Category Archives: Exhibitions

Amalgam

https://gagosian.com/quarterly/2019/03/08/theaster-gates-slate-wall-drawing-video/

Theaster Gates, currently Distinguished Visiting Artist and Director of Artist Initiatives at the Lunder Institute for American Art, Waterville, Maine, has mounted his first solo exhibition in France at the Palais de Toyko entitled “Amalgam.” The term amalgam has been used in the past to denote racial, ethnic, and religious mingling. For Gates, it has acquired an even more charged significance, impelling his practice towards new formal and conceptual explorations in film, sculpture, architecture, and music.https://www.facebook.com/palaisdetokyo/videos/interview-theaster-gates/875998499398092/

On view through the end of 2019, the exhibition explores social histories of migration and interracial relations using a specific episode in American history “to address larger questions of black subjugation and the imperial sexual domination and racial mixing that resulted from it.”

The starting point is the story of Malaga Island in Maine. Gates notes: “In 1912, the state governor expelled from Malaga the poorest population, an interracial, mixed community of about 45 people, considered ‘indolent’ by many of the local white inhabitants. These unfortunate people were forced to relocate throughout the mainland; some were even involuntarily committed to psychiatric institutions.”  See more: https://www.pressherald.com/2012/05/20/a-century-of-shame_2012-05-20/

https://www.youtube.com/watch?v=nKvVvg0TeF8&w=560&h=315

#TheasterGates
“Nothing is pure in the end…
A sea of wood,
An island of debate.
Can an exhibition start shift the negative truths of the history of a place?.”

“Theaster Gates (born in 1973, lives in Chicago) works as an artist and land theorist. His practice includes sculpture, installation, performance and urban interventions that demonstrate the tremendous use value in economically destabilized communities. His projects attempt to instigate the creation of cultural capital by acting as catalysts for social engagement that leads to political and spatial change. Theaster Gates has described his method as “critique through collaboration” – often working with architects, researchers and performers to create works that expand ideas of what visual-based practices can be.”

See also Theaster Gates Art Library:

Graver pour le roi

Gilles Rousselet and Israel Silvestre, frontispiece for Charles Perrault, Courses de testes et de bague, faites par le Roy, et par les Princes et Seigneurs de sa cour en l’année 1662. Paris, 1670. Copper plate and engraving.

On view through May 20, 2019, at the Louvre is the exhibition Graver pour le roi: Collections historiques de la Chalcographie du Louvre. http://presse.louvre.fr/graver-pour-le-roi/. The press release notes:

Exceptionally bringing together more than a hundred works, the exhibition traces the origins of the Chalcography of the Louvre with nearly seventy engraved matrices of its collection, presented in relation to drawings of the Department of Graphic Arts of the Louvre Museum and prints from the Edmond de Rothschild collection and the Bibliothèque nationale de France.

Gérard Edelinck, after Charles Le Brun, La Famille de Darius aux pieds d’Alexandre
https://rbsc.princeton.edu/versailles/item/924

Many of the copper plates on view are matrices for the prints Princeton students and visitors enjoyed a few years ago in the exhibition Versailles on Paper. https://rbsc.princeton.edu/versailles/

Our prints were acquired by Princeton University in 1886 in an exchange with the Bibliothèque nationale (Paris), thanks to John S. Pierson, Class of 1840, who effected the exchange, recorded by the BN as “Double échangé” no. 907. Volker Schröder, Associate Professor of French in the Department of French & Italian, researched and clarified this information for his essay in the Princeton University Library Chronicle dedicated to our exhibition. http://rbsc.princeton.edu/versailles/content/chronicle-article-abstracts

 

 

 

 

 

 

 

 

https://graphicarts.princeton.edu/2014/06/12/louis-xiv-visits-the-royal-academy-of-sciences/

In the galleries, the polished copper and steel-plated matrices are brightly lit and difficult to photograph without reflection. Happily the catalogue to the show, coming soon to Princeton, has excellent reproductions of both the printing plates and the paper prints.

