examining the role of surreptitious photography from the mid-19th century to the present day.

“This body of work represents a sign of our times,” said Julián Zugazagoitia, Menefee D. and Mary Louise Blackwell CEO & Director of the Nelson-Atkins. “Cameras have been recording our movements, many times secretly, since photography began. But it was the tragedy of 9/11 that increased our awareness of this constant presence and brought a new and chilling meaning to the art, and the intention, of surveillance.”

Dating from 1864-2014, the works in Surveillance fall under these categories: spying or hidden cameras, photography of the forbidden, military surveillance, areas of heavy surveillance and mapping satellites and drones. There are also examples of counter-surveillance that either prevent watching or surveille the watchers.

“Twenty-first century technology—like Google Earth View and drone photography—have provided photographers with a treasure trove of surveillance images,” said Jane L. Aspinwall, Associate Curator, Photography. “This work provokes uneasy questions about who is looking at whom and the limits of artistic expression.”

Photographer Roger Schall, formerly a French news reporter, secretly recorded the Nazi occupation of Paris beginning in June 1940. His photographs document his daily routine and illustrate how completely the Nazis permeated every facet of Parisian life.

British photographer Mishka Henner, in his series Dutch Landscapes, uses Google satellite views of locations that have been censored by the Dutch government because of concerns about the visibility of political, economic and military locations. Many countries blur, pixilate or whiten sensitive sites. The Dutch method, however, employs bold, multi-colored polygons. The resulting photograph is an artistic, visual contrast between secret sites and the surrounding rural environment, providing an unsettling reflection on surveillance and the contemporary landscape.

Other photographers employ techniques to circumvent surveillance. Adam Harvey creates “looks” that block online facial recognition software. The contours of the face are manipulated in such a way that a computer is not able to identify a person, which can be a useful tool for social media sites like Facebook, in which users can search an entire archive for one particular face.

A series of critically acclaimed films will be shown in Atkins Auditorium in October in conjunction with this exhibition. Belgian photographer Tomas van Houtryve will discuss his work as it relates to contemporary warfare on Thursday, Oct. 6. For more information about programming, go to nelson-atkins.orgSurveillance closes on Jan. 29, 2016.

The Nelson-Atkins Museum of Art

The Nelson-Atkins in Kansas City is recognized nationally and internationally as one of America’s finest art museums. The Nelson-Atkins serves the community by providing access and insight into its renowned collection of nearly 40,000 art objects and is best known for its Asian art, European and American paintings, photography, modern sculpture, and new American Indian and Egyptian galleries. Housing a major art research library and the Ford Learning Center, the Museum is a key educational resource for the region. The institution-wide transformation of the Nelson-Atkins has included the 165,000-square-foot Bloch Building expansion and renovation of the original 1933 Nelson-Atkins Building.

The Nelson-Atkins is located at 45th and Oak Streets, Kansas City, MO. Hours are Wednesday, 10 a.m.-5 p.m.; Thursday/Friday, 10 a.m.-9 p.m.; Saturday, 10 a.m.-5 p.m.; Sunday, 10 a.m.-5 p.m. Admission to the museum is free to everyone. For museum information, phone 816.751.1ART (1278) or visit nelson-atkins.org.

Image: Image caption: Mishka Henner, Belgian (b. 1976). Staphorst Ammunition Depot, 2011. Inkjet print, 31 1/4 × 35 1/8 inches. The Nelson-Atkins Museum of Art, Kansas City, Missouri, Gift of the Hall Family Foundation, 2014.31.19.

From works inspired by campy B movies to those addressing contemporary psychological fear, It’s Alive! explores the many approaches that book, paper, and print artists use to express horror. Works include: artists’ book in their many derivations; visual narratives; installations; traditional and digital printmaking and other works on paper; sculptural book works; independent publications; mixed media; assemblage; and interactive art.

This exhibition is presented as part of the bicentennial of Mary Shelley’s Frankenstein. This global celebration encompasses a wide variety of public programs, exhibits, art projects, and learning opportunities exploring the novel’s colossal scientific, artistic, cultural and social impacts.

It’s Alive! will be on display in MCBA’s Main Gallery through October 31, 2016. The show will conclude with a Frankenstein Read-a-Thon at 6pm to celebrate the 200th anniversary of Mary Shelley’s Frankenstein as community members read chapters aloud throughout the evening.

MCBA's Main Gallery

On display through October 31, 2016

Free and open to the public

www.mnbookarts.org/itsalive

About Minnesota Center for Book Arts

A respected and dedicated champion of the field, Minnesota Center for Book Arts is the largest and most comprehensive center of its kind. We celebrate the book as a vibrant contemporary art form that takes many shapes. Our mission is clear: to lead the advancement of the book as an evolving art form.

MCBA is committed to book art, artists and appreciators. Our mission is achieved through quality programs that support a broad continuum of creators, learners and admirers. We lead the field by promoting innovation, sustaining traditions, educating new enthusiasts, inspiring creative expression and honoring artistic excellence. From the traditional crafts of papermaking, letterpress printing and bookbinding to new methods of art-making and communication, MCBA supports the limitless creative development of book arts.

Minnesota Center for Book Arts at Open Book, 1011 Washington Ave S, First Floor, Minneapolis MN 55415

Phone 612.215.2520 . Fax 612.215.2545 . mcba@mnbookarts.org

Screen Shot 2016-09-21 at 9.35.31 AM.pngPHILADELPHIA, September 7, 2016—The Rosenbach of the Free Library of Philadelphia presents The Art of Ownership: Bookplates and Book Collectors from 1480 to the Present, on view September 21, 2016 - January 17, 2017. The primary function of a bookplate is simply to indicate the owner of a book, yet book collectors across the centuries have commissioned ornate and evocative designs that do more than designate property. From coats of arms and etched portraits to scenes of libraries and fantastical creatures, these miniature artworks may reveal a great deal about the ancestry, occupation, artistic taste, or philosophy of the men and women who used and circulated them.

The Art of Ownership features beautiful and curious specimens from five centuries of books in the Rosenbach's collection, along with examples from the Rare Book Department of the Free Library of Philadelphia, the University of Delaware’s William Augustus Brewer Bookplate Collection, and other regional repositories. Notable bookplates include the oldest known printed bookplate, a hand-colored woodcut circa 1480; bookplates from the personal libraries of King George III and Eleanor and Franklin D. Roosevelt; an Irish landscape designed by Jack Butler Yeats; and prints by Art Nouveau illustrator Aubrey Beardsley. Some bookplates offer whimsical portraits of the book collectors: William Keeney Bixby's bookplate depicts the owner as an octopus grasping books with all eight tentacles, and a lithographic print belonging to E. Norman Sabel depicts an attentive reader who has not noticed that his coattails are on fire. Several remarkable examples belonged to Philadelphian collectors, such as Harry Elkins Widener and Lucy Wharton Drexel.

The Art of Ownership was made possible by a grant from the Pine Tree Foundation of New York and endowment grants from the Marilyn M. Simpson Trust and the National Endowment for the Humanities.

To learn more about the Art of Ownership exhibition, visit rosenbach.org.

Image Credit: Edwin Davis French (1851-1906), bookplate of William Keeney Bixby. Engraved print and black printing ink on paper. New York, 1906. In Nathaniel Hawthorne (1804-1864), The scarlet letter: a romance ...Boston: Ticknor, Reed, and Fields, 1850. [AL1 .H399s]

BOSTON - September 16, 2016 - Boston Public Library is loaning 36 medieval and early Renaissance manuscripts and printed books from its collections to three area cultural institutions, part of an ambitious collaborative project entitled Beyond Words: Illuminated Manuscripts in Boston Collections. The largest ever exhibition of medieval and Renaissance books held in North America, the BPL items date from the 10th century to the early 16th century, part of the Library’s Medieval and Early Renaissance Manuscripts Collection of Distinction. The materials will be featured at the Isabella Stewart Gardner Museum, the McMullen Museum at Boston College, and Houghton Library at Harvard University from September 2016 to January 2017. For more information about the exhibitions, visit www.beyondwords2016.org.

“These illuminated manuscripts and bound books represent a crucial period in the Western evolution of writing and reading,” said David Leonard, President of the Boston Public Library. “This first of its kind collaborative exhibition is an exciting opportunity for the Boston Public Library to put our collection on display, and make these objects viewable and easily accessible to the public.” 

“The Boston Public Library’s early manuscripts collection is astounding in its breadth and overall quality. Scholars come to Boston from around the world in order to study these artifacts,” said Jay Moschella, Curator of Rare Books at the Boston Public Library and one of the facilitators of the exhibition for the library.

In preparation for the exhibition all of the BPL’s 36 items have been appraised, cataloged, and in some cases conserved and/or digitized. This work has been made possible with funding support from The Associates of the Boston Public Library, an independent, nonprofit organization dedicated to conserving the Boston Public Library's special collections of rare books, manuscripts, prints, and other items of historic interest. 

“The Associates of the Boston Public Library is honored to have helped make this extraordinary exhibition a reality,” said Vivian Spiro, Board Chairman of the Associates of the Boston Public Library. “The collaboration among area institutions, as well as the manuscripts themselves, show that Boston is still a major cultural center, relative to the rest of the country. “

These unique and ancient manuscripts are some of the best sources for understanding the Middle Ages and the Renaissance. Revealing many elements of the artistic, intellectual, and spiritual life of the period, they date from the 10th through early 16th centuries and cover a wide range of subjects. They also represent a wide variety of schools of both script and illumination in France, Italy, Spain, the Netherlands, Germany, and England.

Many of the exhibited items from the BPL’s collection are superbly illuminated with exquisite miniatures. Some noteworthy volumes include a 10th-century lectionary from the Benedictine Abbey of St. Allyre in Clermont, one of the earliest codices in New England; the so-called Rosary Joan the Mad, an extraordinarily beautiful Psalter prepared for Joan, Queen of Castile by the master Flemish miniaturist Simon Bening; the Chronique Anonyme Universelle, a 34' 15th-century genealogical scroll detailing the history of the world from creation through the 1440s; an early 15th-century copy of Christine de Pisan's Le Livre de Trois Vertus, considered by scholars to be among the earliest and truest versions of her text; and the only surviving Dutch illuminated manuscript of Saint Augustine's City of God, written in the late 15th century.

The very nature of these texts renders them unique and rare. Executed in European monasteries or later in scriptoria, these manuscripts document the history of human thought from the 10th through early 16th centuries.

Totaling 260 objects, Beyond Words: Illuminated Manuscripts in Boston Collections features materials from 19 Boston-area institutions, including the BPL, Museum of Fine Arts, and Wellesley College, among many others. The manuscripts assembled are included in a single catalog with contributions from 85 international scholars, edited by co-curators Jeffrey Hamburger, William P. Stoneman, Anne-Marie Eze, Lisa Fagin Davis and Nancy Netzer and published by the McMullen Museum.

About BOSTON PUBLIC LIBRARY

Boston Public Library has a Central Library, twenty-four branches, map center, business library, and a website filled with digital content and services. Established in 1848, the Boston Public Library has pioneered public library service in America. It was the first large free municipal library in the United States, the first public library to lend books, the first to have a branch library, and the first to have a children’s room. Each year, the Boston Public Library hosts thousands of programs and serves millions of people. All of its programs and exhibitions are free and open to the public. At the Boston Public Library, books are just the beginning. To learn more, visit bpl.org.

Screen Shot 2016-09-12 at 9.24.55 AM.pngNew York, NY, September 9, 2016 — Five hundred years ago a monk in a backwater town at the edge of Germany took on the most powerful men in Europe—the Holy Roman Emperor and the Pope—and he won.
 
Martin Luther’s Reformation ranks among the most successful religious movements in history, altering western society and culture forever, and was a testament to his creative use of communications, notably rapidly evolving print technology, to promote his views. To mark the historic anniversary of Luther posting the Ninety-Five Theses to the church door in Wittenberg in 1517, Word and Image: Martin Luther’s Reformation, a new exhibition opening at the Morgan Library & Museum on October 7, explores the evolution of his movement and its triumphant propagation in text and art. The exhibition will remain on view through January 22.
 
Word and Image includes more than ninety objects, highlighted by one of the six existing printed copies of the Ninety-Five Theses, and nearly forty paintings, prints, and drawings by the celebrated German Renaissance artist Lucas Cranach the Elder. Also on view will be Luther’s manuscript draft of his famous Old Testament translation, sculptor Conrad Meit’s exquisite statues of Adam and Eve, and over thirty of Luther’s most important publications. The majority of the works in the show are loans from German museums and have never before been exhibited in the United States.  
 
“The Morgan is internationally recognized for its outstanding collections of early printed books and Northern European prints and drawings, so an exhibition on Martin Luther’s deft use of such material to spread his views is an important and exciting opportunity for us,” said Colin B. Bailey, the museum’s director. “Luther understood that his ideas and public image required textual and visual support on a large scale to engage a mass audience. He took advantage of new developments in printing and befriended accomplished artists such as Cranach the Elder to help him in this effort.  The result was a sophisticated melding of word and image, that helped launch a religious and cultural revolution.”

THE EXHIBITION

I. Young Martin 

Martin Luther (1483-1546) was raised in Eiselben, Saxony. His father Hans Luder (later changed by Martin) came from a wealthy farming family, and Margaretha Lindemann, his mother, was from a middle-class background. Hans was a respected and influential mining operator in Mansfeld. The family was quite prosperous judging from the size of their home and the material found there through archaeological digs. Martin was sent to the best schools and brought up in a world structured by Christianity. Devotion was expressed through daily prayers and performing a set of prescribed rituals or good works (attending Mass, going to confession and on pilgrimage, buying indulgences). Artworks, books, and all manner of visual material focused piety on the active presence of the divine in daily lives. The fear of sin was real. There was a constant need to seek the aid of Christ and the saints to save you from the fires of Hell. This was the world Martin was born into.

II. Indulgences and the Ninety-Five Theses

Martin Luther was not the first to speak out against the sale of indulgences, which were customarily prayers or fasts undertaken to reduce punishment and seek forgiveness for sins, but in time evolved into the payment of fixed sums of money attached to various offences. Many at the time thought that the practice of purchasing salvation was an abuse of faith and merely a way to fill papal coffers. Through his groundbreaking lectures on the Bible at the University of Wittenberg, Luther came to doubt the validity of indulgences and other Church practices that were not explicitly supported by Scripture.

In 1517, Luther summarized his views on how to reform the church in his landmark Ninety-Five Theses, which he boldly nailed to the church door at Wittenberg Castle, as would be done for any other university announcement. The heading of Luther’s Theses states that they were a series of points for a university debate on the scriptural validity of the practice of selling and buying indulgences. Luther’s criticisms partly reacted to a popular notion that buying an indulgence was akin to a ‘get out of jail for free’ card. The disputation never happened, however, as news of Luther’s criticisms reached his ecclesiastical superiors, both through Luther’s own actions and the fact that the theses were printed and distributed in single-sheet broadside and pamphlet editions. In addition to two broadside editions, the Theses also appeared in quarto (pamphlet) format from a press in Basel, nearly 450 miles away. The printing press helped Luther’s words spread far beyond Wittenberg, which turned a local university debate into an international event. In this case, it is both Luther’s words and their method of distribution that are important to understanding how the Reformation happened. We do not know how many copies of the Ninety-Five Theses were originally printed—perhaps 100 or less for each edition—but today only 6 copies of the broadsides exist and 15 of the quarto.

III. Luther Goes to Trial

Luther willingly submitted his Theses and other writings to his superiors. However, arguing against centuries of Church tradition, even when claiming the Bible as primary source material, was dangerous. Ultimately, Luther was called before Emperor Charles V and the full assembly of imperial nobles at the Diet of Worms in 1521 to defend himself and his publications against the charge of heresy. Both in his trial and his dealings with the pope and emperor, Luther stood firm in his conviction that all religious doctrine and practice should be based upon Scripture and that everyone wa s entitled to share in the grace of God.

While his famous statement, “Here I stand. I cannot do otherwise,” is a later interpolation, it nonetheless perfectly encapsulates his conviction that what he wrote was based on Scripture, and Luther could not recant what he wrote without denying Scripture, which was ideologically impossible.

IV. Luther’s Translation of The Bible

After leaving Worms, Luther was ‘kidnapped’ by his friends and taken to Wartburg Castle to protect him from the emperor. Artist Albrecht Dürer, a strong adherent to the Lutheran movement, feared that Luther was dead. Removed from the demands and dangers of the outside world, however, Luther now had uninterrupted time to focus on his most important endeavor: translating the Bible into German. Scripture held ultimate authority for Luther, and he recognized that the doctrine lay in the original Hebrew text of the Old Testament and Greek of the New Testament rather than in the Latin Vulgate or existing German versions. To this end, he wanted a clear and accurate translation of the Bible available in the popular tongue, so that it could be easily understood by the common man. Luther thought that the printing press was God’s greatest gift for the spreading of the Gospel, and he employed the relatively new technology to print and disseminate his Bible in German.

V. Art of the Reformation

Contrary to popular opinion, Luther was not against art. He thought that religious imagery was of the utmost importance when it supported Scripture. Fortunately for Luther, he lived down the street from Lucas Cranach the Elder, the court painter of the electors of Saxony. The two men developed a very close personal relationship, and Cranach was instrumental in crafting Luther’s public image. Due to his rapid and prolific production, Cranach was known as pictor celerrimus, the fastest painter. In addition to creating the famous images of Luther, the artist also produced portraits of his Reformation colleagues as well as Protestant and Catholic dignitaries, works on religious and secular-themed subjects, and designs for hundreds of woodcuts for book illustration. Art in Northern Europe in the early 1500s stood at the bridge between medieval and modern conceptions of the individual and religion, and this imagery conveyed Protestant ideas to a wide public in tandem with Luther’s own words.

VI. Spreading the Word

The printing press revolutionized mass communication, and Luther’s message likely would have fallen flat had it not been for the new technology. From the dissemination of his Ninety-Five Theses to the intended promotion of specific sermons and theological arguments, the Reformation was as much a product of the printing press as it was Luther himself. Every aspect of the Reformation came out in print. The two sides unleashed scathing polemical texts on each other, both in short pamphlet format and single-leaf broadsides with eye-grabbing illustrations that clearly conveyed their message. Luther had to put the Reformation into words, from his composition of key theological points, such as the Augsburg Confession, to guides on how to perform a church service and appropriate church music. The Reformation is not only a reflection of Luther’s message, but also the medium that communicated that message.

VII. Luther Archeology

A series of archeological digs in 2003-2008 at locations connected with Martin Luther uncovered a treasure trove of material related to the reformer and his family. Never before had Luther’s material culture been so well documented, and the finds radically altered some perceptions about his life. Coins, jewelry, tablewares, and toys recovered from his parents’ house prove that—unlike Luther’s claimed later in life—his family was actually rather affluent. Digs at the Luther House, Cranach’s workshop, and other sites around Wittenberg uncovered early sixteenth-century home décor that reveal how Luther and his colleagues lived. The finds from the Luther House include a vast array of decorative tiles, common local as well as imported housewares and glasses, and, not surprisingly, a large amount of writing and book paraphernalia, all of which help us to understand the home life of Martin Luther.

Image: Martin Luther, Biblia: das ist die gantze heilige Schrift, Deutsch (Bible, That Is the Complete Holy Scripture, in German), Wittenberg: Hans Lufft, 1541. Evangelische Marktkirchengemeinde, Marienbibliothek, Halle, Cat. No. 215.

Philadelphia, PA—In its first-ever photography exhibition, the Barnes Foundation is presenting over 170 vintage photographs that capture the spirit of France in the late 19th- to mid-20th century, a period of rapid transformation in every aspect of daily life. Nearly a third of these prints have never before been exhibited. Live and Life Will Give You Pictures: Masterworks of French Photography, 1890-1950 features work by a range of photographers who experimented in their documentation of modern French life, including such masters as Berenice Abbott, Eugène Atget, Ilse Bing, Brassaï, Henri Cartier-Bresson, Edgar Degas, André Kertész, Jacques-Henri Lartigue, Dora Maar, and Man Ray. Titled after a remark by Henri Cartier-Bresson, Live and Life Will Give You Pictures will be on view in the Roberts Gallery from October 8, 2016, through January 9, 2017.

Live and Life Will Give You Pictures at the Barnes Foundation is sponsored by Comcast NBCUniversal; U.S. Trust, Bank of America Private Wealth Management; the Barnes Foundation Exhibition Fund; the Jill and Sheldon Bonovitz Exhibition Fund; The Horace W. Goldsmith Foundation; the Dolfinger-McMahon Foundation; and the Rittenhouse Hotel.

In the second half of the 19th century and the first half of the 20th, photographers and painters traded aesthetic ideas and were interested in many of the same features of contemporary experience, particularly as it touched Paris. Sometimes referred to as the “capital of modernity,” the city’s cultural fabric was radically transformed by industrialization, urbanization, and class stratification. Like other visual artists, progressive photographers responded to the spectacular aspects of developments that were shaping modern cities across the globe.

“This exhibition provides a fascinating counterpoint to the core holdings of the Barnes collection. The invention of photography in France produced a generation of innovative practitioners who were contemporaries of the impressionist, post-impressionist, and early modern artists embraced by Albert C. Barnes,” said Thom Collins, Executive Director and President of the Barnes Foundation. “By examining the shared social and historical context that produced these photographs along with many paintings from our collection, audiences can gain insight into the breadth of creative reactions to societal change at this time.”

Drawn from the private collection of Michael Mattis and Judy Hochberg, Live and Life Will Give You Pictures will be hung salon-style and organized thematically. Subjects include Paris and Environs, Life on the Street, Labor and Leisure, Commerce, Personality and Publicity, Reportage, and Art for Art’s Sake.

Among the highlights are the earliest known print of Henri Cartier-Bresson’s Behind the Gare Saint-Lazare, Paris, a celebrated example of his ability to capture life in motion, which made his work synonymous with “the decisive moment.” André Kertész’s Chez Mondrian is the only known vintage matte-surface enlargement print of this iconic image. Man Ray’s Kiki de Montparnasse features the flamboyantly bohemian cabaret singer and actress who became May Ray’s lover soon after he arrived in Paris. Kiki de Montparnasse also modeled for Modigliani and Pascin, who are among the many artists represented in the Barnes collection who lived and worked in the Montparnasse section of Paris. Edgar Degas’s Stéphane Mallarmé and August Renoir also functions as a mirror-reflected self-portrait of this painter, who immersed himself in photography for a one-year period; the Barnes collection includes 11 works by Degas and 181 by Renoir.

Never-before exhibited pictures from the collection include Brassai’s The Riviera from 1936 and Jacques-Henri Lartigue’s Bob race with neighbor Louis Ferrand and cousin Jean Haguet, Château de Rouzat, Puy-de-dome from 1911. Man Ray’s Rayograph with Swan and Starfish, from 1928, is a unique photogram with a provenance that can be traced directly back to the artist.

Live and Life Will Give You Pictures was organized by the Barnes Foundation in conjunction with Art2Art Circulating Exhibitions.

The exhibition is also made possible by the generosity of individual contributors to the Barnes Foundation Exhibition Fund. Additional support is provided by the Jill and Sheldon Bonovitz Exhibition Fund, The Horace W. Goldsmith Foundation, the Dolfinger-McMahon Foundation, and the Rittenhouse Hotel.

As part of the Art in our Communities® program, a display of sixteen photographs from the Bank of America Collection, which complement the works included in Live and Life Will Give You Pictures, will be on view on the Barnes Foundation’s Lower Level.

NEW YORK, NY, September 1, 2016―In remembrance of the tragic events of September 11, 2001 that changed New York and the United States’ history forever, the New-York Historical Society presents a special installation featuring the time-lapse photography of National Humanities Medal honoree  Camilo José Vergara. On view until late September, World Trade Center Four Decades: Photographs by Camilo José Vergara documents the ever-evolving landscape of lower Manhattan and the powerful role the World Trade Center has played in New York City’s identity.

This unique special installation of 30 time-lapse photographs examines the World Trade Center from every point of the compass, chronicling its changes over time―from the early days of the Twin Towers’ construction in the 1970s, to their dominance of the skyline in the 1980s and 1990s, to the emptiness of the city’s horizon in the aftermath of the events of 2001, to the slow rebuilding process that followed. Employing a method he developed of photographing the same site over a period of time, Vergara captures the transformation of an urban space, giving visitors the opportunity to reflect on their own memories of the World Trade Center.

Within days of the World Trade Center disaster in 2001, the New-York Historical Society started collecting artifacts related to the Center’s creation, the events of September 11th, and the rescue effort and public mourning that followed. Over the years, New-York Historical has presented a wide array of exhibitions and public programs offering diverse commentary on the meaning of the World Trade Center, the September 11th tragedy, and its aftermath.

Camilo José Vergara was named a MacArthur Foundation Fellow in 2002 and received a Berlin Prize Fellowship in 2010. In 2013, he became the first photographer to be awarded the National Humanities Medal. He is the author of numerous books, including Silent Cities: The Evolution of the American Cemetery, The New American Ghetto, and Harlem: The Unmaking of a Ghetto. Later this year, University of Michigan Press will publish Vergara’s newest book Detroit Is No Dry Bones: The Eternal City of the Industrial Age, a photographic record of almost three decades of Detroit’s changing urban fabric. Vergara’s time sequences of the transformation of the World Trade Center site are being presented simultaneously in an exhibition at the National Building Museum, online at the Library of Congress, and as a slideshow at the New-York Historical Society.

About the New-York Historical Society
The New-York Historical Society, one of America’s pre-eminent cultural institutions, is dedicated to fostering research, presenting history and art exhibitions, and public programs that reveal the dynamism of history and its influence on the world of today. Founded in 1804, New-York Historical is the oldest museum in New York City. New-York Historical has a mission to explore the richly layered political, cultural, and social history of New York City and State and the nation, and to serve as a national forum for the discussion of issues surrounding the making and meaning of history. For more information, visit: www.nyhistory.org.

September 1, 2016--The Library of Congress today opens "Mapping a Growing Nation: From Independence to Statehood," which replaces the three-year-old exhibition "Mapping a New Nation: Abel Buell’s Map of the United States, 1784." The rare Abel Buell map remains on display, joined by seven state maps and a railroad map.

"Mapping a Growing Nation" is on view until December 2020 in the Ceremonial Gallery on the first floor of the Thomas Jefferson Building, 10 First St. S.E., Washington, D.C. The exhibition is free and open to the public from 8:30 a.m. to 4:30 p.m. Monday through Saturday.

The centerpiece of the exhibition is the Buell Map, which is the first map of the newly independent United States that was compiled, printed and published in America by an American. It is the first map to be copyrighted in the United States. Seven copies of the map are known to exist, and this copy is considered the best preserved and, therefore, the most frequently chosen for illustration of Buell’s work.

Philanthropist David M. Rubenstein, co-founder and managing director of The Carlyle Group, purchased the Buell Map through an auction at Christie’s in Manhattan in December 2010. Rubenstein, a longtime supporter of the Library of Congress, has generously placed the map at the Library so it can be publicly displayed and, by digital technology, made available for research purposes. He also funded construction of the map’s state-of-the-art display case.

The seven state maps on display in "Mapping a Growing Nation" feature Massachusetts, Maine, Pennsylvania, New Hampshire, New York, Rhode Island and Connecticut. The railroad map, published in 1856, shows the railroad networks in the Eastern United States. Over the next four years, maps of all the states will be rotated into the exhibition. They will be early maps of each state—often the very first map—printed in the United Sates after each state achieved statehood.

The Library of Congress has the largest and most comprehensive collection of maps and atlases in the world, some 5.4 million cartographic items that date from the 14th century to the present time. The cartographic collections cover every country and subject, in formats ranging from early manuscripts to the most up-to-date digital geospatial data and software. The collections include the works of some of the most important surveyors and mapmakers in America, such as George Washington, Meriwether Lewis, and Richard Edes Harrison, along with archives relating to the history of geography in the United States. For more information, visit loc.gov/rr/geogmap/.

The Library of Congress is the world’s largest library, offering access to the creative record of the United States—and extensive materials from around the world—both on site and online. It is the main research arm of the U.S. Congress and the home of the U.S. Copyright Office. Explore collections, reference services and other programs and plan a visit at loc.gov, access the official site for U.S. federal legislative information at congress.gov, and register creative works of authorship at copyright.gov.

Amherst, MA (August 24, 2016) - The Eric Carle Museum of Picture Book Art celebrates the 50th anniversary of the beloved story that launched Eric Carle’s picture-book career—Brown Bear, Brown Bear, What Do You See? by Bill Martin Jr—with the exhibition Brown Bear Turns 50. The exhibition, on view from September 13, 2016 through March 19, 2017, kicks off a year of special events honoring the children’s classic, one of the best-selling picture books of all time. Support for the exhibition and programs has been generously provided by Macmillan Children’s Publishing Group.

Published in 1967, Brown Bear, Brown Bear, What Do You See? had an immediate appeal to children and adults alike. Martin’s rhythmic call-and-response text builds anticipation at each turn of the page, while Carle’s bold graphics and colorful parade of animals encourage learning and imagination. Brown Bear has been translated into 31 languages—from Arabic to Vietnamese—and has sold more than 16 million copies. In addition to the original 1967 book, Carle re-illustrated editions in 1970, 1984, and 1992.

In Brown Bear Turns 50 artwork from every page of the famous book will be on display. One of only two surviving collages from the 1967 edition—Brown Bear himself—has been faithfully restored and is on view for the first time. The exhibition also includes a medley of Carle’s collages from the three additional “bear books” he worked on with Martin: Polar Bear, Polar Bear, What Do You Hear? (1991), Panda Bear, Panda Bear, What Do You See? (2003), and Baby Bear, Baby Bear, What Do You See? (2007). “We’re excited that Eric Carle’s original artwork from 1967 is on view,” says Chief Curator Ellen Keiter. “By displaying his collages from various editions of the book—for example, the goldfish from 1967, 1984, and 1992—visitors to the exhibition can trace the changes in Carle’s compositions and materials over the years.” Keiter adds, “We also have a large selection of foreign language books on display, signifying the world-wide impact Brown Bear has had.” In a separate endeavor, The Carle has also sent the book’s famous characters to the main streets and outdoor spaces of its hometown in Amherst with a special outdoor public exhibition, Brown Bear Everywhere, on view through October 9, 2016. Fourteen high-quality reproductions of Carle’s original collage illustrations are currently on display at some of Amherst’s popular restaurants, schools, and recreational sites.

Carle’s History with Brown Bear

Carle never planned on a career in children’s books. He graduated from art school and, for over a decade, worked in New York City as an art director and a freelance graphic designer. Everything changed in the late 1960s when Martin, a respected educator and author, noticed one of Carle’s collage advertisements featuring a red lobster. “The art was so striking,” said Martin, “that I knew instantly I had found the artist to illustrate my next book.” That book was Brown Bear, Brown Bear, What Do You See? and it transformed Carle’s life—today he is one of the most acclaimed and beloved illustrators of our time.

 

JWilliams1 copy.jpg(Minneapolis, MN) - Form+Content Gallery presents Shadows and Dust, a solo exhibition of recent work by gallery member Jody Williams. Featuring mixed media prints, drawings, artist's books, and not-empty boxes, the show will focus on the ephemeral aspects of dust and shadows as material, cosmic and metaphorical presences. Poetic references to shadows and dust date back to Horace's "We are dust and shadow," from Ode IV.7, and continue through T.S. Eliot's The Wasteland to the present. Inspired by these, and informed by other reading and research, many of the pieces in Shadows and Dust will include Williams' own writing.

Most of the works address either dust or shadows, rather than a combination of the two themes. Drawings of intensely lit natural objects depict intriguing shadows. Two digitally-produced artists' books include Williams' photographs of shadows taken over the past 30 years. A series of etchings combine thousands of dusty specks printed over layers of digital dots, atmospheric photographs and written phrases. Mixed media boxes, resembling miniature cabinets of curiosity, include containers of dust samples from near and far.

