It’s not marble, it’s not bronze, but it is sculpture ─ bright and bouncing. Jimmy Kuehnle’s inflatables are exciting art form and witty commentary on our interests and enthusiasms.
This summer, Kuehnle’s inflatables invade the Hudson River Museum’s limestone Victorian home, Glenview, and the Brutalist concrete spaces in its modern wing, mushrooming in the galleries. The sculptor, who at times can be found inside his huge and popular costumes inflated by 12-volt motor blowers, says, When you’re inside an inflatable, the lack of 90-degree angles and natural architectural forms makes for a surreal experience.
Kuehnle also turns his creativity and mechanical know-how from costumes to site-specific installations that activate the space around them. Massively scaled, these sculptures are put in your way, so that you ask, “Is this space mine, or does it belong this extremely large creature blocking me?” Kuehnle’s message, Stop and connect with me — talk and touch me, and, an addendum, Your space may not be as private as you think it is or would like it to be.
The Hudson River Museum is host to Jimmy Kuehnle’s first large-scale solo installation in New York. Products of numerous renderings, Kuehnle inflatables, here in Summer 16, include three new works: Super Punch Bubbles, blossoms of bright color emerging from Glenview’svenerable tower windows that function as an illuminated clock, light blinking the change of hours; You Lick Me, I Lick You,inflatables shaped like tongues that drape the Museum’s Entrance Arch;and in the galleries, Hot Polyester Bladder Lung, that “breathing” beckons you towards its shifting form as it expends life into far reaches of the Museum. The huge neon-pink Please, no smash, a costume-sculpture hybrid, just returned from its sensational season at Cleveland’s MOCA, fills the Museum’s atrium and is joined by You Wear What I Wear and Hello Bye. The titles of the works are as intriguing as the works. I like titles that make people curious, says Kuehnle, but also offer the potential for your own interpretation by have some sort of call-to-action.
Kuehnle sculptures, which he makes from vinyl-coated polyester fabric, inflate and deflate, pulsing, and by extension breathing, like an organism. Bestowing kinetic energy on a sculpture demands of its maker a sophisticated approach to scale and movement. The installation, itself, always requires new construction and problem solving aided by programming platforms for electronics and the traditional push and pull of winches, pulleys, and rigging. When I work on projects, I always like to learn things and have new experiences. So I set up challenges, situations that require new techniques, said Kuehnle.
Kuehnle who teaches at the Cleveland Institute of Art, has had solo shows at museums, galleries and universities in the United States and internationally. In 2014 he was selected for the national survey exhibition State of the Art: Discovering American Art Now at the Crystal Bridges Museum of American Art. As a Fulbright Graduate Research Fellow in Japan, 2008, he pursued his interest in public art and sculpture.
The Hudson River Museum hosts Jimmy Kuehnle’s first large-scale solo exhibition in New York through September 18, 2016. Kuehnle brings new works to the Museum and we see him here installing Super Punch Bubbles, blossoms of bright color billowing from the Tower windows of Glenview, the historic home at the Museum and You Lick Me, I Lick You, tongue-shaped inflatables that drape the Museum’s Entrance Arch. Watch Jimmy at the Museum’s Kite Festival walking in his inflatable suits, favorites for all. In the Galleries are more of Jimmy Kuehnle works and costumes. Learn about the artist at JimmyKuehnle.com. WalleyFilms.com.
Organized by the Hudson River Museum.
Juan Bernal: Pure and Simple May 14 - September 18, 2016
Juan Bernal. Cathedral, 2008
Juan Bernal finds sublimity in nature's designs, the hidden bounty in nature’s smallest gifts — a single leaf, a drop of water, the morning’s first shaft of light.
Juan Bernal: Pure and Simple opens at the Museum on Saturday May 14 in celebration of Yonkers Arts Weekend (Saturday and Sunday, May 14 and 15), presenting paintings and photographs from several series by this artist who originally hails from Colombia: The Light (Paintings of Light Rays); Dew (Paintings of Water Droplets); Fragments (Paintings of the Geometry of Leaves).
Artist and architect, Bernal looks deeply into nature’s elemental forms and sees broader life and a larger landscape. He follows the leaf in new color, young and green, until it bursts into the brilliant orange of life realized. In his works Bernal perfectly balances the genres of landscape and still-life, urging us to step closer, pause, and enjoy the shimmering lushness of nature in the everyday.
To contrast these close-up views of nature, Bernal creates a new painting for this exhibition —The Great River—a six by nine foot panorama of a composed landscape along the banks of the Hudson River, his scene inspired by the grandly-scaled compositions of 19th-century Hudson River School painters Thomas Cole, Frederic Church, and Jasper Cropsey. These earlier painters often combined sketches of different locales to create one idealized scene they then returned to their studios to perfect. Bernal, too, creates a Hudson River scene but “sketches” first, not with portable easel and paint, but with camera and computer. He shows how, piece by piece, from first photograph to final painting a work comes together.
Key to Bernal’s paintings is light. Light shines through a leaf or a droplet of water. A leaf illuminated bears its elongated vein and opens its internal structure to our sight. We sense our connection to Nature’s rationality and reflect on its suggestion of the divine — both wellsprings of life.
Organized by the Hudson River Museum.
Thomas Doyle: If the creek don’t rise February 6 – May 8, 2016 Learn More >>
Thomas Doyle.The Culminating Point (#4 of 5), 2015
Thomas Doyle’s small-scale sculpture of a house in If the creek don’t rise tells the story that takes place in a gray zone between everyday events and calamities that can, at any time, strike a home. Doyle’s “people,” an assortment of miniature figures, carry on, oblivious to encroaching danger. Viewers, though, see it and are visually plunged into a world where an unsettlingly familiar thread of anxiety runs.
In his first solo Museum exhibition, Thomas Doyle creates a swollen riverbed that crosses the Museum’s gallery. A river that is flooding, it must be dammed, and the piled up paraphernalia from Doyle’s suburban house becomes the force that holds it back. The debris actually forms two dams and in between sits a single house and a yard. “The dams,” Doyle said, “have a purpose, while nodding to the absurdity of changing the natural world.” Then, inspired by Hudson River School artist Thomas Cole’s The Course of Empire paintings that show the growth and fall of a city in five parts, Doyle, in his sculpture Culminating Point, shows the life cycle of a suburban home from “Empty Lot” to “Under Construction” to “Perfect House” to “House Flooded,” and finally, “Empty Lot for Sale.” Doyle brings to Cole’s cycle of history the personal element of an individual home.
Doyle, who lives and works in Katonah, in New York’s Westchester County, has shown his sculptures at galleries and museums across the United States and in London, Florence, Seoul, and Beijing, among other locations.
Organized by the Hudson River Museum, Thomas Doyle: If the creek don’t rise is curated by Bartholomew Bland, the Museum’s Deputy Director.
Oh Panama! Jonas Lie Paints the Panama Canal February 6 – May 8 2016
Jonas Lie. Central Wall, Pedro Miguel, 1913.
Oil on canvas, 36 x 34 inches. West Point Museum Collection, United States Military Academy
One hundred years ago the Panama Canal linked east to west, opening for the first time in history a water passage between the Atlantic and Pacific oceans. Now the Panama Canal Expansion Project, slated for completion in 2016, will open a new water lane to more and larger ships. Celebrating today’s Panama project, Oh Panama! looks back to the determined and spirited efforts of the architects and crews who accomplished the 1914 canal that was captured in paintings by Jonas Lie from the West Point Museum Collection, United States Military Academy. Lie’s paintings continue today to impress viewers as a sublime and beautiful document of man’s relentless quest to conquer nature and harness its riches.
Jonas Lie. Heavenly Host, 1913. Oil on canvas,
50 x 60 inches
West Point Museum Collection, United States Military Academy
Norwegian-born painter Jonas Lie (1880-1940) inspired by a motion picture documentary of the construction of the canal visited the Panama Canal Zone for three months in 1913. He was enthralled by the feats of engineering required to dig the Culebra Cut, as well as the sublime visual qualities of the massive trench being carved across the Isthmus of Panama. Working tirelessly in the intense tropical heat, he produced oil sketches and drawings and took careful notes on the technical aspects of the canal construction.