Charles Nicolas Cochin fils, Pompe funebre d’Elisabeth Therese de Lorraine, Reine de Sardaigne ... [Interior of the Cathedral of Notre Dame de Paris, decorated for the funeral of Elizabeth Theresa, Queen of Sardinia], 1743. Copper plate and engravings.

 

Gerard Edelinck after Nicolas de Largilliere, Portrait of Charles Le Brun, 1684. https://rbsc.princeton.edu/versailles/item/923

A loose translation of one label:

The Chalcography of the Louvre is rich in a collection of some 14,000 engraved plates, the oldest of which date back to the 17th century. When it was founded in 1797, the new institution was given the role of preserving and exploiting three important sets of engraved plates seized during the French Revolution: those of the King’s Cabinet, the Pleasures Menus, and of the Royal Academy of Painting and Sculpture. The Cabinet of the King , born from the will of Louis XIV and Colbert, gathers 956 prints showing the castles, statues and paintings belonging to the king. Designed to spread the image of the magnificence of power, these boards are the work of the best engravers of time, such as Claude Mellan, Gerard Audran, Gérard Edelinck.

Jean Pesne after Nicolas Poussin, L’Eucharistie – Das letzte Abendmahl, [1680-1694]

 

Detail

 

Board games on view

Ellen Liman, Georgian and Victorian Board Games: the Liman Collection. Arthur L. Liman, foreword; A. Robin Hoffman, introduction (New York: Pointed Leaf Press, 2017). Graphic Arts Collection -On order

 

Our colleagues at the Yale Center for British Art are presenting the exhibition Instruction and Delight: Children’s Games from the Ellen and Arthur Liman Collection, on view through May 23, 2019. Please forgive the dark cell phone photography here, which doesn’t do justice to this bright and colorful show.

Curated by Elisabeth Fairman, Chief Curator of Rare Books and Manuscripts at the Center, with the assistance of Laura Callery, Senior Curatorial Assistant, they note:

By the beginning of the eighteenth century in Britain, parents and teachers had begun to embrace wholeheartedly a suggestion from the philosopher John Locke (1632–1704) that “Learning might be made a Play and Recreation to Children.” The material culture of this period, and the subsequent generation, reveals a significant shift in thinking, as adults found fresh value in childhood and in play for its own sake. British publishers leapt at the chance to design books and games for both instruction and delight. This small display celebrates the recent gift of eighteenth- and nineteenth-century children’s games and books to the Center by Ellen and Arthur Liman,

Happily, many of these rare and fragile games are also available to students in the collections of Princeton University Library.

See also:
Francis Reginald Beaman Whitehouse, Format Table Games of Georgian and Victorian Days. Revised 2nd ed (Royston (Herts.), Priory Press Ltd., 1971). Cotsen Children’s Library GV1243 .W59 1971

Giochi dell’Oca e di percorso by Luigi Ciompi & Adrian Seville:
http://www.giochidelloca.it/index.php

https://graphicarts.princeton.edu/?s=board+game

 

 

Swarthmore College’s Friends, Peace, and Sanctuary project

Visitors to the Book and Ephemera Fair in New York City today were treated to a preview of Swarthmore College’s Friends, Peace, and Sanctuary project, supported by The Pew Center for Arts & Heritage. http://fps.swarthmore.edu/

The two-year project brings renowned book artists into conversation with Syrian and Iraqi individuals who have resettled to Philadelphia. Driven by questions about displacement and refuge, history and experience, the project explores art’s capacity to build empathy and create a deeper sense of belonging.

Friends, Peace, and Sanctuary culminates in a series of exhibitions beginning this month at McCabe Library, Swarthmore College; three locations in Philadelphia throughout the summer;  and Brooklyn, New York City in the fall. Included will be artists books by Islam Aly, Maureen Cummins, Erik Ruin, Courtney Bowles and Mark Strandquist that weave archival research of refugee and migrant experiences with contemporary Syrian and Iraqi narratives.

