Tuesday, June 13, 2017

JOE JONES

 

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:





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#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

LAST DAY OF WELLFLEET PRINTMAKERS IN PROVINCETOWN


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:

capecod, provincetown, provincetownartassociationandmuseum, wellfleet, PAAM, peggybacon, clareleighton, judithshahn, benshahn, marysinclair, bettywaldoparish, howarddaum, hanshofmann, petergrippe, hughmesibov, alexanderbrook, downtheroad, WellfleetPrintmakers

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.
Link:
http://www.umsl.edu/mercantile/events-and-exhibitions/print-fair/index.html


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

umsl, Stlouis, StLouisPrintFai,r PrintFair, STLprintfaircollectprints, 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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Sunday, April 16, 2017

ANNE RYAN COLLAGE WEEK

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Collages by Anne Ryan (1889-1954) date from the last five or six years of her short artistic career and for that matter, of her life. Right now they are having a moment.

The piece shown here, dated 1951 and made on Douglas Howell paper, is currently on view at Rutgers University’s Zimmerli Art Museum in Innovation and Abstraction: Women Artists and Atelier 17, through May 31.

Anne Ryan, Collage, 1951

It is more cubist grid than expressionist composition like those on view in the Museum of Modern Art’s Making Space: Women Artists and Postwar Abstraction, on view through August 13. In his New York Times review of Friday, April 14, Holland Cotter wrote that “the exquisite, centrifugally spinning collages … were inspired as much by life as by other art.” Speaking of the show as a whole he decries the absence of many of these works from the permanent collection galleries where they would hang with those of male colleagues. 

#collage #zimmerli #innovation #innovationandabstraction #atelier17 #anneryan #makingspace #hollandcotter #douglashowell #MOMA

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Sunday, April 9, 2017

PEGGY BACON AND CLARE LEIGHTON FEATURED IN PROVINCETOWN

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Down the Road: Wellfleet Printmakers from the 20th Century is on view at the Provincetown Art Association and Museum, Provincetown, MA, from April 7 through May 21, 2017. It’s a wide reaching show with exceptional examples of work by Clare Leighton and including many of the actual woodblocks for her 1954 book, Where Land Meets Sea – The Enduring Cape Cod, jewels in themselves. Leighton’s print of the Oyster Houses, 1948 (and my new favorite of hers), is paired with a related preparatory drawing, as well as Peggy Bacon’s Low Tide, 1952, Albert Edel’s extremely scarce Oyster Shacks, and even Stow Wengenroth’s Oyster Shacks. Thanks to Thomas Broker for going through this with me and putting it together in the first place.

Clare Leighton, wood engravings with blocks for Where Land Meets Sea

For Bacon there are nearly all her Wellfleet subjects including early and final states for several, including High Brows, and some such as Priceless Find shown both in lithograph and drypoint versions, one with extensive state and printing notations by Bacon.

Peggy Bacon, Low Tide, 1952, drypoint

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.
 
Provincetown Art Association and Museum, April, 2017
The Provincetown Art Association and Museum was founded in 1914. A renovation in 2005 and 06 expanded the square footage to 19,500. It is the most visited art museum on Cape Cod. Our thanks go to Christine McCarthy, Executive Director, for recognizing the national importance of the locally titled Wellfleet Printmakers.

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 HOWARD DAUM who would have been visiting his NYC teacher Hans Hofmann, PETER GRIPPE, and HUGH MESIBOV.


Link to our page:


link to PAAM’s exhibition page:

#capecod #provincetown #provincetownartassociationandmuseum #PAAM #peggybacon #clareleighton #judithshahn #benshahn #marysinclair #alexanderbrook #bettywaldoparish #howarddaum #hanshofmann #petergrippe #hughmesibov
#alexanderbrook #downtheroad #WellfleetPrintmakers

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downtheroad, WellfleetPrintmakers

Monday, March 27, 2017

American Art of the Depression Era at the Royal Academy


Work by Thomas Hart Benton is featured in America After the Fall: Painting in the 1930s, at The Royal Academy of Arts, London, through June 4.