"For the past twelve years, I have been including actual specimens and artifacts in my work as a means to document with physical evidence the process of collecting and ordering specific moments in specific places. Containers of dust and other small particles will be included in this exhibition. Shadows, lacking substance (but not essence) are more difficult to collect, and have been captured with photographs and drawings. The fugitive qualities of both shadows and dust evoke the present, past, and future, and offer me many directions to take this body of work in both form  and content."

Artist Biography

Jody Williams lives in Minneapolis, where she publishes artist’s books under the name Flying Paper Press and teaches at the Minneapolis College of Art and Design and the Minnesota Center for Book Arts. She received a BA from Carleton College in Northfield, Minnesota, and an MFA in printmaking from the Rochester Institute of Technology in Rochester, New York. Her work is in the collections of the Walker Art Center, San Francisco Museum of Modern Art, Minneapolis Institute of Arts, Minnesota Historical Society, and many other museums and libraries in the United States, Canada, and Europe. She has exhibited widely in the US and abroad.

Honors include fellowships, grants and awards from the Jerome Foundation, the Minnesota Craft Council, the Minnesota Center for Book Arts and the Minneapolis College of Art and Design. She has held residencies at the Frans Masereel Printmaking Center (Kasterlee, Belgium), ArtPark (Lewiston, New York), Women’s Studio Workshop (Rosendale, New York), and the Carleton College Library (Northfield, Minnesota). In 2008 she was the inaugural recipient of the Minnesota Book Artist Award, and she received Artist's Initiative Grants from the Minnesota State Arts Board in 2013 and 2016.

Williams' website: www.flyingpaperpress.com

Jody Williams is a fiscal year 2016 recipient of an Artist Initiative grant from the Minnesota State Arts Board. This activity is made possible by the voters of Minnesota through a grant from the Minnesota State Arts Board, thanks to a legislative appropriation from the arts and cultural heritage fund.

Screen Shot 2016-08-21 at 7.21.20 PM.pngLes Enluminures is pleased to present Visions of Jerusalem: Medieval Christendom Imagines the City on a Hill. The exhibition explores the representation of the Holy City in the images and imaginations of the Latin West and the rich diversity of its representation in both word and picture. It is conceived to coincide with the major international exhibition at The Metropolitan Museum of Art, Jerusalem 1000-1400, Every People Under Heaven, which scrutinizes through a much broader lens the impact Jerusalem had on the many cultural traditions that hold it dear: Eastern, Western, African, Jewish, Muslim, Christian, each with multiple identities and denominations.

Far from inspiring a consistent Christian conception of the Holy City, we show how Jerusalem prompted a vast range of depictions by Western authors and artists. In a time before cameras, images of Jerusalem were less concerned with veracity than with the power of their associations. The versatility of the Holy Land allowed it to act not only as the mise en scène for the Church’s rich biblical-mystical tradition, but also as a virtual destination for spiritual pilgrims and a touchstone in medieval apocalyptic traditions, among others. These varying visions of Jerusalem exemplify the fascinating complexity of the city. In the medieval mind, Jerusalem was both heavenly and earthly. It was a physical location and a mental construction that offered a link to the past and a harbinger of the future.

Highlights of the exhibition include a miniature depicting the Agony in the Garden from the Holy Land Choir Book, the long lost first volume of the Bible of Louis de Harcourt, Patriarch of Jerusalem and Bishop of Bayeux, a beautifully illustrated early gothic copy of Peter of Poitiers’ geneaological scroll, and a deluxe book of hours with miniatures attributed to the Workshop of the Master François.

Place:                                                                                                                                                                                                                                                                                                                                  LES ENLUMINURES
23 East 73rd Street, 7th Floor, Penthouse, New York, NY 10021                                                                                                                                             
Dates:
September16th through November 12th, 2016
Hours:
Tuesday to Saturday, 10am - 6pm
Contact information:
Adrienne Albright / +1 212 717 7273 / newyork@lesenluminures.com

 

weston_plantation_500.jpgSAN MARINO, Calif. - An exhibition opening this fall at The Huntington Library, Art Collections, and Botanical Gardens considers a rich dialogue between two iconic figures in American culture: the renowned photographer Edward Weston (1886-1958) and poet Walt Whitman (1819-1892). “Real American Places: Edward Weston and Leaves of Grass” opens Oct. 22 in the Chandler Wing of the Virginia Steele Scott Galleries of American Art and continues through March 20, 2017. The exhibition is curated by Jennifer Watts, The Huntington’s curator of photography, and James Glisson, Bradford and Christine Mishler Assistant Curator of American Art.

The 25 photographs included in the exhibition illuminate an understudied chapter of the celebrated photographer’s career. In 1941, the Limited Editions Book Club approached Weston to collaborate on a deluxe edition of Whitman’s Leaves of Grass, which Whitman published in five ever-larger editions during his lifetime. The publisher’s ambition was to capture “the real American faces and the real American places” that defined Whitman’s epic work. Weston eagerly accepted the assignment, and, from 1941-42—on the eve of the United States’ involvement in World War II—he set out with his wife, Charis Wilson, on a cross-country trip that yielded a group of negatives marking the culmination of an extraordinarily creative and prolific period in his career. Most of the images were made with a large, 8 × 10 camera and captured a wide-ranging landscape and set of experiences across 24,000 miles, from California through the Southwest and South, up to New England and Maine. The announcement of Pearl Harbor’s bombing in Dec. 1941 caused Weston and Wilson to abort their trip and hurriedly retrace their route to California.

While Weston believed the photographs to be some of his best, the resulting Limited Editions publication, which is on view in the exhibition, proved a failure on many fronts. The pages were tinted a sickly green, said Watts, and, likewise, “Weston’s elegant black and white pictures were surrounded by a mint green border, much to the photographer’s disgust. The final indignity came with the pairing of Weston’s pictures with specific lines in Whitman’s text, a decision Weston rightly felt undermined his own vision of America.” As a result, the photographs from the Leaves of Grass project have been relegated to footnote status in Weston’s oeuvre.

But, said Watts, “this is an important body of work that has been unjustly overlooked and clearly deserves its due. There are masterpieces in the mix, every bit the equal of Weston’s best work. How could it be otherwise? The Whitman effort came after a lifetime of honing a prodigious talent. The challenges of the project notwithstanding, Weston’s mastery shines brilliantly through.”

Among the pristine prints to be featured are White Sands, New Mexico (1941); Woodlawn Plantation House, Louisiana (1941), and Gulf Oil, Port Arthur, Texas (1941), each 7 ½ by 9 ½ inches. The group builds on subjects that Weston already knew and loved: the industrial sites of Middletown steel; the broad expanse of desert with its confounding sense of scale; New Orleans’ aboveground graves that he flattens out like a Point Lobos tide pool.

Though Weston deemed the book a failure, he considered the photographs an unqualified success. In 1944, he selected and printed 500 photographs for The Huntington as a gift to establish the most significant institutional legacy of his lifetime. Of this remarkable group, 90—almost one-fifth the total—are pictures he took for the Whitman project.

In 2003, The Huntington acquired Charis Wilson’s typescript diary recounting every aspect of the journey, which is on view in The Huntington’s Library Main Exhibition Hall, as well as documentation detailing the contentious creative wrangling between Weston and the Limited Editions publishers, both of which significantly informed the research for this exhibition. The Library’s manuscript and rare book holdings also include a number of original Whitman items, including a sampling of Whitman’s draft pages and his handwritten corrections on printed proofs for Leaves of Grass. Some of those pages will be on display in the exhibition.

Image: Woodlawn Plantation House, Louisiana, 1941
Gelatin silver print
Photograph by Edward Weston
The Huntington Library, Art Collections, and Botanical Gardens
©1981 Center for Creative Photography, Arizona Board of Regents

Screen Shot 2016-08-12 at 10.25.14 copy.jpgDr. Jörn Günther Rare Books is delighted to announce their attendance at TEFAF New York’s debut fair 21st-26th October 2016. There will be a selection of important illuminated manuscripts and early printed books that have been carefully guarded throughout the centuries and are rare offerings to the international market. Dr. Jörn Günther Rare Books has enjoyed more than twenty successful years with the fair in Europe and greatly looks forward to expanding with TEFAF into New York. To mark the event the gallery will highlight themes of exploration, voyage mapping, and the medieval discovery of new lands.

A notable example is the Compendium (Castile, c. 1425), a unique and completely unknown manuscript containing a combination of educational texts made for the young King of Castile and Leon, Juan II (1405-1454). There are seven full-page illuminated leaves included in the manuscript, most notably a thought-provoking map, the image of which is dominated by a deep- set, inky blue, indicating the surrounding ocean and the world yet to be explored. A physical relic from the very heart of the Age of Discovery, this manuscript is likely to have been seen and handled by some of the most central figures of the age, like Juan II’s daughter, Isabella, who, with her husband Ferdinand, succeeded Juan on the Spanish throne and launched Columbus’ famous expedition across the Atlantic. This codex is the only example of its kind and within a generation of its production, the image of the world it depicts was altered almost beyond recognition. It is poised, as it were, on a precipice between the medieval and modern worlds.

A poignant counterpart to the Compendium is the historic edition of Christopher Columbus’ letter to Isabella and Ferdinand recounting his discovery of the Americas (Basel, 1494). The text is illustrated with six remarkable printed woodcuts that show a stylized view of the Bahamas, the Caribbean Islands, and their inhabitants. This may be a once in a lifetime chance to acquire such a monument to American history.

Significantly, Dr. Jörn Günther Rare Books will also feature the first ‘modern’ atlas. Along with Classical Ptolemaic maps, the atlas includes large parts of the American Atlantic coast and the West Indian Islands, which are depicted here for the first time. It also boasts a world map that reveals some of South America and the first color printed maps. Columbus’ discovery of the new world by mandate of the Spanish rulers is noted in one map. This edition of Ptolemy’s Geographia (Strasbourg, 1513, first edition) integrates information from Amerigo Vespucci and the recently returned Portuguese explorers.

Image: Unpublished Compendium in Latin, made for Juan II, King of Castile and Leon, c. 1425

Grand_Canyon_600.jpgSAN MARINO, Calif.—The Huntington Library, Art Collections, and Botanical Gardens continues to celebrate the centennial of the U.S. National Park Service in the second of two consecutive exhibitions that focus on the critical role that national parks have played in the history of the United States. “Geographies of Wonder: Evolution of the National Park Idea, 1933-2016” depicts the unceasing public enthusiasm for national park spaces, as well as the steady pace of change in the concept of a “national park” that grew to include national lakeshores and seashores, wild and scenic rivers, battlefields, industrial sites, parkways, and trails.

The exhibition—on view in the West Hall of the Library from Oct. 22, 2016, to Feb. 13, 2017—will illuminate the great paradox established by the National Park Service’s founding legislation: how to make the lands under its management available for public enjoyment, while at the same time ensuring the preservation of those lands for the use of future generations.

Drawing on nearly 100 items gathered from The Huntington’s library holdings, as well as from various private collections, “Geographies of Wonder: Evolution of the National Park Idea” will include maps, advertisements, illustrated guide books, travel narratives, promotional brochures, scientific surveys, reports, and correspondence that will highlight the experiences of visitors to the parks and the many—sometimes conflicting—visions of national parks that have taken shape over the past 80 years.

Among the most indelible images in the exhibition is a view of the Grand Canyon and the Colorado River from its southern rim, as depicted in 1911 by William R. Leigh for the Atchison, Topeka and Santa Fe Railway Co., which promoted tourist travel throughout the Southwest. Leigh’s image, used by the Santa Fe Railway for various promotional purposes, aptly captures the canyon’s scenic magnificence, which many Americans equated with a unique national identity. In subsequent decades, however, popular understanding of the park’s significance has shifted as Americans have gained a deeper understanding of the intricate ecologies of the natural world. The presence on the Colorado River of structures such as Glen Canyon Dam have changed the river by altering the temperature of the water, its peak flows, and the flora and fauna that can survive along its banks.

“The example of the Grand Canyon reminds us of one of the most challenging aspects of the National Park Service’s existence,” said Peter Blodgett, H. Russell Smith Foundation Curator of Western Historical Manuscripts at The Huntington, and exhibition curator. “At the heart of the 1916 Organic Act that created the service is the stipulation that the Park Service must manage resources to provide for their use by current visitors, while also ensuring the conservation of those resources unimpaired for future generations. Implications of this conundrum—how to make the parks available for public use while preserving them—run throughout the exhibition.”

The attraction of the Grand Canyon, which combined scenic wonder with the allure of the indigenous peoples of the region, has continued unabated for more than a century, drawing travelers from all over the country and around the globe, said Blodgett. Among the exhibition items are early examples of publicity efforts by the Park Service, railroads, and concessionaires to capitalize on this interest. In a 1931 brochure titled “Trails and Automobile Drives,” a contrast is drawn between the traditional mule-back tours of the canyon’s Bright Angel Trail and a sleek automobile visiting pueblos of people living near the park. The juxtaposition of new and old technologies, as well as of modern and ancient cultures, is a common theme throughout materials promoting travel to the national parks. Examples include a 1938 brochure for the Burlington Route, depicting ultramodern, streamlined railroad trains under the rubric of “the National Park Line,” and a 1947 Union Pacific Railroad advertisement boosting the parks in southern Utah, such as Bryce and Zion, as well as the northern rim of the Grand Canyon. And there is a 1947 advertisement for Western Air Lines that encourages vacationers to fly to national park destinations in the American West, maximizing their time at sites of natural wonder through the speed and convenience of air travel.

Even as such promotional campaigns for existing parks moved into high gear, the national park system itself continued to expand. California’s Death Valley, once seen by many Euro-Americans as a horrifying and desolate location, entered the system in 1933 as a National Monument, and Joshua Tree was likewise designated in 1936. In hopes of preserving substantial portions of “primeval America,” groups such as the Sierra Club advocated for the creation of parks in settings such as King’s River Canyon in California, as depicted by a 1939 brochure that emphasizes the grandeur of the Sierra Nevada as scenic wilderness. With the success of such campaigns, more wilderness areas were added to the system in the decades that followed, reflecting the growing enthusiasm for unspoiled landscapes that culminated with the passage of the Wilderness Act in 1964.

Other changes followed quickly in the 1960s as the Park Service extended protection to seashores, lakeshores, wild and scenic rivers, and historic trails to serve the needs and interests of an ever-more urbanized population. By the late 1970s and 1980s, “national recreation” areas were designated adjacent to major cities, such as Gateway in New York City and Golden Gate in San Francisco. This impulse extends to the Santa Monica Mountains in the Los Angeles area, designated a National Recreation Area in 1978, and the current proposal for the adjacent “Rim of the Valley,” which would significantly expand its boundaries.

Managing Conservation and Use

Throughout this period, however, the Park Service’s other mandate, as established in its founding legislation of 1916, was to ensure conservation of the parks unimpaired for future generations. Harried Park Service professionals and alarmed conservationists struggled to strike a balance between these two imperatives as the annual number of visitors spiraled ever upward, from 21 million in 1941 to 100 million in 1964, 200 million in 1976, and 292 million in 2014. Such staggering growth put ever greater pressure on natural habitats, as well as Park Service and concessioner facilities, at many of the nation’s best-loved parks.

Moreover, as scientific knowledge grew more sophisticated during the 20th century, with a greater emphasis on ecology, it became clear that many parks faced significant environmental problems from economic developments outside of their borders, such as increasing air pollution at the Grand Canyon and elsewhere, generated by power plants in the Southwest.

“In various instances, scientists have concluded that preserving wildlife and watersheds would require the expansion of park boundaries,” said Blodgett. “But this is hard to do—not only because of the increase in populations adjacent to many parks, but because many of the communities built near parks surround those parks with privately owned land and burgeoning economic enterprises. Buying lands to allow park expansion in many instances would be ruinously expensive. A basic tension arises: How do you preserve parks unimpaired for future generations when there is not enough space for native species to flourish?”

With such challenging issues connected to the parks, one of the key goals of the exhibition, according to Blodgett, is to provide viewers with a deeper understanding of the innate complexity of the national park idea as it has developed over time. “I hope visitors will be inspired to consider how national parks should evolve through the 21st century and beyond,” he said.

Image: William R. Leigh, Grand Canyon (1911), as adapted for Fred Harvey Service dining car menu, 1950. The Huntington Library, Art Collections, and Botanical Gardens. Reprinted with permission of the BNSF Railway Company.

The British Library is excited to announce a new exhibition about the magic of Harry Potter, set to open at the Library in autumn 2017, and marking the twentieth anniversary of the publication of Harry Potter and the Philosopher’s Stone. The exhibition will open on 20 October 2017, and run until 28 February 2018.

From medieval descriptions of dragons and griffins, to the origins of the philosopher’s stone, the exhibition will take readers on a journey to the heart of the Harry Potter stories.

The exhibition will showcase an extraordinary range of wizarding books, manuscripts and objects, and combine centuries-old British Library treasures with original material from Bloomsbury’s and J.K. Rowling’s archives.

Jamie Andrews, Head of Culture and Learning at the British Library, said: 

“We at the British Library are thrilled to be working with J.K. Rowling and with Bloomsbury to mark the twentieth anniversary of Harry Potter, and to inspire fans with the magic of our own British Library collections.”

More information about the exhibition will be released early in 2017, and tickets will be on sale from spring 2017 at www.bl.uk.

#HarryPotter20 

bd4336f5-8eb0-4d34-acf5-69db26a9723e.jpgJean Honoré Fragonard (French, 1732-1806)—one of the most forward-looking and inventive artists of the 18th century—was equally skilled in painting, drawing, and etching. Yet, unlike many old masters for whom drawing was a preparatory tool, Fragonard explored the potential of chalk, ink, and wash to create sheets that were works of art in their own right. As displays of virtuosity and an imaginative spirit, his drawings were highly prized from his own day to the present, and New York has long been a center for collecting these works.

The exhibition Fragonard: Drawing Triumphant—Works from New York Collections, opening October 6 at The Metropolitan Museum of Art, will celebrate the artist's achievements as a master draftsman. A similar brio and inventiveness mark the artist's etchings, and examples of these will also be featured. Among the 100 works on paper on view, nearly half are from private collections, some of which will be shown publicly for the first time. The exhibition will thus provide a rare opportunity to see well-loved masterpieces alongside new discoveries and works that have long been out of the public eye.

Fragonard's career took place in the later 18th century when the role of drawing was undergoing a critical transformation. No longer regarded solely as a step in the genesis of another work, drawings were appreciated by a growing audience as original works by the artist's hand, precious manifestations of creative inspiration. As the century progressed, sheets by living artists appeared at public auctions with growing frequency, suggesting either that they were made for the market as independent works of art or that the value assigned to such works provided an incentive for artists to part with them. 

The freedom and speed afforded by chalk or wash on paper were particularly suited to Fragonard's improvisational talents and allowed his creative genius to shine. Among the subjects for which he is best known are joyful images of daily life, portraits, and landscapes, as well as episodes from the Bible and from diverse works of literature, ranging from the fantastic to the licentious. The frolicking children, young lovers, and sunlit gardens that sprang from his imagination are not weighed down by specificity or detail, but rather speak to the universality of such themes. 

By uniting works in The Met collection with loans from other New York City museums and private collections, the exhibition will represent Fragonard's entire range and achievement as a draftsman at the highest level. The selection will embrace the full spectrum of his career as well as all the genres in which he worked. In technique, they range from the most spontaneous sketches to highly worked studio pieces, intended to be framed and displayed.

The exhibition will follow the chronology of the artist's life, from his early training in Paris in the studio of François Boucher, to his training at the French Academy in Rome, to his return to the French capital, and ultimately to his break with the official arts establishment. By spurning royal patronage in order to work for private clients, Fragonard gained the freedom to choose his own subjects and formats, thus contributing to our modern view of the artist as innovative and independent. Groupings within this chronological framework will illuminate Fragonard's practice of revisiting themes and compositions he had already explored to create new works in a different medium or technique. Cross-fertilization and play between media were central to his working method.

A highlight will be the display of all five of the works on paper—three drawings, an etching, and a gouache—related to his famous composition The Little Park (Le petit parc). The constellation of works on this subject will be reunited for the first time since the artist's lifetime, providing important insight into his working methods. Also on view will be many pairs of works whose compositions echo one another, experimental variations on themes, often in different media. 

Four major sheets acquired by The Met in recent years will also be featured. A Gathering at Woods' Edge depicts a lush scene of well-dressed visitors finding respite at the shady entrance of a sunlit grove of trees, rendered in a vibrant yet precise manner in red chalk, also called sanguine.  Later and equally masterful are two large-scale studies of fishermen drawn at the edge of the sea in Naples, where Fragonard visited in 1774.  Acquired in 2009, Rinaldo in the Enchanted Forest is fueled more by imagination than by observation, as Fragonard used layers of fluidly applied gold-brown wash to produce, seemingly effortlessly, the dramatic tenor of a brave warrior battling magical creatures.

The exhibition is organized by Perrin Stein, Curator in the Department of Drawings and Prints. Exhibition design is by Brian Oliver Butterfield, Senior Exhibition Designer; graphics are by Chelsea Amato, Graphic Designer; lighting is by Amy Nelson, Lighting Designer, all of the Museum's Design Department.

The exhibition will be accompanied by a catalogue published by The Metropolitan Museum of Art and distributed by Yale University Press. Original information about the role of drawing in Fragonard's practice will be addressed in essays and catalogue entries by Perrin Stein and prominent Fragonard scholars Marie-Anne Dupuy-Vachey and Eunice Williams. The catalogue will be available for purchase in The Met Store ($65, hardcover).

Education programs include a Friday Focus lecture, exhibition tours, and a conversation with the curator in the galleries. 

The exhibition will be featured on The Met website, as well as on Facebook, Instagram, and Twitter via the hashtags #DrawingTriumphant and #MetonPaper100.

Fragonard: Drawings Triumphant—Works from New York Collections is one of a series of exhibitions and programs organized to celebrate the centennial of the Department of Prints and Drawings at The Met, one of the most comprehensive and distinguished collections of works of art on paper in the world. The centennial began in January 2016.

Image: Jean Honoré Fragonard (French, 1732-1806). Rinaldo in the Enchanted Forest, ca. 1763. Brown wash over very light black chalk underdrawing. The Metropolitan Museum of Art, New York, Purchase, Purchase, Louis V. Bell, Harris Brisbane Dick, Fletcher, and Rogers Funds and Joseph Pulitzer Bequest; Guy Wildenstein Gift; The Elisha Whittelsey Collection, The Elisha Whittelsey Fund; Kristin Gary Fine Art Gift; and funds from various donors, 2009 (2009.236)

The Library of Congress—which holds the largest multi-format collection of materials on the American experience in World War I—will present a major exhibition in 2017 to commemorate the centennial of The Great War.

The United States’ involvement in the "war to end all wars" began on April 6, 1917, when the U.S. Congress formally declared war on the German Empire, and concluded Nov. 11, 1918, with the armistice agreement. The exhibition will examine the upheaval of world war, as Americans experienced it—domestically and overseas. In the Library’s Thomas Jefferson Building, the exhibition will open in early April 2017 and close in January 2019. Initially, it will feature 200 items, but during its 18-month run, numerous other artifacts will be rotated into the display.

World War I, at the time, was the greatest conflict the world had ever known. It created seismic changes in American society and reshaped the global community in profound ways. In the United States, a national army was conscripted for the first time; more than a million women entered the workforce, contributing to the war effort in countless ways; and African-Americans challenged racial inequality. The first widespread use of airplanes, tanks and poisonous gas revolutionized warfare and technologies; the wristwatch was popularized by the demands of modern battle; and jazz spread around the world with the American soldiers going abroad.

The exhibition will feature correspondence, music, film, recorded sound, diaries, posters, photographs, scrapbooks, medals, maps and various other artifacts from the war. The collections of the Veterans History Project will be interwoven throughout the exhibition to give voice to the wartime experiences of those who served.

The exhibition will be organized into four sections:

  • "Prologue" will feature debates about whether Americans should enter the war or remain neutral and examine early efforts at international aid by the United States.
  • "Over Here" will explore mobilization for war by the U.S. government and citizens, including enlistment, training, victory gardens, Liberty Bond drives, censorship and the significant contributions of women and African-Americans to the war effort.
  • "Over There" will highlight the overseas experiences of American soldiers and medical volunteers as they experienced industrialized warfare with its new deadly technologies.
  • "Epilogue" will touch on the war’s effects, as national borders were redrawn, returning soldiers tried to reintegrate into America, and jazz spread across Europe. It will examine the challenges to racial inequality domestically and internationally, and it will look at new global forces the war helped to unleash, including the Russian Revolution and a worldwide epidemic of influenza.

Now through April 2017, the Library of Congress is featuring twice-monthly blogs about World War I, written by Library curators who highlight stories and collection materials they think are most revealing about the war. The blogs can be viewed at loc.gov/blogs/.

An exhibition showing how American artists galvanized public interest in World War I is currently on display at the Library of Congress. "World War I: American Artists View the Great War" is on view through May 6, 2017 in the Graphic Arts Galleries on the ground floor of the Library’s Thomas Jefferson Building, 10 First St. S.E., Washington, D.C. The exhibition is free and open to the public Monday through Saturday, 8:30 a.m. to 4:30 p.m. An online version can be viewed at loc.gov/exhibits/american-artists-view-the-great-war/.

The Library of Congress is the world’s largest library, offering access to the creative record of the United States—and extensive materials from around the world—both on site and online. It is the main research arm of the U.S. Congress and the home of the U.S. Copyright Office. Explore collections, reference services and other programs and plan a visit at loc.gov, access the official site for U.S. federal legislative information at congress.gov, and register creative works of authorship at copyright.gov.

With the most comprehensive collection of multi-format World War I holdings in the nation, the Library is a unique resource for primary-source materials, education plans, public programs and on-site visitor experiences about The Great War, including exhibits, symposia and book talks.

Amherst, MA (July 28, 2016) - In celebration of the upcoming 50th anniversary of the book that launched Eric Carle’s career—Brown Bear, Brown Bear, What Do You See? by Bill Martin Jr —The Carle is sending the book’s famous characters to the main streets and outdoor spaces of its hometown. This special pop-up exhibition, Brown Bear Everywhere, on view from August 8 through October 10, 2016, will bring 14 high-quality reproductions of Carle’s original collage illustrations to some of Amherst’s popular restaurants, schools, and recreational sites. The exhibition helps kick off a year of special events to honor the children’s classic, which is one of the best-selling picture books of all time.

Framed reproductions from Brown Bear, Brown Bear, What Do You See? will be located at Amherst Commons (White Dog), Bangs Community Center (Purple Cat), Bare Mountain (Brown Bear), Black Sheep Deli (Black Sheep), Fort River Elementary School (Teacher), Hampshire College (Red Bird), High Horse Restaurant (Blue Horse), Hitchcock Center for the Environment (Green Frog), Jones Library (Final Page), Amherst College Mead Art Museum (Endpapers), the Mill District in North Amherst (Original Brown Bear, 1967 edition), Mill River Recreation Area (Goldfish), the Norwottuck Rail Trail (Children), and the University of Massachusetts campus pond (Yellow Duck). Labels at each location will provide information about the works of art, the book, and Carle’s artistic process.

“We enjoyed matching each picture in the book to a specific location in Amherst,” says Ellen Keiter, the Carle’s chief curator. “Placing Eric Carle’s ‘Black Sheep’ at the Black Sheep Deli was an obvious fit, as was displaying his image of a ‘Teacher’ at Fort River Elementary School. Perhaps my favorite is ‘Brown Bear’ atop Bare Mountain, the highest elevation in Amherst. It seems appropriate that Brown Bear look out over the Valley from this majestic perch.” Keiter also commented on the town’s enthusiasm for the project. “We’ve spent the last eight months working with the host sites, and the response has been overwhelming. Not a single business or organization turned us down. In fact, each location enthusiastically embraced the project. It’s difficult to find someone who doesn’t know and love the book.” 

Brown Bear Everywhere kicks off a yearlong, nationwide celebration, including Brown Bear Turns 50! opening at the Museum on September 13, 2016. Support for both exhibitions has been generously provided by Macmillan Children’s Publishing Group.

Published in 1967, Brown Bear, Brown Bear, What Do You See? had an immediate appeal to children and adults alike. Martin’s rhythmic call-and-response text builds anticipation at each turn of the page, while Carle’s bold graphics and parade of animals encourage learning and imagination. Brown Bear, Brown Bear, What Do You See? has been translated into 31 languages—from Arabic to Vietnamese—and has sold more than 16 million copies. In addition to the original 1967 book, Carle re-illustrated editions in 1970, 1984, and 1992.

In support of both exhibitions, The Carle will launch a special page on its website with Brown Bear teacher activities, special photographs, fun facts, and a video of Eric Carle reading Brown Bear, Brown Bear, What Do You See?. An accompanying social media campaign asks friends to tag The Carle @carlemuseum and submit selfies taken in town with their favorite character using the hashtag #brownbeareverywhere. Selfies will be entered in a weekly drawing to win a Brown Bear anniversary tote bag.

About The Museum

The mission of The Eric Carle Museum of Picture Book Art, a non-profit organization in Amherst, MA, is to inspire a love of art and reading through picture books. The only full-scale museum of its kind in the United States, The Carle collects, preserves, presents, and celebrates picture books and picture book illustrations from around the world. In addition tounderscoring the cultural, historical, and artistic significance of picture books and their art form, The Carle offers educational programs that provide a foundation for arts integration and literacy.

Eric Carle and his wife, the late Barbara Carle, co-founded the Museum in November 2002. Carle is the renowned author and illustrator of more than 70 books, including the 1969 classic The Very Hungry Caterpillar. Since opening, the 40,000-square foot facility has served more than half a million visitors, including 30,000 schoolchildren. The Carle houses more than 13,000 objects, including 6,600 permanent collection illustrations. The Carle has three art galleries, an art studio, a theater, picture book and scholarly libraries, and educational programs for families, scholars, educators, and schoolchildren. Educational offerings include professional training for educators around the country and Master’s degree programs in children’s literature with Simmons College. Museum hours are Tuesday through Friday 10 a.m. to 4 p.m., Saturday 10 a.m. to 5 p.m., and Sunday 12 noon to 5 p.m. Open Mondays in July and August and during MA school vacation weeks. Admission is $9 for adults, $6 for children under 18, and $22.50 for a family of four. For further information and directions, call (413) 559-6300 or visit the Museum’s website at www.carlemuseum.org

MacMillan Children’s Publishing Group

Macmillan Children’s Publishing Group comprises FSG Books for Young Readers, Feiwel and Friends, First Second, Henry Holt Books for Young Readers, Imprint, Priddy Books, Roaring Brook Press, Square Fish, and Swoon Reads. MCPG is home to notable authors including Madeleine L’Engle, Roald Dahl, Marissa Meyer, Gene Luen Yang, Eric Carle, Leigh Bardugo, and Lane Smith. 

July 27, 2016—The Library of Congress Junior Fellows Summer Interns today presented more than 100 rare and unique items from 17 Library divisions. The display provides the opportunity for fellows to discuss the historic significance of the collection items they have researched and processed during their 10-week internships. Examples include:

  • An Olmec ceramic figurine (900-1200 BCE), the oldest item in the Jay I. Kislak Collection
  • An 18th-century royal tax decree with the seal of King Ferdinand VI of Spain
  • A copyright deposit box from 1873, which included a collection of maps by oceanographer and cartographer Matthew Fontaine Maury
  • A wood engraving print, "Bird’s eye view of Liverpool, as seen from a balloon, 1885"
  • An 1886 journal written by William T. Hornaday, a conservationist and founder of the Bronx Zoo
  • "The American Citizen," a 1916 naturalization guide for Yiddish-speaking immigrants (features an inscription to President Woodrow Wilson)
  • A watercolor paintings of costume designs for the 1938 New Orleans production of "One Third of a Nation"
  • A guest book used from 1955-1986 by the Woman’s National Democratic Club, which includes signatures from former U.S. Rep. Barbara Jordan, Lady Bird Johnson, Carol Channing, W. Averell and Pamela C. Harriman, Liz Carpenter, Lynda Robb, Alistair Cooke, Dean Rusk and Jack Anderson
  • Audio clips from interviews conducted in 1957 and 1981 with American composer Leonard Bernstein
  • A 1966 recording of Chilean poet Pablo Neruda reading "Alturas de Macchu Picchu" and a 2013 recording of Hispanic-American poet Richard Blanco reading "América."
  • An 1880 Russian-language natural-history encyclopedia with full-color relief images

Working under the direction of Library curators and specialists in various divisions, 38 Junior Fellows—selected from more than 800 applicants across the country—explored the institution’s unparalleled collections and resources. They were exposed to a broad spectrum of library work: research, copyright, preservation, reference, access, standards, information management and digital initiatives.