Recognized by his peers as a scientist and a poet for his depictions of New York City,
Lie’s canvasses were both historical documents of technological progress and dramatic interpretations of the urban environment. The thirty known pictures he made of Panama are lively and colorful, capturing the spirit of that endeavor as well as its heroic quality and monumental scale. Lie recalled the Panama experience as a pivotal moment in his career,
one from which he received national recognition for his work and also developed the aesthetic and technical strategies that influenced his landscape compositions from that point forward.
When Lie returned to New York, he exhibited twenty-eight paintings from the Panama cycle at the Knoedler Gallery; two —The Conquerors and Culebra Cut— were purchased by the Metropolitan Museum of Art and the Detroit Institute of Arts before the exhibition embarked on a national tour in 1914. The exhibition was very popular with broad interest in Lie’s paintings fueled by publicity photographs, news reports, and the release of documentary films following the canal’s progress, such as the Edison Company’s The Joining of the Two Oceans, The Panama Canal.
Organized by the Hudson River Museum and James A. Michener Art Museum, Oh Panama! Jonas Lie Paints the Panama Canal is curated by Kirsten M. Jensen, PhD, the Gerry & Marguerite Lenfest Chief Curator at the James A. Michener Art Museum, and Bartholomew F. Bland, Deputy Director of the Hudson River Museum. A fully-illustrated catalog with essays by Jensen and Bland accompanies the exhibition, on view at the Hudson River Museum February 7 - May 8, 2016 and travels to the Michener Museum on view from July 23 to October 30, 2016.
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Dancers Among Us: Photographs by Jordan Matter October 17, 2015 – January 17, 2016
Jordan Matter. Dancers Among Us (Meghan G. Meehan at the Hudson River Museum, October 2014). Courtesy of the artist
Dancers leap and move in everyday settings to show us moments that we all live in joy, love, silence, grief, curiosity.
Video - Dancers Among Us: Jordan Matter - Making the Shot
Jordan Matter’s stunning photographs appear at Hudson River Museum Fall 2015 in the exhibition Dancers Among Us.
The first solo museum exhibition for Matter in the United States, it contains over 30 images — photographs from his acclaimed book Dancers Among Us: A Celebration of Joy in the Everyday; new images from his upcoming book Tiny Dancers Among Us, and new photographs of dancers in our region.
The exhibition, which fills three galleries, contains videos shot during Matter’s photo shoots. First is a video montage of the dancers’ leaping; in another gallery, a video shows his dynamic working process; and, finally the 12-minute video Finding Serendipity, which chronicles the search by Matter and the dancers for the perfect place for the perfect pose.
Matter photographs dancers off stage and in unexpected places — no computer manipulation allowed. The world is his studio — its streets, libraries, playing fields, coffee shops, and highways. For Matter, the heart of dance is best captured outside in bustling city streets or juxtaposed with rural nature.
Starting his career as a portrait photographer, Matter soon turned his interest to dance as he watched his children’s joy at play — an exuberance he wanted to carry over in photographs of adults. As he wrote in his book, Dancers Among Us: "Dancers are.... trained to capture passion with their bodies. They often create a fantasy world or offer us a deeper look into familiar stetting." Some of his most mind-boggling images, which Diane Sawyer (ABC World News) called “breathtaking photos to free your imagination.
Matter’s photographs fall into three themes: Soaring, Stretching and Serendipity. In Soaring, from the Hudson River to city park fountains, Matter uses the visual and close proximate link of the leaping dancer and moving water. In Stretching, the dancers’ dramatic poses of strength and stillness evoke a more contemplative mood. It occurred to Matter early on that the heart of dance might best be captured outside of performance. The last section highlights his locations—from bustling city streets to more serene riverbanks and park fountains, where the dancers revel in the beauties of nature and which enable Matter to take advantage of the special qualities of light and motion.
Dancers Among Us: Photographs by Jordan Matter is organized by the Hudson River Museum.
Two Dance Photographers
Barbara Morgan and Jordan Matter
On the occasion of the exhibition Dancers Among Us, the photographs by contemporary photographer Jordan Matter,the Museum presents the photographs of another dance photographer, Barbara Morgan, from its collection.
Barbara Morgan is best known for images of famed dancer Martha Graham and her dance company of the 1930s and 1940s. Jordan Matter photographs dancers from many companies and countries.
Morgan and Matter capture the movement of the dancer outside of the performance.
For Barbara Morgan the stage was her studio in Edgemont, where she looked for the perfect moment to frame the image. She told Aperture magazine, It was necessary to redirect, relight, and photographically synthesize what I felt to be the core of the total dance.
For Jordan Matter the moment and the message of dance is everywhere his dancers happen to be — on a city street, in a cookie shop or a subway station. Matter prizes light as it is, he does not direct it. It’s amazing how many of my photos have happened because I was drawn to a light source of something. Some visual interest that I had that was specifically about the light.
Barbara Morgan Dance Photographer
At age five, my whimsical-philosophical father, holding a green leaf in his hand, said, ‘This leaf is not moving, but millions of atoms are dancing inside it, and atoms are dancing in everything in the world!’
So began Morgan's lifelong fascination with movement and dance.
Barbara Morgan (1900-1992) was inspired to photograph modern dance at a commemoration for Isadora Duncan, where she was shocked by the lack of images that should have recorded the famous dancer. Though Barbara Morgan felt compelled to document modern dance, she wanted to create more than a visual record. She wanted to capture the essence of the human spirit expressed in dance and to reveal the presence of energy in the soul and the physical body.
With a 4 x 5 handheld Speed Graphic camera and a Leica camera, Morgan began photographing dancers in 1938. For a decade she shot thousands of images but not during staged performances. Instead, Morgan meticulously planned her shoots in empty theaters or her studio. Controlling the settings of her camera, such as its shutter speed, she was able to freeze motion and suspend the dancer in midair forever.
To truly understand the content of a dance, Morgan studied dancers at rehearsals and performances. Her memory of a dance stayed with her for weeks and even months, before she tried to communicate the meaning of the dance in an image of a single defining moment — the moment that evokes the emotion of the dance.
Gothic Glenview November 1, 2015
The creepy, the unnerving, the very sense that
some presence lurks nearby – all connote the
“Gothic” encompasses dark romanticism. At Victorian
Glenview, the ebonized wood in the Library
shows this same romanticism in high Victorian
ornamentation, as does its exterior tower and
narrow, slit windows.
The Victorians projected their deep
emotions, tragic or romantic, in a “Cult of
Mourning.” Sending their loss outwards, they
wore clothes made of black crepe for years after
a loss, created jewelry made from the hair of
deceased loved ones, and covered their mirrors.
Today the Victorian interiors of Glenview
are the ideal setting for six contemporary works
by artists from Yonkers’ YOHO Artists Studios.
They have created art, visual and auditory,
that ruminates on the idea of death, and, more
universally, on the enduring link between loss
and the experience of being human.
In her essay “That Mighty Sculptor Time,” Marguerite Yourcenar wrote of Greek statues found at the bottom of the sea and brought up into the air decayed, broken, with clusters of shells and sea life clinging to them—forever transformed. She makes clear the ability of time to effortlessly and carelessly alter creations of man’s hand. What we are then left with is beauty made of transformed fragments of the past. It is this notion of fragmentary beauty created by time that inspired this installation.
The painted lettering on the muslin that covers the walls of Glenview’s Dining Room is made of rust gathered from decaying sculptures—a remnant of this artist’s creative endeavors. The rust was made into a dye to transcribe sections of Marcel Proust’s A La Recherche Du Temps Perdu onto the muslin. The muslin serves as a way to protect this space with Proust’s reconstruction of his past.
The Dining Table centerpiece is composed of “leaves” on which are written names of departed loved ones contributed for this work.
From the series On Matters of Life & Death
Studio Deer Moses
A sculpture in two parts, it explores our “surprised” experience of life and death and invites you to question your own references to death and mourning as it relates to your life.
Drawing inspiration from celebratory candles on a birthday cake as well as the flame of a single memorial or remembrance candle, the sculpture is made of easily found (manufactured) lighting materials to emphasize that our understanding of life and death, often preconceived (manufactured), causes us to forget that the two experiences of living and dying are one and the same, and a collective component of our ongoing existence.
