Tuesday, June 13, 2017



The Restless Regionalist: The Art of Joe Jones

June 9 though September 10, 2017
The Albrecht-Kemper Museum of Art, St. Joseph, Missouri

November 4, 2017 through January 14, 2018
Birger Sandzen Gallery, Lindsborg, Kansas

Sixty works by Joseph John Jones (1909-1963) are shown in the Restless Regionalist. Born in St. Louis in difficult circumstances, he made New Deal murals in both Missouri and Kansas, and served as a Combat Artist during World War II. Our loan to the exhibition is of Jones by colleague Edward Laning while they were in the Aleutian Islands of Alaska during the War.

Edward Laning, Joe Jones, 1943, sepia ink drawing (detail shown), 8 x 11 inches, signed and titled in ink. A typed note reads “Drawn in the Aleutians as correspondent for the War Department Art Unit.”

Jones made paintings, lithographs, and serigraphs, and was a remarkably skilled self-taught draftsman: he is one of very few artists to have made several covers for Time magazine. Associated American Artists, New York City, published sixteen of his prints.
 Joe Jones, Nude, about 1935, lithograph 
While many of Jones’ early works reflect his home-state’s farming and rural communities, throughout his career he spoke to serious social issues, especially racism, economic hardship, and workers rights.

Link to the Gallery’s Joe Jones page:

restlessregionalist, joejones, edwardlaning, Aleutians, WarDepartmentArtUnit WarCorrespondent Combatartist, NewDeal, NewDealMura,l associatedamericanartists regionalism americanregionalism Stlouis, Albrecht-Kemper, BirgerSandzen

#restlessregionalist #joejones #edwardlaning #Aleutians #WarDepartmentArtUnit #WarCorrespondent #Combatartist #NewDeal #NewDealMural #associatedamericanartists #regionalism #americanregionalism
#Stlouis #Albrecht-Kemper #BirgerSandzen

Friday, June 9, 2017

Back at Last!

This week our loans to Innovation and Abstraction: Women Artists and Atelier 17
were returned to us and we’re celebrating!

Innovation and Abstraction began August 4 last summer, 2016, at the Pollock-Krasner House in East Hampton and traveled to the Zimmerli Art Museum, New Brunswick, NJ, where it ran through Wednesday, May 31.

Sue Fuller, Collage, 1944

Dr. Christina Weyl, selected eight artists from the more than ninety women who worked at the New York Atelier 17 between 1940 and 1955. Of course we were also thrilled to see pieces by Alice Trumbull Mason, Dorothy Dehner, and Worden Day in the show as well. 

Sue Fuller, Cacophony, first state, 1944

Shown here are the three pieces related to Sue Fuller’s Cacophony, 1944. The first is Collage, probably made of a string onion-bag tweaked into two standing women and mounted on a support sheet. The title gives it independent standing. The second is a first state of Fuller’s print Cacophony, 1944. The intaglio was clearly made from the sting of Collage; many areas were blocked out to isolate the figures. Then, the final state. There could have been any number of intermediate states between first and final, but Fuller chose to preserve these two. The final has so many overlapping patterns of, probably, doilies and lace, and use of sugar lift, that it’s hard to keep track. It is a soft-ground extravaganza.

Sue Fuller, Cacophony, final state, 1944

While women were extremely hard to find at Stanley William Hayter’s earlier, Paris, Atelier 17, in NYC Fuller was a master printer, credited with technical innovations adapted by the studio.

Link to Weyl’s essay and checklist;

STG listing for Women of Atelier 17
Our list includes a few other artists including Worden Day, Fannie Hillsmith and Kett.

#innovationandabstraction #womenartists #atelier17 #pollock-krasnerhouse #minnacitron #suefuller #wordenday #dorothydehner #alicetrumbullmason #anneryan #susanteller #collage #zimmerli #innovation #stanleywilliamhayter #printmaking

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Sunday, June 4, 2017

The Restless Regionalist: The Art of Joe Jones

This week we sent off the Edward Laning drawing, Joe Jones Asleep, 1943. (Detail below.) It was made by Laning while in the Aleutians when he was a Correspondent for the War Department Art Unit. It will be shown in The Restless Regionalist: The Art of Joe Jones, at the Albrecht-Kemper Museum of Art, St. Joseph, Missouri, from June 8 through September 10, 2017.

Edward Laning, Joe Jones Asleep (detail), 1943

The show will then travel to the Birger Sandzen Gallery, Lindsborg, Kansas, November 4, 2017 through January 14, 2018.

#edwardlaning #laning #joejones #aleutians #Warcorrespondent #WWII #Regionalist #restlessregionalist #albrecht-Kemper #albrechtkemper #BirgerSandzen #missouri #wardepartmentartunit

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Sunday, May 28, 2017

CLOSING THIS WEEK: Innovation and Abstraction: Women Artists and Atelier 17

Innovation and Abstraction: Women Artists and Atelier 17 is on view at the Zimmerli Art Museum, Rutgers University, New Brunswick, NJ, through Wednesday, May 31. This exhibition was shown at the Pollock-Krasner House, East Hampton, NY, in 2016.