The Junior Fellows Program is made possible through the generosity of the late Mrs. Jefferson Patterson and the Knowledge Navigators Trust Fund. A lead gift from H. F. (Gerry) Lenfest, former chairman of the Library’s James Madison Council private-sector advisory group, established the Knowledge Navigators Trust Fund with major support provided by members of the council. For more information about the Junior Fellows Program, visit loc.gov/hr/jrfellows/.

The Library of Congress is the world’s largest library, offering access to the creative record of the United States—and extensive materials from around the world—both on site and online. It is the main research arm of the U.S. Congress and the home of the U.S. Copyright Office. Explore collections, reference services and other programs and plan a visit at loc.gov, access the official site for U.S. federal legislative information at congress.gov, and register creative works of authorship at copyright.gov.

HYDE PARK, NY -- On Monday, August 1, 2016, the Franklin D. Roosevelt Presidential Library and Museum and the Home Of Franklin D. Roosevelt National Historic Site -- with the American-Scottish Foundation -- will open "In the Footsteps of John Muir," an exhibition by Scottish photographer Ken Paterson. The exhibit will be on display in the Henry A. Wallace Center at the FDR Presidential Library and Home through September 30, 2016. A special opening reception will be held from 6:00 to 8:00 p.m. on August 1 in the Wallace Center. Refreshments will be served. Visitors may view the exhibit free of charge in the visitor center, during regular operating hours.

"In the Footsteps of John Muir," an exhibit of 30 photographic works by Scottish photographer Ken Patterson, traces Muir's early days in Dunbar, Scotland to his love of Yosemite allowing one to see the environment Muir loved and did so much to help preserve. The exhibit is part of the National Centennial Celebration of National Parks.

John Muir was a farmer, inventor, botanist, geologist, explorer, mountaineer, writer and pioneer of nature conservation. He was born in Dunbar, Scotland, on April 21, 1838. As a child he developed a deep love of the natural world. This grew into a lifelong journey, both physical and spiritual, of exploration, revelation, hardship and wonder. In 1849, Muir's family immigrated to the United States, starting a farm near Portage, Wisconsin, called Fountain Lake Farm. Later, his introduction to Yosemite Valley, California, resulted in his campaign to preserve wilderness for wilderness's sake. This led to the establishment of the world's first national park system. Today he is remembered as a pioneer of the modern conservation movement, and is often referred to as the "Father of the National Parks" in the United States.

Ken Paterson (www.kenpaterson.co.uk) has been photographing at the top level of Scottish photography for the last twenty years, specializing in creative location work based on people. Clients such as The New York Times have led to a strong portfolio in the United States and Japan, and resulted in the chance to complete a dozen travel guide books around the world. Recently, Ken has been lecturing in photography at Stevenson College in Edinburgh. Ken's passion is his self-started photographic project, aiming to reconnect Scotland with a proud global heritage: Famous Scots Project.

The American-Scottish Foundation is dedicated to strengthening ties between individuals, institutions and businesses of Scotland and the United States. The Foundation champions the extraordinary and creative relationship between Scotland and the United States with an extensive program of projects and events -- a bridge between the two great countries. ASF is proud to help bring attention and support to the preservation of parks and landscapes. Visit www.americanscottishfoundation.org.

Franklin D. Roosevelt Presidential Library and Museum

Designed by Franklin Roosevelt and dedicated on June 30, 1941, the Franklin D. Roosevelt Presidential Library and Museum is the nation's first presidential library and the only one used by a sitting president. Every president since FDR has followed his example and established a presidential library administered by the National Archives and Records Administration to preserve and make accessible to the American people the records of their presidencies. The Roosevelt Library's mission is to foster a deeper understanding of the lives and times of Franklin and Eleanor Roosevelt and their continuing impact on contemporary life. This work is carried out through the Library's archives and research room, museum collections and exhibitions, innovative educational programs, and engaging public programming. For more information about the Library or its programs call (800) 337-8474 or visit www.fdrlibrary.org.

The National Park Service administers the Home of Franklin D. Roosevelt, Eleanor Roosevelt's Val-Kill, Top Cottage and Vanderbilt Mansion. Visitors to the sites can enjoy guided tours of the historic buildings. There are hiking trails that link all the parks. From May through October, visitors from New York City can reserve transportation from the Poughkeepsie Train Station to all the sites in Hyde Park by calling (845) 229-5320 for the "Roosevelt Ride." For information about tours and other programs visit www.nps.gov/hofr or call (845) 229-5320.

New Orleans, LA—M.S. Rau Antiques will host a comprehensive exhibition Napoléon: General. Emperor. Legend. at their New Orleans gallery at 630 Royal Street in the French Quarter, New Orleans beginning November 5, 2016 through January 7, 2017.  The show, which is open and free to the public, explores the best of Napoléonic art and design that together will reveal the imperial style championed by the Emperor during his reign in France.

Brilliant soldier-statesmen and legendary conqueror, Napoléon Bonaparte was one of the Western world¹s most powerful leaders, as well as one of its greatest patrons of the arts. Following his meteoric rise to power, a new age of decorative and fine arts was born that validated his reign.

“Napoléon is one of the most compelling figures in all of Western history,” states William Rau, the President and owner of M.S. Rau Antiques.  “During his short time in power he made an indelible impact not only in the political arena, but also in the arts and design.  Some of our greatest treasures and finest masterpieces date to the Napoleonic age, all thanks to Napoleon and his quest for glory.” 

Having gained his position following the tumultuous era of the Revolution, the Emperor commissioned artists, designers and architects as a way to promote and legitimize his reign.  The exhibition reveals how Napoléon effectively used art and design to cultivate an image of power. From a monumental masterwork of Napoléon before the Battle of Moscow by Joseph Franque and an original bronze death mask of Napoléon to one-of-a-kind Empire furniture and décor, the exhibition offers an intriguing glimpse in the intimate life and ultimate legacy of the soldier, statesman and ruler.

About M.S. Rau Antiques:

Considered one of the world¹s foremost experts on 18th- and 19th- century antiques and fine art, William Rau is President, CEO and third-generation owner of M.S. Rau Antiques, located in the historic French Quarter of New Orleans, Louisiana. Over a century old, M.S. Rau Antiques is one of the largest premier fine arts and antiques galleries in the world. William Rau¹s extensive knowledge of the international antiques and art market has not only allowed him to help clients cultivate museum quality collections, but it has also afforded him the opportunity to amass the remarkable and important works in this comprehensive Napoléonic exhibition. www.rauantiques.com

Screen Shot 2016-07-05 at 9.57.16 PM.pngWhen: July 13 - September 24, 2016

Opening Reception: July 13, 6-8pm

Artist Roundtable: Wednesday, August 10 and Wednesday, September 7, 6:30pm

Where: 28 W. 27th St., 3rd Floor, New York, NY

Subway: N/R to 28th St, or F to 23rd St

Gallery Hours: Mon-Fri, 11am-6pm; Sat, 10am-5pm

Admission: Free

Exhibition website: http://bit.ly/29arJd7

The Center for Book Arts presents its Summer 2016 Member Artist Exhibition, Making Sense of the Senses, on view July 13 through September 24, organized by Alexander Campos, Executive Director and Curator, The Center for Book Arts, and Peter Schell, Artist, Instructor, and Naturalist. 

An opening reception will take place Wednesday, July 13, from 6-8pm.

This exhibition presents artist books and related works that employ, evoke, or conceptually contemplate one or more of the five senses: hearing, smell, sight, touch, and taste. 

Artists included: Aravind Adyanthaya, Ioulia Akhmadeeva, Rosaire Appel, Anita Gangi Balkun, Wardah Naeem Bukhari, Sophie Calle, Josely Carvalho, Julie Chen, Donald Daedalus, Aurora De Armendi, Sue Donym and Marie Guise, Ximena Perez Grobet, Antonio Guerra, Angela Lorenz, Sean Meehan, Susan Martin Maffei, Shervone Neckles, John Risseeuw, Paolo Salvagione, Zoë Sheehan-Saldaña, Ellen Sheffield, Robbin Ami Silverberg, Irwin Susskind, Barbara Tetenbaum, George A. Walker, Thomas Parker Williams, Tammy Wofsey, and Dasha Ziborova.

Peter Schell possesses a Masters Degree in Oriental Medicine (acupuncture and Chinese herbology) at Pacific College of Oriental Medicine in New York City. The roots of his practice are in a life-long study of nature. He has spent many years studying and teaching human anatomy to artists, massage therapists and body workers - leading to the study of Chinese medicine. He possesses a Zheng-Gu Tui Na three-year certificate with Tom Bisio and Frank Butler, and studies Western herbal energetics with Julia Graves and Matthew Wood. Schell has practiced acupuncture since 2001.

Suggested donation for the general public for these special events is $10 non-members/$5 members.

ALSO ON VIEW: SHEHERZADE'S GIFT: SUBVERSIVE NARRATIVES

The Center for Book Arts presents its Summer 2016 Main Gallery Exhibition, Sheherzade's Gift: Subversive Narratives, on view July 13 through September 24, organized by Jaishri Abichandani, Independent Curator and Former Director, South Asian Women's Creative Collective. 

One of the most enduring and influential books in global popular culture is A Thousand and One Nights. Understood as an amalgamation of fables originating from West and South Asia, its main protagonist is the fictional Queen Sheherzade, whose stories are told to countless young girls from North Africa to South East Asia. The Queen has been a polarizing figure; many women berate her for failing to challenge patriarchal mores, while others have a keener understanding of the nature of her subversion.

Sheherzade's Gift: Subversive Narratives examines the work of female artists of western and south Asian heritage largely influenced by these tales. The works in the exhibition-including text, painting, sculpture, video, and performance-tell personal narratives that traverse through the urban and natural landscapes that lay open each artist's experiences. 

Artists include: Nida Abidi, Negar Ahkami, Fariba Salma Alam, Ambreen Butt, Ruby Chishti, Dahlia Elsayed, Roya Farassat, Mariam Ghani, Meena Hasan, Gita Hashemi, Mala Iqbal, Mona Saeed Kamal, Gelare Khoshgozaran, Sa'dia Rehman, Nooshin Rostami, Hiba Schahbaz, Negin Sharifzadeh and Katherine Toukhy.

Please visit our website for up-to-date details on all events and programs: 

www.centerforbookarts.org

ABOUT THE CENTER FOR BOOK ARTS

The Center for Book Arts is committed to exploring and cultivating contemporary aesthetic interpretations of the book as an art object, while invigorating traditional artistic practices of the art of the book. The Center seeks to facilitate communication between the book arts community and the larger spheres of contemporary art and literature through exhibitions, classes, public programming, literary presentations, opportunities for artists and writers, publications, and collecting. Founded in 1974, the Center for Book Arts was the first organization of its kind in the nation.

Support for the Center for Book Arts' Visual Arts Program is provided, in part, by the New York State Council on the Arts, with the support of Andrew Cuomo and the New York State Legislature, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council, and by the National Endowment for the Arts.

persimmon-tangerine_600.jpgSAN MARINO, Calif.— The Huntington Library, Art Collections, and Botanical Gardens will present a major international loan exhibition exploring the art, craft, and cultural significance of Chinese woodblock prints made during their golden age, with works made from the late 16th century through the 19th century. “Gardens, Art, and Commerce in Chinese Woodblock Prints” (Sept. 17, 2016 - Jan. 9, 2017) brings together 48 of the finest examples gathered from the National Library of China, Beijing; the Nanjing Library; the Shanghai Museum; and 14 institutional and private collections in the United States. The exhibition presents monumental visual accounts of sprawling, architecturally elaborate “scholar’s gardens,” alongside delicate prints with painterly textures and subtle colors depicting plants, birds, and other garden elements so finely wrought they might be mistaken for watercolors. A highlight of the exhibition is The Huntington’s rare edition of the Ten Bamboo Studio Manual of Calligraphy and Painting (ca. 1633-1703), acquired in 2014, and on public view for the first time in this exhibition.

Research informing the exhibition and an accompanying catalog reveals much about the history and significance of Chinese pictorial printing during the period, including its influence on better-known Japanese woodblock artists and collectors. Coveted for their artistic merit and technical virtuosity, Chinese illustrated books and pictorial works were collected by the literati and wealthy merchant classes in both China and Japan. The Ten Bamboo Studio Manual, for example, contains the inscriptions of five renowned Japanese artists, successive owners who treasured the artistically ambitious and visually creative volumes as an important resource.

The founding curator of The Huntington’s Chinese Garden, June Li, is co-curator of the exhibition and co-author of the catalog, along with Chinese woodblock print specialist Suzanne Wright, associate professor of art history at the University of Tennessee.

“Gardens, Art, and Commerce in Chinese Woodblock Prints” unites several interests at The Huntington. It is the home of one of the most extensive collections of early printed books in the nation, various collections of prints by European and American artists, and one of the largest Chinese scholar’s gardens outside of China.

“This exhibition is utterly evocative of The Huntington's transdisciplinary nature,” said Laura Skandera Trombley, Huntington president. “Woodblock prints were formative communication and aesthetic tools that served a number of purposes over time, from disseminating Buddhist teachings to depicting ideals of beauty. This perfect fusion of art and language, an integration of emotion and intellectual pursuit, is evidenced in The Huntington’s art and library collections, and is embodied in our stunning Suzhou-style Chinese Garden. We are enormously grateful for June Li’s commitment and guiding vision for this extraordinary exhibition.”

During the late Ming (1368-1644) and early Qing (1644-1912) dynasties, an increase in wealth, stemming in part from the salt, rice, and silk industries, led to higher levels of literacy and education. Consumer demand for printed words and images increased as merchants and scholars looked for ways to display their taste in drama, poetry, literature, and art. For these elites, gardens were central to a cultured life, appearing frequently in woodblock prints as subject or setting. By the 1590s, several enterprising publishers were successfully meeting the strong demand for woodblock prints. They hired renowned designers, carvers, and printers to produce sophisticated and exquisite works, raising the standards of printmaking. During the last decades of the Ming dynasty, several centers of printing around the lower Yangzi River delta grew in reputation, ushering in a golden age of Chinese pictorial printing.

“In the realm of Chinese art, pictorial woodblock prints are not as familiar as paintings, calligraphy, or ceramics,” said Li. “The subject of woodblock prints usually brings to mind Buddhist icons, Daoist deities, or folk images, rather than refined and artistic works. But, over the past few years, scholars researching the historical and artistic aspects of these prints have re-introduced a trove of beautiful works that are highly accomplished.”

Building on this story, “Gardens, Art, and Commerce in Chinese Woodblock Prints” is organized into thematic sections with explanatory panels in both English and Chinese.

Exhibition Flow
In the first gallery of “Gardens, Art, and Commerce in Chinese Woodblock Prints,” visitors will find an impressive nine-and-an-half-foot long hand scroll that was commissioned by the Song emperor Taizong (r. 976-97). An unusual Buddhist work that depicts landscape rather than images of deities, it is the earliest and only religious work in the exhibition, showing the lofty achievements of woodblock printers by the 10th century, with enormous clarity of line and painstaking attention to the details of mountains, streams, trees, and tiny figures.

The accomplishments of such early printing established the technical foundation from which later Ming and Qing artists grew. Illustrations of the Garden Scenery of the Hall of Encircling Jade, an extraordinary set of 45 prints produced around 1602 to 1605 will be displayed in facsimile (the only evidence that remains of the original). Taken as a whole, the prints illustrate the enormous garden estate of a successful merchant, scholar, and book publisher of the early 17th century. The detailed prints show what seems to be acres of a fashionable garden, with a large, elegant hall framing scholars seated in conversation; a courtyard where figures re-enact a famous poetry game around a table; an enclosure for carefully sculpted penjing (bonsai trees); and more than a hundred names inscribed on buildings, ponds, and rocks. The print has an elevated viewpoint and changing perspectives that allow glimpses into interior spaces, revealing a cultivated life of books and men in scholars’ robes deep in discussion.

The exhibition next focuses exclusively on prints about gardens, both historical and fictional. Historical gardens include famous sites recorded by emperors, such as Suzhou’s Lion Grove, a popular tourist destination to this day. Another imperial work, a scroll more than 25 feet long (six feet of which will be displayed), shows urban gardens and the bustle of daily life in 18th century Beijing.

The effects of exchanges between European missionaries and the Chinese also are explored in the exhibition. One publisher incorporated biblical illustrations into his ink catalog, produced around 1616. The Qianlong emperor in 1783-86 commissioned a set of large copperplate engravings in a European style that showed details of the European pavilions in his private retreat.

Another section of the exhibition explores the styles of print artists from the late 16th through the 18th centuries in publishing centers such as Hangzhou, Huizhou, Wuxi, and Suzhou. On view are several examples by different publishers illustrating a single popular story, the Story of the Western Chamber, making clear their varying visual and artistic interpretations. In some cases, prints were made to resemble known paintings. Sometimes famous painters, such as Chen Hongshou (1598-1652), designed works expressly for printing. The exhibition includes a rare early edition of Chen’s version of the Story of the Western Chamber, as well as a set of cards he designed for a drinking game.

The exhibition also looks at accomplishments in multi-color and embossed printing, such as beautifully printed guides offering suggestions for cultivating taste. These manuals prescribed appropriate pastimes for a cultivated life, instructed on calligraphy, and advised on chess strategy and drinking games for men, and embroidery patterns for women. They also illustrated musical and dramatic works such as the popular Peony Pavilion. Many of these leisure activities took place in the garden, and prints showing scholar’s rocks, which had become precious items for the discerning collector, will be represented by finely printed editions of well-known works including a rare edition of The Stone Compendium of Plain Garden. Two examples of actual scholar’s rocks from The Huntington’s collection will be on view to complement the book.

Additionally, four iPads in the galleries will allow for a deeper investigation of Illustrations of the Garden Scenery of the Hall of Encircling Jade (a work showing the large garden estate of the successful merchant and publisher Wang Tingna), and allow visitors to see all the leaves of The Huntington’s Ten Bamboo Studio Manual of Calligraphy and Painting, a work that due to its delicate nature can only be viewed a few leaves at a time in the galleries.

Education Gallery: Printing Techniques
Visitors of all ages can view Chinese woodblock printing techniques in a gallery featuring a replica of a printing table, along with carving tools, colored inks, paper, brushes, and burnishers. To better understand the multi-color printing process, a set of woodblocks and step-by-step prints replicating a page of the Ten Bamboo Studio Manual will be on view, a display commissioned from the Shanghai publisher Duo Yun Xuan especially for the exhibition.

Support for this exhibition was provided by the Henry Luce Foundation and the Gladys Krieble Delmas Foundation. Additional funding was provided by Richard A. Simms and the Ahmanson Foundation Exhibition and Education Endowment.

Exhibition Catalog
“Gardens, Art, and Commerce in Chinese Woodblock Prints” is accompanied by a fully illustrated catalog of the same name featuring contributions by co-curators T. June Li and Suzanne E. Wright. Li details the origins and provenance of The Huntington’s Ten Bamboo Studio Manual of Calligraphy and Painting, a landmark of multi-block color printing, with particular emphasis on its appeal to 18th- and 19th-century Japanese collectors. Wright traces the development of three distinct regional styles of woodblock-printed illustrations during the late Ming dynasty, with striking examples of each style drawn from the exhibition. The 176-page volume, published by The Huntington, features more than 150 illustrations, including full-color plates of each work in the exhibition.

The catalog is made possible by a generous donation from the Sammy Yukuan Lee Family.

Gardens, Art, and Commerce in Chinese Woodblock Prints
by T. June Li and Suzanne E. Wright
September 2016
176 pages
153 color illustrations, 2 maps
ISBN 978-0-87328-267-3
Cloth, $49.95
Published by The Huntington Library, Art Collections, and Botanical Gardens
Available at thehuntingtonstore.org

Related Programs

Lectures

Is a Picture Worth a Thousand Words? Chinese Woodblock Prints of the Late Ming and Qing Periods
June Li, exhibition co-curator
Oct. 3, 2016 (Monday) 7:30 p.m. Free; Rothenberg Hall

“How Can I Disdain…this Carving of Insects?” Painters, Carvers, and Style in Chinese Woodblock Printed Images
Suzanne Wright, exhibition co-curator
Oct. 25, 2016 (Tuesday) 7:30 p.m. Free; Rothenberg Hall

The Huang Family of Block Cutters: The Thread that Binds Late Ming Pictorial Woodblock Printmaking
David Barker, honorary professor of printmaking in the China Academy of Art, Hangzhou, and senior research fellow in the Muban Educational Trust
Nov. 22, 2016 (Tuesday) 7:30 p.m. Free; Rothenberg Hall

Symposium

Word and Image: Chinese Woodblock Prints
Nov. 12, 2016 (Saturday) 8:30 a.m.-5 p.m.

The late Ming period witnessed an unprecedented production of woodblock images printed for many different purposes, including illustrations for drama and games, decorations for stationery paper or ink making, as well as pictorial works for the market. This symposium will explore the relationship and interaction between image and text in woodblock prints during the late Ming and early Qing periods.

  • “Nature, Print, and Art: Commerce and Garden Culture in Late Imperial China” by Kai-Wing Chow, associate head, professor of East Asian languages and cultures, professor of history, Department of History, University of Illinois at Urbana-Champaign
  • “Illustrating Encyclopedic Knowledge in the Ming” by He Yuming, associate professor of Chinese, East Asian languages and cultures, University of California, Davis
  • “The Kangxi Emperor’s Thirty-Six Views: The Making of an Imperial Publication” by Richard Strassberg, professor, Asian languages and cultures, University of California, Los Angeles
  • “‘Poetic Pictures’ in Late-Ming Illustrated Dramatic Publications” by Meng-ching Ma, associate professor, Center for General Education and Institute of History, National Tsing Hua University, Taiwan
  • “The Swallow Messenger: Text and Image” by Suzanne E. Wright, co-curator of the exhibition and associate professor, School of Art: Art History, University of Tennessee, Knoxville
  • “A Panoply of Metaphor: Painting and Intermediality in the Late Ming” by Hu Jun, assistant professor, East Asian art, Department of Art History, Northwestern University Rothenberg Hall. Registration: huntington.org/calendar

Workshop

Chinese Color Woodblock Printing
Nov. 20, 2016 (check huntington.org for details).

Join professors David Barker and Wang Chao of the China Academy of Art, Hangzhou, for a discussion and demonstration of Chinese woodblock printing techniques. They will explain the processes of multi-color printing (douban) that was perfected in the early 17th century, and show how simple tools and materials can be used to create prints that closely mimic painting.

Image: Persimmon and tangerines, with calligraphy in running cursive script by Xing Yi, Fruit 9, Ten Bamboo Studio Manual of Calligraphy and Painting, Ming dynasty, Chongzhen period to early Qing dynasty, ca. 1633-1703. Compiled and edited by Hu Zhengyan (1584/5-1673/4). Woodblock-printed book mounted as album leaves, ink and colors on paper, 9 7/8 × 11 1/4 in., each sheet. The Huntington Library, Art Collections, and Botanical Gardens.

 

Screen Shot 2016-06-27 at 8.53.11 PM.pngNew York, NY, June 27, 2016 — Irving Berlin’s “God Bless America” has been called the nation’s unofficial anthem. In honor of the Independence Day holiday, the Morgan Library & Museum is exhibiting an inscribed first edition of Berlin’s famous song, which was published in 1939.

The song resonates for its expression of emotion and love for a nation that promotes peace and affords opportunity. Berlin’s own life story is nothing short of an American Dream. Born into a Jewish family in Siberia, he came to the United States at the age of five. His father - a cantor in a synagogue in Siberia - moved the family to America in 1893, as did thousands of other Jewish families that fled Russia during the brutal pogroms. The Yiddish-speaking family lived in a small apartment on the Lower East Side of New York on a modest income. Despite humble beginnings, Berlin reached legendary status before the age of thirty. His hit songs include “White Christmas” and “There’s No Business Like Show Business.”

God Bless America” was originally composed by Berlin in 1918 as part of a musical revue from which it was cut. Years later, with the rise of Hitler, the composer revisited “God Bless America.” He had the song introduced by Kate Smith as a ballad of peace on an Armistice Day broadcast in 1938. Smith, a popular radio star, became indelibly associated with the patriotic song. Both Berlin’s and Smith’s royalties were donated to the Boy Scouts and Girl Scouts of America.

The Morgan display features the first published edition of “God Bless America,” inscribed by Berlin to James Fuld, whose remarkable collection of first-edition scores came to the Morgan in 2008. Visitors to the Morgan can view this extraordinary work while listening to the patriotic tune: the Morgan’s audio guide, free with museum admission, features Smith’s recording of God Bless America, which was arranged and conducted by Nelson Riddle. 

95376754-c27c-49e0-9200-78d37a76a49c.jpgMIDDLEBURG, Virginia - A new exhibition of works on paper, Picturing English Pastimes: British Sporting Prints at the NSLM opens July 29, 2016. The exhibition focuses on the early 19th century British print market and includes examples by some of the most popular publishers and well-known sporting artists of the era. The installation will feature approximately 25 works of equestrian subjects, such as horse racing, hunting, and coaching, and highlight different types of printmaking techniques. Curated by John H. Daniels Fellow Jennifer Strotz, the selection of prints includes hand-colored etchings, engravings, and aquatints, which capture the vibrancy of sporting life with rich hues and fine lines.

The works are part of a collection donated to the NSLM in 2012 by Mr. and Mrs. Norman R. Bobins. The Bobins collection is made up of over 120 prints from the late-18th through 19th century and includes a variety of sporting subjects. Strotz’s research examines the relationships between artists, engravers, and publishers, and their popular equestrian subjects. 

Strotz, who is currently part of the curatorial staff at the Thomas Jefferson Foundation, is interested in British sporting art, and printmaking in particular. She says, “My interest in British sporting prints first brought me to the NSLM while I studied art history at James Madison University - in between my own trail rides and fox hunting escapades.” She continued, “I am thrilled to have returned as a Fellow to collaborate with the Museum’s curators and further explore the rare book collection. 

The exhibition is the result of combining the Fellowship program with the extensive art collections and Library resources at the NSLM. Since 2007, the NSLM has hosted the John H. Daniels Fellowship program, which supports research and scholarship in the areas of history, art, and literature related to equestrian and field sports. For more information about the Fellowship program, visit: http://www.nationalsporting.org/nslm/fellowship

Join Jennifer Strotz for Coffee with the Curator on Saturday, July 30th, 10:00 - 11:30 a.m. A coffee reception will be held from 10:00 - 10:30 a.m., followed by a gallery talk in the Museum. Admission to this event is free to NSLM members and $5 for non-members. Coffee provided by Middleburg Common Grounds. RSVP to Anne Marie Barnes, Educational Programs Manager & Fellowship Advisor, (540) 687-6542 x25 ABarnes@NationalSporting.org

The National Sporting Library & Museum (NSLM) is located in Middleburg, Virginia, the heart of beautiful hunt country. Founded in 1954, the renowned research Library, and fine art Museum highlight the rich heritage and tradition of country pursuits. Angling, horsemanship, shooting, steeplechasing, foxhunting, flat racing, polo, coaching, and wildlife are among the subjects one can explore in the organization’s general stacks, rare book holdings, archives, and art collection. The NSLM offers a wide variety of educational programs, exhibitions, and family activities throughout the year, and is open to researchers and the general public. While there is no admission fee to the Library, the Museum charges $10 for adults, $8 for youths (age 13-18), and $8 for seniors. NSLM members and children age 12 and under are free. Library & Museum hours are Wednesday-Sunday 10:00 a.m. to 5:00 p.m.

Image: (after) John Nost Sartorius (English, 1759-1828), Engraved by John Harris (English, 1767-1832), Travellor Beating Meteor, 1790, aquatint, 16 ¼ x 20 ¾ inches, National Sporting Library & Museum, Gift of Mr. and Mrs. Norman R. Bobins, 2012

John Nost Sartorius commemorated one of the biggest upsets in English Turf history when the Prince of Wales’ Traveller beat the favorite, Meteor.  Despite his bad luck on this day, Meteor still holds the record for consecutive wins in Britain with twenty-one victories.  

 

Screen Shot 2016-06-24 at 9.08.13 AM.pngNew York, NY, June 23, 2016 — A century ago, Albert Einstein published the general theory of relativity, the crowning achievement of the great physicist’s illustrious career. In celebration of this landmark achievement, the Morgan Library & Museum will present a pop-up exhibition from June 27 through October 16 featuring a trio of Einstein items.  

The general theory of relativity, published in 1916, expanded on Einstein’s earlier 1905 special theory of relativity and its famous equation E=mc2. The exhibition features a letter written by Einstein to the noted astronomer Erwin Finlay Freundlich, who was attempting to confirm the general theory through astronomical observations. One of twenty-five such letters in the Morgan’s collection, Einstein questions Freundlich’s methods, which were ultimately unsuccessful.

In addition to the letter, the pop-up show includes a very rare written summation of the special theory in the scientist’s own hand. Also featured is a photograph inscribed by Einstein in 1921 while he was in the United States to deliver speeches and lectures, and to raise money for the newly founded Hebrew University in Jerusalem.

In this centenary year scientists are yet again confirming Einstein’s general theory. Just days ago U.S. researchers reported observations that detected gravitational waves caused by the collision between two black holes. This is the second time in human history that gravitational waves have been detected, proving definitely that Einstein’s June 1916 presentation of the general theory of relativity has passed the test.

Screen Shot 2016-06-10 at 10.19.44 AM.pngWorcester, MA—June 2016—Opening this fall at the Worcester Art Museum is the first comprehensive retrospective for artist Ed Emberley, among the most prolific and respected illustrators of children’s literature of the last 60 years.

KAHBAHBLOOOM: The Art and Storytelling of Ed Emberley draws on the Massachusetts­ based artist’s personal archive of original hand­drawn sketches, woodblock prints, final proofs, and first edition books to survey Emberley’s career and examine his influence on generations of readers and nascent artists. An interactive exhibition for intergenerational audiences, the show includes a specially designed reading area, as well as an active drop­in studio program where visitors of all ages can try their hand at making art using the lessons from Emberley’s books, at a replica of Emberley’s own studio table. KAHBAHBLOOOM opens November 16, 2016, and will run through April 9, 2017, and is being curated by artist, writer, and historian Caleb Neelon, in partnership with the Museum’s Audience Engagement Division.

Emberley’s career as an artist for children began in 1961 with The Wing on a Flea: A Book About Shapes, which was on the list of the top 10 New York Times illustrated books of the year, and was an American Library Association (ALA) Notable Book. Since then, Emberley’s output includes the Caldecott Honored One Wide River to Cross (1965), the Caldecott Medal winning Drummer Hoff (1967), the bestselling Go Away, Big Green Monster (1992) and over 100 others. He was and remains unusual for a children’s book illustrator, with a style and approach that varied radically from book to book. As a result, some of his books have become out­of­print cult classics, such as Suppose You Met a Witch (1973) and The Wizard of Op (1975), respected more now than they were at the time they were first published.

In 1970, Emberley published his first teaching book, Ed Emberley’s Drawing Book of Animals, which launched a series and remains one of the bestselling books of its kind. Focused on teaching children and young adults an ‘alphabet’ of simple shapes and marks, the books show step­by­step ways to draw faces, dragons, boats, devils, outer­space scenes, and more. These books—including Ed Emberley’s Thumbprint Drawing Book (1977), Ed Emberley’s Big Green Drawing Book (1979), and many more—have had an enduring impact on on a generation of professional artists and illustrators working today.