To place this sculpture in Glenview, the artwork and furniture in the Great Hall were removed in accordance with the mourning tradition of covering mirrors and portraits. While the home’s Victorian architecture and decorative elements may be seen as a reference to the past (as in those who have passed i.e., died), the Hall’s now deliberately bare and naked quality represents life, as in giving birth to new ideas or a naked newborn.
Fish Ghost and Fish Sentinels
2015 Gary Moran
Autumnal rituals of honoring the dead are celebrated in many cultures. The Mexican Day of the Dead celebrates departed souls as they return for a short time every November. Families gather to honor their ancestors but in doing so they also celebrate life by acknowledging its transience. Families dance with caricatures of death and children eat sugar skulls. In this way they learn to enjoy life and not fear death.
In this same spirit, Fish Ghost (projected above on the skylight) and Fish Sentinels (a pair of inkjet prints on the stair landing) honor the dead. The fish of the Hudson River have sustained and nurtured generations of people living on its banks. In these works the ghosts of the river's fish return for a moment to watch over us, protect us, and remind us that we are all a part of the circle of life.
Death and the Maiden
Composed for an illustration, this image, made of porcelain on asphalt paper and board, is as enduring as the superstition it portrays. Since the Middle Ages, some have believed that the dead rise up at night to dance on their graves, so they may lure the living to dance with them, and, then dance into their own graves.
Here a skeleton, the personification of death, holds the hand of a living girl as the “dance of death” or “dance macabre” unfolds. The image of this dance became an artistic genre that appeared in illustrated sermons and then was first visually recorded as a mural in Paris in the 14th century. It is an image that testifies to the universality of death and reminds us that the glories of our fragile, earthly lives are themselves vanity.
Dancing With Death
2015 Catherine Latson
If I were going to dance with death, this is what I would wear.
The formal gown is reimagined and the versatility of the feather is tested. Pheasant feathers are overdyed, pleated, twisted, sliced, diced, fanned, and frayed, with each technique producing a different texture and color. The attention to detail and the layering of patterns, textures, and colors echo the rich design elements of Glenview. While the gown is constructed to be worn, it stands here empty, fragmented, weathered, and curious. It has a story, a ghost.
Adam Shultz / John Bruton
In Glenview’s Sitting Room, temporarily haunted by a collaborative sound installation comprised of memorial poetry and read in a romance language.
The barely audible sound plays on the concept of death, hauntings, and residual spirits of lives long past that some believe exist in places that have layers of history and that are marked by the use of a space once loved.
One Sin, Seven Stories
Installation by Adrien Broom June 6 – September 27, 2015
Adrien Broom.Envy and Temptation, 2015. Digital print
Envy, the most corrosive of the seven deadly sins, makes its appearance at the Hudson River Museum from June 6 to September 26, 2015. Envy is interpreted by multimedia artist Adrien Broom in photographs and life-sized scenes from fairy tales, the stories of passion, evil, and redemption that have thrilled us for centuries.
Unlike the sins of lust or gluttony, there seems little pleasure taken from envy. Evil stepmothers, plotting kings, and vainglorious queens of fairy tales are alive with desire for what others have, just as alive as the tales themselves, the stories that reflect our own experiences and desires.
One thing universal in all fairy tales is their colorful recording of the strivings and errors of others, and then the moral, the right way to act, that emerges from the fairy tale. Connivers for riches or for the love of someone promised to another are sure to be ruined by evil envy, just as the person envied will win out, get the prince, win the princess. As we read fairy tales we see ourselves as we are and as we should be. “Once Upon a Time” is the inviting opener to the story the lays before us on the page but the fairy tale has another dimension — it is eerily similar to the today’s Google Search, where we can see into the lives of others without being seen, not on a page, but on a screen. We still mull, we still learn.
Snow White’s Evil Queen, the great archetype of envy appears in two guises at the heart of the exhibitions the White Queen and the Black Queen. She wears custom gowns — one white, one black, and appears in two separate photographs. First, wearing the white gown (standing before her mirror and still morally redeemable) and next, in black (holding a blood-red heart and consumed by envy). The two magnificent costumes also appear on stylized mannequins that float, suspended, in the Museum Atrium.
A Web of Envy ensnares the Queen, both white and black, embodied as heads locked together in a dance — the Dance of Death. Cocooned and caught within the poisonous Web, too, are famous fairy tale symbols made real as objects: Pieces of gold and mirrors, objects that connote the age-old envious thirst for beauty, wealth, and power. Artistic signifiers of envy are seen all through the exhibition. In particular, an illuminated plinth showcases a hand-blown glass apple that appears in Broom’s photographs.
This Museum-wide exhibition includesa photographic Portrait Gallery of Fairy Tale Characters, showing Cinderella and Snow White, and in other less known but nonetheless chilling for the envy they show: The Singing Bone,The Black Bride and the White Bride, The Three Little Birds, and Beauty and the Beast We may not recognize the names of all the characters that Broom shows us in her photographs but some of the faces in her portraits are straight from today’s media — such as the Firestone Sisters, Mary and Lucy, travelers and lifestyle enablers, who, here, are the Black and White Bride, from the Grimm fairy tale, or, Chef Mario Batali, as King, ever present benevolent or not ruler in the fairy tale. Broom also creates three-dimensional Storytelling in a Box “stage sets”: the first, the Dwarf’s Cottage where Snow White is protected and tempted; second, the dressing room of Cinderella’s envious step-sisters.
Adrien Broom lives and works in Brooklyn and is an artist with a penchant for the bizarre and beautiful. She took a degree in computer animation from Northeastern University and studied fine art in Florence and art history in London. Broom's photographs have been featured in numerous exhibitions in Connecticut and New York City, as well as in the American Dreamers exhibition at the Palazzo Strozzi, Florence in 2012. The exhibion Envy is organized by the Hudson River Museum and curated by Bartholomew Bland, the Museum’s Deputy Director.
Envy: One Sin, Seven Stories at the Hudson River Museum is part of The Seven Deadly Sins, the inaugural exhibition of the Fairfield/Westchester Museum Alliance (FWMA), a cultural collaboration begun in 2009. Each member organization presents one of the seven deadly sins, from spring to fall, 2015. Sin, the favorite subject of poets and painters, also provides grist for FWMA’s provocative summer programming, which is offered to the public and FREE to the members of FWMA organizations.
The exhibition contains adult imagery and humor.
Carla Gannis: The Garden of Emoji Delights June 6 – September 26, 2015
Carla Gannis. The Garden of Emoji Delights. Archival digital print, 2014
It’s visual. It’s vernacular. It’s emoji art.
New media artist Carla Gannis uses signs from our everyday speech and images from our everyday experiences to create her modern digital collage —The Garden of Emoji Delights that resonates with the revolutionary triptych —The Garden of Earthly Delights by 16th-artist Hieronymus Bosch. Where Bosch showed the frailty of humans in a space he peopled with the religious symbols of his time, Gannis looks to the digital symbols of our own time to critique consumerism. Gannis, who teaches art that moves across digital platforms and enlivens Apps, is at home, too, within Bosch’s triplicate world of Eden, Earth, and Hell. The temptations over the centuries are the same but not the images: Gannis transforms Bosch’s cavorting nude sinners into cuddly, rounded emojis, whose real natures are not perceived as threatening, at first.
Bosch’s high Google profile and appeal to surrealists caught Gannis’s attention, and opened the way for her to use pop pictographs to reconstruct the earlier triptych and its enduring message that the wicked are punished.
Gannis’s adventure into the brave new world of emoticoms, whose seeming simplicity pulls us back to the pictographs of hieroglyphics and even cave paintings, is also a questioning: which signs, symbols, and codes, today, best convey the truths the contemporary artist wants to tell?
Frohawk Two Feathers: Kill Your Best Ideas, The Battle for New York and Its Lifeline, the Hudson River February 7 - May 17, 2015
From Kill Your Best Ideas, the catalog
It's all very tragic and poetic, yet beautiful. A true dirge.
Frohawk Two Feathers
Frohawk, artist and storyteller, paints and writes stories about battles, conquests, and the cast of characters that makes it all happen for his imaginary Republic of Frengland. In ink, acrylic and tea, on paper and on canvas, Frohawk, born Umar Rashid in 1976, creates a fictional world that looks quite a bit like our real one.