Their works will be exhibited alongside works by Syrian and Iraqi project collaborators that were produced throughout a series of workshops led by the artists, as well as archival materials related to displacement from Swarthmore College’s Friends Historical Library and Peace Collection.

افتتاح معرض الأصدقاء والسلام والملاذ والعشاء المحلي

Join them at the exhibition opening and a Friends, Peace, & Sanctuary communal dinner on Friday March 29, 2019 beginning at 4:00 p.m.

٢٩ مارس ٢٠١٩
٤ إلى ٨ مساء
كلية سوارثمور: مكتبة مكايب و قاعة كلوثير
نرحب بكم في احتفال ختام مشروع الأصدقاء، السلام، والملاذ الآمن الذي امتد على عامين و ايضا ندعوكم في المشاركة في عشاء اجتماعي لكي تصبحوا جزءا من المحادثة في مشروع الأصدقاء، السلام، والملاذ الآمن.
تفضلوا معنا في احتفال ختم مشروع الاصدقاء، السلام والملاذ الآمن و افتتاح معرض الأول للفنانين إسلام علي، مورين كومينز، إيريك روين، كورتني بولز و مارك ستراندكويست، الذين تضمنوا أبحاث المحفوظات عن تجارب اللاجئين والمهاجرين مع التجارب السورية والعراقية المعاصرة لإعادة التوطين في فيلادلفيا. وسيتم عرض أعمالهم جنباً إلى جنب مع الأعمال التي يقوم بها متعاونون من المشاريع السورية والعراقية التي تم إنتاجها خلال سلسلة من ورش العمل التي يقودها الفنانون، بالإضافة إلى مواد أرشيفية متعلقة بالنزوح من مكتبة أصدقاء كلية سوارثمور التاريخية ومجموعة السلام.
بعد تجربة المعرض، اجتمع مع جميع المتعاونين والفنانين وأعضاء فريق المشروع الذين جعلوا هذا المشروع ممكنا في عشاء يقدمه مطبخ “أريا”. توقع الطعام اللذيذ وحفز المحادثة بينما نواصل بناء المجتمع معًا.

The initial exhibition will be up through April 24, 2019, at McCabe Library at Swarthmore College. A complete list of books and those for sale will be available soon. https://www.swarthmore.edu/libraries/mccabe-library

Installing Las Antillas Letradas

Antonio Martorell, Las Antillas Letradas, 2014. Multi-media prints in portfolio. Available Online Digital. Graphic Arts Collection Oversize 2014-0031E

One piece in the upcoming Firestone Library exhibition, Welcome Additions, is this map of the Caribbean, divided into 27 letters of the alphabet, which feature 27 portraits of leading literary figures with selected texts in their original languages of Spanish, English and French. Printing began in 2014 on Okawara paper in a Hewlett-Packard printer at El Taller de la Playa, Ponce, Puerto Rico with the help of Milton Ramírez. The edition consists of 100 copies signed and numbered by Antonio Martorell. Princeton is proud to hold copy 1 of 100, purchased together with PLAS, the Program of Latin American Studies.

Here is a look at the complex installation.

Portraits of Aimé Césaire; Julia de Burgos; Alejo Carpentier; Juan Pablo Duarte; Leonardo Padura Fuentes; Frantz Fanon; José Luis González; Eugenio María de Hostos; Pedro Mir; Juan Antonio Corretjer; Jamaica Kincaid; José Lezama Lima; José Martí; V.S. Naipaul; Arcadio Díaz Quiñones; Rosario Ferré; Luis Palés Matos; René Marqués; Magali García Ramis; Luis Rafael Sánchez; Marie Vieux Chauvet; Pedro Henríquez Ureña; Ana Lydia Vega; Kamau Brathwaite; Derek Walcott; Mayra Montero; and Juan López Bauzá.