"It only took two of Ed Emberley’s drawing books to change me forever and set me on a path as an artist,” said guest curator Caleb Neelon. "He is so restlessly creative that he worked in radically different ways, changing styles and media from book to book, and that's quite unusual. Kahbahblooom allows viewers to experience all of Ed's diverse output and artistic energy, going beyond the books and into his entire creative process."

KAHBAHBLOOOM will be organized into sections that represent the primary media and methods of Emberley’s work as a picture­book artist, including over 100 works of art from Emberley’s own archive, and a presentation of all 100+ of Emberley’s books. The exhibition will also include a variety of interactive areas, where visitors, including families with children, can explore both the artistic techniques and books in greater detail. The exhibition will feature:

  • ●  A section examining Emberley’s Drawing Books, including original mockup pages he created for his editors. Among these are Thumbprint Drawing Book mockups with Emberley’s own thumbprints.
  • ●  A stylized reproduction of the artist’s drawing and light table from his home studio, where participants of all ages can try their hand at his techniques. 
  • ●  A section on Emberley’s use of printmaking media, ranging from his Caldecott­winning woodcuts, to silkscreen media of hand­cut rubylith, to cut cardboard and other media so simple they could be replicated in most any household with available materials. 
  • ●  Another section focuses on Emberley’s story books, exploring the artist’s lyrical and imaginative hand­drawn works, including both mockups and finished products. Also included are a range of other sketches that Emberley experimented with but that never made it into print. The section will provide insight into his techniques as an artist and the process of developing illustrations to accompany a story.
    “The art of the picture book may just be the most important art form there is, because it is the picture book that introduces most of us to art when we are children,” said Adam Rozan, director of audience engagement at the Museum. “Ed Emberley’s art engages on multiple levels. His use of line and color, and his evolving styles, demonstrate that illustrators are as much a part of art history and culture as photographers, painters, and sculptors. At the same time, by creating an exhibition that is as inviting as a ‘book nook’ at school or in a library, Emberley’s work inspires and cultivates the next generation of art lovers, artists, and museum visitors.”

Edward R. Emberley was born in Malden, Massachusetts, in 1931. He received a BFA from the Massachusetts College of Art and Design in painting and illustration. In 1955, he married Barbara Collins, who became his partner in life and work, along with their two children, Michael and Rebecca, who continue in the family business of books for children. Ed and Barbara have lived in the same 300­year­old house in Ipswich for more than fifty years. 

KAHBAHBLOOOM: The Art and Storytelling of Ed Emberley is guest curated by artist, writer and historian Caleb Neelon and is co­curated by the Worcester Art Museum’s Audience Engagement Division, including: Adam Rozan, Director of Audience Engagement; Marcia Lagerwey, Curator of Education; and Katrina Stacy, Associate Curator of Education. Neelon—an international public artist — has authored or collaborated on more than twenty books on urban history and art, including the landmark T he History of American Graffiti, co­authored with Roger Gastman (HarperCollins, 2011), and ED EMBERLEY, a retrospective he co­authored with Todd Oldham (AMMO Books, 2014).

1464118990989.jpgWashington, DC—Documenting the history of the Paris Salon from its emergence in the late 17th century through its decline during the early 20th century, In the Library: Growth and Development of the Salon Livret presents over 60 examples of literature related to the Paris Salon drawn from nearly 250 years of exhibitions. It is on view from June 20 to September 16, 2016, in the East Building Study Center.

About the Installation

The exhibition includes a variety of publications that document the rise and fall of the Académie royale de peinture et de sculpture and its exhibition, which came to be known as the Salon. Beginning as a checklist for the works on view, the livret (“little book” or catalog) was first published for the Salon of 1673. Appearing then as little more than a pamphlet in decorative wrappers, thelivret developed over time into a full catalog. During the latter half of the 19th century the livrets included not only additional entries but also supplemental information about the juries, the artists, and the rules of the organization. And throughout the 19th century, new printing technologies, from lithography to photography, allowed for the inclusion of increasingly more faithful reproductions of exhibited works in the livrets.

Developments beyond the academy can also be seen in the growing amount of literature surrounding Salon exhibitions. Art criticism, a new type of writing in the 18th century, evolved alongside the official exhibition livrets as authors began writing commentaries about the Salon. Later, the political upheavals of and following the French Revolution affected the administration of the Salon, whose own controversies, such as the dissatisfaction of member artists, persisted through the 19th century. By the early 20th century, independent exhibitions, each with its own published catalog, had become more frequent and contributed to the declining influence and importance of the official Salon.

Coinciding with the exhibition, the National Gallery of Art Library will publish Documenting the Salon: Paris Salon Catalogs, 1673-1945, compiled and edited by librarian John Hagood. As a bibliography, it lists the publications in the library by and about the organizations that hosted Salons in Paris. Two essays analyze the form and function of Paris Salons and Salon publishing in the ancien régime and in the 19th century. Written by Yuriko Jackall, assistant curator, department of French paintings, and Kimberly A. Jones, associate curator, department of French paintings, they reveal the history and taste of collecting as well as how the Paris Salon grew from a forum for elite, privileged artists and viewers into a more inclusive event. Documenting the Salon is made possible by a grant from The Florence Gould Foundation and will be distributed to museums, libraries, and art research organizations in the US around the world.

Organized by the National Gallery of Art and curated by Yuri Long, rare book librarian, this exhibition is open from 10:00 a.m. to 5:00 p.m., Monday through Friday.

Library and Rare Books Collection

The National Gallery of Art Library contains more than 400,000 books and periodicals, including more than 15,000 volumes in the rare book collection, with an emphasis on Western art from the Middle Ages to the present. The National Gallery of Art Library was founded in 1941, the year the Gallery opened to the public. In 1979, with the move to a seven-story facility in the Gallery's new East Building and the establishment of the Center for Advanced Study in the Visual Arts (CASVA), the library broadened its purpose and the scope of its collection. Its goal has been to establish a major national art research center, serving the Gallery's curatorial, educational, and conservation staff, CASVA members, interns, visiting scholars, and researchers in the Washington art community. Call (202) 842-6511 or refdesk@nga.gov for more information.

Department of Image Collections

The library's department of image collections is a study and research center for images of Western art and architecture and is one of the largest of its kind, numbering over 14 million photographs, slides, negatives, microforms, and digital images. The department serves the Gallery's staff, CASVA members, visiting scholars, and qualified researchers. Access to the library is by appointment only, from Monday through Friday. Call (202) 842-6026 or image-collections@nga.gov for more information.

Image: Explication des peintures, sculptures et gravures, de messieurs de l'Académie royale, Paris, 1765 and 1767, National Gallery of Art Library, David K. E. Bruce Fund

d637ca27-f45e-4a92-86f4-6007060f5035.jpgSince the mid-19th century, when the New York Knickerbockers played the first organized baseball games using modern-day rules, New York has been home to some of the sport's most successful and beloved teams. Opening June 10 at The Metropolitan Museum of Art, the exhibition The Old Ball Game: New York Baseball, 1887-1977 will include nearly 400 baseball cards featuring players from numerous teams, from the New York Metropolitans and the Brooklyn Bridegrooms to the Giants, Dodgers, Yankees, and Mets. All of the cards are from the collection of The Met; many will be on display for the first time.

Highlights of the exhibition include never-before-shown cabinet cards of the late 19th century, such as an 1894 example picturing George Davis, the Hall-of-Famer shortstop for the New York Giants. The first six hitters in the Yankees' famed 1927 lineup—Earle Combs, Mark Koenig, Babe Ruth, Lou Gehrig, Bob Meusel, and Tony Lazzeri, also known as "Murderers' Row"—will be represented through cards published in the 1920s and 1930s by the American Caramel Company and Big League Goudey Gum, respectively. The legendary "Shot Heard 'Round the World," in which outfielder Bobby Thomson led the New York Giants to win the National League pennant against the team's long-time rivals, the Brooklyn Dodgers, with his game-winning home run in 1951, will be recognized through 1952 Picture Cards issued by Bowman Gum. Joe DiMaggio, Mickey Mantle, Yogi Berra, Jackie Robinson, Reggie Jackson, and other major stars will be featured through cards published in the 1950s through 1970s.

The majority of the cards on display are drawn from the Jefferson R. Burdick Collection, the largest and most comprehensive collection of American trade cards ever assembled privately in the United States. Burdick (1900-1963), an electrician by profession, deposited more than 300,000 items at The Met between 1943 and 1963, including more than 30,000 baseball cards, for which he developed a cataloguing system that remains in use today. Since 1993, in response to the overwhelming enthusiasm of collectors and fans, The Met has put on display groupings from the Burdick Collection of several dozen baseball cards at a time, rotating them at six-month intervals.

The exhibition is organized by Allison Rudnick, Assistant Curator, Department of Drawings and Prints.

The exhibition will be featured on The Met's website, as well as on FacebookInstagram, and Twitter via the hashtag #OldBallGame.

The exhibition Printing a Child's World, on view nearby, will feature two works with a baseball theme: the George Luks painting Boy with Baseball (ca. 1925) and a recently donated Parian porcelain statuette, Catcher (ca. 1875-76), designed by Isaac Broome and manufactured by Ott and Brewer.

The Grolier Club is pleased to be the sole US venue for a presentation of French artists’ books from the remarkable Koopman Collection at the National Library of the Netherlands. The exhibition “Artists & Others: The Imaginative French Book in the 21st Century” is on view from June 1-July 30, 2016. Focusing on work designed and produced in the past 15 years, approximately 70 visually expressive books have been organized in six themes by curators Paul van Capelleveen and Sophie Ham. 

The exhibition emphasizes various aspects of modern typography and art that can be seen in books created by contemporary book artists, underscoring the extent to which the modern world is represented in their books. 

The collection was formed by Dr. Louis Koopman at the beginning of the 20th century as a tribute to his deceased lover, Anny Antoine. After Koopman’s death in 1968, the library built on his lifelong fascination with French literature and contemporary French artists’ books by amassing a collection that now numbers 10,000 volumes. The Koopman Collection is part of the Koninklijke Bibliotheek, the National Library of the Netherlands.

Modern Art and Books

Several sections of the exhibition focus on Globalism. Publishers such as Collectif Génération have invited artists to illustrate texts, reflecting new book forms and new attitudes towards graphic design through international collaboration. Three exhibition cases display French books that are conversant with Politics and Society including issues of privacy as well as waste and pollution, and women’s concerns and the body.  

Stylistically, the exhibition reveals how combining of genres has become commonplace: conventions taken from conceptual art appear alongside methods drawn from the world of the private press, but the traditions of the French “livre d’artiste” and of graphic design are also incorporated. 

On view are a protest publication in the form of a limited edition, a book of stories that mimics an accounts book, anarchistic works from a publishing collective La zone opaque that resemble private press publications, and cartoons presented as etchings. Included are works by artists, printers, authors and publishers from the United States, Germany, Italy, Australia, Argentina, Canada, Chile, Egypt, Russia, The Netherlands, Belgium, and Morocco.

The show forms a visual spectacle of art and typography. “One doesn’t have to read French to enjoy it!” comments curator Paul van Capelleveen.

Towards a New Tradition in Book Design

The show mirrors the interests and concerns of 21st century artists as well as book publishers. The books demonstrate unusual combinations of technique, subject, and genre. Technically, a fluidity of book traditions has become noticeable in recent artists’ books. This includes digitally set texts, scans, elements of chance, typographical juxtapositions, and  randomness in word and image perceived in a random order; these, coupled with a resurgent interest in analogue techniques, open up a vast array of possibilities. Interest is simultaneously being shown in analogue and digital techniques.  

One example that illustrates the concepts of technique, style, and genre is Didier Mutel’s three volumes of information and misinformation. He combines the texts of Stéphane Mallarmé, Un Coup de Dés Jamais N'Abolira le Hasard, with God Bless America, and speeches by George W. Bush and Tony Blair.  It is an artist’s book with etchings on deluxe paper; a private press book designed by one individual; and a political pamphlet with a commentary on the Iraq war. The poem by Mallarmé is represented by soundwaves, executed in etching. The soundwaves of the political speeches do not express the words of the politicians. Their place has been taken by Mallarmé’s text. Art conquers politics.

Videos show how some of these books have been designed and printed. “Ultimately nothing can really be predicted beforehand,” notes Mr. van Capelleveen.

Publication:

Copies of the book that accompanies the exhibition are available at the Grolier Club, price $30. 

Related Events:

Wednesday, June 1, 2016, 6:00 PM - 7:30 PM: Curator Talk: Paul Capelleveen will speak on the themes of the exhibition. Reception follows. 

Thursday, June 2, 2016, 6:00 PM - 7:30 PM: Artists' Book Round Table. “Books Crossing Borders 1: The Changing Identity of the Artist’s Book.” The first of two round table discussions on the themes of the exhibition.  Chair: Ruth Rogers (curator, Wellesley College). Speakers: Didier Mutel (artist, Paris), Pierre Walunsinski (typographer, book dealer, Paris), Shirley Sharoff (artist, Paris), Matthew Tyson (artist, printer, Crest). Reception follows.

Tuesday June 7 and Tuesday June 14, 2016, 1:00 PM - 2:00 PM: Lunchtime Exhibition Tours. Curator Paul van Capelleveen will lead a tour of the exhibition. Free and open to the public. 

Thursday, July 28, 2016 6:00 PM - 7:30 PM: Artists' Book Round Table. “Books Crossing Borders 2: The Migration of French Artists’ Books to the USA.” The second of two round table discussions on the themes of the exhibition. Chair: Jane Siegel (librarian, Columbia University). Speakers: Hélène Campaignole (Sorbonne University, Paris), Robbin Ami Silverberg (artist,New York), Timothy Young (curator, Yale University), Didier Mutel (artist, Paris) Reception follows.

VISITING THE GROLIER CLUB

47 East 60th Street

New York, NY 10022

212-838-6690

www.grolierclub.org

Hours: Monday - Saturday, 10 am to 5 pm

Admission: Exhibitions are open to the public free of charge

city-of-soul-turner.jpgNew York, NY— During the one hundred year period from 1770 to 1870, often called the Romantic Era, hosts of artists traveled to Rome and witnessed the most dramatic transformation of the Eternal City since ancient times—from papal state to the capital of a unified, modern nation. Painters such as Jean-Baptiste-Camille Corot and J. M. W. Turner, writers such as John Keats and Nathaniel Hawthorne, and a coterie of early photographers were among those who documented the city’s historical sights and monuments amidst what amounted to a massive project of urban renewal. 

City of the Soul: Rome and the Romantics, a new exhibition at the Morgan Library & Museum opening June 17, explores the broad sweep of artistic responses to this extraordinary period in Rome’s history. Featuring a variety of media—including drawings, prints, books, manuscripts, letters and photographs—the show demonstrates the continuing hold magnificent ruins and scenic vistas had on artists, even as the need for new government buildings and improved transportation would alter some of these sights forever. At the same time, the exhibition looks at work by individuals who found the changing contemporary scene alluring and who captured the evocative interaction between daily street life and the layers of Roman history forever in the backdrop.

“Today, we are fascinated by how rapidly cities change and how neighborhoods go through a cycle of development and destruction, which seems to occur almost overnight,” said Colin B. Bailey, director of the Morgan Library & Museum. “City of the Soul brings us to such a moment in one of the world’s greatest cities, Rome, seen from the vantage point of artists, writers, and photographers. The Morgan’s diverse collections of art and literature, supplemented with select loans from public and private sources, allow us to tell this story in a particularly engaging manner.” 

THE EXHIBITION

I. The Greatest Theater in the World

In the nineteenth century, Italian nationalist and founding father Giuseppe Garibaldi characterized the view of Rome from the Janiculum Hill as “the greatest theater in the world.” Garibalidi’s metaphor embraces the full sweep of history, the rich interplay of past and present, and it was this urban palimpsest that so attracted Romantic-era artists and writers. Many were drawn to the city’s ruins and eternal qualities, while others sought out the current social and cultural milieu.

Turner’s Interior of St. Peter’s Basilica employs transparent washes to capture the atmospheric effects of the grand structure. The flood of light descending from Michelangelo’s dome seems almost palpable as it casts into relief the spiral columns of Bernini’s baldachin in the distant crossing. Turner understood that the titanic architecture of St. Peter’s is not so much an exercise in the deployment of mass and surface as it is about the molding of space, which flows freely through the nave, aisles, and crossing. The artist introduces diminutive human figures to establish the colossal scale of the basilica, which was often criticized in the nineteenth century.

Over the course of the eighteenth century, the Piazza di Spagna became the hub around which hotels, lodging houses, and shops catering to tour ists and foreign residents were situated. Robert Turnbull Macpherson’s ca. 1856 photograph The Spanish Steps shows this center of activity. In 1820 John Keats spent the last three months of his life in a house overlooking the steps—partially visible on the right. The piazza was also the center of the artists’ quarter. The Caffè Greco, where Macpherson regularly met with other photographers and artists, is nearby. The concentration of foreigners and artists around the Spanish Steps also attracted a picturesque population of beggars and models.

II. Speaking Ruins

Romantics approached Rome’s history and monuments more emotionally and less analytically than their Renaissance and Enlightenment predecessors. The association of ruins entailed much more than crumbling masonry and marble fragments. In the mid-eighteenth century, fresh from a trip to Rome, Giovanni Battista Piranesi remarked, “Speaking ruins have filled my spirit with images.” Lord Byron, after a visit to the Colosseum, would evoke living nature amidst the decrepit structure. “Dead walls rear/their ivy mantels,” he wrote.

Painting in oil, Corot shared certain concerns with early photographers, including the manipulation of contrast. The Arch of Constantine and the Forum (1843) represents a remarkable fusion of solid structure and intangible, atmospheric space. The arch anchors the left side of the composition. The oblique view casts into bold relief its projecting elements, especially the columns and attic statues. Balancing the arch on the right side are the massive ruins of the Temple of Venus and Rome.

III. Rus in Urbe: Villas,Gardens, and Fountains 

The ancient Roman poet Martial coined the phrase rus in urbe to characterize urban estates offering the pleasures of the “countryside within the city.” Prior to 1870, Rome’s garland of villas blurred the distinction between the city proper and the landscape of the Campagna beyond, and much of the city was given over to formal gardens and vineyards. Cattle even grazed on the site of the Forum.

The gardens of the Villa Borghese, situated just outside the Aurelian Walls, were a favorite subject for landscape painters of the nineteenth century. Gustav Wilhelm Palm’s Entrance to the Giardino del Lago, Villa Borghese, Rome (1844) depicts one of the allées defined by ilex trees, laid out in the 1780s by Prince Marcantonio Borghese. Statues from the family’s extensive collection of ancient sculpture define the entra nce to a portion of the garden known as the Giardino del Lago.

Alfred-Nicolas Normand’s Statue of the Goddess Roma (1851) is a photograph of a colossal sculpture in the gardens of the Villa Medici, the gift of a pope to a cardinal in the Medici family. In Normand’s day, it was situated on the central axis of the garden so its silhouette could be viewed against the sky. The soft focus and grainy quality of Normand’s prints produce remarkably atmospheric and painterly effects.

IV. Magick Land

In the nineteenth century, the rolling hills of the Campagna studded with ruins were mostly deserted. The landscape painter Thomas Jones poetically characterized this picturesque combination of nature and classical architecture as “magick land.” The views offered countless prospects for artists.

Louis-François Cassas traveled extensively throughout the Mediterranean basin, producing drawings and watercolors that provided the basis for richly illustrated publications. He created a unique blend of archaeological site description with local color and dramatic reconstructions of ancient sites, such as Landscape with Arch of Drusus (1778). Depicting an arch on the Appian Way, Cassas in true Romantic spirit took liberties with his composition providing the structure with an expansive surrounding landscape which does not exist in reality.

V. Written from Rome

The Romantic image of Rome was as much the product of writers as of visual artists. The literary genre of the romance allowed novelists and poets to intertwine the real and the magical, the present and imagined past, as in Nathaniel Hawthorne’s 1860 Rome-based The Marble Faun, the last of his four major works.

The same might be said of travel diaries and letters, which mix description with impression. In a diary kept by Lord Byron, the great poet writes, “My first impressions are always strong and confused, and my memory selects and reduces them to order, like distance in the landscape, and blends them better, although they may be less distinct.” A letter by British novelist Wilkie Collins written on hotel stationery in January 1864 provides a highly personal evocation of Rome at the time. He describes seeing Pope Pius IX while taking snuff and characterizes the basilica of Santa Maria in Trastevere as “a mysterious, awful and ancient place.”

VI. From Drawing and Etching to Photography

Upon their departure, many visitors wished to take back with them portable distillations of the Eternal City. Over time, engraving, etching, lithography, and, finally, photography - all of which were capable of producing multiple images - met this demand. 

Piranesi, arguably the most inspired interpreter of Rome in any age, cast a long shadow that extended temporally well beyond his death in 1778. His iconic etching View of the Ponte Sant’Angelo and Castel Sant’Angelo (1750-51) presents a vista looking down the Tiber past the Castel Sant’Angelo and its bridge to the dome of St. Peter’s. While Piranesi’s work was often sold as loose sheets, tourists and collectors frequently had them bound in sumptuous folio volumes to take with them as they returned home.

The immediacy of plein-air painting, in the form of watercolors and oil sketches, influenced early photographers, many of whom came to the fledgling medium from training in the fine arts. By 1870, photography had displaced prints and paintings as popular souvenirs of Rome, at precisely the time when other new technologies - the railroad and steamship - were making it possible for increasing numbers of tourists to visit the city. Gioacchino Altobelli shrewdly composed his ca. 1868 photograph of the Castel Sant’Angelo mindful of Piranesi. The picture brings the viewer close to the fisherman in the foreground, a “local color” element that would have been appreciated by the photographer’s customers—affluent tourists who were then flocking to Rome with their Baedekers.

Image: Joseph Mallord William Turner (1775-1851). Interior of St. Peter’s Basilica. Watercolor, over traces of pencil, on board. The Morgan Library & Museum, Thaw Collection. Photography by Steven H. Crossot. Right: Robert Turnbull Macpherson (1814-1872). 

Aluf_PortraitSophieTaeuber-300x388.jpgNEW YORK, May, 2016—Dadaglobe Reconstructed, on view at The Museum of Modern Art from June 12 through September 18, 2016, will reunite over 100 works by more than 40 artists that were submitted to Tristan Tzara for his planned but unrealized 1921 anthology Dadaglobe. In Paris in late 1920, Tzara, a poet and a co-founder of Dada, drew up a proposal for an ambitious anthology to document the movement’s artistic and literary production. Along with artist Francis Picabia, Tzara sent solicitation letters to 50 artists and writers in 10 countries, requesting four categories of artworks—photographic self-portraits, photographs of artworks, original drawings, and designs for book pages—along with prose, poetry, or other verbal “inventions.” While some artists submitted existing works, many created new ones for the volume, making Dadaglobe one of the period’s most generative catalysts for the production of new Dada works. Due to financial and interpersonal difficulties, Dadaglobe was never realized, and while many of the works submitted are well-known today, their origin in this project has long been forgotten.

The result of six years of intensive archival research by Dada scholar Adrian Sudhalter that began with her examination of works in MoMA’s collection, Dadaglobe Reconstructed resituates iconic works of Dada in the original circumstances of their making. Tzara retained most of the contributions to Dadaglobe during his lifetime, but following his death in 1963 they were dispersed in public and private collections worldwide. This exhibition reunites for the first time the photographs, drawings, photomontages, collages, and manuscripts that were sent to Tzara through the mail for reproduction on Dadaglobe’s pages, along with related archival material. Dadaglobe Reconstructed explores how artists recognized the potential of artwork in reproduction as a new artistic field, the cross-disciplinarity of their efforts, and their creation of works in dialogue with one another despite geopolitical boundaries, and demonstrates the resonance of those ideas today. The exhibition is organized by Kunsthaus Zürich in collaboration with MoMA, with the special participation of the Bibliothèque littéraire Jacques Doucet. It is organized at MoMA by Adrian Sudhalter, guest curator, and Samantha Friedman, Assistant Curator, Department of Drawings and Prints.

The exhibition is organized according to the four categories of works requested by Tzara. Of these categories, the prompt for self-portraits proved to be particularly generative for the creation of new works. “Please send a clear photo of your head (not body),” the invitation read, “you can alter it freely, but it should retain clarity.” While some contributors submitted straightforward headshots, others took Tzara up on his challenge to “alter” one’s photo “freely,” presenting cut-and-pasted, overdrawn, or otherwise manipulated portraits. Echoing the two components of an official bureaucratic form of identification, Picabia’s self-portrait for Dadaglobe, for example, is composed of two parts: a demonstratively handmade photomontage featuring his smiling visage—Tableau Rastadada (1920; a recent MoMA acquisition)—and the artist’s landmark drawing consisting of a signature, which he then signed: Francis Picabia by Francis Picabia (1920). Artists posed themselves amidst a range of milieus, from the intimate space of the studio to the dense stage of a cityscape; measured themselves in relation to artistic forebears; blurred traditional gender boundaries; and embraced myriad alter egos. Some even defied Tzara’s call for “clarity,” radically undermining the genre of portraiture by obscuring their faces or excising them altogether. For example, Sophie Taeuber staged a highly constructed self-portrait that was shot by Zurich studio photographer Nic Aluf. In this well-known Photograph of Sophie Taeuber with her Dada Head (1920), which was submitted to Tzara, her face is half-concealed by her polychrome, turned wood sculpture Dada Head (1920). That photograph is intimately related to another she submitted in the category “photographs of artworks”—the image of her painting Dada Head (flat) (1920), which compressed the sculpture onto the plane of the canvas. All four of these works—the two photographs, the sculpture, and the painting—are brought together in the exhibition.

Because Dadaglobe depended on contributions sent through the mail, artists could not send large-scale paintings or sculptures. Tzara therefore invited them to represent their works photographically, with an instruction to “Please send...2 or 3 photos of your works.” Even in the most straightforward responses to this call—photographs taken by the artists or hired studio photographers that document artworks with relative objectivity—the selection of works is noteworthy, revealing how artists chose to represent their work to far-flung, international audiences. One criterion seems to have been the artwork’s photogenic qualities: the degree to which the original object would translate to a legible, visually striking black-and-white photograph. Emphasizing this transformation, several key original artworks, including MoMA’s own sculpture by Marcel Duchamp, To Be Looked At (from the Other Side of the Glass) with One Eye, Close to, for Almost an Hour (1918), are shown alongside the photo graphs that would have represented them in Dadaglobe. In addition to divesting color from works, photography could transform artworks in other ways: confound a sense of scale; compress three dimensions into two; eliminate material distinctions; isolate an object from its surrounding space; and extend its circulation beyond the unique original. Some contributors not only anticipated, but embraced and exploited these transformations when conceiving their contributions. Max Ernst submitted the iconic photomontage Chinese Nightingale (1920) with a caption that intentionally misidentified it as a sculpture of monumental proportions, aware that it would resemble a photograph of a sculpture when reproduced on Dadaglobe’s pages. And Man Ray—who reveled in subverting the traditional documentary role of photography—selected and temporarily assembled found materials for the purpose of photographing them. His photographs L’Homme and La Femme (c. 1918-1920) reenvision Tzara’s call for photographs of artworks as artworks for photography.

The open-ended nature of the request for original drawings yielded a wide variety of works on paper, from diagrammatic ink drawings to enigmatic collages. “Please send 3 or 4 black and white drawings,” Tzara wrote, “One drawing can be colorful, but containing no more than 2 to 3 colors.” The only constraint was the palette, put forth because of the practical considerations of printing at the time. Artists adopted impersonal approaches to drawing including tracing and collage; turned to m echanical instruments such as the ruler, compass, and even the typewriter; and ceded artistic agency to automatic procedures. Such methods reveal the desire of these artists to renounce individual authority in their work—a concept key to Dada. A group of drawings by Cologne-based Dadaists Max Ernst and Johannes Baargeld are shown for the first time alongside examples of the “caption cards” that originally accompanied them, and which indicate their intended titles. Boldly graphic drawings by Jean (Hans) Arp and the lesser-known Italian artists Julius Evola and Aldo Fiozzi employ varying degrees of abstraction, reflecting a universal artistic language that could resonate across national and cultural borders.

While the Dadaglobe solicitation letter’s first three prompts elicited discrete works to be laid out by the editors alongside other images or texts, the final directive asked artists to consider the composition of an entire page—to act as book designers themselves. “In place of the color drawing, you can design a book page with or without text,” Tzara instructed. Though Tzara leaves the choice of whether or not to include text up to the contributor, the very suggestion encouraged artists to continue the disruptive practice of combining word and image that Dada had embraced since its inception. Whether handwritten or typed, meant to be legible or functioning principally as a graphic element, the inclusion of language in these works—such as Johannes Baader’s two Dada Milky Way collages—challenges the traditional distinction between seeing and reading, a practice emblematic of Dada’s disregard for boundaries in all domains.

SPONSORSHIP:

The presentation at MoMA is supported by the Swiss Arts Council Pro Helvetia.

PUBLICATION:

The exhibition is accompanied by a catalogue edited by Adrian Sudhalter, with a preface by the renowned Dada scholar Michel Sanouillet. It is published by Kunsthaus Zürich and Scheidegger & Spiess, and designed by the Zurich-based graphic designers NORM. In addition to a 160 page reconstruction of Dadaglobe, it includes an overarching scholarly essay by Adrian Sudhalter (guest curator), texts on the reception of Dadaglobe works in Zurich and New York, respectively, by Cathérine Hug (Curator, Kunsthaus Zürich) and Samantha Friedman (Assistant Curator, Department of Drawings and Prints, The Museum of Modern Art), a technical note by MoMA conservators Lee Ann Daffner and Karl Buchberg, and a fully illustrated checklist. 8 x 10", 304 pages, 390 illustrations. Hardcover, $59

Image: Nic. Aluf (studio photographer, 1884-1954). Portrait of Sophie Taeuber with her Dada Head. 1920. Gelatin silver print, 8 1/4 x 6 9/16" (20.9 x 16.6 cm). Dadaglobe contribution from Sophie Taeuber (Swiss, 1889-1943). Galerie Berinson, Berlin. Artwork © 2016 Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn. 

Amherst, MA- The work of Robert McCloskey, the writer and illustrator whose classic children’s books captivated generations, will be featured in Americana on Parade: The Art of Robert McCloskey this summer at The Eric Carle Museum of Picture Book Art. In celebration of the 75th anniversary of McCloskey’s most famous and enduring tale, Make Way for Ducklings (1941), The Carle’s retrospective will include much of the original art from this beloved book.

The recipient of two Caldecott Medals and three Caldecott Honors, McCloskey was a major force in twentieth-century children’s literature, despite working on less than 20 titles during his lifetime. He wrote and illustrated eight books of his own and illustrated 10 stories by other authors—including Journey Cake, Ho! (1953), written by his mother-in-law Ruth Sawyer. “I’m not prolific,” he once said. “It had to be right, and it often was.”

Americana on Parade: The Art of Robert McCloskey features more than 90 original artworks, ephemera, and rare preliminary book materials. While emphasis will center on Make Way for Ducklings, the exhibition considers McCloskey’s entire career ranging from his early publications Lentil (1940), Homer Price (1943), and Centerburg Tales (1951), which recall the artist’s youth in rural Ohio, to the family-based stories set in his adopted home state of Maine, such as Blueberries for Sal (1948) and Time of Wonder (1957). Curated by H. Nichols B. Clark, founding director and chief curator emeritus, the exhibition also showcases a selection of independent work—watercolors and paintings that connect McCloskey to such prominent American painters as Thomas Hart Benton and Edward Hopper.

Robert McCloskey, born in Hamilton Ohio in 1914, loved to paint, play the harmonica, and tinker with machines as a boy. He recalled, “I collected old electric motors and bits of wire, old clocks and Meccano sets. I built trains and cranes with remote controls, my family’s Christmas trees revolved, lights flashed and buzzers buzzed, fuses blew and sparks flew. The inventor’s life was the life for me—that is, until I started making drawings for the high school annual.” In 1932, during his senior year of high school, he won a three-year scholarship to study art in Boston, the city that later became the setting for Make Way for Ducklings. McCloskey also attended the National Academy of Design in New York, where he received numerous awards. Despite his talent, McCloskey’s lofty artistic aspirations were grounded by the reality that his paintings were not selling. He came to illustration almost by accident when he called upon the legendary children’s book editor May Massee at Viking Press.

