Art History

Curated by Tom Wolf, Bard College
June 11- October 10, 2011

The Cat That Jumped Out of the Story, n.d. pastel. Franklin Delano Roosevelt, early 1930s. collection of Alexander Bacon Brook.

WAAM: Woodstock Artists Association Museum
28 Tinker Street
Woodstock, New York 12498
845-679-2940. www.woodstockart.org

The exhibition Cats & Caricatures takes as its theme two of the richest subjects explored by renowned artist and illustrator Peggy Bacon (1898-1987): her skill at drawing and exaggerating the characteristic facial features of friends, artists, entertainers, and politicians and her fascination with cats as visual subjects rich in movement, variety and expression.

Senior Karen Johnson, Junior, Christopher Richards and Jean

On Friday, May 20th, in a tent behind the Barringer House on Annandale Road, Jean was feted, toasted and celebrated by the Art History program and current colleagues, past colleagues, past and current students, and many family members.  It was a memorable afternoon with many moving testimonials and amusing recollections.

Jean and alum Christopher McCloskey and Lily Robbins

The Art History program owes its existence to the efforts of Prof. French in the 1970s to secure art history as a major at Bard College.  The very first art history major, Randy Farber Buckingham, spoke of her experience and life long love of Medieval art as a result of being Prof. French’s student.

Prof. Tom Wolf recollected the early days when the department consisted of two faculty members, himself and Prof. French. As you can see below, the program has grown and is thriving.

The Art History Department faculty and staff 2011

Jean concluded the event with a few words of thanks and encouragement.  Later that evening, she was awarded the Bardian Award by President Botstein.

Jean saying her farewells!

On May 12th, the art history seniors (Class of 2011) gave their project presentations in Olin 102, followed by a celebratory dinner in the Faculty Dining Room.  Daniel Peacock, shown below delivering his presentation, received the Alexander Klebanoff Award for Outstanding Achievement in Art History.  This award is given annually to a senior project that demonstrates extensive scholarship and daring originality.  The title of this excellent project is Strange and Wayward Fancies: Desire, Vision, and Intervention in the Photographic Practice of F. Holland Day.

Daniel Peacock presenting

Photographic Representations of the Growth of Cities, 1880-1970

Curated by Luc Sante from his collection.
Stevenson Library Lobby Vitrines

May 11-June 22, 2011
Opening Reception:
Wednesday, May 11, 5:00-6:30 pm

A.L. STEINER and A.K. BURNS

“COMMUNITY ACTION CENTER”
screening with the artists

Monday, May 9, Weis Cinema, at 7:00 pm
Panel Discussion to follow with Julia Paoli and Nathan Lee

Event sponsored by Art History, Gender and Sexuality Studies and Trans-Action, organized by Marlies Staple as part of her senior project

Jean in the early years at Bard

Professor Jean M. French, Edith C. Blum Professor of Art History, has taught Medieval and Renaissance art history at Bard College since 1971.

The Art History Program cordially invites you to a Retirement Celebration
1:00– 4:00 pm
Friday, May 20, 2011
under the tent behind Barringer House
1442 Annandale Road
Please rsvp to [email protected], or 845.758.7158

Prof. Jean M. French will be the recipient of the 2011 Bardian Award presented at the annual President’s Dinner at 5:30 pm after the party!
Reservations are required:
http://annandaleonline.org/commencement

Jean will become Professor Emeritus at Bard College.

The Art History Department proudly announces that graduating art history major Rachel Heidenry has received the Fulbright Award.

Rogue Dalton Mural

She will do further research on the subject of her senior project entitled Mártires y Comandantes: Tracing Historical Memory in the Murals of El Salvador while living in El Salvador 2011-2012.

CONGRATULATIONS  RACHEL!!!!!

Malevich and the American Legacy

There are some interesting shows in the Uptown galleries in Manhattan this spring.  Although Gagosian’s Kazemir Malevich and the American Tradition is a flimsy premise for a show—anything geometric by an American artist seems to qualify as being inspired by the pioneering Russian Constructivist painter—it is a large show with some great works, as well as some slight ones (980 Madison Avenue, through April 30).  It is a rare opportunity to see seven Malevich paintings, including a Cubist one from 1913 and several classic Constructivist abstractions from 1916.  Beyond that, the show includes a mediocre Dan Flavin in a corridor of its own (dark blue/purple fluorescent tubes that give off very little light, so what’s the point?) plus a spectacular Flavin installed in a small room of its own.  Vertical blue tubes straddle a far corner facing the room, on top of horizontal red ones that face away:  the room is dyed luminous blue, while intense flames up the corner walls.  Other galleries include Richard Serra’s classic One Ton Prop, four immensely heavy sheets of lead supported by their weight leaning against each other, and one of his pointless black grease pencil rectangular drawings (to coincide with the show of his drawings that recently opened at the Metropolitan Museum a few blocks north).  Always interesting and maverick Charles Ray shows a subtle and original black ink painting, and there are some trivial paintings by Ed Ruscha, along with two beautiful Don Judd sculptures, a great early Frank Stella notched silver striped painting opposite a large, somber, dark late Mark Rothko—just a dark gray rectangle within a deep purple frame, the purple creating complementary images of golden yellow on the gray.