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Rodin exhibition extended

Good news from Paris. The exhibition Rodin, Dessiner, Découper has been extended for a couple extra weeks and so, if you are in Paris in March 2019, you may still have time to see the ‘cut-outs’ from our Graphic Arts Collection at the Musée Rodin. The show includes nearly 250 drawings by Auguste Rodin (1840-1917), of which 90 are his rare and often surprising cut and assembled figures, 6 loaned by Princeton University.

“Jouant de la mise en espace de ces corps,” writes curator Sophie Biass-Fabiani, “ce procédé révèle des silhouettes découpées audacieuses et un dynamisme d’une grande modernité. Cette exposition annonce un des modes d’expression novateurs du XXe siècle.”

http://musee-rodin.fr/fr/exposition/rodin-dessiner-decouper

Here are a few gallery shots, thanks to our colleagues.

 

Note, if you are watching The Marvelous Mrs. Maisel, you will also see Rodin’s museum highlighted.

Lasting Impressions

http://artmuseum.princeton.edu/object-package/lasting-impressions-world-war-i-and-graphic-arts/147257

 

If you are on campus this weekend, do go to the Princeton University Art Museum where Laura Giles, Heather and Paul G. Haaga Jr., Class of 1970, Curator of Prints and Drawings, mounted a group of prints and posters to commemorate the end of World War I. She kindly included several items from the Graphic Arts Collection and it looks wonderful.

The title is “Lasting Impressions: World War I and the Graphic Arts” with the epigram: “These prints were made from the indelible impressions of war. They are not imaginary. I saw them.”–—Kerr Eby, 1934


Their text panel reads in part,

“November 11, 2018, marks the one-hundredth anniversary of the signing of the armistice that ended World War I. Detonated in the summer of 1914, this prolonged global conflict took a devastating toll on millions of soldiers and civilians while setting the stage for widespread political and social upheaval that would have lasting consequences. Although photography and film played an important role in chronicling what was soon called the “Great War,” the graphic arts also had a visual impact on large audiences, by means of inexpensive print portfolios and mass-produced posters—facilitated by the same modern technology that fueled the military’s weapons of mass destruction.”


Laura notes, “This selection of works on paper reveals a wide spectrum of responses to the war—stemming from actual battlefield experiences and home front reactions—created by artists from France, Germany, Great Britain, and the United States who employed a rich variety of printmaking techniques.”

It is just one of many great shows currently on view: http://artmuseum.princeton.edu/art/exhibitions

“I have a great weakness for these little sheets of paper” -Rodin

(grainy image due to low light during hanging)

It is a great privilege to have work from the Graphic Arts Collection included in an exhibition at the Musée Rodin in Paris. Opening November 6, 2018, and running through February 24, 2019, the show entitled Rodin, Dessiner, Découper, includes nearly 250 drawings by Auguste Rodin (1840-1917), of which 90 are his rare and often surprising cut and assembled figures, 6 loaned by Princeton University’s Graphic Arts Collection. “Jouant de la mise en espace de ces corps,” writes curator Sophie Biass-Fabiani, “ce procédé révèle des silhouettes découpées audacieuses et un dynamisme d’une grande modernité. Cette exposition annonce un des modes d’expression novateurs du XXe siècle.”

http://musee-rodin.fr/fr/exposition/rodin-dessiner-decouper

The museum’s site goes on to quote Rodin, who said,

“‘I have a great weakness for these little sheets of paper.’ This is how Rodin showed his attachment to his drawn work. From his beginnings, Rodin realized–independently of his sculptures–drawings that he executed according to the living model. He presents his drawings in all exhibitions devoted to him, first in Brussels, Amsterdam, Rotterdam, The Hague in 1899, then Paris in 1900, Prague in 1902 or Düsseldorf in 1904. The museum retains most of this drawn work, about 7500 leaves.

An unprecedented mode of operation: drawing, cutting. Rodin submits his drawings made from a first throw to various metamorphoses. He decodes his drawings, identifies the line that suits him, sets the color using watercolor, cuts out his figures, puts them back, assembles them to other figures and gradually builds an unexpected device. In his early years, Rodin cut drawings and sketches that he pasted into albums. Between 1900 and 1910, he cut a hundred drawings of watercolor nudes which are the heart of this exhibition. By cutting them out, Rodin likes to manipulate them, to situate them in space in multiple ways, to cut them off voluntarily.”