Massee was the aunt of one of McCloskey’s high school classmates. Reviewing his portfolio of pretentious drawings and ideas about Pegasus, Spanish galleons, and other exalted literary subjects, Massee counseled the fledgling artist to focus on what he knew. McCloskey went home to Ohio and took this advice to heart. When he returned to New York in 1939, he presented Massee with a highly-rendered dummy for Lentil (1940), a partially autobiographical story about a young boy whose harmonica-playing talent “saves the day” for a big event in Alto, Ohio (based on McCloskey’s hometown). Massee responded enthusiastically by acquiring the story for Viking. Thus, she laid the first stone on a new career path for McCloskey.

McCloskey often expressed bemusement at his fabled career. There had, he said, been so few children’s books when he was growing up that it had never occurred to him that he would one day work in the same “field.” He claimed he didn’t know anything about children’s literature: “I think in pictures,” he said. “I fill in between pictures with words. My first book I wrote in order to have something to illustrate.”

It was, however, a story McCloskey had heard about a family of ducks that stopped traffic in the streets of Boston that piqued his interest and led to the book that would catapult him to fame and firmly establish his professional vocation. He showed a preliminary dummy to Massee, who advised McCloskey that he needed to learn a lot more about ducks in order to draw them well. He spent two years studying mallard specimens at the American Museum of Natural History and seeking guidance from an ornithologist. Eager to accurately capture their movements and personalities, he purchased 16 ducks that came to live in his small Greenwich Village apartment and serve as models (“No effort is too great to find out as much as possible about the things you are drawing,” he once opined). McCloskey had hoped to illustrate the book in watercolor, but Massee declined, concerned about the high cost of color printing. Make Way for Ducklings was printed in warm sepia; incredibly, McCloskey drew the final images on zinc lithographic plates backwards!

McCloskey married and had two daughters, Sally and Jane, both of whom played starring roles in his books. He and his family spent summers at their home on Deer Isle in Maine, the setting for four of his picture books, including Blueberries for Sal (1948) and Time of Wonder (1957). The Library of Congress named McCloskey a Living Legend in April 2000. He died in 2003, at the age of 88, at his home on Deer Isle. 

An exhibition catalog with a forward by children’s literature historian Leonard S. Marcus and an essay by H. Nichols B. Clark will be available in The Carle Bookshop. 

Support for this exhibition has been generously provided by Penguin Young Readers.

EXHIBITION PROGRAMMING

Every Day Art Program: It’s All About Blue

June 8 - July 19
Robert McCloskey’s Blueberries for Sal is the quintessential summertime story. Explore the magic of cool colors like blue, purple and green with this surprise activity!

Members Opening Reception: Americana on Parade: The Art of Robert McCloskey

June 18, 5:00 - 7:00 pm

5:00 pm Reception
6:15 pm Remembering Robert McCloskey: A Conversation with Curator Nick Clark and Sally and Jane McCloskey 

Gallery Talk: Make Way for McCloskey
June 19, 1:00 pm
Free with Museum admission
Curator Nick Clark leads an informative tour through the exhibition Americana on Parade: The Art of Robert McCloskey.

Special Storytime: Ryan T. Higgins

June 19, 2:00 pm
Free with Museum admission

Make way for the goslings! In Ryan T. Higgins’ book, Mother Bruce, Bruce the bear discovers his hard-boiled goose eggs contain real live goslings. He tries to get them to fly south, but the goslings are convinced Bruce is their mother. What’s a bear to do? 

ABOUT THE MUSEUM

The mission of The Eric Carle Museum of Picture Book Art, a non-profit organization in Amherst, MA, is to inspire a love of art and reading through picture books. The only full-scale museum of its kind in the United States, The Carle collects, preserves, presents, and celebrates picture books and picture book illustrations from around the world. In addition to underscoring the cultural, historical, and artistic significance of picture books and their art form, The Carle offers educational programs that provide a foundation for arts integration and literacy.

Eric Carle and his wife, the late Barbara Carle, co-founded the Museum in November 2002. Carle is the renowned author and illustrator of more than 70 books, including the 1969 classic The Very Hungry Caterpillar. Since opening, the 40,000-square foot facility has served more than half a million visitors, including 30,000 schoolchildren. The Carle houses more than 13,000 objects, including 6,600 permanent collection illustrations. The Carle has three art galleries, an art studio, a theater, picture book and scholarly libraries, and educational programs for families, scholars, educators, and schoolchildren. Educational offerings include professional training for educators around the country and Master’s degree programs in children’s literature with Simmons College. Museum hours are Tuesday through Friday 10 a.m. to 4 p.m., Saturday 10 a.m. to 5 p.m., and Sunday 12 noon to 5 p.m. Open Mondays in July and August and during MA school vacation weeks. Admission is $9 for adults, $6 for children under 18, and $22.50 for a family of four. For further information and directions, call (413) 559-6300 or visit the Museum’s website at www.carlemuseum.org

BOSTON - April 2016 - 2016 marks the 400th anniversary of William Shakespeare’s death, and Boston Public Library and the Norman B. Leventhal Map Center will honor the Bard’s lasting legacy with two exhibitions at the Central Library this fall, as well as programming at library locations citywide. Boston Public Library holds one of the largest and most comprehensive collections of Shakespeare in a public institution, including the first four folios of his collected works, 45 early quarto editions of individual plays, and thousands of volumes of early source material, commentaries, translations, manuscripts, and more.

“At some point in life, everyone has experienced the work of Shakespeare," said Mayor Martin J. Walsh. "These opportunities at the Boston Public Library give all the chance to learn more about the creative genius of Shakespeare and how his legacy lives on today."

Shakespeare Unauthorized: Experience the original works of “The Bard”

Shakespeare Unauthorized, a major gallery exhibition on view from October 13, 2016 through March 31, 2017, will include extraordinarily rare first and early editions of familiar and beloved plays like A Midsummer Night’s Dream, Hamlet, and The Merchant of Venice, as well as all four Shakespearean folios, most notably the BPL’s own copy of the world-famous First Folio. Through the pages of these precious books, visitors can experience Shakespeare in his original language and spelling, just as he would have been read by book lovers and theater-goers hundreds of years ago.  Shakespeare Unauthorized will take place in the McKim Exhibition Hall on the first floor of the McKim building at the Central Library in Copley Square.

Shakespeare Unauthorized is made possible through the financial support of Iron Mountain Incorporated (NYSE: IRM), a leader in storage and information management services. Based in Boston, Iron Mountain provides charitable grants of funding and in-kind services to cultural and historical preservation projects like Shakespeare Unauthorized all over the world through its Living Legacy Initiative.

”We’re proud to help bring this exhibition to life in our home city of Boston,” said Ty Ondatje, senior vice president, Corporate Responsibility and Chief Diversity Officer at Iron Mountain. “Our philanthropic mission is to preserve and create access to our world’s cultural and historical treasures, those ideas and artifacts that make up the human experience, so that they can be shared and enjoyed by everyone. The works of Shakespeare are the very definition of these shared treasures, informing so much of how we view and talk about today’s world, and Iron Mountain couldn’t be more excited to underwrite the Library’s exhibition so they can make this collection available to all.”

Shakespeare Unauthorized will contain far more than just books of plays: this exhibition will feature surprising rarities and mysterious objects; scandalous forgeries made by con men and accomplished scholars; books from the luxurious private libraries of early English aristocrats; and memorabilia from four centuries of acting and stagecraft.

“We are indebted to Iron Mountain for their leadership grant to the Boston Public Library Foundation, and for partnering with the BPL in displaying its extensive collection of Shakespeare materials,” said Boston Public Library Interim President David Leonard.  “This exhibition of rare and invaluable items promises to provide an inspiring adventure for all who visit. We are also very grateful for the critical funding provided by The Boston Foundation, and the Associates of the Boston Public Library, for curatorial and conservation work that supported this project.”

Shakespeare’s World: Charting a course through the settings of Shakespeare’s works

The Norman B. Leventhal Map Center at the Boston Public Library, an independent, non-profit institution, will feature a complementary exhibition Shakespeare’s World opening September 3, 2016 and running through February 2017, with associated programming to be announced. William Shakespeare’s comedies, tragedies, and histories take place in a number of fascinating and often picturesque locations throughout Europe, Asia and Africa, in eras from classical times to the Renaissance.  In this exhibition of forty maps, images and three-dimensional objects, visitors will visit these locales by seeing items from Shakespeare’s lifetime, learning about the world in the time of Shakespeare, and understanding the symbolic role that geography held to the dramas.

Kronborg Castle in Denmark, known as Elsinore in Hamlet, will be highlighted in the exhibition.  A 1629 Dutch map depicting the Danish Kingdom, along with a vignette illustrating “Elsenor,” will be on display.  Complementing this map will be an original print of “Cronenburg” from Samuel von Pufendorf’s 1696 historical atlas.  Geographically-significant quotes from the dramas will set the stage for the visitors, such as Marcellus’ line from Hamlet, “Something is rotten in the state of Denmark” (Act 1, scene 4).  Visitors will also see Heinrich Bünting’s famous “Clover leaf map” from 1581 and Abraham Ortelius’ 1570 edition of Theatrum Orbis Terrarum.

“This is an unusual opportunity for visitors to see rarely displayed treasures from the Boston Public Library’s collection, as well as prized maps from the collection of our founder Norman B. Leventhal, all helping The Bard’s world come alive to visitors,“ said Connie Chin, President of the Norman B. Leventhal Map Center.

Related public programs will take place citywide and a schedule is currently in development.

About BOSTON PUBLIC LIBRARY
Boston Public Library has a Central Library, twenty-four branches, map center, business library, and a website filled with digital content and services. Established in 1848, the Boston Public Library has pioneered public library service in America. It was the first large free municipal library in the United States, the first public library to lend books, the first to have a branch library, and the first to have a children’s room. Each year, the Boston Public Library hosts thousands of programs and serves millions of people. All of its programs and exhibitions are free and open to the public. At the Boston Public Library, books are just the beginning. To learn more, visit bpl.org.

About IRON MOUNTAIN

Iron Mountain Incorporated (NYSE: IRM) is a leading provider of storage and information management services. The company’s real estate network of more than 69 million square feet across more than 1,100 facilities in 37 countries allows it to serve customers around the world. And its solutions for records management, data management, document management, and secure shredding help organizations to lower storage costs, comply with regulations, recover from disaster, and better use their information. Founded in 1951, Iron Mountain stores and protects billions of information assets, including business documents, backup tapes, electronic files and medical data. Visit www.ironmountain.com for more information.

About the NORMAN B. LEVENTHAL MAP CENTER
The Norman B. Leventhal Map Center is ranked among the top 10 map centers in the United States for the size of its collection, the significance of its historic (pre-1900) material, and its advanced digitization program. It is unique among the major collections because it also combines these features with exceptional educational and teacher training programs to advance geographic literacy among students in grades K-12 and enhance the teaching of subjects from history to mathematics to language arts. The collection is also the second largest in the country located in a public library, ensuring unlimited access to these invaluable resources for scholars, educators, and the general public. The Leventhal Map Center, created in 2004, is a nonprofit organization established as a public-private partnership between the Boston Public Library and philanthropist Norman Leventhal. Its mission is to use the Boston Public Library’s permanent collection of 200,000 maps and 5,000 atlases and a select group of rare maps collected by Mr. Leventhal for the enjoyment and education of all through exhibitions, educational programs, and a website that includes thousands of digitized maps at maps.bpl.org. The map collection is global in scope, dating from the 15th century to the present, with a particular strength in maps and atlases of Boston, Massachusetts, and New England.

REMBRANDT edited low res.jpgNew York, NY, April 20, 2016 — Completed when he was just twenty-three years old, Rembrandt’s Judas Returning the Thirty Pieces of Silver has long been recognized as the artist’s first mature work, his first masterpiece. The painting demonstrates many of the characteristics that would come to define Rembrandt’s style: dramatic lighting, a rhythmic harmony of composition, and his exceptional ability to convey the emotional drama of a scene. Long held in a British private collection, the painting will be shown in the United States for the first time at the Morgan beginning June 3 in a new exhibition titled Rembrandt’s First Masterpiece.

Adding to the importance of the presentation, Judas Returning the Thirty Pieces of Silver is one of very few Rembrandt works for which several preparatory drawings survive. The exhibition reunites the painting and the drawings for the first time since their creation, offering visitors an unprecedented opportunity to take a glimpse over Rembrandt’s shoulder as he worked on this composition.

Among the first to recognize the greatness of Rembrandt’s Judas Returning the Thirty Pieces of Silver was the famous Dutch diplomat, poet, musician, and art connoisseur Constantijn Huygens. The manuscript of Huygens’s autobiography which contains his lyrical account of the painting will be lent by the Royal Library in The Hague and included in the exhibition.

Also on view will be a number of early self-portraits that show the young Rembrandt at the time he painted the panel, and some two dozen etchings and drawings of scenes from the life of Christ that illustrate the development of the artist’s narrative style. Many of the items on view are from the Morgan’s own collection of Rembrandt prints and drawings, and the exhibition also features loans from the Metropolitan Museum of Art; the British Museum, London; the Rijksmuseum, Amsterdam; and the Kupferstichkabinett, Berlin.

“Judas Returning the Thirty Pieces of Silver is an extraordinary painting that shows Rembrandt at an early age tackling one of the most powerful episodes in the Bible,” said Colin B. Bailey, director of the Morgan Library & Museum. “He, like many of his contemporaries, aspired to be a painter of history and looked for inspiration to well-known religious subjects, as well as mythology and Greek and Roman history. The exhibition presents visitors with the opportunity to discover a rarely seen masterpiece and to explore the creative process by which the young artist gave visual form to the dramatic encounter.”

THE EXHIBITION

I. Judas Returning the Thirty Pieces of Silver, 1629 Although the Judas scene is one of the more memorably emotional episodes from the narrative of Christ’s life, it was a relatively rare subject for painters when Rembrandt undertook it in 1629. The theatrical staging, bold lighting, and a fascination with exotic costumes seen in the painting are all characteristic of his work. Above all, however, Rembrandt concentrated on the depiction of human emotion, and the central focus of the scene remains the contrast between the haughty priests of the temple and the kneeling Judas, writhing in agony in the foreground. The artist labored over the preparatory drawings and the composition. Five studies for the painting document Rembrandt’s pattern of invention as he devised the scene. Close study of the painting surface and x-ray photographs also reveal that he continued to make changes as he worked.

II. Self-Portraits

During his long career, Rembrandt painted, drew, and etched more self portraits than almost any other artist. In the years around the time he painted Judas Returning the Thirty Pieces of Silver, the young artist used his face to reproduce different expressions and emotions. This intense study of his own features proved an invaluable source for his work. As Rembrandt’s student Samuel van Hoogstraten would go on to advise artists in 1678: “[B]enefit can be gained from the depiction of your own passions, especially in front of a mirror, where you are simultaneously the creator and the spectator.” Rembrandt also made self-portraits as a means of presenting himself to the outside world. This is especially the case with his prints, which he could distribute in greater numbers than paintings or drawings. The ambitious, up-and-coming artist was conscious of his image, as the group of etchings from this period shows.

In a self-portrait dated ca. 1628-9, Rembrandt has a neutral, if slightly stern, expression. The artist executed the face, hair, and the contours of the clothing with pen and ink. With a brush he then generously applied gray wash to define the clothing and add volume to the already thick curls. This combination of brown ink and gray wash is unusual for Rembrandt, but also appears in another self-portrait, and in one of the Judas drawings.

Self-Portrait in a Cap, Wide-Eyed and Open-Mouthed features the artist with his head towards us in a state of utter bewilderment. One of the most iconic of all his self-portrait prints, this work ingeniously demonstrates the impression of sudden surprise by depicting his face close-up, by cutting the image at the top, and by placing us at a slightly lower angle, looking up. The poignant highlights in his eyes increase the immediacy of the work.

III. Rembrandt and the Gospel

The life of Christ remained a subject of perpetual fascination to Rembrandt, and from his earliest etching to his later works, the artist returned to episodes from the gospel narratives. In some cases, he devised wholly new versions of subjects undertaken years earlier; in other cases, he would work and rework a subject on a single copper plate, producing the radically revised etching states for which he is famous. Perhaps unexpectedly, however, Rembrandt did not approach the episode of Judas returning the silver again.

A selection of Rembrandt’s gospel scenes is included in the exhibition, allowing a look at the ways in which Rembrandt’s narrative style evolved over the course of his career. The Circumcision on view in the exhibition, is considered to be the artist’s first etching, made while he was working in Leiden alongside Jan Lievens, who had already experimented with printmaking. Its awkward execution, unconvincing spatial setting, and the figures’ lack of volume suggest an artist struggling to master a new technique. He would soon adopt a freer, more drawing-like style for his etchings as he developed a more individualized manner.

Surprisingly, Rembrandt never created a painting or print of the Last Supper. However, a series of drawings on view in the exhibition shows the artist’s engagement with Leonardo da Vinci’s famous painting of the subject. Rembrandt never traveled to Italy or saw the original, but instead studied several prints after Leonardo’s work.

IV. Rembrandt’s Repertoire

The painting’s Judas figure has been singled out for special praise by writers, and it would initially seem that the pose was created in response specifically to the gospel text describing Judas’s despair. Yet, Rembrandt adapted the same figure for very different means in other works. In his earliest depiction in print of St. Jerome, Rembrandt employed a variant of the kneeling, praying figure. The humble, devotional pose adapted well to a characterization of the learned hermit holy man.

Similarly, Rembrandt reused the early adaptations of the Judas figure in his etching of Saints Peter and Paul healing the Cripple. In all these compositions, however, it was the expressive potential of the figures that was the key. One of Rembrandt’s pupils, Jan van Vliet, would later remove the kneeling man from all narrative context, and produce the print commonly known as A Man Grieving, a study of pure human emotion. 

V. Praise by Constantijn Huygens Around 1629, the remarkable Dutch diplomat and art connoisseur Constantijn Huygens saw the Judas Returning the Thirty Pieces of Silver in Rembrandt’s workshop. He was so impressed that he wrote a lyrical account of this painting in his autobiography: “The gesture of that one despairing Judas (not to mention all the other impressive figures in the painting), that one maddened Judas, screaming, begging for forgiveness, but devoid of hope, all traces of hope erased from his face; his gaze wild, his hair torn out by the roots, his garments rent, his arms contorted, his hands clenched until they bleed; a blind impulse has brought him to his knees, his whole body writhing in pitiful hideousness. [...] Even as I write these words I am struck with amazement. All honor to thee, Rembrandt!” The Morgan is delighted that the manuscript of Huygens’s autobiography will be lent to the exhibition by the Royal Library in The Hague, where it will be displayed near the painting it so arrestingly describes.

EXHIBITION CATALOGUE

The accompanying exhibition catalogue includes about 55 illustrations and outlines the creative journey of Rembrandt in the making of Judas Returning the Thirty Pieces of Silver. The publication includes essays by Per Rumburg, now Curator of Exhibitions at the Royal Academy, London, and formerly Associate Curator at the Morgan and by Holm Bevers, Chief Curator of Dutch and Flemish Prints and Drawings at the Kupferstichkabinett, Berlin.

The Morgan Library & Museum

A complex of buildings in the heart of New York City, the Morgan Library & Museum began as the private library of financier Pierpont Morgan, one of the preeminent collectors and cultural benefactors in the United States. Today it is a museum, independent research library, music venue, architectural landmark, and historic site. A century after its founding, the Morgan maintains a unique position in the cultural life of New York City and is considered one of its greatest treasures. With the 2006 reopening of its newly renovated campus, designed by renowned architect Renzo Piano, and the 2010 refurbishment of the original library, the Morgan reaffirmed its role as an important repository for the history, art, and literature of Western civilization from 4000 B.C. to the twenty-first century.

The Morgan Library & Museum

225 Madison Avenue, at 36th Street, New York, NY 10016-3405

212.685.0008

themorgan.org

Image: Rembrandt van Rijn (1606-1669), Judas Returning the Thirty Pieces of Silver, 1629. Oil on panel. Private collection. © Private Collection, Photography courtesy of The National Gallery, London, 2016.

WASHINGTON—The National Museum of Women in the Arts (NMWA) is pleased to announce that NO MAN’S LAND: Women Artists from the Rubell Family Collection will be on view from Sept. 30, 2016, through Jan. 8, 2017. Organized by the Rubell Family Collection (RFC), Miami, the exhibition focuses on work by contemporary artists of different generations, cultures and disciplines. RFC collaborated with NMWA to realize a new vision for the expansive exhibition, which opened at the RFC’s space in Miami in Dec. 2015. Centering on images of the female body and works that explore the physical process of making, the exhibition imagines a visual conversation between artists new to the Rubell Collection and those whose works they began collecting decades ago.

NMWA will be the first traveling venue for NO MAN’S LAND. The exhibition presents a highly focused selection of work by more than 35 women artists who are generationally, aesthetically, intellectually and politically diverse. Born in 15 countries across five continents, the artists create paintings and sculptures with varied and often unconventional materials and in unexpected formats.

“We are excited to partner on NO MAN’S LAND with the Rubell Family Collection—one of the largest and most diverse privately held contemporary collections in the world,” said NMWA Director Susan Fisher Sterling. “In NO MAN’S LAND, large-scale paintings and sculptural hybrids reveal the expressive range of contemporary women artists and the expansive vision of the collectors who champion them.”

“Sharing our collection through traveling exhibitions and championing emerging artists at the forefront of contemporary art are key to the mission of the Rubell Family Collection,” said RFC Director Juan Roselione-Valadez. “We are pleased to bring these works to D.C. and to work on NO MAN’S LAND with the National Museum of Women in the Arts, the only major museum in the world solely dedicated to women in the arts.”

NO MAN’S LAND opened at the Rubell Collection in Miami in Dec. 2015, coinciding with the opening of Art Basel Miami Beach and generating strong attendance during the fair. It is on view through May 28, 2016.

The artists in the exhibition are: Nina Chanel Abney, Tauba Auerbach, Kerstin Brätsch, Cecily Brown, iona rozeal brown, Miriam Cahn, Mira Dancy, Karin Davie, Marlene Dumas, Isa Genzken, Sonia Gomes, Jennifer Guidi, Cristina Iglesias, Hayv Kahraman, Natasja Kensmil, Yayoi Kusama, Shurui Li, Helen Marten, Suzanne McClelland, Josephine Meckseper, Dianna Molzan, Wangechi Mutu, Maria Nepomuceno, Celia Paul, Solange Pessoa, Elizabeth Peyton, Jennifer Rubell, Analia Saban, Dana Schutz, Shinique Smith, Aya Takano, Mickalene Thomas, Rosemarie Trockel, Kaari Upson, Mary Weatherford and Anicka Yi.

This exhibition is organized by the Rubell Family Collection, Miami.

Rubell Family Collection

Established in 1964 in New York City, the Rubell Family Collection (RFC) is one of the world’s largest, privately owned contemporary art collections. In Miami, Florida, since 1993, the RFC is exhibited within a 45,000-square-foot repurposed Drug Enforcement Agency confiscated goods facility and is publicly accessible. The Contemporary Arts Foundation (CAF) was created in 1994 by Don and Mera Rubell with their son Jason to expand the RFC’s public mission inside the paradigm of a contemporary art museum. Each year the Foundation presents thematic exhibitions, which often travel to museums around the world. The Foundation maintains an internship program as well as an ongoing educational partnership with Miami-Dade County Public Schools. In addition, the Foundation has a public research library containing over 40,000 volumes.

National Museum of Women in the Arts

The National Museum of Women in the Arts (NMWA) is the world’s only major museum solely dedicated to celebrating the creative contributions of women. The museum champions women through the arts by collecting, exhibiting, researching and creating programs that advocate for equity and shine a light on excellence. NMWA highlights remarkable women artists of the past while also promoting the best women artists working today. The museum’s collection includes over 4,700 works by more than 1,000 women artists from the 16th century to the present, including Mary Cassatt, Frida Kahlo, Alma Thomas, Lee Krasner, Louise Bourgeois, Chakaia Booker and Nan Goldin.

NMWA is located at 1250 New York Avenue, NW, Washington, D.C., in a landmark building near the White House. It is open Monday-Saturday, 10 a.m.-5 p.m. and Sunday, noon-5 p.m. For information, call 202-783-5000 or visit nmwa.org. Admission is $10 for adults, $8 for visitors 65 and over and students, and free for NMWA members and youths 18 and under. Free Community Days take place on the first Sunday of each month. For more information about NMWA, visit nmwa.org, Broad Strokes Blog, Facebook, Twitter or Instagram.

NEW YORK, NY, April 12, 2016 - The documents that broke baseball’s color barrier and helped spark the Civil Rights Movement will be on view at the New-York Historical Society for a limited time only, beginning on April 15, Jackie Robinson Day. On April 11, 1947, Jack Roosevelt Robinson signed a contract with the Brooklyn Dodgers, thereby integrating Major League Baseball. To commemorate this historic event, Robinson’s signed contact with the Brooklyn Dodgers, as well as the contract he signed in 1945 when he joined the minor league team the Montreal Royals, were unveiled at a press conference in Times Square on Monday, April 11 hosted by Collectors Café, and will then be on display at the New-York Historical Society before embarking on a tour in the U.S. 

Jackie Robinson (1919-1972) became the first African American to play major league baseball after Brooklyn Dodgers President Branch Rickey chose him to integrate baseball. Facing antagonism both on and off the field―from fans, opposing teams, and even initially his own teammates―Robinson displayed astounding fortitude and dazzled the crowds on the field and at bat during his first season with the Dodgers, earning the first-ever Rookie of the Year Award. He retired with a career batting average of .311, 1,518 hits, 137 home runs, 734 RBIs, and 197 stolen bases and was elected to the Baseball Hall of Fame on the first ballot in his first year of eligibility (1962).

Throughout his life, Robinson remained an active supporter of civil rights, serving as a spokesperson for the NAACP and a political activist with the goal of advancing the rights of all Americans. In 2007, MLB declared April 15 Jackie Robinson Day, and in 2009, the league declared that all uniformed personnel would wear 42 on April 15. The Ken Burns documentary, Jackie Robinson, is broadcast on PBS on April 11 and 12.

WHAT:           Jackie Robinson’s signed contacts with the Montreal Royals (1945) and the Brooklyn Dodgers (1947)

WHEN:           April 15-22, 2016

WHERE:         New-York Historical Society - 170 Central Park West (at 77th Street), New York City

About the Collectors Cafe
Collectors Cafe is the premiere destination for collectors revolutionizing the collectors space and supported by TV and social media platforms. To learn more, visit: www.collectorscafe.com.

About the New-York Historical Society
The New-York Historical Society, one of America’s pre-eminent cultural institutions, is dedicated to fostering research, presenting history and art exhibitions, and public programs that reveal the dynamism of history and its influence on the world of today. Founded in 1804, New-York Historical is the oldest museum in New York City. New-York Historical has a mission to explore the richly layered political, cultural, and social history of New York City and State and the nation, and to serve as a national forum for the discussion of issues surrounding the making and meaning of history. For more information, visit: www.nyhistory.org.

MUSEUM AND STORE HOURS:
Tuesday-Thursday: 10 am - 6 pm
Friday: 10 am - 8 pm
Saturday: 10 am - 6 pm
Sunday: 11 am - 5 pm

MUSEUM ADMISSION
Adults: $20
Teachers and Seniors: $15
Students: $12
Children (5-13): $6
Children (4 and under): free
*Pay-as-you-wish Fridays from 6 pm - 8 pm.

A rare and valuable edition of Edmund Spenser’s The Faerie Queene, a landmark work in English literature, will be among the rare books on display at Duquesne University as part of National Library Week. 

The 1611 first-edition of The Faerie Queene and Shepheards Calendar, which was printed in London for the bookseller Matthew Lownes, will be one of the books at the center of Of Enduring Value: Rare Books at Duquesne University on Thursday, April 14, from 4 to 6 p.m. at Gumberg Library.

In addition to its age, this edition of The Faerie Queene and Shepheards Calendar also is exceptional in that it marks the first time that Spenser’s primary works were printed together.

“Students and faculty can now study The Faerie Queene in an edition printed just after Spenser’s death,” said Dr. Greg Barnhisel, chair and professor of English in the McAnulty College and Graduate School of Liberal Arts. “They will also be able to see for themselves how much effort and craftsmanship went into putting together a book in the second century of printing.” 

Dr. Robert Giannetti, a poet and the former owner of Bob’s Olde Books, an antiquarian bookstore in Lewiston, N.Y., donated the 405-year-old edition to the University last year in honor of his late dissertation advisor, Dr. Foster Provost. Giannetti earned his Ph.D. in English from Duquesne in 1979.

During the April 14 event, Giannetti will join Dr. Danielle St. Hilaire, assistant professor of English and an expert in British Renaissance poetry, to discuss The Faerie Queene.

The program also will feature a discussion about rare books—including a selection from The Rabbi Herman Hailperin Collection at Duquesne—readings and a ribbon-cutting ceremony for the newly remodeled Rare Book Reading Room at Gumberg Library.

Of Enduring Value: Rare Books at Duquesne University is free and open to the public. To RSVP, visit http://bit.ly/ofenduringvalue.  

Duquesne University

Founded in 1878, Duquesne is consistently ranked among the nation's top Catholic universities for its award-winning faculty and tradition of academic excellence. Duquesne, a campus of nearly 10,000 graduate and undergraduate students, has been nationally recognized for its academic programs, community service and commitment to sustainability. www.duq.edu

Screen Shot 2016-04-06 at 8.34.18 AM.pngKansas City, MO. April 4, 2016-When photography was introduced in 1839, the making of even a single picture was difficult and painstaking. The medium was transformed in the 1880s with the introduction of easier processes and the simple Kodak camera. Amateur photography was born: images became casual and spontaneous, and they were called “snapshots.”

Amateur snapshots are highlighted in An Anonymous Art: American Snapshots from the Peter J. Cohen Gift, which opens at The Nelson-Atkins Museum of Art in Kansas City April 15. The Chicago-born Cohen, an investment manager who now lives in New York, bought his first snapshots at a flea market in 1991. Within 20 years he had amassed more than 50,000 of them, and has given away as many as 12,000 snapshots. Cohen gifted the Nelson-Atkins with 350 photos.

“This incredible exhibition of amateur snapshots depicts broadly shared aspects of everyday life,” said Julián Zugazagoitia, Menefee D. and Mary Louise Blackwell CEO & Director of the Nelson-Atkins. “It highlights the deep cultural importance of photography, a visual tradition that flourishes today in images that are made and shared in a variety of ways.”

There are snapshots of pets, baseball games, Christmas trees, amateur plays, vacation fun-and even subjects snapping themselves in mirrors, which could be considered the original selfies.

“The large themes of this exhibition have tremendous continuity,” said Keith F. Davis, Senior Curator, Photography. “Snapshots represent a collective visual unconsciousness of 20th-century American culture-a connection to basic human concerns that is both direct and mysterious.”

Each of the 238 snapshots in An Anonymous Art was hand-selected by Davis himself from an extensive survey of the Cohen collection. The exhibition suggests the medium’s profound social importance as well as its quirky and surprising nature. It features groupings of works illustrating key visual traits and cultural motifs, ranging from accidental multiple exposures to comic and play-acting images. An Anonymous Art runs through Sept 4.

The Nelson-Atkins Museum of Art

The Nelson-Atkins in Kansas City is recognized nationally and internationally as one of America’s finest art museums. The Nelson-Atkins serves the community by providing access and insight into its renowned collection of nearly 40,000 art objects and is best known for its Asian art, European and American paintings, photography, modern sculpture, and new American Indian and Egyptian galleries. Housing a major art research library and the Ford Learning Center, the Museum is a key educational resource for the region. The institution-wide transformation of the Nelson-Atkins has included the 165,000-square-foot Bloch Building expansion and renovation of the original 1933 Nelson-Atkins Building.