Video - Frohawk Two Feathers: Kill Your Best Ideas
This exhibition is the final episode in the artist’s series on Colonial America, his successful combining of art, history, and sometimes wicked but always fun-to-read commentary on people — Europeans adventurers and explorers, North American Indians, freed and enslaved blacks, and ravishing women who love, laugh, and die on the banks of the Hudson from Manhattan up to Lake Oneida.
The action begins in 1791 and continues through 1793, real time for New York City just flaunting its new identity on the southern tip of the island of Manhattan, and thriving under English rule. The city’s first denizens, the Dutch, are “has beens,” unwillingly departed from the city they called New Amsterdam, and now skirmishing with their Iroquois allies in the Hudson Valley nearby to the north.
Real and not real, fact and fiction, Frengland (a combo of France, England, and Ireland) and Batavia (the Netherlands) fight the climactic Battle of Yonkers, recorded and viewed for the first time at the Hudson River Museum, situated by the river in the very countryside that inspired the 19th-century Hudson River School painters. The landscapes of three artists, Jasper Cropsey, Asher Durand, and James Renwick Brevoort, paintings on view at the Museum, inspired Frohawk’s scenic work for this exhibition, which also include almost a dozen new pieces among them The Battle of Yonkers and the Death of Iroquois Chief Joseph. Also new to Frohawk’s story and the Hudson Valley is a Trojan Horse. Named for the war machine with which the ancient Greeks surprised the Trojans, Frohawk’s horse holds some surprises of its own — it sports two heads and is filled with warriors from both sides of the quarrel. Glass figures, they are fragile and exhausted from the wars. The wooden horse soars 22 feet high in the center of the exhibition and is illuminated from within. For Frohawk followers, favorite characters reappear, too, among them Bonnie Prince Johnnie and his flamboyant general Orlande, Duc du Rouen, who “admidst his shit-colored crew was a gilded peacock with sapphires for eyes.”
Umar Rashid (Frohawk Two Feathers), an Illinois native who now lives and works in Los Angeles, California, first studied photography, film, and writing at Southern Illinois University at Carbondale. His recent solo exhibitions include the Wadsworth Athenaeum (Hartford, CT), Wellin Museum of Art (Clinton, NY), the Visual Arts Center of New Jersey (Summit, NJ), the Nevada Museum of Art (Reno, NV), and the Museum of Contemporary Art (Denver, CO).
The exhibition is organized by the Hudson River Museum and curated its Deputy Director Bartholomew F. Bland. Exhibition design by Dillon Lundeen Goldschlag. The fully illustrated catalog that accompanies the exhibition explores Frohawk’s work and contains the full narrative of this final episode, the fifth and last in his series The American Proteus: An Invocation and the Wars Between the Rivers. Proteus, mythic Greek god of rivers and seas, is the name the artist has selected for his contemporary myth of the New World.
Images courtesy of the artist and Morgan Lehman Gallery, New York
Promoting the President
In celebration of Washington’s Birthday February 7 – May 17, 2015
We look for our president in paintings, photographs, and sculpture, where we may see him as a warrior, family man, or a man of faith. Washington, the nation’s first soldier and president, is the prototype for political promotion, too. For this exhibition, Gilbert Stuart’s famous painting, George Washington, on loan to the Museum, as well as the Museum’s collection of artifacts and engravings show this leader in images beautiful, respectful, and, sometimes, flamboyant, that were made to frame our vision of him and charge our patriotism and memories.
George Washington was painted three times by American painter Gilbert Stuart between 1775 and 1776. Everyone wanted a portrait of the hero of the American Revolution and Gilbert, himself, made rare copies of his second —“The Atheneum portrait.” All are treasured. One, at the Museum for this exhibition, shows the president looking to the right out at the viewer, his left hand framed by a gilded arm rest.
Images of Washington often show him an elder statesman, bringing peace and stability to the new nation of the United States after the turmoil of its Revolutionary War. The Museum complements these images with early books and prints that illustrate his life in many aspects and the popular perceptions of him after his death. People tend to turn to Washington and look for his image during trying times such as Washington’s own death in 1799 and during the Civil War in the 1860s as well as in times of celebration at the Centennial of the United States in 1876, and the Bicentennial of Washington’s birth in 1932.
Promoting the President focuses on images of George Washington grouped in four themes: first, General-Hero, seen in a number of notable prints, including Alexander Campbell’s 1777 George Washington General and Commander en Chief of the Continental Army in America; or General Washington, 1781, after John Trumbull; Memorials and Mementos, illustrated by Washington’s Headquarters, a mid-19th century a painting attributed to E. C. Coates and on the covers of popular media in the 1930s that celebrated the Bicentennial of Washington’s birth in poster art and merchandising; third, Portraits, foremost the Gilbert Stuart painting as well as engravings such as the famous “Porthole” engraving from the Original painting of Washington from life by Rembrandt Peale, circa 1870; and, last, Washington as Man or Myth, illustrated here in the famous myth: “Father I Cannot Tell a Lie, I Cut the Tree,” in the 1867 engraving by George White.
The successful visual promotion of Washington to his public was adopted by the presidents who followed as they sought visual presence before the public. By Abraham Lincoln’s time from 1861 to 1865, photographs like paintings less than a century before became the vehicle for showing the president at work. Both leaders were continually linked together in the public’s perception as seen in a pair of 1860s’ engravings based on paintings by F. B. Schell: The Washington Family and The Lincoln Family. In each, the president is seated, his wife and children surrounding him, a grouping that reflects the 19th-century’s idealization of domestic life and that society’s desire to see its leaders as moral men. An 1865 Currier and Ives lithograph pictures Washington (The Father) and Lincoln (The Saviour) of the country.
The combination of the magnificent Gilbert Stuart loan with the art and popular culture collections from the Museum’s holdings tells much about how we view and remember historical figures. The exhibition is organized by the Hudson River Museum.
Leah Harper: Complimentary Extended through March, 2015
A Compliment in a Capsule
Not a rose, not a candy, but even better, it’s a Compliment for you in time for Valentine’s Day. Artist Leah Harper turns the everyday vending machine (with a long tradition of spewing out gumballs and tiny toys) into a Compliment dispensing marvel. Harper’s interactive art piece, “Complimentary,” will be installed in the Hudson River Museum Lobby.
Turn the knob on the dispenser and out comes your compliment in a plastic toy capsule, and for free! A container next to the dispenser lets you dispose of the plastic capsule for recycling. If you want to give a compliment, too, there is a box close by in which to place it. Your submitted compliment will be incorporated into a spreadsheet of good words Harper gathers from submissions and online surveys. Her favorite compliment to date, “If you were a potato, you would be a sweet potato.”
The Compliment dispenser first made its appearance this fall at New York City’s Art in Odd Places festival and its cheerful mission is the direct output from Harper’s study of design for social causes at the Maryland Institute College of Art. Her work also featured in Site95’s “Transforming New York Street Objects” and FIGMENT Festival NYC make environments eventful and interesting, inviting you to join the fun.
Looking ahead, she says, “I want to do more work that makes people happy!”
Compliments Do Just That.
Samples from the Compliment Dispenser:
Strut: The Peacock and Beauty in Art Through January 18, 2015
Strut: The Peacock and Beauty in Art explores our fascination with this most glamorous of birds, a symbol of vainglory and the darling of designers and painters.
Strutting in its sapphire-blue and emerald-green feathers, the peacock symbolizes all things vain and beautiful in centuries of painting, sculpture, in books and myth, and on clothes that swirl and shine like the iridescent bird itself. Intrigued by the exotic art of Asia that prized and portrayed the peacock, Western artists and craftsmen chose the peacock as a multi-faceted motif for designs on canvas and for objets d’art in the home.
The Hudson River Museum presents Strut: The Peacock and Beauty in Art from October 11, 2014 through January 18, 2015. Organized by the Museum, it is the first scholarly survey of the peacock in art.
Paintings and decorative objects for the home present concepts of beauty symbolized by the luxurious bird and its famous fan of feathers from the 19th-century’s Gilded Age and 1920s Art Nouveau and Art Deco until Modernism’s ethos of “less is more, ” caused a brief decline in the peacock’s popularity. As the contemporary art world re-embraces beauty in a new “Gilded Age”, the peacock struts its way back into the art world.