Below is Benton’s lithograph The Race (also titled Homeward Bound), of 1942. In the Creekmore Fath print catalogue raisonné there's a note by Benton that horses galloped with steam engines but not with diesels.
 
Thomas Hart Benton, The Race (also titled Homeward Bound), 1942       

A member of Associated American Artists’ 'Triumvirate of American Regionalism' along with John Steuart Curry and Grant Wood, Benton (1889-1975) was a painter, muralist, and printmaker. His America Today mural series of 1930-31 is at the Metropolitan Museum of Art; A Social History of the State of Missouri, 1936, is in the Missouri State House, Jefferson City, and is NOT TO MISSED!
 

Wednesday, March 8, 2017

INTERNATIONAL WOMEN'S DAY, MARCH 8


Celebrate International Women's Day, today, March 8.



Sue Fuller, Umbrella Makers, Japan, 1953

 

#internationalwomensday #internationalwomen'sday #Suefuller #Umbrellamakers #Japan

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Thursday, March 2, 2017

Read Across America Day


March 2 is Read Across America Day sponsored by the National Education Association. This is Peggy Bacon’s Lunch at the League, 1918. In this print Bacon shows colleague Doris Rosenthal, the woman in the foreground. Peggy herself is at left with the glasses and Dorothy Varian is next to her.

Peggy Bacon, Lunch at the League, 1918, drypoint

#Readacrossamerica #NEA #peggybacon #dorothyvarian #dorisrosenthal #ASL #artstudentsleague #theleague

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Sunday, February 26, 2017

McNAY MUSEUM FAIR THIS COMING WEEKEND




Karl Schrag, Last Glow in the Woods, 1957

Getting ready to head to San Antonio for the last fair of  the season.

McNAY PRINT FAIR, 2017
Saturday, March 4                     10 AM to 5 PM
Sunday, March 5                       Noon to 5 PM

We are featuring:
• Atelier 17: Intaglios by Stanley William Hayter, as well as those of colleagues,
Howard Daum, Dorothy Dehner, Sue Fuller, Fannie Hillsmith, Peter Grippe,
Alice Trumbull Mason, Anne Ryan, and Louis Schanker.

• Works by African-Americans Emma Bourne, Elizabeth Catlett, Curlee Raven Holton,
Lawrence A. Jones, and William E. Smith.

• Collection Highlights: An extremely scarce prints by the WPA-Era California artists
Pele DeLappe and Victor DeWilde, lithographs by Zygmund Jankowski, an archive of
etchings and lithographs by Karl Schrag, as well as works by Mark Tobey and
Marguerite Zorach.


Link to WINTER FAIR on Gallery Site:

mcnay, mcnayartmuseum, printfai,r ElizabethCatlett, Atelier17, SueFuller, PeterGrippe, KarlSchrag, StanleyWilliamHayter, VictorDeWilde, DorothyDehner, Curleeholton


#mcnay #mcnayartmuseum #printfair #ElizabethCatlett #Atelier17 #SueFuller #PeterGrippe #KarlSchrag #StanleyWilliamHayter #VictorDeWilde #DorothyDehner #Curleeholton

Sunday, February 19, 2017

WILLIAM BAZIOTES SHOWING AT BILBAO

Abstraction Expressionism is now on view at the Guggenheim in Bilbao. Wish we could be there to see the show and especially the William Baziotes Mariner, 1960-01. Below is his Young Clown, 1943-46, a pictograph image, 14 x 18 inches, made after the surreaiist pieces and before the larger, more abstract works.


William Baziotes, Young Clown, 1943-46

This is the link for the Guggenheim's page on the show. There's a great picture of 'The Irascibles' showing Baziotes and all his pals.
https://expresionismo.guggenheim-bilbao.eus/en/did-you-know-that#did-you-know-that

The Guggenheim exhibition runs from February 3 though June 4, 2017.

#Guggenheim #Bilbao #Baziotes #AbstractExpressionism #Surrealism #Irascibles
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