The Nelson-Atkins is located at 45th and Oak Streets, Kansas City, MO. Hours are Wednesday, 10 a.m.-5 p.m.; Thursday/Friday, 10 a.m.-9 p.m.; Saturday, 10 a.m.-5 p.m.; Sunday, 10 a.m.-5 p.m. Admission to the museum is free to everyone. For museum information, phone 816.751.1ART (1278) or visit nelson-atkins.org.

Image: Unknown maker, American. Woman with drink on bed, 1950s. Gelatin silver print, 3 1/8 x 4 ½ inches. Gift of Peter J. Cohen, 2015.9.44.

This exhibition us supported by the Hall Family Foundation and the Campbell-Calvin Fund and Elizabeth C. Bonner Charitable Trust for exhibitions.

(4) Journals and Journalists copy.jpgThe Boston Athenæum is proud to present the upcoming exhibition, Collecting for the Boston Athenæum in the 21st Century: Prints & Photographs, opening to the public in the Athenæum’s Norma Jean Calderwood Gallery on Tuesday, April 6, and on view through Sunday, September 4.  A free and public reception celebrating the opening of the exhibition will be held on Tuesday, April 5, 5:30-7:30 pm, at the Boston Athenæum at 10½ Beacon Street, Boston, MA 02108.

Curated by Catharina Slautterback, Curator of Prints & Photographs, the exhibition will include more than 70 of the over 1,100 works of art on paper that have been acquired by the Boston Athenæum since the year 2000. Through these and other acquisitions, the Athenæum’s collection continues to capture the diversity and heterogeneity of New England, its coastline, inland forests, cities and villages, and farms and factories. This exhibition will embrace the eclectic and multifaceted nature of the institution’s collection, thereby celebrating the many faces of New England.

A wide variety of media, ranging from daguerreotypes and inkjet prints to lithographs and white-line woodcuts, will be on display. Historic objects dating from the mid- to late 19th century will hang alongside contemporary works by regional artists.

The exhibition will be arranged according to the following themes: New England views; Boston’s built environment; New England’s industrial revolution; maritime prints; portraits; and reform issues of the 19th century. Within each of these categories, the objects are stylistically eclectic. Views of New England, from Martha’s Vineyard to coastal New Hampshire, will be represented by a range of genres, including the bird’s-eye view, the panorama, the travel poster, and the vignette (Cape Cod and Under Lamplight). Boston’s built environment, both past and present, will be represented by chromolithographs, traditional and digital photographs, and watercolors. Aerial views and portraits of ecclesiastical and commercial buildings will be shown alongside depictions of tenement housing (Maker’s Mark). Group and individual portraits of both the famous and the unknown will be shown in a variety of forms from the conventional to the unusual (Representative Journals and Journalists). New England’s industrial revolution will be explored with 19th-century factory views celebrating new technology and transportation. (Swamscot Machine Co.).  Paired with these views will be contemporary depictions of abandoned or repurposed factory buildings (Factory at Day’s End).  New England’s maritime culture will be represented by a group of ship prints ranging from an 1845 lithograph by Fitz Henry Lane to a contemporary white-line woodcut of an Essex, Massachusetts, shipbuilding company (Steam Packet Ship Mass. in a Squall). A suite of prints addressing reform issues of the 19th century will also be displayed and will include a rare Boston-related political cartoon related to the Fugitive Slave Act of 1850 (Practical Illustration of the Fugitive Slave Law).

The Boston Athenæum’s first floor and Norma Jean Calderwood Gallery are open to the public seven days a week (Monday-Thursday, 9 am-8 pm; Friday, 9 am-5:30 pm; Saturday, 9 am-4 pm; Sunday, 12 pm-4 pm).  Public admission to the gallery is $5; members are admitted for free.

About the Athenæum’s Prints & Photographs Department

The Boston Athenæum has been acquiring works of art on paper since the early 1800s, but it was not until the mid-20th century that a department was established with a mission dedicated to visually documenting New England culture. Today, the department houses a nationally recognized collection of prints, photographs, and drawings dating from the 18th century to the present.

Primarily a collection of historical documentation, it provides a unique visual record of New England cultural and political life. The collection is particularly strong in prints, photographs, and architectural drawings depicting the built environment and the topography of Boston and New England in the 19th century. The collection also contains fine prints and photographs of the Civil War, as well as political cartoons, portraits, and historical prints that chronicle the history of the United States. The collections are also a significant resource for the study of American art. Specializing in works by Boston artists, photographers, and printmakers, the collection also traces the development of printing and photographic techniques in the 19th century.

Image: Unknown artist, Representative Journals and Journalists of America, 1882. Tinted lithograph. Boston Athenæum.

Utopia.jpgShapero Modern is delighted to present a new print by the acclaimed British artist Stephen Walter, 13th - 30th April, 2016.

Entitled Nova Utopia, the artwork is inspired by Thomas More’s philosophical novel Utopia, and a map of the world he imagined drawn by Abraham Ortelius. More’s book, which was published 500 years ago in 1516, depicts. Walter’s map updates this to the 21st century, showing a world of mass tourism, package holidays, retirement homes, luxury resorts, banking districts and cultural hotspots.

Nova Utopia is presented inside a ‘Hagioscope Frame’, with a movable magnifying glass lens, so rather than Utopia being a place for everybody, only one person may view a detail of the map at a time, creating a very personal, local experience that becomes a kind of metaphor for how utopias may be seen today.

Says Walter: ‘This map is essentially a collection of a number of utopian and dystopian manifestations, some that I yearn for, and also some of the things that I wish didn’t exist.

Image: Nova Utopia, 2013. Archival digital print with protective and UV glaze, 133.5 x 171.5 cm. © Stephen Walter. Courtesy TAG Fine Arts and Shapero Modern.

Visual art and performance art come together in a special program presented jointly by the Gershman Y and the Library Company of Philadelphia on Wednesday, April 20.  The evening begins at 5:00 PM at the Library Company of Philadelphia (1314 Locust Street) with an exhibition viewing and reception for Common Touch: The Art of the Senses in the History of the Blind, a multi-sensory exhibition curated by Philadelphia installation artist Teresa JaynesCommon Touch explores the nature of perception through original works by Jaynes and historical collections that document the education of the blind in the 19th century.

Following the viewing and reception, the evening moves to the Gershman Y (corner of Broad and Pine Streets) at 6:30 PM for a live performance by the renowned Terry Galloway of You Are My Sunshine - A Kind of Love Story.  Galloway offers her humorous perspective on life after receiving a cochlear implant and being thrust into a world of sound. You Are My Sunshine is a comic, sometimes moving, sometimes profane exploration of what happens to a woman after she literally regains her senses.  The performance will be followed by a discussion with Galloway and Haverford College Professor Kristin Lindgren, PhD.  Lindgren was a key organizer of Haverford College’s 2012 exhibition, What Can a Body Do? which explored disability through the visual arts, poetry, and scholarship.

Admission to the exhibition viewing and reception, as well as the performance, is free, but advance registration is required by calling 215-545-4400 or visiting GershmanY.org.

Common Touch: The Art of the Senses in the History of the Blind is a multimedia exhibition that looks at historical embossed and raised-letter documents for the visually impaired as a starting point for a multi-sensory exploration of the nature of perception. Inspired by her research in the Library Company’s Michael Zinman Collection of Printing for the Blind, artist-in-residence Teresa Jaynes has curated an exhibition that combines her own original works with historical collections.  This exhibit is supported by The Pew Center for Arts & Heritage.

Terry Galloway, a 2013 Alpert Award nominee, is a writer, director and performer for stage, radio, video, and film.  Her theater work has been produced in venues ranging from the American Place Theater in New York to the Zap Club in Brighton, England; her short videos have been featured in film festivals all over the world; and her poems, essays, and non-fiction have been widely anthologized.  She co-founded and became the artistic director for several companies including the Mickee Faust Club in Tallahassee, Florida, a 25-year old nonprofit theater for the queer, disabled, minority community that teaches novices the art of writing, performing, and producing original cabarets, radio shows, and short comic videos.  Under Galloway’s guidance, Faust has generated over 600 original theater scripts, produced 49 hour-long cabarets of original materials, and created 21 video shorts that have been featured in over 106 national and international film festivals and garnered over 31 awards for filmmaking excellence. 

Galloway’s eclectic performance history has been recognized with numerous awards, including five CPB Awards for Excellence in Writing for Khan-du, a television series targeted toward children with disabilities and seen on PBS’ KLRU; two B. Iden Payne Awards for Best Script and Best Actress for her solo performance Out All Night & Lost My Shoes from the Austin Circle of Theaters; three Public Radio New Directors Incorporated, Commentary Awards; and the Best Theater Activism Award from the Austin Chronicle for co-founding Actual Lives Austin, an activist theater for adults with disabilities.  Her memoir, Mean Little Deaf Queer, became a Lambda Award finalist and a winner of the Golden Crown award for non-fiction, and earned Galloway one of her three Florida Division Cultural Affairs Individual Artist Awards - one for literature, and two for theater.

The Gershman Y, a vibrant cultural and community center located in Center City Philadelphia on the Avenue of the Arts, is dedicated to celebrating the rich diversity, breadth, and vitality of the Jewish experience.   Offering a broad array of artistic, cultural, and educational experiences and outreach initiatives informed by Jewish values that inspire like-minded individuals to connect, converse, and create, the Gershman Y’s programs examine and rethink Jewish arts and culture for a new generation seeking to define what it means to be Jewish today.

exhibitions2016_queering-the-bibliobject_fowler_01-768x512.jpgWhen: April 15 - June 25, 2016

Opening Reception: April 15, 6-8pm

Artist Roundtable: Friday, May 13, 6:30pm

Gallery Talk & Catalogue Launch: Friday, June 17, 6:30pm

Where: 28 W. 27th St., 3rd Floor, NY, NY

Subway: N/R to 28th St, or F to 23rd St

Gallery Hours: Mon-Fri, 11am-6pm; Sat, 10am-5pm

Admission: Free

Event URL: http://bit.ly/1MkK0DV

The Center for Book Arts presents its Spring 2016 Main Gallery Exhibition Queering the BibliObject, on view April 15 through June 25, organized by John Chaich, Independent Curator, Designer, and Writer. An opening reception will take place April 15, 6-8pm, which will include a preface response by Ricardo A. Bracho, Every Day I (Un)Write the Book, at 7:30pm. Gallery admission is free. An artist roundtable will be held on May 13 at 6:30pm, and a Gallery Talk & Catalogue Launch will take place Friday, June 17 at 6:30pm.

A mix of assemblage, drawing, performance, photography, sculpture, and video, Queering the BibliObject presents contemporary lesbian, gay, bisexual, transgender, and queer artists who explore the book as an object, removed from the form and function of the traditional artist's book. The artists restrict access to the book; repurpose bound, printed matter as medium; reclaim context and content in order to reimagine narrative; and represent the self through, and/or relationship with, the book. In doing so, the works examine access, affect, and agency, while the exhibition considers the phenomenological, physical, and social relationships between books and queer lives across cultures and chronologies.

Artists included are: Nayland Blake, Justin Vivian Bond, Stefanie Boyd-Berks, 

Ricardo A. Bracho, Anna Campbell, charlesRyanlong, Eve Fowler, Leor Grady, 

Kris Grey, Garry Hayes, KleinReid, Aaron Krach, Aaron McIntosh, Lucas Michael, 

Allyson Mitchell, Catalina Schliebener, Tamale Sepp, Paul Mpagi Sepuya, 

Tony Whitfield, and Jade Yumang.

An anchor of the exhibition, Eve Fowler utilizes 62 books of lesbian and feminist writing that were duplicates on clearance at the ONE National Gay & Lesbian Archives in Los Angeles, which the artist has wrapped in a custom-made screen print and carefully piled, at once restricting and preserving access to herstories on the brink of extinction. Jade Yumang responds to the history and geography of desire by piling and cutting through vintage gay porn. charlesRyanLong creates a choir robe using pages of the biography of the late African American queer singer and icon Sylvester, while Aaron McIntosh recreates the cover of Harlequin Romance novel at life-sized scale by using the pages of the book itself and carving negative space for the traditionally female figure. The book and the body are explored in video piece by Kris Grey, in which the artist balances on his head the Diagnostic and Statistical Manual of Mental Disorders (DSM) manual that has pathologized transexuality, while Catalina Schliebener's assemblage and collage of children's book, instructional models, and blank journals move in and around a plexi-glass box to examine gender constraints and freedoms. Tony Whitfield documents how books live among decorative objects in his home library, while Allyson Mitchell draws shelves of books from Brooklyn's Lesbian Herstory Archives.

John Chaich is an independent curator, designer, and writer based in Manhattan. Recent exhibitions include Mixed Messages: A(I)DS, Art, and Words, produced for Visual AIDS at LaMama La Galleria (New York) and Transformer Gallery (Washington DC), and Queer Threads: Crafting Identity & Community at the Leslie-Lohman Museum of Gay and Lesbian Art (New York), the Maryland Institute College of Art (Baltimore), and the Mills Gallery at the Boston Center for the Arts. With Todd Oldham, he is the co-editor of the forthcoming coffee table book Queer Threads (AMMO Books). For four years he curated multi-arts programming for the Museum of Contemporary Art Cleveland. He holds an MFA in Communications Design from Pratt Institute.

A Curator Moderated Roundtable Discussion will take place Friday, May 13, 6:30pm, with artists Nayland Blake, Anna Campbell, and Tony Whitfield. A Gallery Talk & Catalogue Launch with artists Kris Grey, Aaron Krach, and Aaron McIntosh, and curator John Chaich is scheduled for Friday, June 17, 6:30pm, in honor of Pride Week. The exhibition catalogue will feature essays by Heather K. Love, Ph.D. (University of Pennsylvania) on affect and over-attachment and Scott Herring, Ph.D. (Indiana University, Bloomington) on queer objecthood. Suggested donation for the general public for these special events is $10 non-members/$5 members.

Image: Eve Fowler, 62 Books (2010). Courtesy of the artist.

image007.jpgBOSTON - The exhibition From the Sea to the Mountains: The Trustees 125th Anniversary opens at the Norman B. Leventhal Map Center (NBLMC) at the Boston Public Library on Saturday, April 2, 2016 and runs through August 28, 2016. The exhibition is a collaboration between the Norman B. Leventhal Map Center and The Trustees, featuring maps, photographs, and historic items from both collections to document the Trustees 125-year history of stewardship, conservation, and access to over 100 properties throughout Massachusetts. The Trustees is Massachusetts’ largest conservation and preservation organization and the world’s first land preservation nonprofit known for caring for cultural, natural, and scenic sites for public use and enjoyment. 

“The exhibition is an opportunity for visitors to explore through dynamic visuals the great state of Massachusetts, enjoying all that has been conserved through the dedicated work of the Trustees,” said Mayor Martin J. Walsh. 

From the Sea to the Mountains will give viewers a greater understanding of the rich history of Massachusetts from a variety of perspectives,” said Robert Melzer, Chair of the Norman B. Leventhal Map Center’s Board of Directors. “We are thrilled to collaborate with The Trustees and honor the past and present of the Commonwealth in a unique way.”

In celebration of The Trustees 125th anniversary, the exhibition features 70 items including maps, photographs, and historical items. Visitors will be introduced to Trustees properties, become familiar with a number of distinctive map formats, learn about natural landforms and geologic terms, and cultivate an appreciation for the natural, historical, and cultural treasures of Massachusetts.

“How appropriate to view our history through the lens of a map exhibition as we have literally been transforming, influencing, and saving the landscape of the Commonwealth for 125 years,” adds Barbara Erickson, Trustees President & CEO. “From the bird's-eye view, we can see how the state has changed; what has been saved, lost, and where our future lies.”

Examples of a variety of rare and unique maps from the 19th century to the present will be on display, including bird’s-eye views, town plans, tourist, trail, topographic, and GIS maps.  Historic and modern photographs of Trustees properties will also be on view, as well items once belonging to prior owners depicting how they lived on and enjoyed gardening, recreating, fishing, hunting, reading, picnicking and more at these iconic places.

In 1891 landscape architect Charles Eliot asserted the bold idea to form an organization that would preserve, for public use and enjoyment, properties of exceptional scenic, historic, and ecological value in Massachusetts.  At a time when land conservation and ‘being green’ was not widely discussed, his vision was forward thinking. Today, the organization he founded, The Trustees, oversees more than 26,000 acres of preserved places from the Atlantic Coast to the Berkshire Mountains.

The Leventhal Map Center is located in the Central Library in Copley Square, 700 Boylston Street. It is open Monday - Thursday: 10 a.m. - 7 p.m.; Friday and Saturday: 10 a.m. - 5 p.m.; and Sunday: 1- 5 p.m. The best entrance to use is the Dartmouth Street entrance via the McKim building, which faces Copley Square. 

About the NORMAN B. LEVENTHAL MAP CENTER
The Norman B. Leventhal Map Center is ranked among the top 10 map centers in the United States for the size of its collection, the significance of its historic (pre-1900) material, and its advanced digitization program. It is unique among the major collections because it also combines these features with exceptional educational and teacher training programs to advance geographic literacy among students in grades K-12 and enhance the teaching of subjects from history to mathematics to language arts. The collection is also the second largest in the country located in a public library, ensuring unlimited access to these invaluable resources for scholars, educators, and the general public. The Leventhal Map Center, created in 2004, is a nonprofit organization established as a public-private partnership between the Boston Public Library and philanthropist Norman Leventhal. Its mission is to use the Boston Public Library’s permanent collection of 200,000 maps and 5,000 atlases and a select group of rare maps collected by Mr. Leventhal for the enjoyment and education of all through exhibitions, educational programs, and a website that includes thousands of digitized maps at maps.bpl.org. The map collection is global in scope, dating from the 15th century to the present, with a particular strength in maps and atlases of Boston, Massachusetts, and New England.

About BOSTON PUBLIC LIBRARY
Boston Public Library has a Central Library, twenty-four branches, map center, business library, and a website filled with digital content and services. Established in 1848, the Boston Public Library has pioneered public library service in America. It was the first large free municipal library in the United States, the first public library to lend books, the first to have a branch library, and the first to have a children’s room. Each year, the Boston Public Library hosts thousands of programs and serves millions of people. All of its programs and exhibitions are free and open to the public. At the Boston Public Library, books are just the beginning. To learn more, visit bpl.org.

About THE TRUSTEES

Funded by nearly 125,000 members and supporters, The Trustees saves and shares some of Massachusetts’ most treasured natural, scenic, and historic sites for public use and enjoyment and believes in protecting the irreplaceable for everyone, forever. Its mission is to connect more people to outdoor recreation, culture, agriculture, and healthy, active living by using its 114 diverse properties, community spaces, and over 3,500 annual programs as a powerful and compelling platform.  Located within minutes of every resident and visited by 1.6 million people in 2015, Trustees properties span more than 26,000 acres across the state - from working farms, landscaped and urban gardens, and community parks, to barrier beaches, forests, campgrounds, inns and historic sites, many of which are National Historic Landmarks. In addition to its properties, The Trustees is also an active leader in land conservation, holding conservation restrictions on more than 20,000 acres, more than any other entity. In 2014, The Trustees became a founding partner of the Boston Public Market, the first all locally-sourced indoor market of its kind in the nation where it operates an Appleton Farms vendor booth and serves as the educational programming partner for the Market’s demonstration KITCHEN. To learn more, visit: www.thetrustees.org.

Image: George Eldridge (d. 1900). Eldridge's Map of Martha's Vineyard. Vineyard Haven, Massachusetts, 1913. Norman B. Leventhal Map Center at the Boston Public Library

MOMA_degas_threeballetdancers copy.jpgThe Museum of Modern Art announces Edgar Degas: A Strange New Beauty, a major exhibition focusing on Hilaire-Germain-Edgar Degas’s (1834-1917) extraordinary and rarely seen monotypes and their impact on his wider practice, on view March 26 through July 24, 2016. The first exhibition in the U.S. in nearly 50 years to examine these radical, innovative works — and MoMA's first monographic exhibition of the artist— Edgar Degas: A Strange New Beauty will feature approximately 130 monotypes along with some 50 related works, including paintings, drawings, pastels, sketchbooks, and prints. Organized by Jodi Hauptman, Senior Curator, Department of Drawings and Prints, with Karl Buchberg, Senior Conservator, Heidi Hirschl, Curatorial Assistant, The Museum of Modern Art, and Richard Kendall, independent art historian and curator. MoMA is the sole venue for the exhibition. 

A towering figure in 19th-century art, Degas is best known as a painter and chronicler of the ballet. Yet his work as a printmaker reveals the true extent of his restless creativity, as he mixed techniques with abandon in his studio and shared recipes with colleagues for producing unconventional effects. In the 1870s, during an era of enthusiasm for experimental printmaking, the artist Ludovic Lepic likely introduced Degas to the monotype process—drawing in black ink on a metal plate that was then run through a press, typically resulting in a single print. Captivated by the medium’s potential, Degas made more than 300 monotypes during two discrete bursts of activity, from the mid-1870s to the mid-1880s, and again during the early 1890s.

Taking the medium to new and radical heights, Degas abandoned the academic drawing style of his youth, inventing a new repertoire of mark-making that included wiping, scraping, scratching, fingerprinting, and rendering via removal. The resulting works are characterized by enigmatic and mutable forms, luminous passages emerging from deep blackness, and a heightened sense of tactility.

The freedom Degas found in such techniques is an important theme of the exhibition, and the presentation will link his efforts in monotype — the way he moves the printer’s ink with ease across the slick metal plate, resulting in a more liberated form of description — to works in other mediums.

The exhibition surveys these technical innovations and the range of subject matter they explored, including scenes of modern life; harshly illuminated café singers; ballet dancers onstage, backstage, or in rehearsal; the life of the brothel; intimate moments at the bath; and landscapes. The presentation will run chronologically, beginning with experiments in printmaking in the 1850s, 1860s, and early 1870s, then focusing on the artist’s efforts with pigment and plate, and concluding with paintings, drawings, and pastels made at the end of his career, when the profound impact of the monotypes can be seen, especially in his ballerinas in motion and the twisted and contorted bodies of bathers. To illuminate how Degas saw iteration as an end in itself, key groupings will show how Degas traced, inverted, and recombined figures into different arrangements, applying pastel or charcoal on paper, or layering oil paint on canvas to further transform his subjects.

Reflecting a passionate spirit of invention and improvisation, a deep curiosity about the behavior of materials, a penetrating eye, an affinity for strategies of repetition and seriality, and an incisive understanding of the history of art, Degas’s efforts in monotype not only bridge the fin de siècle, but look forward to developments in the 20th century and beyond.

The exhibition will be accompanied by a fully illustrated catalogue edited by Jodi Hauptman, with a major essay by Richard Kendall and a technical essay by Karl Buchberg, Senior Conservator, MoMA, and Laura Neufeld, Assistant Conservator, MoMA. The Museum will also publish a children's book about Degas, authored by Samantha Friedman, Assistant Curator, Department of Drawings and Prints, MoMA

Image: Hilaire‑Germain‑Edgar Degas (French, 1834-1917). Three Ballet Dancers (Trois danseuses), c. 1878-80. Monotype on cream laid paper. Plate: 7 13/16 × 16 3/8″ (19.9 × 41.6 cm). Sterling and Francine Clark Art Institute, Williamstown, Massachusetts, 1955.1386.

The life of Jacob Riis, a late-19th/early-20th century newspaper reporter and writer, whose stories and photographs of the squalid conditions in New York City’s tenements led to social reform, will be explored in a new Library of Congress exhibition.

"Jacob Riis: Revealing ‘How the Other Half Lives’" will open on Thursday, April 14 in the South Gallery on the second level of the Library’s Thomas Jefferson Building, 10 First St. S.E., Washington, D.C. The exhibition is free and open to the public from 8:30 a.m. to 4:30 p.m. Monday through Saturday. It closes on Monday, Sept. 5, 2016.

The exhibition is a co-presentation of the Library of Congress and the Museum of the City of New York. It combines items from the Library’s Jacob A. Riis Papers and the museum’s Jacob A. Riis Collection of photographs. Currently, the exhibition, under the title "Jacob A. Riis: Revealing New York’s Other Half," is on display until March 20 at the Museum of the City of New York.

Riis is one of the first to use innovations in documentary photography to great effect. He experimented with new techniques of flash photography and created rare images of tenement interiors, as well as outdoor photos of street and city life. He used these pictures as a compelling complement to his written words. Although he was well aware of the power of photography, he did not consider himself a photographer.

The Library’s exhibition repositions Riis as he saw himself—a highly skilled communicator who devoted his life to writing articles and books, delivering lectures nationwide and doggedly advocating for social change. He brought attention to the crises in housing, education, crime and poverty that arose at the height of European immigration to New York City in the late-19th century. His crusading journalism led to safer water, better housing, the creation of parks in New York City and other reforms.

On display will be correspondence, including three letters from Theodore Roosevelt and one to Booker T. Washington; photographs; fire insurance maps that help show the locations of Riis’ photographs; drafts and published works; lecture notes; reviews of his lectures; family correspondence and family photographs; appointment books; and journal entries. The exhibition also will feature a lantern-slide projector and camera equipment similar to those Riis used—a Blair Hawkeye Detective camera (7 inches by 17 inches by 13 inches), a glass-plate holder and a flash pan. An online version of the exhibition will be available on the opening date at loc.gov/exhibits/.

Jacob August Riis was born May 3, 1849 in Ribe, Denmark. The son of a schoolmaster, he was educated locally, leaving school for work at age 15. He immigrated to the United States in 1870. The New York Tribune hired him as a police reporter in 1877, and he wrote about crime and disease, documenting life in the tenements. In 1888, he started working for the New York Evening Sun and started taking photographs, using a new German innovation, flash photography. It was a novel idea at the time to use photographs to substantiate words. The wretched living and working conditions of New York’s immigrant communities were made vivid by the harrowing images, which were meant to spur his audiences to act. His career as a reformer took shape. He worked at the Sun until 1899. From the 1890s to 1910, he wrote many magazine articles and nine books and lectured nationwide. He died on May 26, 1914.

The exhibition has a companion volume, "Jacob Riis: Revealing New York’s Other Half," written by Bonnie Yochelson, who spent more than two decades researching Riis and assembling materials. The 336-page hardcover book, published by Yale University Press in association with the Library of Congress and the Museum of the City of New York, is the first comprehensive study and complete catalogue of Riis’ images. The book contains more than 600 images and is available for $65 in the Library of Congress Shop in the Thomas Jefferson Building. Credit-card orders are taken at (888) 682-3557 or loc.gov/shop/.

The exhibition and its programming at the Library of Congress are made possible through the generous support from the Library of Congress Third Century Fund; Queen Margrethe and Prince Henrik’s Foundation; the Ministry of Foreign Affairs of Denmark, Danish Ministry of Culture, and the Danish Agency for Culture and Palaces; the Royal Danish Embassy; and the Robert Mapplethorpe Foundation.

Later this year, other versions of the exhibition—combining Library of Congress and Museum of the City of New York resources with additional Riis-related objects—will be presented in Denmark. The first will be at the Kunstforeningen GL Strand museum in Copenhagen from Oct. 1, 2016 to Jan. 8, 2017, and the second at the Ribe Kunstmuseum in Riis’s home town of Ribe, Denmark, from Jan. 21, 2017 to May 14, 2017.

The Manuscript Division of the Library of Congress acquired the Jacob A. Riis Papers in the early 1950s as a gift of Riis’ second wife and widow, Mary Phillips Riis (1877-1967), who was a longtime social welfare advocate and board member of the Jacob A. Riis Neighborhood Settlement in New York. Additions have been made by generations of the Riis family, including Jacob Riis Owre, Ruth Riis Jones, Oscar T. Owre and Martha Riis Moore. The Manuscript Division also holds the papers of Jacob Riis’s son, Roger William Riis (1894-1953), an author and editor. That collection contains family correspondence and other materials gifted by Riis family members Jacob Riis Owre and Martha Riis Moore.

The Library’s Manuscript Division holds more than 70 million items, including the papers of 23 U.S. presidents, from George Washington to Calvin Coolidge. For more information about the collections and holdings of the Manuscript Division, visit loc.gov/rr/mss/.

The Library of Congress, the largest library in the world, holds more than 162 million items in various languages, disciplines and formats. The Library serves the U.S. Congress and the nation both on-site in its reading rooms on Capitol Hill and through its website at loc.gov.

Cincinnati, OH: The Wonderful World of Woodcuts opens to the public on March 14, 2016, at the Lloyd Library and Museum. This show is the perfect blend of antique and new, with rare and historic texts dating from the 16th century forward paired with the modern flair of a contemporary woodcut artist, Ken Marshall, who trained at the Columbus College of Art & Design.  Marshall’s blend of modern style with a retro method presents a unique and bold vision that visitors won’t want to miss.  His art assumes natural forms with abstract elements, providing a new way to look at the world, inviting viewers to imagine infinite possibilities.

The art is shown in conjunction with a historic look at the art of woodcuts through their primary initial function - the illustration of texts.  Classic greats and important early volumes all provide a glimpse into the development of this complex art form that began in Asia and found its way to Europe and the rest of the world.  The Lloyd’s volumes cover 400 years of printing history, and feature the perfected works of Japanese art, the early efforts by Europeans, as well as modern renderings of the art form that are a testimony to the persistent need for this type of work, despite the fact that so many other, and seemingly better, illustration methods have been developed.

The show is open to the public daily, Monday-Friday, 8:30-4, as well as the 3rd Saturday of each month from 9-4, until June 3. 

Additional Information Available Upon Request 

About the Lloyd: The Lloyd Library and Museum, a 501(c)3 not-for-profit organization, is a local and regional cultural treasure, which began in the 19th century as a research library for Lloyd Brothers Pharmacists, Inc., one of the leading pharmaceutical companies of the period.  Our mission is to collect and maintain a library of botanical, medical, pharmaceutical, and scientific books and periodicals, and works of allied sciences that serve the scientific research community, as well as constituents of the general public, through library services and programming that bring science, art, and history to life.  For more information, visit the Lloyd website at www.lloydlibrary.org.

Game 24 Goose Wild Shepherd Sayer copy.jpgThe Royal Game of the Goose is one of the earliest printed board games, going back to the Middle Ages—and one of the simplest: just roll the dice and move along its spiral track.  This graphically vibrant public exhibition at the Grolier Club brings together over 70 of these games, almost all from the rich international collection of Adrian Seville, game board historian and Emeritus Professor, City University, London.  On view from February 24 through May 14, 2016, these beautiful and striking printed games are hardly known in the U.S., and this unique exhibition provides deep insights into the cultural history of Europe, with some fascinating glimpses of America, too. 

This classic game has been used as a template for thousands of variant games throughout Europe.  They range from the earliest educational games of the 17th century to games of advertising, politics and propaganda of the modern era. 

Its name originates from the symbol of a lucky goose on the favorable spaces, while the unfavorable spaces, each on their characteristic numbers, symbolize the adversities of human life.  The winning space in the classic Goose game is on the “climacteric” number 63, reflecting medieval numerology.  And if you hit “death” on space 58 you must begin again! 

The images in these games illustrate the themes.  So, in a game about the 18th century Navy, the death space at 58 might show a shipwreck, while instead of a favorable goose there could be a favorable wind. 

Though the games are simple to play, most are not for young children.  Indeed, several princes of Europe are significant in its early history.  So, here is a unique early 17th century print of the Game of Cupid, from the fabled rue Montorgueil in Paris, whose numerology represents the union of male and female - and whose track is laid out on a fine crowned serpent to warn against sin!  Another French print, the Gifts of Youth, is a party game with forfeits: a young man landing on “inconstancy” must submit to being tied to his chair by his partner’s garter.

Some games celebrate science and invention: here is Benjamin Franklin in Paris witnessing “the first balloon raised in the atmosphere by means of inflammable air”, while a Dutch game of the 19th century showcases Edison, prominently surrounded by his electric light bulbs.

Others are from the early days of advertising.  A game in the shape of the newly-built Eiffel Tower promotes luxury French dolls but warns against buying a cheap German import - the broken doll appears on the “death” space, an early example of “knocking” copy.