Among the highlights of The Peacock in Beauty and Art are images of women bedecked in peacock feathers, such as Robert Henri’s full-length portrait of Ruth St. Denis in the Peacock Dance, 1913, William Baxter Palmer Closson’s Feeding the Peacocks, 1910 and Aubrey Beardsley’s The Peacock Skirt, created for Oscar Wilde’s Salome. The bird itself receives its own glamorous portraits in paintings like Louis Rhead’s Peacocks, 1897, Jesse Arms, Botkes’ Black Peacock, c. 1930, and sculptures like Anna Hyatt Huntington’s Peacock’s Fighting, 1914. Peacock feathers are extracted into beguiling geometric patterns in the lamps of Louis Comfort Tiffany and gilded Crown Derby porcelains. The peacock also appears to whimsical effect in parade costumes, pictures of Elvis, strutting peacock-style, and images of silent-era Hollywood starlets ready for their close-ups. The peacock’s origins as a bird of the Indian jungles comes to the fore in Charles R. Knight’s (famed for his murals at the American Museum of Natural History) fearsome Bengal Tiger and Peacock, 1928. Contemporary artists show the peacock’s gift of line ─ Laura Ball, Barbara Takenaga, and Federico Uribe find inspiration in the bird’s striking feathers, brilliant coloration, and the sensuous s-curves of its body. Two Westchester based artists highlighted in the show are Tricia Wright from Irvington and Dillon Lundeen Goldschlag from Tarrytown.
The exhibition includes works from more than three dozen museums, galleries and private collections, including the Metropolitan Museum of Art, Smithsonian American Art Museum, the Pennsylvania Academy of Fine Arts, and Yale Center for British Art.
Bartholomew F. Bland, the Museum’s Director of Curatorial Affairs, and Laura L. Vookles, Chief Curator of Collections, are co-curators for the exhibition, which is accompanied by a fully illustrated 200-page catalogue co-published by the Museum and Fordham University Press and distributed nationally by Oxford University Press.
The exhibition and the accompanying catalog have been made possible by a generous grant from the Mr. and Mrs. Raymond J. Horowitz Foundation for the Arts, Inc.
Mandy Greer: The Ecstatic Moment June 7 – September 14, 2014
Mandy Greer. Every Moment Lost is Lost Forever, 2013
Photo: Andrea Kurtz
Seattle-based artist Mandy Greer installs a fantasy world awash in color, laced with glittering chandeliers, and alive with sumptuous birds and enigmatic figures draped in costume in her first New York solo exhibition.
In The Ecstatic Moment at the Hudson River Museum, Yonkers, June 7 to September 14, 2014, she draws her inspiration from ancient myths and fairy tales and from the mundane and magical moments of everyday life.
The sewing machine and the crochet hook are her tools. Fabric and objects from the natural world her medium.
Last summer Greer visited Glenview, the Museum’s Victorian river home, and saw the stillness of afternoon light slanting through its windows. Captivated by the home’s ability to spur reverie, she returns to the Museum in 2014 with a site-specific installation, her poetic response to a way of life in a world gone by. Ecstatic Moment encompasses sculpture, photography, fabric wall panels, video, and performance. Greer includes decorative elements from Glenview drawn from nature – its birds under glass and its patterns and colors. She turns the Museum’s galleries into a composition of color, each evoking emotion and, possibly, recollection. Enter Greer’s wild wilderness of dark trees, stark mountains, bottomless waters, and mystifying creatures and you sense Nature’s deep unknown.
The Vermillion section contains a 12-foot red chandelier, turkey vultures, magpies, and one of the installation’s four costumed mannequins − the Vermillion Poppy Goddess. Greer recognizes the archetypes of femininity just as she rejects and embraces them, situating her glamorous women in geologic settings. “Much of what I’m after in my work is to capture a rapturous moment, when a river of our inner life spills out of us like blood, milk or every-growing hair,” she said. She created the theme for this section, “Blood Lines,” especially for the Hudson River Museum.
In the centerpiece of the show, Lava and Flesh section, a circle of carrion birds are feathered in the silver and peach colors taken from Glenview’s parlor. The Cobalt and Turquoise section opts for drama. Greer uses 300 feet of fabric to create a dazzling waterfall on the Museum's main staircase that illustrates its theme “River and Ice.” A video shows “Mater Matrix Mother and Medium,” the portrait of a glacial Iceland she shot there on a recent trip t. Two more sections, Gold and Green contain wall sculpture, a honey moon, fanciful crocheted art, and photographs. Ecstatic Moment’s final experience Dark, Celestial tells an inescapable truth – our identities change as we live and we give up a part of ourselves as each moment passes. Greer comingles human identity with a responsive environment in the sky and on land. A volcano symbolizes a moment’s love and a family quarrel is etched deeply in rifts on Earth’s surface. Creatures like the black “Bird of Solitude” and Hecate, the Greek goddess who possesses knowledge about the moon and magic, illustrate archetyple truths we sense before we know them.
Greer not only blends family life, the environment, and myths into her work, she also organizes crocheting workshops and weaves stitching from the community into her installations. As she prepares for her upcoming installation at the Hudson River Museum, Mandy Greer is hosting community crochet events in the Northwest. Her passage overland from Seattle to Yonkers will be a ‘residency on the road’ that she chronicles with her camera. The Museum’s social media arm reports as she makes new work for the exhibition en route.
Most recently Greer showed her creations in Paris in Every Moment Is Lost Forever for the international fiber installation MINIARTEXTI, following her spring 2013 multi-media performance for the Seattle Art Museum and she has created performance projects and films with the internationally recognized Degenerate Art Ensemble. Among her many awards is one from the Centro di Cultura Contemporanea at Palazzo Strozzi, Florence, Italy, 2011, for her installation in the exhibition American Dreamers.
The Ecstatic Moment was organized by the Hudson River Museum and curated by Bartholomew F. Bland, Director of Curatorial Affairs.
It started with an apple and a serpent. Then the tempting began. Eve Disconsolate, the masterpiece by Hiram Powers, America’s best-known neoclassical sculptor now in the collection of the Hudson River Museum, shows a distressed Eve about to be banished from the Garden of Eden. Eve, and other works by the 19th-century artist, inspired contemporary sculptor Lily Cox-Richard to make fresh sculptural forms, elements that she selects, edits, and re-recreates from Powers’ earlier works. Her six sculptures − The Stand (Possessing Powers) − are faithful to the sculptural traditions of Powers’ originals but Cox-Richard’s sculptures contain a striking omission − the figures themselves, figures that broke new ground when Powers’ made them − idealized nudes and noble savages. Powers carved the original Eve Disconsolate into marble in 1871 and it was gifted to the Hudson River Museum in 1951, after standing for years as a garden sculpture in a Tarrytown garden. Always on view at the Museum, it will be joined by The Stand sculptures, completed in 2013, in the Museum’s galleries, May 10 to September 14 in the exhibition Lily Cox-Richard: Possessing Powers.
