80th Anniversary of Strike at General Motors Plant, Flint, Michigan

Today, December 30, is the 80th anniversary of the start of the strike at the General Motors Fisher Body Plant, Flint, Michigan.

The exhibition of prints and drawings, Work on Paper, on view through January 29, 2017, was organized by Tracee Glab, Curator of Collections and Exhibitions, in recognition of the 80^th anniversary of the forty-four-day strike at the General Motors Plant that began on December 30, 1936.

Lynd Ward, From Wild Pilgrimage, 1932

Based on similar strikes in Europe, this was one of the nation’s first sit-down strikes. It was strategically important because that facility contained one of only two “body dies” that GM used for almost all of its 1937 models, of which 50,000 were produced in December and 125 in February. The management charged the workers with trespassing, shut off the heat, and tried to curtail access to food. However there was no use of the National Guard because Governor Frank Murphy believed that would favor one side over another in a legal dispute and also would lead to extensive bloodshed. After about six weeks, when General Motors agreed to recognize the United Auto Workers, the laborers not only received a 5% raise, but the right to speak in the lunchroom.

Link to the Flint Institute of Arts Show

http://www.flintarts.org/exhibitions/current/workonpaper.html

Flint, FlintInstituteofArts, TraceeGlab, GeneralMotors, strike, sit-downstrike,

LyndWard, Wildpilgrimage

# Flint  #FlintInstituteofArts #TraceeGlab #GeneralMotors #strike #sit-downstrike

#LyndWard #Wildpilgrimage

The Art of the Card, Holiday Designs by Artists

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Works by Dorothy Dehner, Sue Fuller, Wanda Gág, Stanley William Hayter, Fannie Hillsmith, Alicia Legg, and Betty Waldo Parish, are on view in The Art of the Card, Holiday Designs by Artists, at the Allentown Art Museum, through February 5, 2017. It’s a wonderful show.

In a exhibition heavy on Atelier 17 inspired intaglios (Hayter was a strong advocate of this tradition) the Hillsmiths are downright delightful!

Fannie Hillsmith, Blue Ornament, 1965

There are several Parishes in the show, but not this one:

Betty Waldo Parish, Washington Square, NYC, 1933

Dorothy Dehner, Sue Fuller, Wanda Gág, Stanley William Hayter, Fannie Hillsmith, Alicia Legg, Betty Waldo Parish

#Dorothy Dehner #Sue Fuller #Wanda Gág #Stanley William Hayter #Fannie Hillsmith #Alicia Legg #Betty Waldo Parish

Grace Martin Taylor (Frame) Exhibition -- Last Few Days

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Nearly missed it!

The exhibition, Studio Window: The Prints of Grace Martin Taylor, closes on Thursday, December 15. It’s been open since September 16, at the Deem Print Gallery of the West Virginia University Art Museum, Morgantown.

A gift of the artist’s daughter, Lucie Mellert, the University is fortunate to have an entire set of the artist’s prints, including many white-line woodcuts, and is showing the complete collection. It is such a rare opportunity to see an artist’s total oeuvre (more than 50 pieces) and these are so lovely besides.

Taylor (1903-1995), who eventually spent twenty-eight summers in Provincetown, learned printmaking from her cousin, the artist Blanche Lazzell. Taylor attended the Pennsylvania Academy of Fine Arts with Arthur Carles and later studied with both Hans Hofmann and Emil Bisttram. Taylor herself taught for forty years, at what is now the University of Charleston, West Virginia.

Many thanks to AL for alerting us to this terrific show.

Below is our pastel drawing (Town View), about 1935. It’s a beauty (and pretty large at 17 x 24 inches) but does have condition issues.

Link to the Gallery page:

http://www.susantellergallery.com/cgi/STG_art.pl?artist=taylor

Grace Martin Taylor, (Town View), about 1935, pastel, sheet size 17 x 24 inches

Link for WVU exhibition:

http://wvutoday.wvu.edu/n/2016/09/08/grace-martin-taylor-print-exhibition-opens-at-art-museum-of-wvu-sept-16

GraceMartinTaylor, BlancheLazzell, HansHofmann, DeemPrintGallery, WestVirginiaUniversityArtMuseum

#GraceMartinTaylor  #BlancheLazzell  #HansHofmann  #DeemPrintGallery #WestVirginiaUniversityArtMuseum

Miners' Day

Today is National Miners' Day.

Harry Sternberg, Slope Mine, 1937

Last Day at INK Miami

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December 4, 2016: Last Day at INK Miami

It’s been a terrific time with a steady stream of visitors, from eager and/or blasé high schoolers, to hard-core curators, to gallerists fueling their own habits. Peggy Bacon, Will Barnet, William Baziotes, Howard Daum, and Karl Schrag, all especially drew interest.

Howard Daum, Face and Hand, 1945, linocut

The days began with coffee on the front porch of 156 as colleagues arrived to ‘open the shop.’ Maybe this is what small town main streets used to be like? Our back door lead to a corner store with exotic juices and hot lunches.