One section of the exhibition is devoted to Images of America.  A meticulously-engraved game of the mid-17th century shows remarkable images of the early Native American peoples.  Another celebrates the running of the Southern blockade by British ships during the American Civil War.  And a truly incredible novel by Jules Verne provides the basis for the Noble Game of the United States, in which the possible benefactors of a Chicago millionaire’s will battle for the money by competing in a gigantic Goose game ranging across the States of the Nation.

The final case of the exhibition presents some games of human life arranged for play - do you have what it takes to progress from Errand Boy to successful Banker and Valued Citizen?

As befits the Grolier Club, there is a full range of printing techniques from early woodcut, to fine engraving and modern lithography.  Some games were issued as broadside sheets, others are folded on linen or on pasteboard.  Not all the games follow the classic template exactly but all can trace their existence to the parent Game of the Goose.

CATALOGUE 

A fully illustrated color catalogue will accompany the exhibition, designed by Rob Banham (Reading University, England), with an introduction by Past President of the Grolier Club William H. Helfand. The 151-page catalogue will be available in early February from Oak Knoll Books: orders@oakknoll.comwww.oakknoll.com

PUBLIC EVENTS: 

COLLOQUIUM: SOME BEAUTIFUL BOARD GAMES

Tuesday, April 5, 2016, 1:00 PM-5:00 PM, reception to follow.

Complementing the exhibition, the Colloquium showcases the great diversity and appeal of board games through the ages and across the world. 

Speakers: Irving Finkel (British Museum); Ann Dunn-Vaturi (Metropolitan Museum of Art); Alex de Voogt (American Museum of Natural History); Adrian Seville (City University, London); Andrea Immel (Cotsen Library, University of Princeton); Margaret K. Hofer (New-York Historical Society). 

Registration is $75 per person, $25 for students. 

FREE GUIDED TOURS will be arranged throughout the period of the exhibition. For details, please contact the Grolier Club.

VISITING THE GROLIER CLUB

47 East 60th Street  

New York, NY 10022  

212-838-6690 

www.grolierclub.org  

Hours: Monday - Saturday, 10 am to 5 pm  

Admission: Exhibitions are open to the public free of charge 

FORTHCOMING EXHIBITIONS 

March 24-May 28, 2016, “Brush Up Your Shakespeare”: Miniature Designer Bindings from the Collection of Neale and Margaret Albert" 

June 1-July 20, 2016. "Artists & Others: The Imaginative French Book, 2000-2015."

Image: The ROYAL and most PLEASANT GAME of the GOOSE. London: printed for Robt. Sayer at the Golden Buck in Fleet Street [c. 1750, reprint of an original from c. 1725]. Copper engraving, 48 × 36 cm. Collection of Adrian Seville.

Andrew Edlin Gallery is pleased to present the group exhibition World Made By Hand, featuring 70 artists engaged in the medium of drawing. Devoid of dependence on any form of technology, these works depict imagery that is primarily derived from nature and the minds of its creators. Free from overt references to 20th or 21st century popular culture these artists tap into their immediate external and internal environments.

The genesis for the exhibition World Made By Hand is the 2008 novel of the same title by James Howard Kunstler, in which citizens of a rural town in upstate New York rebuild their society in the aftermath of devastating personal loss due to nuclear destruction, epidemics and economic collapse that has all but eliminated the comforts of modern living - no electricity, automobiles, common medications like antibiotics, or any kind of mass food production. In short, almost nothing can be taken for granted.

The townspeople in the story “World Made By Hand” are unencumbered by the rules imposed on them by a culture that no longer exists. While focused on basic survival strategies, they revert to fundamental humanist principles and biblical eye-for-an-eye justice. They discard pre-disaster 21st century norms and rebuild a pathway out of their dystopian nightmare towards a brighter, even utopian future. Children born after the crisis have little frame of reference of what life was like before. Similarly, the artists in this exhibition are not bound by artistic protocol, and are either unaware of or see little value in the dominant trends of the late 20th century. The drawings here lean towards the primordial yet are hopeful, suffused in the raw ether that permeates the DNA of art.

The gallery thanks Sam Gordon for his contribution towards the organization and curation of this exhibition.

With works by: Eugene Andolsek, Vahakn Arslanian, Beverly Baker, Robert Beatty, Hans Bellmer, Carl Binder, Charles Burchfield, John Byam, Chris Byrne, Maria Calandra, Frank Calloway, James Castle, Susan Cianciolo, Henry Darger, James Edward Deeds, Charles Dellschau, Hiroyuki Doi, Anthony Dominguez, Brian Adam Douglas, Chris Doyle, Jean Dubuffet, Tom Duncan, Tom Fairs, Edie Fake, Ralph Fasanella, Jerry The Marble Faun, Peter Fend, Guo Fengyi, Howard Finster, Justin Aiden and Leo Fitzpatrick, Jess Fuller, Mike Goodlett, Sam Gordon, Brent Green, Alex Grey, Vojislav Jakic, Joseph Lambert, Marc Lamy, Siobhan Liddell, Pam Lins, Cotter Luppi, Alessandra Michelangelo, Dan Miller, M'onma, Victor Moscoso, Jean-Pierre Nadau, Bobbie Oliver, Genesis Breyer P-Orridge, Martin Ramirez, Mehrdad Rashidi, Max Razdow, Mariah Robertson, Matthew Ronay, Yuichi Saito, Zoe Pettijohn Schade, Michelle Segre, Linda Carmella Sibio, Ross Simonini, Cindy Smith, Charles Steffen, Marcel Storr, Tabboo!, Bill Traylor, Nicola Tyson, Melvin Way, Scottie Wilson, Agatha Wojciechowsky, Adolf Wölfli, Wols, James Wong, Anna Zemánková, Domenico Zindato, Carlo Zinelli, Unica Zïrn.

Upcoming Events:
Greenwich Village Book Desecration League, presented by Aaron Krach and Invisible Exports, World Made By Hand, Feb. 27th, 2016.

World Made By Hand: February 7 - March 20, 2016

 

Chapel Hill, N.C. - Feb. 2016 - A spring exhibition on view now in the University of North Carolina at Chapel Hill’s Wilson Library celebrates the Rare Book Collection’s William Wordsworth Collection and related holdings in Romantic literature and British culture.

Lyric Impressions: Wordsworth in the Long Nineteenth Century,” on display in the Melba Remig Saltarelli Exhibit Room through April 15, is free and open to the public.

The exhibition contextualizes the Wordsworth Collection within global events of the long nineteenth century, from the explosive years of the French Revolution to the cataclysmic First World War.

Thanks to a significant donation from the private collection of Mark L. Reed, Lineberger Distinguished Professor Emeritus in the Humanities, UNC-Chapel Hill is a major print repository of Wordsworth’s writings in the United States.

On Feb. 22, Duncan Wu, professor of English at Georgetown University, will deliver the keynote lecture “Wordsworthian Carnage,” about Wordsworth’s “Thanksgiving Ode.” The poem commemorates Napoleon’s defeat at the Battle of Waterloo.

The free public program will begin at 6 p.m. in the Pleasants Family Assembly Room. Visitors may view the exhibition during a reception beginning at 5:30 p.m. For program information, contact Liza Terll, Friends of the Library, liza_terll@unc.edu or (919) 548-1203.

In conjunction with the exhibition, Wilson Library will host the UNC Art Department’s Bettie Allison Rand Lectures in Art History during the week of March 28. The lecture theme, “British Landscape Painting in the Age of Revolution: Romanticism, Naturalism, and the Decline of Deference,” relates to the Wordsworth exhibit and participants will have opportunities to view “Lyric Impressions.”

For information about the exhibition and lectures, please visit the UNC Library News and Events blog.

Amherst, MA (February 15, 2016) - The Eric Carle Museum of Picture Book Art presents Louis Darling: Drawing the Words of Beverly Cleary on view May 17 through November 27, 2016. Darling’s iconic images brought Cleary’s beloved characters Ramona, Beezus, Henry Huggins, Ellen Tebbits, and Ralph S. Mouse to life. The exhibition marks the centenary of Darling’s birth as well as Beverly Cleary’s 100th birthday on April 12.

As an illustrator at William Morrow and Company, Darling was assigned to Cleary’s first book, Henry Huggins, in 1950. Thus began their twenty-year association. Darling illustrated most of Cleary’s early books—twelve in total—before his untimely death in 1970. Darling’s vision, matched with Cleary’s words, helped define these stories as modern classics. Her timeless themes—a botched birthday party, a missing dog, anxiety on the first day of school, and a father losing his job—are as relevant today as they were in the 1950’s.

Cleary understood the importance of illustration in her books, and the synchronicity between them seemed clear from the start. “I want to tell you how delighted I am with your illustrations for ‘Henry Huggins,’” she wrote in a letter to Darling in 1950. “You seem to know exactly what I had in mind.”   

Darling’s work has inspired many illustrators, especially Tony DiTerlizzi, curator of The Carle’s exhibition. DiTerlizzi, the bestselling author and illustrator of The Spider and The Fly, The Spiderwick Chronicles, Diva and Flea, and many other titles, was introduced to Cleary’s books in elementary school, a generation after they were published. DiTerlizzi visited the Kerlan Collection at the University of Minnesota, where Darling’s wife Lois had donated his archive. “As a fellow illustrator who renders in pen and ink, I wanted to showcase the brilliance of Louis Darling,” says DiTerlizzi. “I combed through sketches, letters and artwork to curate the exhibition. Darling’s illustrations are as vibrant, energetic, chaotic, and lively as ever.”

Louis Darling: Drawing the Words of Beverly Cleary will feature preliminary sketches, finished artwork, correspondence between author and illustrator, and period photographs. DiTerlizzi will also design a unique reading area in the gallery for visitors. “It’s very much inspired by 1950s suburbia,” says Ellen Keiter, chief curator at The Carle. “Our guests will be immersed in the art and era of Darling and Cleary.”     

Louis Darling was born in Stamford, Connecticut on April 26, 1916. After completing his art studies at the Grand Central School of Art in New York City in 1937, he went into commercial and fine art. In the 1940s, he began illustrating children’s and young adult books, collaborating with numerous artists and authors. In addition to illustrating his own stories and Cleary’s books, Darling worked in tandem with his wife, Lois Darling, to illustrate Rachel Carson’s Silent Spring (1962). His signature style won him a John Burroughs Medal, awarded annually to the author of a distinguished book of natural history, for The Gull’s Way in 1965. Louis Darling died at the age of fifty-three.

Despite a successful partnership, Darling’s illustrations no longer accompany Cleary’s text. His untimely death while Cleary was still writing forced publishers to hire other artists. They’ve since rebranded the books to appeal to modern audiences. “There is a charm, an allure of visiting a bygone era through the window of Darling’s art,” said DiTerlizzi. “I’m pleased to bring this exhibition to The Carle.”

About the Museum

The mission of The Eric Carle Museum of Picture Book Art, a non-profit organization in Amherst, MA, is to inspire a love of art and reading through picture books. The only full-scale museum of its kind in the United States, The Carle collects preserves, presents, and celebrates picture books and picture book illustrations from around the world. In addition to underscoring the cultural, historical and artistic significance of picture books and their art form. The Carle offers educational programs that provide a foundation for arts integration and literacy. Eric Carle and the late Barbara Carle co-founded the Museum in November 2002. Eric Carle is the renowned author and illustrator of more than 70 books, including the 1969 classic The Very Hungry Caterpillar

Since opening, the 40,000-square foot facility has serve more than half a million visitors, including 30,000 schoolchildren. The Carle houses more than 13,000 objects, including 6,600 permanent collection illustrations. The Carle has three are galleries, an art studio, a theater, picture book and scholarly libraries, and educational programs for families, scholars, educators, and schoolchildren.  Educational offerings include professional training for educators around the country and Master’s degree programs in children’s literature with Simmons College.  Museum hours are Tuesday through Friday 10 a.m. to 4 p.m., Saturday 10 a.m. to 5 p.m., and Sunday 12 noon to 5 p.m. Open Mondays in July and August and during MA school vacation weeks.  Admission is $9 for adults, $6 for children under 18, and $22.50 for a family of four. For further information and directions, call 413-658-1100 or visit the Museum’s website at www.carlemuseum.org.

1454526459684.jpgWashington, DC— A new international traveling exhibition will explore major events and movements in American art through some 150 outstanding prints from the Colonial era to the present. On view in Washington from April 3 through July 24, 2016, Three Centuries of American Prints from the National Gallery of Art is the first major museum survey of American prints in more than 30 years. The exhibition will travel to the National Gallery in Prague from October 4, 2016 through January 5, 2017, followed by Antiguo Colegio de San Ildefonso from February 7 through April 30, 2017.

Timed to coincide with the National Gallery of Art's 75th anniversary, the exhibition is drawn from the Gallery's renowned holdings of works on paper, and features more than 100 artists such as Paul Revere, James McNeill Whistler, Mary Cassatt, Winslow Homer, George Bellows, John Marin, Jackson Pollock, Louise Nevelson, Romare Bearden, Andy Warhol, Robert Rauschenberg, Chuck Close, Jenny Holzer, and Kara Walker.

"In the past few decades the American collections at the National Gallery of Art have grown vastly in quality and scale. From 2000 until today—thanks to generous donors and acquisitions from the Corcoran Gallery of Art—the collection of American prints has almost doubled and now numbers some 22,500 works," said Earl A. Powell III, Director, National Gallery of Art. "We are tremendously grateful to hundreds of donors, foremost among them Lessing J. Rosenwald and Reba and Dave Williams, as well as grateful to Altria Group, the Terra Foundation for American Art, and The Exhibition Circle of the National Gallery of Art for their vital support."

Exhibition Organization and Support

The exhibition is organized by the National Gallery of Art, Washington.

The exhibition is made possible by Altria Group in celebration of the 75th Anniversary of the National Gallery of Art. This is the twelfth exhibition sponsorship by Altria Group at the Gallery.

"For more than 50 years, Altria and its companies have supported visual and performing arts. Our partnership with the National Gallery of Art to share Three Centuries of American Prints is an important way that we're bringing world-class cultural experiences to our communities," said Bruce Gates, Senior Vice President of External Affairs for Altria Client Services.

The international tour of the exhibition is sponsored by the Terra Foundation for American Art. Additional support is provided by The Exhibition Circle of the National Gallery of Art.

Exhibition Highlights

Organized chronologically and thematically through nine galleries, Three Centuries of American Prints reveals the breadth and excellence of the Gallery's collection while showcasing some of the standouts: exquisite, rare impressions of James McNeill Whistler's Nocturne (1879/1880), captivating prints by Mary Cassatt, a singularly stunning impression of John Marin's Woolworth Building, No. 1 (1913), and Robert Rauschenberg's pioneering Booster (1967).

The exhibition is bracketed by John Simon's Four Indian Kings (1710)—stately portraits of four Native American leaders who traveled to London to meet Queen Anne—and Kara Walker's no world (2010), which recalls the disastrous impact of European settlement in the New World. Both prints address the subject of transnational contact, a theme that runs through the history of American art.

Three Centuries of American Prints features works intended to provoke action, such as Paul Revere's call for moral outrage in The Bloody Massacre (1770) and Jenny Holzer's appeal to "Raise Boys and Girls the Same Way" in her Truisms (1977). Others lean more strongly toward visual concerns, such as Stuart Davis's striking black-and-white lithograph, Barber Shop Chord (1931), and Richard Diebenkorn's resplendent Green (1986). This duality between prints designed to exhort or teach and ones more weighted to artistic matters is an undercurrent of both the exhibition and the history of American prints.

American Prints at the National Gallery of Art

Since its opening in 1941, the National Gallery of Art has assiduously collected American prints with the help of many generous donors. The Gallery's American print collection has grown from nearly 1,900 prints in 1950 to some 22,500 prints in 2015. The collection was transformed in recent years by the acquisition of the Reba and Dave Williams Collection, the personal print archive of Jasper Johns, and some 2,300 American prints from the Corcoran Gallery of Art, along with a gift and pledge of 18th- and early 19th-century prints from Harry W. Havemeyer.

Curator and Exhibition Catalog

The curators of the exhibition are Amy Johnston, assistant curator of prints and drawings, and Judith Brodie, curator and head of the department of modern prints and drawings, both at the National Gallery of Art. The exhibition catalog is conceived and edited by Judith Brodie, with coauthors Amy Johnston and Michael J. Lewis. The Terra Foundation for American Art provided additional funding for the exhibition catalog.

Published by the National Gallery of Art, the fully illustrated scholarly catalog provides a vantage point from which to assess the rich terrain of American prints. Drawing on the keen eyes and insightful points of view of 15 emerging and established scholars—experts in American art or history generally, not only in prints—the catalog offers a fresh range of interpretations. Biographies of the artists and a glossary of printmaking terms are additional features. The 360-page hardcover catalog will be available in April 2016. To order, please visit http://shop.nga.gov/; call (800) 697-9350 or (202) 842-6002; fax (202) 789-3047; or e-mail mailorder@nga.gov.

General Information

The National Gallery of Art and its Sculpture Garden are at all times free to the public. They are located on the National Mall between 3rd and 9th Streets at Constitution Avenue NW, and are open Monday through Saturday from 10:00 a.m. to 5:00 p.m. and Sunday from 11:00 a.m. to 6:00 p.m. The Gallery is closed on December 25 and January 1. With the exception of the atrium and library, the galleries in the East Building will remain closed until late fall 2016 for Master Facilities Plan and renovations. For information call (202) 737-4215 or visit the Gallery's Web site at www.nga.gov. Follow the Gallery on Facebook at www.facebook.com/NationalGalleryofArt, Twitter at www.twitter.com/ngadc, and Instagram at http://instagram.com/ngadc.

Visitors will be asked to present all carried items for inspection upon entering. Checkrooms are free of charge and located at each entrance. Luggage and other oversized bags must be presented at the 4th Street entrances to the East or West Building to permit x-ray screening and must be deposited in the checkrooms at those entrances. For the safety of visitors and the works of art, nothing may be carried into the Gallery on a visitor's back. Any bag or other items that cannot be carried reasonably and safely in some other manner must be left in the checkrooms. Items larger than 17 by 26 inches cannot be accepted by the Gallery or its checkrooms.

Image: Frances Flora Bond Palmer, A Midnight Race on the Mississippi, 1860, color lithograph with hand-coloring on wove paper, National Gallery of Art, Washington, Donald and Nancy de Laski Fund

A hundred years ago, a bomb explosion was the pretext that San Francisco authorities needed to prosecute the militant left-wing labor organizer Tom Mooney on trumped-up murder charges. Mooney's false conviction set off a 22-year campaign for his exoneration. The Yale Law Library, with a collection of over 150 items on the Mooney case, has mounted an exhibition marking the centennial of Mooney's arrest.

"Free Tom Mooney! The Yale Law Library's Tom Mooney Collection" is on display through May 27. The exhibition was curated by Lorne Bair and Hélène Golay of Lorne Bair Rare Books, and Mike Widener, Rare Book Librarian at the Yale Law Library.

The campaign to free Tom Mooney created an enormous number of print and visual materials, including legal briefs, books, pamphlets, movies, flyers, stamps, poetry, and music. It enlisted the support of such figures as James Cagney, Theodore Dreiser, Upton Sinclair, and George Bernard Shaw. It made Mooney, for a brief time, one of the world's most famous Americans. The Law Library's collection is a rich resource for studying the Mooney case, the American Left in the interwar years, and the emergence of modern media campaigns.

The exhibition is on display February 1 - May 27, 2016, in the Rare Book Exhibition Gallery, located on Level L2 of the Lillian Goldman Law Library, Yale Law School (127 Wall Street, New Haven, CT). Images of items from the exhibit can be viewed in the Law Library's Flickr site: https://www.flickr.com/photos/yalelawlibrary/sets/72157661480083160.

Nathan Benn: Kodachrome Memory, American Pictures 1972-1990 opens February 9 through April 3, 2016, in the Harnett Museum of Art. Nathan Benn (American, born 1950) is a documentary photographer who was an acclaimed full-time photographer for the National Geographic Society for nearly twenty years. The exhibition of his photographs taken from 1972 to 1990 focuses on people in their everyday lives with an emphasis on social and regional diversity. The selection of images features areas of the nation east of the Mississippi River to the Atlantic coast. His works reveal a social commentary on America during the last quarter of the twentieth century as he traveled around the United States taking photographs for the magazine. The artist’s use of color photography for social documentary reportage disputes the idea that black-and-white photography was the only medium for serious documentary photography in the pre-digital era.

Benn’s use of Kodachrome gives his photographs the lush colors and quality of light the process made possible, and his works evoke a “Kodachrome memory” of late twentieth century in America. Kodachrome is the brand name for the color reversal film introduced by the Eastman Kodak Company in 1935. It was one of the first successful color films and was used widely for cinematography, still photography, and publication quality images for print media. Kodachrome stopped being manufactured in 2009.

The exhibition features more than forty evocative color photographs depicting everyday American life. Included in the exhibition are images of tourists at Kennedy Space Center in Cape Canaveral, Florida, office workers in Pittsburgh, Pennsylvania, an affluent fox hunter in Wenham, Massachusetts, urban landscapes, countryside laborers, post-industrial cities, small towns on the wane, and young faces that give a glimpse of America from all walks of life.

Benn started photographing for National Geographic when he was twenty-one years old. He left the organization in 1991 to pursue his interest in emerging digital imaging technology opportunities and founded the first online commercial picture library. He was later the director of the international photographic cooperative Magnum Photos.

The exhibition was organized by art2art Circulating Exhibitions and coordinated by Richard Waller, Executive Director, University Museums. At the University Museums, the exhibition and related programs are made possible in part with funds from the Louis S. Booth Arts Fund. An accompanying catalogue published by Powerhouse Books, Brooklyn, is available.

Programming

Monday, February 8, 6 to 8 p.m.

6 p.m., Artist’s Talk, Camp Concert Hall, Modlin Center for the Arts

“Oak Leaves, Potatoes, and Kodachrome: Eighty Years of Color at National Geographic

Nathan Benn, artist

7 to 8 p.m., Opening reception and preview of the exhibition

Harnett Museum of Art, University Museums

 

LOS ANGELES - Considering networks rather than boundaries, connectivity rather than isolation, and a world of cross-cultural artistic interaction, Traversing the Globe through Illuminated Manuscripts, on view January 26-June 26, 2016 at the J. Paul Getty Museum at the Getty Center, offers the opportunity to explore the strong connections between Europe and the broader world during the Middle Ages and Renaissance.

Drawn primarily from the Getty Museum’s collection of illuminated manuscripts, complemented by related decorative arts and prints, as well as important loans from collections across Los Angeles, the exhibition offers a rich view into how people in Europe, Africa, Asia, and the Americas communicated and thought about their place in the world. The nearly 80 works on display have been selected to illustrate the exchange of ideas, styles, and materials that took place between the East, West, and cross-geographic centers and periphery regions, during the 9th to the early 17th centuries.

Contrary to popular belief, premodern Europe was a place of fluid cultures, blurred boundaries and multi-ethnic centers. The Middle Ages and Renaissance were periods in which the world was known to be round, a concept that can be traced intellectually back to the classical world and various places around the globe, and people from Europe, Africa, and Asia interacted with great frequency. Many Europeans, however, attempted to fit unknown peoples or places that they encountered into a more familiar Christian worldview.

“The tradition of illuminating manuscripts bound into books flourished among all of the Abrahamic faiths (Judaism, Christianity, and Islam) of Europe, the Middle East and Africa, and developed alongside rich book cultures further afield in India, Central and East Asia and the Americas,” says Timothy Potts, director of the J. Paul Getty Museum. “While the Getty's collection focuses on the European schools of Medieval and Renaissance illumination, we also hold examples from Armenia, Ethiopia, Egypt, and Tunisia. Together with the loans from other local museums and private collectors, the Getty's manuscripts in this exhibition paint a vivid picture of the dynamic interchange of ideas, narratives, styles and images that characterized these eras. It is a useful reminder that globalization is not a new phenomenon. Indeed, it has lain at the foundation of much of our intellectual, artistic, social and economic life throughout history.”

The real and imagined worlds of artists, writers, pilgrims, travelers, and many others come to life in stunning and at times surprising ways on the pages of illuminated manuscripts and painted book arts. These highly prized objects are prisms through which we can admire, and study the various peoples, belief systems, and artistic traditions of the world, making possible an interconnected global history of human thought and ideas about art.

In a time before the borders of cities, nations, or even continents were clearly defined, individuals turned to texts, including epic romances, world histories, travel literature, and sacred writings, to learn about distant lands, exotic goods, and foreign people. Many of these accounts were accompanied by wondrous illuminations, which visualized a world that was otherwise accessible only to intrepid travelers and creative imaginations. “A rich multimedia tour developed especially for the exhibition allows visitors to hear several of the texts in the exhibition read aloud by specialists in these historic languages, along with a narrative and translation in English,” says Bryan Keene, assistant curator in the Manuscripts Department at the J. Paul Getty Museum and the curator of the exhibition. “This engaging tour will complement Medieval Manuscripts Alive, a series on The Iris, the Getty’s online magazine, and will include readings by specialists in Middle French, Greek, Ge’ez (Ethiopian), Arabic, Coptic, Catalan, Navarro-Aragonese, Middle Armenian, Prakarit, and Latin.”

The exhibition explores material from—and about—Europe, Africa, Asia, and the Americas, including the stunning Canon Tables 1256 by T‘oros Roslin from Armenia and the recently acquired Romance of Gillion de Trazegnies 1464. Texts and illuminations convey Jewish, Buddhist, Christian, Muslim, Hindu, and Jain narratives and explore the various pathways of religious contact. Maps reveal distinctive worldviews, and texts highlight the land and sea routes along which information and goods were transported and communicated, including the multifaceted Silk Roads between Asia and Europe.

“Cross-cultural trade was ubiquitous in the premodern world and portable objects—such as manuscripts, textiles, and small sculptures—helped link people and spread religions and ideas across vast distances,” adds Keene. “Through these objects we can glimpse the desire for knowledge of the unknown and distant worlds that was shared among Afro-Eurasian peoples.”

Traversing the Globe through Illuminated Manuscripts will be on view at the J. Paul Getty Museum at the Getty Center from January 26 -June 26, 2016. Educational programs related to the exhibition include The World in a Book: Illuminated Manuscripts and the Global Middle Ages, a public lecture on February 3, 2016 in which Bryan Keene will explore the themes of mapping, religion, and trade in several manuscripts from the Getty’s permanent collection. An international scholarly symposium will take place on April 16-17, 2016, and Professor Sussan Babaie of The Courtauld Institute of Art will present a public lecture on April 19, 2016 about connections between premodern Europe, Armenia, and Persia. Additional information can be found at getty.edu/360.

The Adventures of Gillion de Trazegnies: Chivalry and Romance in the Medieval East, a recent release from Getty Publications (2015) by Elizabeth Morrison and Zrinka Stahuljak, is a lavishly illustrated volume about one of the Getty Museum’s recent manuscript acquisition, which is featured in the exhibition.

On view concurrently, beginning in May at the Getty Center, will be Cave Temples of Dunhuang: Buddhist Art on China’s Silk Road, featuring paintings and manuscripts from Dunhuang which have rarely, if ever, traveled to the United States. The exhibition, which will include three spectacular full-size cave replicas, celebrates more than 25 years of collaboration between the Getty Conservation Institute and the Dunhuang Academy to preserve this UNESCO World Heritage Site.


New York, NY - January 2016 - This spring, the New-York Historical Society will celebrate Mo Willems’ beloved children’s book characters, including The Pigeon, who is bus-obsessed; comedy duo Elephant and Piggie; and famed Brooklynites Trixie and Knuffle Bunny. On view March 18 through September 25, 2016, The Art and Whimsy of Mo Willems will follow a multifaceted journey across a career that started on Sesame Street and led to award-winning books like Don’t Let the Pigeon Drive the Bus! (2003). Organized by The Eric Carle Museum of Picture Book Art in Amherst, MA, and recently on view at the High Museum of Art in Atlanta, GA, the New-York Historical Society’s unique presentation of the exhibition will highlight particular elements of Willems’ life and career in New York to show how the city influenced the creation of his iconic characters. 

“Mo Willems’ work boldly and artfully melds the humor and wonder of youth with a complex understanding of the human experience, so it speaks to readers of all ages,” said Louise Mirrer, President and CEO of the New-York Historical Society. “The Art and Whimsy of Mo Willems reveals how Willems’ personal experiences in New York inspired his writing. We look forward to celebrating both his work and the city as artistic muse.”

The exhibition will bring together approximately 90 works from some of Willems’ most popular series, as well as selections from stand-alone classics such as Leonardo the Terrible Monster (2005) and That Is NOT a Good Idea! (2013), featuring original art, preliminary sketches, animation cels, and sculptures. The exhibition will present Willems’ inspiration, unique process, artwork, and characters in an immersive and child-friendly space, featuring an imaginative New York cityscape on the gallery walls, two reading areas with copies of his books for browsing or special reading events, and a family audio guide narrated by Willems.

Exhibition highlights will include:

  • Animation cels and sketches from Willems’ early projects, including a student film created at New York University’s Tisch School of the Arts, as well as professional work for Sesame Street, Sheep in the Big City, and other television shows
  • “Walking the Williamsburg Bridge to Work,” a graphic short story in which Willems narrates his personal experience of 9/11
  • A video about Willems’ process of creating memorable characters like The Pigeon, Elephant and Piggie, Cat the Cat, and Knuffle Bunny, alongside preliminary sketches, pitch copies, dummy books, and production workflow charts as well as final drawings and published illustrations
  • An early dummy book of Knuffle Bunny, depicting the stuffed animal as a bear, not a bunny
  • Wire sculptures and other personal work
  • Works that creatively address the emotional lives of his characters—and, by extension, his young readers—such as the importance of self-exploration and personal expression in Naked Mole Rat Gets Dressed (2009) and kindness in the face of opposition in Edwina, the Dinosaur Who Didn’t Know She Was Extinct (2006)
  • Illustrations from The Thank You Book, the finale to the Elephant and Piggie series, due to appear in June 2016

Support for this exhibition has been provided by Disney Publishing Worldwide.

Programming & Publications

Family programming for The Art and Whimsy of Mo Willems will include two large-scale family weekends in March and June, daily storytimes, meet and greets with the Elephant and Piggie characters, private family brunches, birthday parties, and cartoon screenings throughout the summer. Highlights include Mo Willems reading from I Really Like Slop! and Knuffle Bunny: A Cautionary Tale as well as a book signing on Friday, March 18. Willems and his daughter Trixie will co-present her film Team Mo! on Friday, June 3.

The exhibition is accompanied by a 40-page, full-color catalogue that will be available for purchase along with a selection of Willems’ books and merchandise in a special pop-up store at the New-York Historical Society.

About Mo Willems

The New York Times best-selling author and illustrator Mo Willems began his career as a writer and animator for Sesame Street, where he garnered six Emmy Awards for his writing. During his nine seasons at Sesame Street, Willems also served as a weekly commentator for BBC Radio and created two animated series, Nickelodeon’s The Off-Beats and Cartoon Network’s Sheep in the Big City. While serving as head writer for Cartoon Network’s number one-rated show Codename: Kids Next Door, Willems began writing and drawing books for children.

His debut effort, Don’t Let the Pigeon Drive the Bus!, became a New York Times best seller and received a Caldecott Honor in 2004. The following year Knuffle Bunny: A Cautionary Tale was awarded a Caldecott Honor. The sequel, Knuffle Bunny Too: A Case of Mistaken Identity, earned Willems his third Caldecott Honor in 2008. In addition to picture books, he created the Elephant and Piggie series for beginning readers, which has received two Theodor Seuss Geisel Medals and five Geisel Honors. Willems’ drawings and sculptures have been exhibited in numerous galleries and museums across the nation. “Walking the Williamsburg Bridge to Work,” his graphic story about his family experiences during 9/11 for DC Comics, resides in the Library of Congress’ permanent collection. Willems wrote the script and lyrics for Knuffle Bunny: A Cautionary Musical and Elephant and Piggie’s We Are in a Play!, both commissioned by the John F. Kennedy Center for the Performing Arts. His monumental sculpture The Red Elephant can be viewed in the courtyard of The Eric Carle Museum of Picture Book Art. Willems lives in Massachusetts with his family.