The Stand sculptures could serve as structural support for the absent marble figures but under Cox-Richard they play an even stronger role as narrative support to the stories Powers tells through his two “Eves” − Eve Tempted (modeled 1839-42) and Eve Disconsolate (modeled 1855-1861); The Greek Slave (modeled 1841-43); California (modeled 1850–55); Fisher Boy (modeled 1841-44), and The Last of the Tribes (modeled 1867-72). Cox-Richard, intrigued by the contact between the figure and its base, looks to the base for the story. “My sculpture grapples with charging empty spaces, revealing invisible systems, and reaffirming exhausted objects,” she said. In The Stand’s Eve, as in the original by Powers’, a serpent encircles a tree trunk, the base on which Eve’s foot is poised. Leafy branches barely cloak the snake’s prideful gloating over its successful and, as it was to prove, tragic tempting of the Mother of Mankind. The story, though, belongs to both the tempted and the tempter, seen from two different vantages by two different artists, employing differing processes. Powers, always concerned with detail in his sculpture, had a real rattlesnake sent from America to his Florence studio for a model. Cox-Richard recreating the snake makes its scales by pressing fishnet stockings into the wet plaster. “I look for new materials and techniques suited to the project at hand, even as it is grounded in an historical work,” she said. Cox-Richard, like many artists today seeks direction for America’s sculpture and she looks back to its 19th-century beginnings, a high point for the United States and its newly flourishing national identity. She explores, too, that time’s artistic product and its moral and social messages, and comes up with questions about gender stereotypes and the oversimplified allegories from the nation’s history. In The Last of the Tribes a tree trunk once again enables Cox-Richard to break a Powers’ sculpture into its elements. A Native American woman runs from civilization, her skirt brushing across the trunk of a tree. The stump/skirt is the site of action that charges the sculpture but Cox-Richard cannot tease the figure and its support apart. Instead, in her recreation the woman’s skirt rests on and emerges from the stump, stressing the moment of the connection, the only moment that shows the figure moving. Cox Richard: “Reduced to their structural supports, my carved plaster sculptures are both originals and copies, homage and critique, familiar and strange, created in an attempt to see what new content might be revealed when the figure is removed, and how this work can be transformed when it is reimagined through a contemporary sculpture practice.” The exhibition, The Stand, also includes Cox-Richard’s cast plaster objects drawn from the Powers’ sculptures – the manacles from the Greek Slave, the shell from Fisher Boy, among them and photographs of the hand, from her exhibition and small documentary book The Thicket. Powers was deeply interested in the form of the hand and sculpted many for clients as well as those for his figures. He held Swedenborgian religious beliefs that taught that touch was crucial to both motherly and conjugal love. Hiram Powers (1805-1873), often called the Father of American Sculpture, lived in Florence close to Italy’s good marble and craftsmen as did other American sculptors at that time. His technique, though, distinguished him from his contemporaries – his marble surfaces are matte and porous, not highly polished, which Cox-Richard’s plaster sculptures echo. Lily Cox-Richard has exhibited at Hirschl & Adler Galleries in New York, Vox Populi in Philadelphia, the Poor Farm in Manawa, Wisconsin, and Kompact Living Space in Berlin. Among the fellowships she has been awarded are a Smithsonian Artist Research Fellowship, a postdoctoral fellowship in the University of Michigan's Society of Fellows, and residencies at the CORE Program at the Museum of Fine Arts Houston. While a teacher in residence at Houston, she became familiar with Powers’ The Last of the Tribes and began The Stand. Her attention to process moved her to expand her education learning to carve stone in a quarry near Salzburg Austria. “It ended up not being about learning to carve marble, but more about trying to figure out what a stone carver is thinking about.”
Organized by the Hudson River Museum in cooperation with the artist and Hirschl & Adler Galleries, 2014.
Hiram Powers Eve Disconsolate, 1871
Marble, 77 inches high
Collection of the Hudson River Museum
Lily Cox-Richard The Stand: Eve Disconsolate, 2013 Carved plaster, 60 x 26 x 26 inches
On Right: Super Mario Brothers 3, Shigeru Miyamoto, Takashi Tezuka, Hiroshi Yamauchi, directors; Satoru Iwata, executive producer; Konji Kondo, composer, Nintendo Entertainment System, 1990, Nintendo of America, Inc.
The Art of Video Games February 15 - May 18, 2014
One of the first major exhibitions to explore the 40-year evolution of video games as an artistic medium, The Art of Video Games focuses on the medium’s striking graphics, creative storytelling, and player interactivity.
Organized by the Smithsonian American Art Museum, the exhibition travels to the Hudson River Museum for its only New York appearance from February 15 to May 18, 2014.
The Art of Video Games features the most influential artists and designers across five eras of game development, from early pioneers to the contemporary artists, who created some of the best games for 20 gaming systems that range from the Atari VCS to PlayStation 3.
Video games — a compelling and influential form of narrative art—.uses player participation to tell stories and engage audiences in the same way as film, animation, and performance. The exhibition features 80 video games selected with the help of the public to demonstrate the evolution of the medium. The games are presented through still images, video footage, and video interviews with developers and artists, historic game consoles, and large prints of in-game screen shots. In addition, five featured games are available in the galleries for visitors to play. These games—Pac-Man, Super Mario Brothers, The Secret of Monkey Island, Myst, and Flower—show how players interact with the virtual worlds, highlighting the innovative techniques that set the standard for many subsequent games.
Programs, from February through May, at the Hudson River Museum expand exhibition participation for families. Teaching Artists in Residence John Morton and David Simons combine audio-and-movement activated game experiences that explore the world of video games. Other programs encourage storytelling skills and the creation of video game scenes, using clay to explore the games’ processes and design.
Upper right: Charles Rosen, The Roundhouse, Kingston, New York, 1927
Below:John Noble, The Building of Tidewater, c. 1937
Left: Glenn Coleman. The Dock, n.d.
Modernism and the Transformation of New York’s Rivers, 1900-1940 October 12, 2013 – January 17, 2014
The opening of the Erie Canal in 1825 assured the Hudson River a vital role in the evolution of what would become New York City into the nation’s industrial and financial powerhouse—its “Empire City.” The same year artist Thomas Cole was “discovered”, setting in motion a tradition of painting that transformed American art, much as the Erie Canal was rapidly transforming the landscape. For the most part, artists ignored the industrialization of the region; Cole was a strong proponent of the British traditions of the sublime and the beautiful, and his melding of these romantic ideals to direct observation of nature became the mainstay of American landscape in the mid-19th century. The ideal expressed in thousands of Hudson River School canvases from the 1820s through the turn of the century constituted a moving vocabulary many artists clung to, even decades after the reality of the landscape had changed. It was not until the first decade of the 20th century, as artists like Robert Henri and John Sloan turned their attention to the urban scene, that American art shifted its focus from bucolic landscapes to the cities, the towns, and the crowds, especially the raucous urban scene of Manhattan—by then the nation’s most important metropolis.
The movement away from painting the land to painting the life on the street is often seen as a clean break with the depiction of the landscape, and with landscape painting generally as a mainstay of American art in the face of European Modernism. However, artists continued to paint the Hudson River, as well as its tributaries, the Harlem and East rivers, and the great harbor of New York City into which they flowed. What was different was their approach. Having jettisoned the romantic ideals of their forebears, artists like Henri and Sloan, and later, Georgia O’Keeffe, George Ault, Edward Hopper, and Preston Dickinson, celebrated the changing way of life along the city’s waterfront. As the century progressed, they did so with sharper focus and with ideals borrowed from the Machine Age. Instead of majestic mountain ranges, their subjects were the arching bridges, swinging cranes, and streamlined ocean liners resting in the harbor. Artists took the elements of the Sublime, combined them with Modernism’s interest in structure and form, and applied them to the manmade industrial one—thereby creating a new visual vocabulary for the 20th century ─ the Industrial Sublime.
Industrial Sublime, the exhibition, takes as its focus the shift in both style and sensibility during the years 1900 to 1940, and explores the development of a new mode of landscape painting and pictorial ideals suited to America’s role as a global industrial power.
Museums lending works to the exhibition of more than 60 paintings include The Metropolitan Museum of Art; The Solomon R. Guggenheim Museum; The Art Institute of Chicago; Hirshhorn Museum and Sculpture Garden; Munson-Williams-Proctor Arts Institute; High Museum of Art; Museum of Art, Ft. Lauderdale; Georgia Museum of Art; The New-York Historical Society; Museum of the City of New York; Newark Museum; the Phillips Collection; Flint Institute of Arts; Smithsonian American Art Museum, Staten Island Museum and the Norton Museum of Art.
The exhibition, accompanied by a fully illustrated catalogue, is co-curated by Kirsten Jensen, Curator, Hudson River Museum and Bartholomew F. Bland, Director of Curatorial Affairs, Hudson River Museum. Additional essayists for the publication include Wendy Greenhouse, co-author of Chicago Modern 1893-1945: Pursuit of the New, Katherine E. Manthorne, Professor of Modern Art of the Americas, Graduate Center, City University of New York, and Ellen E. Roberts, Harold and Anne Berkley Smith Curator of American Art, Norton Museum of Art.
Industrial Sublime: Modernism and the Transformation of New York’s Rivers, 1900-1940 is the fifth exhibition in the Hudson River Museum series The Visitor In the Landscape.