 

Will Barnet, The New Toy (Go-Go), 1947, serigraph

No need to go into the fierce baby gecko encounter of ’16. It’s enough to pass on that he/she lived to terrorize New Yorkers yet another day.

After last year’s “biblical” rain the days this year were mostly pleasant, especially yesterday (Saturday) and today, that were much less humid and even had blue sky when the clouds cleared up after the frequent showers.

On Park Avenue near 20th Street, Miami Beach

One more day to enjoy Florida -- heading home on Tuesday.

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This is the link for the INK Miami overview on the site:

www.susantellergallery.com/cgi/STG_art.pl?artist=pf2016

#INKMiamiArtFair #INKMiami #IFPDA #PeggyBacon #WillBarnet #WilliamBaziotes #HowardDaum #KarlSchrag

INKMiamiArtFair, INKMiami, IFPDA, PeggyBacon, WillBarnet, WilliamBaziotes, HowardDaum, KarlSchrag

INK Miami Started Today

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INK Miami opened today, November 30, and runs through Sunday, December 4, 2016. We’re in Room 156 at the Suites of Dorchester, 1850 Collins Avenue, Miami Beach. At 19^th Street we are within sight of Art Basel at the Convention Center.

Peter Grippe, Beautiful New York, 1946

We'll be showing highlights from our Atelier 17 collection with intaglios by founder Stanley William Hayter, as well as Howard Daum, Worden Day, Dorothy Dehner, Sue Fuller, Peter Grippe, Fannie Hillsmith, Franz Kline, Anne Ryan, Louis Schanker, and Karl Schrag. There’s a related collection of modernist drawings by Hayter and Kline as well as Will Barnet and William Baziotes. Under the ‘Recent Acquisitons’ banner are the drypoints of the California WPA artist, Victor DeWilde, and a few paintings by Alexander Brook, 

Angelo Pinto, and Bernard Rosenquit.

This is the link for the overview on the site:

www.susantellergallery.com/cgi/STG_art.pl?artist=pf2016

 

#STANLEY WILLIAM HAYTER #HOWARD DAUM #DOROTHY DEHNER #SUE FULLER #PETER GRIPPE #FANNIE HILLSMITH #VICTORDEWILDE #FRANZ KLINE #ALICE TRUMBULL MASON #ANNE RYAN #LOUIS SCHANKER #KARL SCHRAG  #ATELIER17 #IFPDAFAIR #INKMiami #SUSANTELLER

STANLEYWILLIAMHAYTER, HOWARDDAUM, DOROTHYDEHNER, SUEFULLER, PETERGRIPPE, FANNIEHILLSMITH, KETT, FRANZKLINE, ALICETRUMBULLMASON, ANNERYAN, LOUISSCHANKER, KARLSCHRAG, SUSANTELLER, ATELIER17, IFPDAFAIR, INKMiami

 

Flint Trip Review

We’re just back from the Print Fair at the Flint Institute of Arts. Our thanks to all who made it a success, especially curator Tracee Glab, director John B. Henry, and registrar and resident problem-solver Peter Ott, and including museum guards, front desk, gift shop, and café staff as well.

 

Flint Institute of Arts

Flint is a fascinating and charming city on the nineteenth century Saginaw Trail, on the Flint River, about 65 miles northwest of Detroit. Beginning with fur trading in 1819, then lumber production, Flint became “Vehicle City” through the making of carriages. In 1908 General Motors was formed in here; the town was the site of an important sit-down strike in 1936-37, leading to the organization of the United Auto Workers. GM’s Buick and Chevrolet divisions were begun in Flint. The jobs provided by these car and truck industries helped make Flint a beneficiary of the Great Migration and a racially diverse city.

The auto industry re-organized, closed, and even demolished some plants, or re-tooled in the late 1980s. There is still substantial automotive production, but at a fraction of the 1950s and 60s. Meanwhile, a thriving arts corridor, the five universities and colleges, and medical facilities have helped fill some of these employer roles.

The housing dates mostly from the 1920s with additions in the 1950s and 60s. We visited several different neighborhoods and found a mix of housing styles and sizes, in what seem like over-sized lots, that is enormously attractive. Further there are frequent parkways in wide streets, mature trees and plantings, and particularly impressive in many areas, extremely large verges between the sidewalks and curbs. There is a sense of light and space that, to me at least, is special to the mid-West and definitely something to be appreciated. The loss of jobs and population in the 1980s and 90s, caused home prices to fall making for some fantastic opportunities to acquire substantial houses at bargain rates. Those days may be over however as recently both the prices and the population have stabilized and even started to rebound.

Downtown Flint, primarily Saginaw Street, has some fabulous buildings, especially the lovingly maintained Paterson Building named for automotive pioneer William A. Paterson. The Capitol Theatre, a 1928 extravaganza on East 2^nd Street, is undergoing extensive renovation.