About the New-York Historical Society and the DiMenna Children’s History Museum

The New-York Historical Society, one of America’s preeminent cultural institutions, is dedicated to fostering research and presenting history and art exhibitions and public programs that reveal the dynamism of history and its influence on the world of today. Founded in 1804, New-York Historical has a mission to explore the richly layered history of New York City and State and the country, and to serve as a national forum for the discussion of issues surrounding the making and meaning of history.

The DiMenna Children’s History Museum is a museum-within-a-museum that explores New York and American history through the eyes of children of the past. Occupying the New-York Historical Society’s entire lower level, it includes character-based pavilions, the Barbara K. Lipman Children’s History Library, interactive exhibits, and games. The DiMenna Children’s History Museum encourages children to identify with the people whose enterprise and creativity changed the course of our history. It also hosts a series of family programs, from Sunday story hours to arts and crafts. All ages can enjoy and learn in the DiMenna Children’s History Museum, but the exhibits are targeted at age 8-13.


When: January 22 -April 2, 2016

Where: 28 W. 27th St., 3rd Floor, NY, NY 

Subway: N/R to 28th St, or F to 23rd St 

Gallery Hours: Mon-Fri, 11am-6pm; Sat, 10am-5pm 

Admission: Free 

Opening Reception: Friday, January 22, 6-8pm 

Artist Roundtable Discussion: Friday, March 4, 6:30pm  

The Center for Book Arts presents Revealed Terrain: The Semantics of Landscape, on view January 22 through April 2, organized by Cynthia Nourse Thompson and David Charles Chioffi, Guest Curators. An opening reception will take place January 22, 6-8pm, and an artist roundtable will be held at the Center on March 4 at 6:30pm. Gallery admission is free. 

A landscape's formation within the disciplines of the fine and applied arts is laden with both discernable and veiled artifacts to be unearthed. These foundations are interwoven as interpretative symbols, phonetics, or armatures to synthesize a visual voice and an independent sense of place. In Revealed Terrain: The Semantics of Landscape, a visual etymology of environments amid diverse works on paper is constructed. Through acknowledged and unaccustomed definitions within multiple layers and mediums, these formats reassert that the semantics of artistic landscapes are neither concrete nor static.

Artists include: Macy Chadwick, Gail Deery, Lesley Dill, Henrik Drescher, Carson Fox, Mark Fox, Jane Hammond, William Kentridge, Abby Leigh, Suzanne McClelland, Sarah McDermott, Bill McDowell, Julie Mehretu, Robin Price, Justin James Reed, Elizabeth Sheehan, Kiki Smith, Ann Tyler, Kara Walker, Darren Waterston, and Christopher Wool.

Co-curator Cynthia Nourse Thompson is Director of the MFA programs in Studio Art and Book Arts/ Printmaking at The University of the Arts in Philadelphia, where she is also an Associate Professor. She was recently Curator and Director of exhibitions at the University of Arkansas in Fayetteville; previously, she was a professor at Memphis College of Art (MCA) and served as chair of the Division of Fine Arts during her final year. For more than 12 years, she ran the book arts, letterpress and papermaking areas at MCA, and for seven of those years, she served as curator and director of visiting artist lectures. 

Co-curator David Charles Chioffi is an Associate Professor of Graphic Design, The J. William Fulbright College of Arts & Sciences at the University of Arkansas. Previously, he was an Associate Professor and Head of the Department of Design, and Chair of the Division of Design Arts at Memphis College (MCA). His traditional and experimental work emphasizes the sensory triality of alphabetic matrices and forms, as well as how phonetic structures and visual architecture formulate and synthesize content. In addition to his private design practice, prior posts have included Executive Vice-President of Design and Communications at The Hospice Institute for Education, Training and Research, Inc.; and Associate Director of Packing Design and Visual Identities, Polo Ralph Lauren Corporation in New York City. 

A Curator Moderated Roundtable Discussion will take place Friday, March 4, 6:30pm, with Macy Chadwick, Artist; Lesley Dill, Artist; and Sue Gosin, Co-Founder, Dieu Donné. Suggested donation for the general public is $10 non-members/$5 members. 

The Center is grateful to the following galleries and organizations for lending works for this exhibition: The Achenbach Graphic Arts Council, Booklyn Inc., Dieu Donné Press, Dolphin Press, Granary Books, Peter Kruty Editions, The Museum of Modern Art Library, Pace Gallery, Sikkema Jenkins & Co., Universal Limited Art Editions, Wellesley College Library Special Collections, and private collectors.

ALSO ON VIEW: WINTER 2016 FEATURED ARTIST PROJECTS

In addition to Revealed Terrain, The Center will host two Featured Artist Projects on view January 22-April 2, 2016, organized by Alexander Campos, Executive Director & Curator, The Center for Book Arts. 

SWEAT Broadsheet Collaboration is an ongoing process of collaboration by South Florida artists and writers that stimulates new concepts and methodology. This exhibition features over 100 broadsheets in a variety of media including letterpress, silkscreen, etching, digital prints, relief prints, monoprints, and many forms of hand work. An artist roundtable discussion with Lea Nickless, Carol Todaro, and Michelle Weinberg is scheduled for Friday, February 19, 6:30pm, at the Center. 

Chris Perry: Ripples Current(ly) features the work of Chris Perry, which deconstructs specially-made books into three-dimensional sculptures and questions our concepts of the book as receptacle for only one type of knowledge. This exhibition features a large-scale, site-specific installation along with several smaller, related works. An artist talk is scheduled for Friday, February 26, 6:30pm, at the Center.

Please visit our website for up-to-date details on all events and programs: 

www.centerforbookarts.org

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New York, NY, January 2016—As its name declares, photography is a means of writing with light. Photographs both show and tell, and they speak an extraordinary range of dialects.

Beginning February 19 the Morgan Library & Museum explores the history of the medium as a lucid, literate—but not always literal—tool of persuasion in a new exhibition, Sight Reading: Photography and the Legible World. A collaboration with the George Eastman Museum of Film and Photography, the show features more than eighty works from the 1840s to the present and reveals the many ways the camera can transmit not only the outward appearance of its subject but also narratives, arguments, and ideas. The show is on view through May 30.

Over the past 175 years, photography has been adopted by, and adapted to, countless fields of endeavor, from art to zoology and from fashion to warfare. Sight Reading features a broad range of material—pioneering x-rays and aerial views, artifacts of early photojournalism, and recent examples of conceptual art—organized into groupings that accentuate the variety and suppleness of photography as a procedure. In 1936, artist László Moholy-Nagy (1895-1946) defined “the illiterate of the future” as someone “ignorant of the use of the camera as well as the pen.” The JPEG and the “Send” button were decades away, but Moholy-Nagy was not the first observer to argue that photography belonged to the arts of commentary and persuasion. As the modes and motives of camera imagery have multiplied, viewers have continually learned new ways to read the information, and assess the argument, embodied in a photograph.

"Traditional narratives can be found throughout the Morgan's collections, especially in its literary holdings," said Colin B. Bailey, director of the Morgan. "Sight Reading encourages us to use a critical eye to read and discover the stories that unfold through the camera lens and photography, a distinctly modern, visual language. We are thrilled to collaborate with the Eastman Museum, and together unravel a rich narrative, which exemplifies photography's deep involvement in the stories of modern art, science, and the printed page.”

THE EXHIBITION

Sight Reading cuts across conventional historical and geographic divisions. Featuring work by William Henry Fox Talbot (1800-1877), Eadweard Muybridge (1830-1904), John Heartfield (1891-1968), Lewis Hine (1874-1940), Harold Edgerton (1903-1990), John Baldessari (b. 1931), Sophie Calle (b. 1953), and Bernd and Hilla Becher (1931-2007; 1934 2015), among many others, the exhibition is organized into nine “conversations” among diverse sets of works.

I. The Camera Takes Stock

Photography’s practical functions include recording inventory, capturing data imperceptible to the human eye, and documenting historical events. In the first photographically illustrated publication, The Pencil of Nature (1845), William Henry Fox Talbot used his image Articles of China to demonstrate that “the whole cabinet of a ... collector ... might be depicted on paper in little more time than it would take him to make a written inventory describing it in the usual way.” Should the photographed collection suffer damage or theft, Talbot speculated, “the mute testimony of the picture ... would certainly be evidence of a novel kind” before the law.

A century later, Harold Edgerton, an electrical engineer at the Massachusetts Institute of Technology, used the pulsing light of a stroboscope to record states of matter too 3 fleeting for the naked eye. Gun Toss, an undated image of a spinning pistol, is not a multiple exposure: the camera shutter opened and closed just once. But during that fraction of a second, seven bright flashes of light committed to film a seven-episode history of the gun's trajectory through space.

II. Crafting A Message

The camera is widely understood to be “truthful,” but what photographs “say” is a product of many procedures that follow the moment of exposure, including page layout, captioning, and cropping of the image. During World War I, military personnel learned to interpret the strange, abstract-looking images of enemy territory made from airplanes. Their specialized training fundamentally altered the nature of wartime reconnaissance, even as the unusual perspective unique to aerial photography introduced a new dialect into the expanding corpus of modern visual language. An Example of an Annotated Photograph with Local Names of Trenches Inserted (1916), on view in the exhibition, shows that the tools of ground strategy soon included artificial bunkers and trenches, designed purely to fool eyes in the sky.

In László Moholy-Nagy’s photocollages of the late 1920s, figures cut out of the plates in mass-market magazines appear in new configurations to convey messages of the artist’s devising. Images such as Massenpsychose (Mass Psychosis) (1927) propose a new kind of visual literacy for the machine age. To contemporary eyes, Moholy’s collages seem to foreshadow cut-and-paste strategies that would later characterize the visual culture of cyberspace.

II. Photographs in Sequence

Photography’s debut in the late 1830s happened to coincide with the birth of the modern comic strip. Ultimately the narrative photo sequence would lead to the innovations that gave rise to cinema, another form of storytelling altogether. Exact contemporaries of one another, Eadweard J. Muybridge in the United States and Étienne-Jules Marey (1830-1904) in France both employed cameras to dissect human movement. Muybridge used a bank of cameras positioned to record a subject as it moved, tripping wires attached to the shutters. The result was a sequence of “stop-action” photographs that isolated gestures not otherwise visible in real time. Beginning in 1882, Marey pursued motion studies with a markedly different approach. In the works for which he is best known, he exposed one photographic plate multiple times at fixed intervals, recording the arc of movement in a single image.

IV. The Legible Object

Some photographs speak for themselves; others function as the amplifier for objects that can literally be read through the image. In her series Sorted Books, American artist Nina Katchadourian (b. 1968) composes statements by combining the titles of books drawn from the shelves of libraries and collections. Indian History for Young Folks, 2012, shows three books from the turn of the twentieth century that she found in the Delaware Art Museum’s M.G. Sawyer Collection of Decorative Bindings. The viewer’s eye silently provides punctuation: “Indian history for young folks: Our village; your national parks.” Though at first glance it appears merely to arrange words into legible order, Katchadourian's oblique statement—half verbal, half visual—would be incomplete if divorced from the physical apparatus of the books themselves.

V. The Photograph Decodes Nature

As early as 1840, one year after photography’s invention was announced, scientists sought to deploy it in their analysis of the physical world. Combining the camera with the microscope, microphotographs recorded biological minutiae, leading to discoveries that would have been difficult, if not impossible, to obtain by observing subjects in real time. Similarly, the development of X-ray technology in 1895 allowed scientists to see and understand living anatomy to an unprecedented degree. Such innovations not only expanded the boundaries of the visible world but also introduced graphic concepts that would have a profound impact on visual culture. In other ways, too, nature has been transformed in human understanding through the interpretive filter of the lens, as seen in Sight Reading in the telescopic moon views of astronomers Maurice Loewy (1833-1907) and Pierre Henri Puiseux (1855-1928) and in the spellbinding aerial abstractions of William Garnett (1916-2006).

VI. The Photograph Decodes Culture

The photograph not only changed but to a great extent invented the modern notion of celebrity. Modern-age celebrities live apart from the general public, but their faces are more familiar than those of the neighbors next door. Since the mid-nineteenth century, viewers have come to “know” the famous through accumulated photographic sightings, which come in formats and contexts that vary as much as real-life encounters do. In four images that would have communicated instantly to their intended viewers in 1966, Jean-Pierre Ducatez (b. 1970) portrayed the Beatles through closeups of their mouths alone. The graphic shorthand employed by Jonathan Lewis in his series The Pixles is of a more recent variety, but he, too, relies on the visual familiarity conferred by tremendous celebrity. Each print in the series reproduces the iconic art of a Beatles album cover at life size (12 x 12 inches) but extremely low resolution (12 x 12 pixels). Like celebrities themselves, perhaps, the images look more familiar to the eye at a distance than close-up.

VII. Meaning is on the Surface

Photographs are not just windows onto the world but pieces of paper, which can themselves be inscribed or otherwise altered in ways that enrich or amend their meaning. The group portrait Joint Meeting of the Railway Surgeons Association, Claypool Hotel, Indianapolis (1920) is contact printed, meaning that the negative was the same size as the print. After the portrait sitting, the photographer appears to have presented the developed film to the sixty-four sitters for signing during the three days they were assembled for their convention. The result is a document that unites two conventional signifiers of character: facial features and the autograph.

VIII. Photography and the Page

News of the world took on a newly visual character in the 1880s, when the technology of the halftone screen made it practical, at last, to render photographs in ink on the printed page.

Among the earliest examples of photojournalism is Paul Nadar’s (1820-1910) “photographic interview” with Georges Ernest Boulanger, a once-powerful French politician. The article’s introduction explains that the photographs were printed alongside the text in order to provide evidence of the encounter and to illustrate Boulanger’s dynamic body language during the conversation.

X. Empire of Signs

The plethora of signs, symbols, and visual noise endemic to cities has attracted photographers since the medium’s invention. Their records of advertisers’ strident demands for attention, shopkeepers’ alluring displays, and the often dizzying architectural density of metropolitan life chronicle sights that are subject to change without notice. The photographer’s perspective on contemporary social life—whether it is anectodal, as in John Thompson’s (1837-1921) Street Advertising from Street Life in London (1877), or haunting, as in Eugène Atget’s (1857-1927) Impasse des Bourdonnais (ca. 1908)—is embedded in each image.

Organization and Sponsorship

Sight Reading is co-organized by the Morgan Library & Museum and the George Eastman Museum, Rochester. The exhibition is curated by Joel Smith, the Richard L. Menschel Curator of Photography at the Morgan Library & Museum, and Lisa Hostetler, Curator in Charge, Department of Photography, the George Eastman Museum, Rochester.

The exhibition in New York is made possible by Jane P. Watkins.

The programs of the Morgan Library & Museum are made possible with public funds from the New York City Department of Cultural Affairs in partnership with the City Council, and by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.

General Information

The Morgan Library & Museum

225 Madison Avenue, at 36th Street, New York, NY 10016-3405

212.685.0008

www.themorgan.org

Just a short walk from Grand Central and Penn Station

Hours

Tuesday-Thursday, 10:30 a.m. to 5 p.m.; extended Friday hours, 10:30 a.m. to 9 p.m.; Saturday, 10 a.m. to 6 p.m.; Sunday, 11 a.m. to 6 p.m.; closed Mondays, Thanksgiving Day, Christmas Day, and New Year’s Day. The Morgan closes at 4 p.m. on Christmas Eve and New Year’s Eve.

Admission

$18 for adults; $12 for students, seniors (65 and over), and children (under 16); free to Members and children 12 and under accompanied by an adult. Admission is free on Fridays from 7 to 9 p.m. Admission is not required to visit the Morgan Shop, Café, or Dining Room.

London - This week, paper artist Zoe Bradley will be installing five exclusive artworks in Sotheby’s New Bond Street galleries. These spectacular sculptures in paper, adorned with Swarovski crystals and pearls, will be exhibited alongside 460 fascinating royal and aristocratic heirlooms from our “Of Royal and Noble Descent” auction from 14 to 18 January 2016.

The sculptures are inspired by the fashion in Old Master paintings and include:

  •   A monumental red ruffle gown - red being the colour of wealth in the 17 and 18th centuries. 
  •   A pair of shoes with a red sole, the fashion at the court of Louis XIV. 
  •   An immense ruff (one meter in diameter). Ruffs were an extravagant display of wealth which
    became symbolic of the reign of Elizabeth I. By 1605, the Queen passed a law prohibiting ruffs over
    one meter in diameter to prevent the waste of fabric. 
  •   A stunning wig replicating the eccentric wigs of the aristocracy and royalty. 
  •   A magnificent crown which will echo many lots in the “Of Royal and Noble Descent” sale (19 January 2016).

LATE NIGHT VIEW - Friday 15 January

On Friday 15 January, Zoe Bradley’s sculpture will be the centrepiece of a public late night view with Sotheby’s specialist Jonquil O’Reilly hosting a talk on the history of fashion as told through Old Master Paintings, a DJ and a pay bar stocked with Ruinart Champagne. Free tickets can be booked here.

ZOE BRADLEY

Working across many disciplines, Zoe Bradley’s work combines sculpture, fashion and theatre. Bradley works primarily to commission creating oversized silhouettes, which is something that has defined her paper sculptures.

After graduating in fashion design, British-born Bradley worked closely with Alexander McQueen on special projects and created some of the key showpieces for S/S RTW 1999 show no: 13.

Bradley discovered her love of paper whilst making a series of paper showpieces for the designer Michiko Koshino A/W 2005 show. The same year, Liberty London commissioned her to make a range of paper showpieces for their Christmas windows in 2005. Today Bradley’s clients include worldwide luxury brands such as Louis Vuitton, Dior, Smythson, Tiffany & Co., Graff, Christian Louboutin and major department stores from around the globe from Lane Crawford in Hong Kong, Bergdorf Goodman in New York, Plaza66 in Shanghai, Selfridges and Harrods in London.

Bradley’s work was exhibited in London, Amsterdam, Hong Kong and New York and featured in numerous books and publications, including American and Chinese Elle, British Vogue, British Harper’s Bazaar, Wallpaper, House & Garden and Italian Casa Vogue.

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Sotheby’s has been uniting collectors with world-class works of art since 1744. Sotheby’s became the first international auction house when it expanded from London to New York (1955), the first to conduct sales in Hong Kong (1973) and France (2001), and the first international fine art auction house in China (2012). Today, Sotheby’s presents auctions in nine different salesrooms, including New York, London, Hong Kong and Paris, and Sotheby’s BidNow program allows visitors to view all auctions live online and place bids in real-time from anywhere in the world. Sotheby’s offers collectors the resources of Sotheby’s Financial Services, the world’s only full-service art financing company, as well as private sale opportunities in more than 70 categories, including S|2, the gallery arm of Sotheby’s Contemporary Art department, as well as Sotheby’s Diamonds and Sotheby’s Wine. Sotheby’s has a global network of 90 offices in 40 countries and is the oldest company listed on the New York Stock Exchange (BID).

*Estimates do not include buyer’s premium and prices achieved include the hammer price plus buyer’s premium.

All catalogues are available online at www.sothebys.com or through Sotheby’s Catalogue iPad App


Castiglione to Warhol, The Art of Making Faces will be on view from January 15 to April 22, 2016, in the Joel and Lila Harnett Print Study Center, University of Richmond Museums. Drawn from the University Museums’ collections of drawings, prints, photographs, and paintings, the more than fifty works in this exhibition explore how artists create faces to provide recognition of known subjects, to study the personality of the person being portrayed, and to convey the range of human emotions. From the seventeenth century to the present, the subjects range from unknown sitters, to portraits of celebrities, to imagined figures created by the artists. The exhibition begins with the complete 1645-1650 series of sixteen prints, “Studies of Small Heads in Oriental Headdress,” by Giovanni Castiglione (Italian, 1609-1664) and ends with a selection of screenprints and Polaroid prints from the 1970s and 1980s by Andy Warhol (American, 1928-1987).

            Works from the eighteenth and nineteenth centuries include a drawing “Study of an Anguished Man,” by Jacob de Wit (Dutch, 1695-1754) from the 1740s; a crayon-manner engraving, “Head of an Old Woman,” 1767, by Gilles Demarteau (French, 1722-1776), after François Boucher (French, 1703-1770); an engraving transferred to lithographic stone, “Servatori Civium (Louis XVI),” 1818-1819, by Alois Senefelder (German, 1771-1834); and an etching, “Woman with Crossed Hands,” 1898, by Käthe Kollwitz (German, 1867-1945). More recent works from the twentieth century include “Billie Holiday,” circa 1950, photograph, by Josef Breitenbach (American, born Germany, 1896-1984); and “Picasso in a Medallion,” circa 1930s, transfer monotype, by Sir Francis Rose (British, 1901-1979). Self-portraits in the exhibition include works by Pierre Daura (American, born Catalonia, Spain, 1896-1976), Philip Evergood (American, 1901-1973), Diego Lasansky (American, born 1994), Raphael Soyer (American, 1899-1987), and George Tooker (American, 1920-2011).

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New York, NY, January 8, 2016—Andy Warhol’s fascination with publishing and the art of the book was lifelong—rooted in his artistic training as a college student and early career in advertising, fashion, and commercial illustration. For close to forty years, books were a touchstone for Warhol—a medium to which he returned again and again as a platform for his unparalleled creativity.  He contributed to more than eighty projects for books and left traces behind of dozens of others that were never realized.

Beginning on February 5, 2016, the Morgan Library & Museum will feature for the first time in New York an exhibition devoted solely to Warhol’s career as a book artist. This retrospective, which originated at the Andy Warhol Museum, Pittsburgh, features more than 130 objects dating from the artist’s student days, his early years in New York as a commercial artist and self-publisher, and the innovative work of the 1960s, ‘70s, and ‘80s that solidified Warhol’s standing in the history of modern art. Items on display include the only surviving book project from the 1940s; drawings, screen prints, photographs, self-published books, children’s books, photography books, text-based books, unique books, archival material; and his much-sought-after dust jacket designs. Warhol by the Book will remain on view through May 15.

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Bentonville, Ark.—Crystal Bridges Museum of American Art announces the opening of Samuel F.B. Morse’s Gallery of the Louvre and the Art of Invention on view January 23 through April 18, 2016 in the Early Twentieth-Century Gallery.  There is no cost to view the exhibition.

Known today primarily for his role in the development of the electromagnetic telegraph and Morse code, Samuel F. B. Morse began his career as a painter. In 1829, Morse embarked upon a three-year period of study in Paris. This culminated in the monumental painting Gallery of the Louvre, in which the artist chose masterpieces from the Louvre’s collection and depicted them as if they had been exhibited together in one of the museum’s grandest spaces. The work brings together Morse’s artistic and scientific pursuits, revealing an adoration of the old masters as well as the artist’s Calvinist worldview and conservative cultural politics. In total, Morse included 38 of his favorite masterworks in this tightly arranged “salon-style” presentation. Gallery of the Louvre was created between 1831 and 1833 in Paris and New York and is now part of the collection of the Terra Foundation for American Art in Chicago.

Amherst, MA—The Eric Carle Museum of Picture Book Art is pleased to present Magician of the Modern: The Art of Leonard Weisgard, on view from March 8 to June 5, 2016. This major American retrospective celebrates the award-winning career of renowned picture book illustrator Leonard Weisgard and marks the 100th anniversary of his birth. Weisgard (1916-2000) was the first American illustrator to bring the dynamic new visual language of modernism to the picture book. In a career that spanned six decades and over 200 publications, Weisgard rewrote the rules for illustrating books for the youngest ages, discarding the sentimental realism of the past in favor of a kinetic, playful, semi-abstract approach.

Weisgard’s interest in the quality of children’s books began when he was just eight years old. As a schoolboy in New York City, he was dissatisfied with the books supplied by the public schools he attended. He found the illustrations monotonous and thought that the world “could not be all that dreary and limited to only one color.” He went on to study dance with Martha Graham and prepared for a career in modern dance. But when a leg injury dashed his hopes in that direction, he pivoted to graphic design and, with encouragement from a high school art instructor, enrolled in the art teacher-training program of Brooklyn’s Pratt Institute. Weisgard was still a student at Pratt when he published his first illustrations in Vogue, Harper’s Bazaar, House and Garden, The American Magazine, and Good Housekeeping. He was just 21 in 1937 when The New Yorker accepted his first cover design. That same year, he also published a picture book, Suki: The Siamese Pussy, followed by an adaptation of Cinderella.

New York, NY, December 2015 —In 1848 Richard Wagner (1813-1883) began work on what eventually would become his monumental cycle of four music dramas, Der Ring des Nibelungen (The Ring of the Nibelung). It would be twenty-six years before his masterpiece was fully completed in November 1874.

Now, in a new exhibition opening January 29, 2016, the Morgan Library & Museum explores the challenging creation of Wagner’s epic, and the staging of its 1876 premiere in Bayreuth and its 1889 American debut at the Metropolitan Opera House in New York. The exhibition includes rare music manuscripts, letters, books, costumes and stage designs, photographs, and historical artifacts. A number of the items are on loan from the Richard Wagner Museum in Bayreuth and have never before been on public display. Additional material comes from the Morgan’s music holdings, the Metropolitan Opera Archives, Columbia University, and from several private collections. Wagner’s Ring: Forging an Epic is on view through April 17.

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Exhibition dates: January 20-April 17, 2016

Exhibition location: Romanesque Hall (Gallery 001, The Cloisters)

Only three decks of European hand-painted playing cards are known to have survived from the late Middle Ages—two made in Germany and one in the Burgundian Netherlands, all dating from the early to late 15th century. The only complete set of these luxury cards—The Cloisters Playing Cards, from the southern Netherlands—and representative examples from the other two decks will be featured in the exhibition The World in Play: Luxury Cards, 1430-1540, opening January 20 at The Cloisters.

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Exhibition dates: January 8-April 11, 2016

Exhibition location: The Robert Wood Johnson, Jr. Gallery, 2nd floor, Gallery 690

Approximately 15 drawings by the 18th-century German artist Matthias Buchinger (1674-1739), who was born without hands or feet, will be presented in Wordplay: Matthias Buchinger's Drawings from the Collection of Ricky Jay, opening at the Metropolitan Museum on January 8, 2016. Despite his physical limitations, Buchinger was celebrated in his own time as a draftsman and calligrapher as well as a magician and musician, and poetic broadsides were written in Europe and Britain about his many talents and achievements. Known as "the Little Man of Nuremberg" because he was only 29 inches tall, Buchinger lived a nomadic existence and boasted a clientele that included noblemen, kings, and emperors, along with members of the public who visited him at inns and fairs, from Leipzig to Paris and London to Belfast.

National Endowment for the Arts (NEA) Chairman Jane Chu announced Tuesday that the Center for Book Arts is one of 919 nonprofit organizations nationwide to receive an NEA Art Works grant. The Center for Book Arts is recommended for a $15,000 grant to support its 2016 series of exhibitions on contemporary book arts and related media. Featuring a number of guest curators, each exhibition will emphasize diverse artistic practices while examining the curatorial influence that the Center has had in the development of book arts. The exhibitions will include a wide range of book arts formats, from handmade book arts objects to site-specific installations with mixed media components. 

NEA Chairman Jane Chu said, "The arts are part of our everyday lives - no matter who you are or where you live - they have the power to transform individuals, spark economic vibrancy in communities, and transcend the boundaries across diverse sectors of society. Supporting projects like the exhibitions program at the Center for Book Arts offers more opportunities to engage in the arts every day." Art Works grants support the creation of art, public engagement with art, lifelong learning in the arts, and enhancement of the livability of communities through the arts. The Center's award is one of more than $27.6 million in NEA's first funding round of fiscal year 2016.

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Corning, NY—In May 2016, The Corning Museum of Glass (CMoG) will present the first comprehensive exhibition to explore the relationship between the exquisite works of famed 19th-century glass artists and naturalists Leopold and Rudolf Blaschka and their impact on marine conservation efforts today. Titled Fragile Legacy: The Marine Invertebrate Models of Leopold and Rudolf Blaschka, the exhibition features more than 70 exquisitely detailed glass models of marine invertebrates and dozens of the Blaschkas’ original drawings of aquatic lifeforms. Taken together, the Blaschkas’ creations serve as a time capsule of the ocean’s past, and provide a critical benchmark for 21st-century scientists trying to determine how many of these species still survive. On view at CMoG from May 14, 2016 through January 8, 2017, the exhibition will also feature footage taken by two Cornell University researchers who have set out to film living examples of the creatures captured in glass by the Blaschkas more than a century ago.

In April 2016, CMoG will also present Revealing the Invisible: The History of Glass and the Microscope. This exhibition will tell the stories of scientists’ and artists’ explorations of the microscopic world from the early 1600s until the late 1800s, and show how their work drove improvements in scientific glass and the advent of modern scientific glassmaking. Key archival materials from the Museum’s Juliette K. and Leonard S. Rakow Research Library will be featured in the exhibition, alongside historically significant microscopes from external lenders, including an original van Leeuwenhoek microscope—one of only a dozen left in the world. The exhibit will be on view from April 23, 2016 through March 18, 2017.

New York, NY, December 9, 2015—During his lifetime Pierre-Jean Mariette (1694-1774) assembled one of history’s finest and most renowned collections of drawings. He amassed over nine thousand sheets that were dispersed after his death, and today works from his collection are found in museums and private collections around the world, many of them still in Mariette’s distinctive blue mounts. Despite his importance as a collector and connoisseur, he has never before been the subject of an exhibition in the United States.

On view at the Morgan Library & Museum from January 22 through May 1, 2016, Pierre-Jean Mariette and the Art of Collecting Drawings explores the eighteenth-century collector’s pivotal role in shaping our modern view of the old masters and provides a rare opportunity to consider the particular ways in which Mariette studied, mounted, altered, restored, and displayed the drawings in his collection. Through the examination of his methods, the exhibition highlights practices of collecting that persist even today.

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The visionary artistry of Lynd Ward, one of America’s foremost book illustrators during the first half of the twentieth century, is on view at the Grolier Club from November 19, 2015 through January 16, 2016.  This is the first one-person exhibition in New York City to present an overview of his remarkable achievements.  The exhibition Illustrated by Lynd Ward, From the collection of Robert Dance includes more than 60 artworks that reveal the range of Ward’s graphic accomplishments.  Ward is primarily known for his woodcut “wordless novels,” precursors to today’s graphic novel.  However, also significant, and relatively under-appreciated, are his illustrations in other media: lithography and mezzotint, brush drawings, line drawings, watercolors and paintings for more than 200 books. 

Ward’s “wordless novels”, with their bold, dramatically drawn wood engraved images, introduced American readers to a new literary structure in which pictures supplanted words as the narrative device.  These pictorial essays reflect the artist’s social conscience and address his view of American life in the years immediately preceding and during the Depression.  They remain exemplars of twentieth-century American illustrated books.

(Amherst, MA)—The Eric Carle Museum of Picture Book Art commemorates the literary and artistic contributions of Newbery Award-winning American author and illustrator William Pène du Bois with the exhibition A Taste for Adventure: The Art of William Pène du Bois opening December 15 and running through May 1, 2016. Pène du Bois is the author and illustrator of numerous children’s books known for both their whimsy and serious themes. He published his first picture book at age twenty and continued writing and illustrating the rest of his life.

This exhibition, organized by Carle Curator Emeritus H. Nichols Clark, marks the centenary of Pène du Bois’s birth. Featured are illustrations from his 1947 Newbery Award-winning book, The Twenty-One Balloons, the fantastic story of Professor William Waterman Sherman’s around-the-world balloon voyage of 1883. Also on view are illustrations of Giant Otto, a large yellow hound who uses his size and strength to perform good deeds. Other endearing Pène du Bois characters come to life in Elizabeth the Cow Ghost, The Horse in the Camel Suit, and Porko von Popbutton. Pène du Bois’s illustrations animate text by such legendary authors as Isaac Bashevis Singer and local professor and two-time Pulitzer Prize winner Richard Wilbur.

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