The exhibition will travel to the Norton Museum of Art, March 20 – June 22, 2014.
The exhibition has been made possible by generous grants from the Mr. and Mrs. Raymond J. Horowitz Foundation for the Arts, Inc. and the Max and Victoria Dreyfus Foundation. The exhibition catalogue has been supported, in part, by the Mr. and Mrs. Raymond J. Horowitz Foundation for the Arts and by Furthermore: a program of the J.M. Kaplan Fund and is co-published by the Hudson River Museum and Empire State Editions, an imprint of Fordham University Press.
Fantasy River June 1 – August 11, 2013
In a summertime extravaganza, the Hudson River Museum presents a dramatic new 3-dimensional landscape – inspired by the dreams artist Federico Uribe, acclaimed for his fascinating transformations of everyday objects into art. Witness how he creates sculptures, which are not “sculpted” but, instead, constructed and woven in ways, curious and unpredictable, intricate and compulsive. A conceptual artist originally from Colombia, Uribe makes individual works and whole-room installations entirely from objects we see around us ─ shoes, colored pencils, hangers. Red, blue, yellow, a panoply of colors envelopes in this three- gallery display. For the Hudson River Museum, Uribe creates his site-specific installation Fantasy River, inspired by the dramatic rolling banks of the Hudson and the world’s other great rivers. Filled with blossoming flowers, flying birds, dazzling sunshine, and the flowing “water” of a winding river, the installation created from new and old materials, provides a spectacular theatrical experience in the Museum’s central atrium. Uribe’s art is a unique hybrid that resists classification. Watch how he uses the language of pop art to transform the objects of daily life, while tipping his hat to the history and tradition of classical art. Uribe studied art at the University of Los Andes in Bogota and in 1988 moved to New York to study with acclaimed conceptual artist Luis Camnitzer. As part of his global vision, Uribe’s career includes years of work in Cuba, Mexico, Russia, England and Miami.
The Panoramic River: the Hudson and the Thames February 2 - May 19, 2013
In the late 18th century, British artists developed the large-scale panorama, which became a popular form of entertainment in Europe and the United States. The Hudson River Museum’s exhibition The Panoramic River:the Hudson and the Thamesexplores the panoramic vista as the ideal expression for a new, all-embracing way of seeing the landscape that influenced how the public and artists perceived it as well. By the early 19th century, painters such as Robert Havell Jr. worked to express this panoramic perspective in their choice and depiction of vistas. Havell, who emigrated from London to New York, exemplifies the influx of English artists who influenced a shared Anglo-American panoramic vocabulary as well as the evolution of American landscape painting. Havell, whose work includes panoramic publications and paintings of the Hudson River and the Thames, like other artists in the exhibition such as Thomas Cole, Jasper Cropsey and John Kensett, favored the chain of cities, suburbs and countryside along these two rivers, where horizontal planes and historical associations gave form to both artistic and cultural expression.
The Panoramic Riverfeatures loans from museums, galleries, and private collections. Museums lending paintings include: Baltimore Museum of Art; Museum of Fine Arts, Boston; Fenimore Art Museum, The Frances Lehman Loeb Art Center at Vassar College, Maryland State Archives, Metropolitan Museum of Art, The New-York Historical Society, and Princeton University Art Museum.
The Panoramic River is organized by Hudson River Museum co-curators Bartholomew Bland, Director of Curatorial Affairs and Laura Vookles, Chief Curator of Collections. The exhibition is accompanied by a fully illustrated catalogue with additional essays by Pat Hardy, Curator of Paintings, Prints and Drawings, Museum of London and Geoff Snell, Doctoral Student, University of Sussex and the National Maritime Museum, Greenwich, England.
The exhibition and the accompanying catalogue have been made possible by a generous grant from the Mr. and Mrs. Raymond J. Horowitz Foundation for the Arts, Inc.
Witness: The Art of Jerry Pinkney September 29, 2012 - January 13, 2013
Jerry Pinkney, a master of the American picture book, casts a warm, curious eye on our world to create transcendent images that reflect his passion for life, his love of family and community, and his deep and abiding engagement with the rich complexities of history. Whether recreating historical figures or breathing new life into classic tales, his art is always about much more than just appearances.
With more than 140 luminous watercolors on display, Witness: The Art of Jerry Pinkney explores this gifted creator’s legacy through powerful images that reveal larger cultural truths about where we have been, who we are, and who we might become.
Witness: The Art of Jerry Pinkney has been organized by the Norman Rockwell Museum in Stockbridge, Massachusetts.
Unnecessary Memorial II (Palisades), 2012 From Foregrounding the Palisades a collaborative project of the Hudson River Museum and Wave Hill
September 1 - December 2, 2012
Within sight of the Palisades Blane De St. Croix has created two sculptures that explore the startling beauty of the cliffs that frame the Hudson ─ an outdoors sculpture at the Hudson River Museum and an indoor sculptural environment at Wave Hill. Both share a quintessential vista of the Palisades landscape, so important to Hudson River School painters and the well-spring for the Hudson River Valley’s cultural and ecological environments.
Blane De St. Croix
Mixed media, 152 x 116 x 156 inches
Courtesy of the artist
Rejoicing in the longevity of the cliffs and their rescue in the early 20th century by those concerned for the environment, the artist hand sculpted segments of Unnecessary Memorial II from foam, painting them to reflect the colors of the rock face in late afternoon. The sculpture is positioned against façade of the Museum, itself inspired by the formation of the Palisades.
The Blane De St. Croix installation at Wave Hill is exhibited alongside installations by Isidro Blasco and Paula Winokur.
Catalog available on Amazon
Holly Sears: Hudson River Explorers June 9 - October 13, 2012
Holly Sears, inspired by the Hudson River and the region’s rich history of discovery, exploration, and travel, paints a luminous collection of work depicting the flora and fauna of the river, both fantastical and actual.
The exotic creatures Sears enmeshes in the tissue of our local land enhances our interest in the native species, as it speaks to our dreams and imagination.
Her paintings, called Hudson River Explorers, will soon be fabricated for 11 glass panels in the newly constructed South and North Overpass Corridors on the Hudson Line at the Tarrytown Metro-North Station. They mark the 25th installed artwork in the Metro-North system.
The riverscapes in Hudson River Explorers, six above
and five underwater, are magical and yet firmly grounded in naturalism. The plants and animals, largely native, many
threatened or endangered, guide an array of exotic visitors through their watery realms.
A commuter’s trip down a rail corridor is one of discovery as is the journey of the river explorers themselves. From east to west, from dawn to dusk, the panels at each Overpass create the experience of a day’s passing, much as a traveler experiences a changing scene in the muting light of the sky and in the water’s shimmer.
Holly Sears: Hudson River Explorers is organized by the Hudson River Museum in collaboration with MTA Arts for Transit.
Gilded Age Magic May 26 - September 9, 2012
Modern stage magic has its roots in the Gilded Age showmanship of Harry Kellar (1849-1922), who performed around the world but made Yonkers his home between tours. With his theatrical spectacles, Kellar founded a “Royal Dynasty” of American magicians including Harry Houdini (1874-1926), a friend and colleague of Kellar’s later years, and Howard Thurston (1869-1936), with whom Kellar toured at the end of his career. These modern magicians cultivated a debonair stage persona that set them apart from earlier traveling sideshow artists, who dressed and posed as traditional Chinese conjurers. Despite the supernatural imagery on their posters, these magicians were not occultists but entertainers. Part of their audience appeal was the mystery of how their illusions were accomplished, not any claims to supernatural powers. The exhibition will feature vintage theatrical posters, costumes and magic ephemera from little seen private collections as well as planned performances in the galleries by local magician Benjamin Levy and others.
Westchester Women and War: Portraits May 26 - September 9, 2012
The Hudson River Museum celebrates the military service of women in Westchester County. Westchester Women and War: Portraits was inspired by its World War II project to honor Yonkers women in the Women’s Army Corps (WAC). The Museum at the time commissioned artist Francis Vandeveer Kughler (1901-1970) to capture the veterans’ likenesses on canvas. Kughler, who painted the portraits of over 40 veterans, hoped they would ensure that “future generations … have a living record of our fighting women.” This summer is the first time Kughler’s 1940s pastel and oil portraits will be displayed at the Museum since 1953. Westchester women continue to serve their country today in every branch of the military. Adding to the historical portraits, Westchester Women and War:Portraits includes 12 newly commissioned photographs of contemporary women veterans, who grew up in Westchester or have made the County their home.