Much more focused is a lovely little show of works by Eva Hesse and Sol Lewitt at the Craig F. Starr Gallery, (5 East 73^rd Street, through May 27).  Lewitt and Hesse were close friends, but while he had a long, prolific career, hers ended tragically with her death at age 34, so her output was limited.

Eva Hess and Sol LeWitt

This is a good opportunity see some fine examples, many from Lewitt’s personal collection, in an intimate setting.  Although he is usually considered a geometrical Minimalist and she an organic Post-Minimalist, the resolutely abstract and materialist pieces in this show reveal the two artists had a lot in common–and in several of the modestly scaled works in the show they are at the top of their game.

Review of Bye Bye Kitty!!!
Between Heaven and Hell in Contemporary Japanese Art
By Patricia Karetzky

Makoto Aida, Harakiri School Girls (detail) 2002

Japan Society
333 East 47th Street New York, NY 10017 Phone: 212.832.1155

Curated by David Elliott, founding Director of the Mori Art Museum,
Friday, March 18 — Sunday, June 12

The recent work of sixteen Japanese artists, half of whom are female, is on view at the Japan Society until mid June. The title of the show indicates that these artists have moved beyond the cute phenomenon exemplified by the cartoon character Hello Kitty. Indeed, many viewers were startled to find so many prophetic images of doom and destruction. Range widely in medium and format, the works are marvelously skillful and detailed. Here are short descriptions of but a few of the artists’ work. Miwa Yanagi in My Grandmother Geisha, photographs her wizened Nanny in full Geisha costume and makeup; this is a chilling image of old age and decay juxtaposed with traditional ideals of beauty. Yamaguchi Akira paints an extraordinary aerial view of Narita International Airport with several jets circling, waiting to land, as if he were a 16^th century Japanese artist using such techniques as the bird’s eye view, arbitrary clouds that obscure details, and the roofless technique that allows views of interiors of the airplanes and the airport terminal. Using bright colors and miniscule detail, Yamaguchi renders the multitudinous activities found at the airport.  Manabu Ikeda in Existence has drawn an incredibly old large tree that actually measures 67 inches tall. Seen among the gnarled bark of the trunk and leafy branches are tiny figures and flanking the iconic image are small-scale views of ancient decayed Buddhist cities of Sri Lanka and more, which are dwarfed by the size of the tree. Tomoko Shioyasu in breathing wall, blessing wall, creates a delicate and moving installation with her large-scale paper cuts: dramatically lit in the dark gallery, they are gently animated by the movements of passersby. Kohei Nawa, in PixCell Elk #24, is a taxidermy Elk, covered in crystal glass balls of various sizes. The image is unnerving as the balls, which give the impression of having been the agent of death, are still beautiful to behold. Motohiko Odani’s sculptures, SP Extra Malformed Noh Mask Series Half Skeleton’s Twins, eerily conjure up radiation poisoning, half of the classic Noh mask is covered by deformed growths.

Bye Bye Kitty!!! The sixteen featured artists are: Makoto Aida???; Manabu Ikeda???; Tomoko Kashiki????; Rinko Kawauchi????; Haruka Kojin????; Kumi Machida????; Yoshitomo Nara????; Kohei Nawa????; Motohiko Odani????; Hiraki Sawa?????; Chiharu Shiota????; Tomoko Shioyasu????; Hisashi Tenmyouya????; Yamaguchi Akira???; Miwa Yanagi?????; Tomoko Yoneda????.

The Emerging Landscape: Photographs and Drawings Exploring Real and Imaginary Landscapes

CURATORIAL INTERNSHIP

Society is an independent space showcasing contemporary art. Located in New York’s landmark Fuller Building, their exhibition program features innovative work by established artists with limited exposure in the United States and exhibition opportunities for emerging artists that inspire and integrate the local community. Society hosts free public and educational programs for the community promoting a greater understanding and appreciation of contemporary art and its practices.

The Curatorial Internship at Society is a rigorous and meaningful opportunity to work closely with the curatorial staff and current artists throughout the development of exhibitions, special projects, online initiatives, and educational events. Curatorial interns assist with upcoming programs and exhibition logistics including but not limited to: assisting with exhibition research, planning and installations, pubic program support, marketing, and correspondence with artists.

In exchange for their work interns will gain valuable experience in a dynamic arts environment. This is an unpaid internship.  Exact days and hours will be discussed once selected to interview but ideal candidate should be able to start immediately and commit 20 hours/week. Hours and days are negotiable.  Strong oral, written, organizational, and inter-personal communications skills are required. Ability to make independent decisions and manage time efficiently. Knowledge of contemporary art and art history, skilled in academic research, creating bibliographies, and writing proposals. Computer proficiency is a must, Microsoft Office; Adobe Illustrator. To apply p lease submit a resume and a cover letter stating interest, start date and availability per week to: Anna Di Stasi, Curator of Exhibitions, via email at: [email protected]