Dr. Christina Weyl, selected eight artists from the more than ninety women who worked at the New York Atelier 17 between 1940 and 1955. For each she selected intaglio prints indicative of their Atelier experience as well as an additional piece in another medium: paintings for MINNA CITRON and ALICE TRUMBULL MASON, string construction for SUE FULLER, sculptures for WORDEN DAY and DOROTHY DEHNER, and woodcut and collage for ANNE RYAN. Works by Louise Bourgeois and Louise Nevelson are also included.
Anne Ryan, The Quest, 1945, woodcut on black paper
Shown here is Anne Ryan’s The Quest, about 1945, an impression of the first state. This subject appeared in the Innovation and Abstraction exhibition at its Zimmerli Art Museum venue, 2017.

Link to Weyl’s essay and checklist;

STG listing for Women of Atelier 17
Our list includes a few other artists including Worden Day, Fannie Hillsmith and Kett.

#innovationandabstraction #womenartists #atelier17 #pollock-krasnerhouse #minnacitron #suefuller #wordenday #dorothydehner #suefuller #alicetrumbullmason #anneryan #susanteller #collage #zimmerli #innovation #anneryan #stanleywilliamhayter #printmaking

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Sunday, May 21, 2017


Down the Road: Wellfleet Printmakers from the 20th Century is on view at the Provincetown Art Association and Museum, Provincetown, MA, through TODAY, May 21, 2017. It’s a wide reaching show with nearly every Cape Cod drypoint or lithograph by PEGGY BACON along with extensively annotated printer’s proofs, early states, and related drawings. There are also exceptional examples of work by Clare Leighton, including many of the actual woodblocks for her 1954 book, Where Land Meets Sea – The Enduring Cape Cod, as well as works by Alexander Brook, Stow Wengenroth, and others.
John W. Gregory, Road to Provincetown, 1932

Thomas R. Broker and Arthur N. Gilbert are the curators of the exhibition. They both have a deep knowledge of the material and appreciation for the contributions made by the artists.

A list on the STG site also features Truro artists JUDITH SHAHN and her father BEN SHAHN, Provincetown artists MARY SINCLAIR, BETTY WALDO PARISH, and sister and brother DOROTHY GREGORY and JOHN GREGORY. Cape Cod subjects are used for many, but especially for artists who may have been more casual visitors such as PETER GRIPPE and HUGH MESIBOV. HOWARD DAUM and BEULAH STEVENSON were probably visiting Hans Hofmann.

Link to our page:

link to PAAM’s exhibition page:

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Sunday, May 14, 2017

Report on St. Louis Fair

We're back from the St. Louis Fine Print, Rare Book, And Paper Arts Fair, at the University of Missouri--St. Louis. It was sponsored by the St. Louis Mercantile Library.

This fair has an unusual ebb and flow, and this year it was heavier on art than I remember from other years. Of course one of the huge advantages of an institutionally sponsored event is the presence of the staff and here the Library’s director John Hoover, curator Julie Dunn-Morton, and several of their colleagues, were in attendance. Their support is hugely appreciated by both visitors and vendors alike.

This year we featured recent acquisitions such as lithographs and intaglios by Karl Schrag, our favorite Thomas Hart Benton print, The Race, 1942, and works by Peggy Bacon, William Baziotes, and Stanley William Hayter.

The link below to the UMSL site features a 2015 interview with Julie Dunn-Morton and ST. Thanks to SL for identifying the musical introduction as Morton Gould's Pavanne, part of his American Symphonette No. 2, composed in 1939.

#umsl #Stlouis #StLouisPrintFair #PrintFair #STLprintfair #collectprints #KarlSchrag #peggybacon #williambaziotes #stanleywilliamhayter #thomashartbenton

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Wednesday, April 26, 2017

The Bombing of Guernica, 1937

It would have been market day eighty years ago today in the small Basque town of Guernica when it was bombed by the German Luftwaffe and the Italian Aeronautica Militare. It was the first deliberate targeting of civilians by a military air force in the history of the world.

Howard Daum, Combat, 1947

The number of dead was probably around 300 with scores of people, and as Picasso reminded us, animals, horribly injured, and the town destroyed. Within three months Pablo Picasso made a monumental work that continues to haunt us today.

Picasso’s painting, while under the protection of the Museum of Modern Art, New York, captured the imagination of Howard Daum. In the 1940s when Daum attended Atelier 17, the New York workshop of Stanley William Hayter, he of course learned of Hayter’s friendship and professional association with Picasso. Hayter’s own engraving Combat, 1936, also referenced the Spanish Civil War, but pre-dates the bombing of Guernica. The copper plate for that print was one of the few items that Hayter brought with him in 1940 when he left Paris for New York.

Howard Daum’s version, Combat, 1947, is a tour-de-force of Atelier 17 techniques. At 14 x 18 inches it is a very large intaglio made in at least three states.

Howard Daum’s Combat follows in the Hayter/Picasso legacy of iconic anti-war compositions with a masterful Post-World-War II image. 

#Daum #Howarddaum #Picasso #Hayter #Stanleywilliamhayter #Atelier17 #Guernica #Spanishcivilwar #combat #intaglio #1937

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