(c) Musée Rodin

More information on how Rodin’s work made it to Princeton can be found here: https://graphicarts.princeton.edu/2018/03/10/auguste-rodin-cutouts/. Hanging and lighting will be completed this week and their beautiful exhibition catalogue with full color images will be available at Princeton next Monday.

“He plays with the small figures of paper which are the equivalent of his plaster figures. By relating these carvings to the three-dimensional character of the sculpture, the carved figures appear as a new “object” between the two-dimensional design and the sculpture. In another series, Rodin executes from his cut-out figures real assemblages that he fixes himself on a new support, interweaving the bodies in a new composition. Drawn and cut, these drawings are not mere technical accessories: they have conquered their status as full-fledged works. The dynamism of the silhouettes announces the modernity of Matisse.” –Sophie Biass-Fabiani, curator

http://www.musee-rodin.fr/fr/visiter/informations-pratiques-paris

 

 

 

Japanese Painting Manuals

芥子園畫傳 : Jieziyuan Huazhuan : The Mustard Seed Garden Painting Manual. Part one 1679. Woodblock prints. Graphic Arts Collection [far left] https://graphicarts.princeton.edu/2013/12/16/the-mustard-seed-garden-painting-manual/

Thanks to Caitlin Karyadi, doctoral candidate at Princeton University, several volumes from the Princeton University Library are on view in a rotation within the Japanese galleries on the lower level of the Princeton University Art Museum. Mounted in conjunction with Picturing Place in Japan, Karyadi has done a beautiful job integrating our painting manuals with the Museum’s “funpon,” the preparatory sketches painters relied on to compete their work.

Here is one of her labels in full:


In the Making: The Practice of Painting in Early-Modern Kyoto
, on view through December 16, 2018.

The Longest Painting in America

Longer than the Empire State Building is tall. Longer than three Statues of Liberty. Longer than fourteen blue whales. The Grand Panorama of a Whaling Voyage ‘Round the World is on view at Kilburn Mill, New Bedford, until October. https://nbwm.maps.arcgis.com/apps/MapSeries/index.html?appid=19513a5d13964a48aa9d00973c8a9674

All 1,275 feet of the panorama are currently on exhibit for the first time in generations, authentically depicting a whaling voyage originating from the port of New Bedford in the mid-19th century. Two years in the making, the narrative work was completed around 1848 in five rolls by New Bedford artists Caleb Purrington and Benjamin Russell, who traveled it around the country as a commercial enterprise.

The first four of Purrington and Russell’s rolls have been conserved and installed to the public thanks to the New Bedford Whaling Museum. https://www.whalingmuseum.org/programs/spectacle-motion-grand-panorama-whaling-voyage-round-world/

The location of the fifth and final section is unknown but hopefully the publicity this display receives will lead to the discovered of the last section.

 

Benjamin Russell lost his money in a banking scandal and signed on to a whaling ship that took him around the world. This is the trip he depicts, with a few historical events added throughout. Herman Melville’s Moby Dick and Typee: A Peep at Polynesian Life are just a few of the literary sources referenced in the painting.


The four cotton rolls are hanging thanks to hundreds of magnets so that no damage will be done to the actual painting, and so that the entire display can travel if another venue is found somewhere around the country. Until then, the panorama has been digitized and can be viewed here: https://nbwm.maps.arcgis.com/apps/MapSeries/index.html?appid=19513a5d13964a48aa9d00973c8a9674

See also: Allan Forbes, Whale ships and whaling scenes as portrayed by Benjamin Russell. Presenting reproductions in color of the paintings of the foremost artist in that field edited by Ralph M. Eastman, assisted by K.G. Rogers (Boston: Second Bank-State Street Trust Co., 1955). Forrestal Annex ND237.R86 F7