Paterson Building, Flint, MI

The Flint Institute of Art is the second largest art museum in Michigan with an ambitious exhibition, film, and program schedule. It’s on Kearsley Street, a cultural boulevard anchored at the north end by Applewood (historic mansion and farm of the Mott Family), the Flint Institute of Music (home to the Flint Symphony Orchestra and School of Performing Arts), the Flint Youth Theatre, the Longway Planetarium (largest in the state and especially beautiful at night),  the Sloan Museum featuring history and technology, the Whiting -- a 2000 seat professional performing arts venue, and the Flint Public Library.

 

Library, Flint Institute of Arts

During the Print Fair, with enviable timing, the Institute’s exhibitions included Tracee Glab’s elegant Drawn to the Figure in the Graphics Gallery (just outside the world’s most picturesque art library) and Pressed for Time: History of Printmaking, in the Hodge Exhibitions Galleries. Not only did this show include masterpieces ranging from Durer to Lautrec to Hayter, but even me -- director John Henry kindly pointed out that the video documentary “About Prints” was technically part of the exhibition.

From the Bray Renaissance Gallery with the Rinaldo and Armida seventeenth century French tapestries, to the Art of Jade exhibition featuring both ancient Mesoamerican artifacts as well as Neolithic and Qing Dynasty Chinese pieces, to the excitement of visiting school children and Dale Chihuly’s stunning Persian chandelier at the entrance, the Flint Institute is a wonder. It was a privilege to be there.

#Flint #FlintInstituteofArts #FlintPrintFair

Flint, FlintInstituteofArts, FlintPrintFair 

FLINT PRINT FAIR

This coming weekend is the FLINT PRINT FAIR. It’s November 19 and 20, at the Flint Institute of Arts. 

Betty Waldo Parish, Washington Square South, (NYC), 1939

Several cartons are already on their way and three more boxes go on Monday. We always try to take scenes of New York City on our travels around the country. BETTY WALDO PARISH’S etching and aquatint, Washington Square South, 1939, is currently en route to the fair. 

Flint, FlintInstituteofArts, FlintPrintFair, WashingtonSquare, BettyWaldoParish

NEW YORK PRINT FAIR THIS WEEK

 

 This is the week! The New York Fair is ON !

Victor DeWilde, The Anchor, 1937

We’re in Booth 103

IFPDA Print Fair

Park Avenue Armory

Between 66^th and 67^th Streets

New York, NY

Thursday, November 3, Noon to 8 PM

Friday November 4, Noon to 8 PM

Saturday: November 5, Noon to 8 PM

Sunday, November 6, Noon to 6 PM

Our long wall features the New York branch of STANLEY WILLIAM HAYTER’S Atelier 17. HAYTER’S Laocoön and Falling Figure are on view along with the holiday card/birth announcement Augy’s Footprint, 1940 (also currently in the Workshop and Legacy show at the Metropolitan), along with a collaborative print made with his wife, the Californian artist HELEN PHILLIPS. There are also prints by HOWARD DAUM, DOROTHY DEHNER, SUE FULLER, (an early trial proof of Heights), PETER GRIPPE, FANNIE HILLSMITH, ANNE RYAN, and LOUIS SCHANKER, and a drawing by WILLIAM BAZIOTES.

Stanley William Hayter, Augy’s Footprint, 1940

Building on both the legacy of HAYTER and our recent representation of prints from the Estate of KARL SCHRAG, we’re featuring an overview of SCHRAG’S work from the 1930s to the 1970s.

Karl Schrag, Night Clouds and Reverie, 1958

Additional recent acquisitions include a beautifully inked impression of RAPHAEL SOYER’S powerful lithograph, Bowery Nocturne, 1933, and in what is probably New Deal-era Californian VICTOR DeWILDE’s first appearance at the New York Fair, ever, three extremely scarce drypoints including The Anchor, 1937, shown at the top of the page.

Raphael Soyer, Bowery Mission, 1937

There are a few day passes left. Write or call me if you need one.

Link to the Gallery’s Print Fair page:

http://www.susantellergallery.com/cgi/STG_art.pl?artist=pf2016

#STANLEY WILLIAM HAYTER #HOWARD DAUM #DOROTHY DEHNER #SUE FULLER #PETER GRIPPE #FANNIE HILLSMITH #VICTORDEWILDE #FRANZ KLINE #ALICE TRUMBULL MASON #ANNE RYAN #LOUIS SCHANKER #KARL SCHRAG #RAPHAELSOYER #ATELIER17 #IFPDAFAIR #SUSANTELLER

STANLEYWILLIAMHAYTER, HOWARDDAUM, DOROTHYDEHNER, SUEFULLER, PETERGRIPPE, FANNIEHILLSMITH, KETT, FRANZKLINE, ALICETRUMBULLMASON, ANNERYAN, LOUISSCHANKER, KARLSCHRAG, SUSANTELLER, RAPHAELSOYER, ATELIER17, IFPDAFAIR