Margaret Moulton, a Hastings-on-Hudson resident, will photograph the veterans. Moulton’s work appeared in Pictures by Women: A History of Modern Photography at the Museum of Modern Art in New York. Her photographs are in the collections of MOMA and the San Francisco Museum of Modern Art as well as private collections in the United States and Europe.
Women featured in this year’s photographs include Technical Sergeant Crystal Radcliff, a Navy veteran currently working for the Air National Guard, Gloria Sosin, a World War II WAC, and Olivia Hooker, the first African-American woman to integrate the Coast Guard in 1945. Two of the museum’s 1944 portraits, Marguerite Chase and Jennie George Lee, are also testament to the importance of African Americans’ military service to the civil-rights movement. Pfc. Lee and Pfc. Chase were real-life examples of “Rosie the Riveter,” already working at the GM Eastern Aircraft plant in Tarrytown before they enlisted. After the summer exhibition closes, the stories and images of these brave women will be part of the Hudson River Museum’s archival collections.
Catalog available on Amazon
Winfred Rembert: Amazing Grace January 21 - May 6, 2012
Winfred Rembert: Amazing Grace, the first major museum exhibition dedicated to this remarkable mid-career, self-taught artist, shows the dramatic, biographical nature of Rembert’s art as it documents the tumultuous moments of civil rights history. More than 50 original works that Rembert created from stretched, stained, and etched leather, historical photographs of his life, and a new documentary of his work, created by noted filmmaker Vivian Ducat, will be on view. In the galleries, traditional gospel music, pivotal for Rembert, will be heard in recordings, and Rembert will both sing gospel songs and discuss his experiences in the galleries on several dates.
Rembert, a boy growing up in 1950s rural Georgia, did backbreaking labor in the cotton fields. A young man, he barely escaped arrest during a 1960’s civil rights march, and survived a near lynching. A prisoner serving an unjust seven-year sentence, he learned to make pattern and design on hand tooled leather by watching a fellow inmate create tooled leather wallets. Years later in colorful tableaux on tanned leather, Rembert conjured a world of incredible brutality and close personal ties existing in discomforting proximity
Amazing Grace’s riveting themes include the Cotton Field series, where cotton balls snake relentlessly through rows where field hands toiled. Rembert notes, “curved [cotton] rows make a beautiful pattern. But as soon as you start picking, you forget how good it looks and think how hard it is. There just isn’t anything you can say about cotton that is good.” Another theme explores the lighter side of Rembert’s memories of small town Cuthbert, Georgia. He populates his canvases with the town’s characters and scenes of a pool hall, jazz club, café, and church meetings.
The exhibition is accompanied by a fully illustrated catalogue, which will include essays by Bartholomew Bland, Director of Curatorial Affairs, Hudson River Museum and Roger Panetta, the museum’s Adjunct Curator of History and History Professor, Fordham University. Rembert’s work is currently the subject of a dissertation by Fordham University Ph.D. candidate Clifton Watson, and the catalogue will include an essay co-authored by Watson and Irma Watkins-Owens, Associate Professor, African and African American Studies, Fordham University.
This exhibition is organized by the Hudson River Museum and curated by Bartholomew F. Bland.
The Enslaved Africans’ Rain Garden February 4 to 26, 2012 Enslaved Africans’ asks us to think about where America’s
slaves came from, their families, what languages they
spoke, their songs, their very thoughts.
Celebrating Black History Month, the Museum
presents a display of the proposed public-art
project The Enslaved Africans’ Rain Garden,
designed to honor African slaves freed by
law in the United States. The project, developed by Yonkers sculptor
Vinnie Bagwell, proposes
to commemorate Africans who resided at the
Philipse Manor Hall in Yonkers — six of whom
were among the first to be manumitted by
law in the United States, 76 years before the
Emancipation Proclamation. The installation
features maquettes (one-third scale models) of
the planned sculptures, architectural drawings of
a corresponding park setting, and
historical information about
slavery in Westchester.
The Enslaved Africans’
Rain Garden focuses on
the lives of the men,
women, and children,
who were imbruted
and stripped of their
When Yonkers City
Councilwoman Patricia McDow attended an
exhibit on slavery at Philipse Manor Hall several
years ago, she
asked, “Where were
the slaves buried?”
But no one seemed
to know. McDow quickly
locked onto the idea of a monument commemorating
these slaves and reached out
to Bagwell, who as co-founder and director
of Art on Main Street/ Yonkers, Inc., has
managed a series of provocative exhibitions
Elihu Vedder: Voyage On the Nile September 24, 2011 – January 8, 2012
American painter Elihu Vedder journed up the Nile from December 1889 to April 1890 and recorded his fascination with Egypt’s panoramas in artwork presented for the first time in this exhibition organized by the Hudson River Museum.
In the late 19th century Egypt beckoned to Americans as a stop on the Grand Tour. Wealthy tourists and artists marveled at its wondrous pyramids and temples and the desolate beauty of a desert landscape juxtaposed with the great Nile River. The exotic fascinated Elihu Vedder, an American artist, too, and from winter to spring in 1890, he traveled from Cairo to Wadi Halfa, and back, the guest of George F. Corliss of the famous Corliss Engine Company in Providence, Rhode Island. In those five months, he drew and painted the Nile’s panoramas of sand, cliffs and ancient ruins, often aboard a rented dahabeya, a traditional Egyptian houseboat.
The Hudson River Museum organized Voyage on the Nile, an exhibition of forty of Vedder’s Nile Journey artworks on view for the first time. Private collectors, art galleries, and major museums lent work for this exhibition, which is accompanied by a fully illustrated catalogue, with essays, by Linda Ferber, Senior Art Historian and Museum Director Emerita, New-York Historical Society; Egyptologist Floyd Lattin; and, Laura Vookles, the Museum’s Chief Curator of Collections.
The exhibition and the accompanying catalogue have been made possible by a generous grant from the Mr. and Mrs. Raymond J. Horowitz Foundation for the Arts, Inc.
Get Your Gears Turning….
The Curious World of Patent Models September 24, 2011 - January 1, 2012
“Problem solving with American ingenuity” is seen in more than 50 intricately crafted working scale, one-of-a-kind models of inventions that were submitted to the U. S. Patent Office from the 1880s through the early 1900s. Intriguing to viewers of all ages, gadget and invention buffs to everyday folks, the inventions are now a permanent part of our culture from the first patented rocking chair and fold-out bed to a burglar alarm!
America’s manufacturing success is primarily due to the dreams and inventions of its many citizens. Few people realize that from the time Thomas Jefferson formed the U.S. Patent Office in 1790, and throughout the American Industrial Revolution, inventors were required to submit a working, scale model of their inventions, when applying for a patent. The patent they sought was a limited property right that the government offered for an invention in exchange for the inventor’s agreement to share its details with the public.The Rothschild Collection is the world’s largest gathering of viewable U.S. Patent Models. Fascinating, these original artifacts range from intricately crafted miniature weaving looms, motors, and bridges to common household items such as washing machines, vehicles, mechanical toys, caskets, and swing sets. Only one model exists for each invention, complete with its hand-written original tag. The exhibition includes patent models that children and adults enjoy — household, agricultural, medical, toys, musical instruments, and tools.
Courtesy of the Rothschild Patent Model Collection.
Tour management by Smith Kramer Fine Arts.
Catalog available on Amazon
Susan Wides: The Hudson Valley, From Mannahatta to Kaaterskill May 28 – September 11, 2011
Contemporary photographer Susan Wides’ fascination with the nineteenth-century Hudson River School painters is explored in From Mannahatta to Kaaterskill. The show consists of approximately 50 large-scale photographs divided into three groups: Kaaterskill (the Upper Hudson Valley), Manahatta (Scenes of Urban life), and a new group of work newly created for the Museum’s exhibition, which shows Westchester County as a vital suburban “hinge” between the urban and the rural. From Mannahatta to Kaaterskill will examine the transformation of our natural and urban environments. The exhibition explores humanity’s intrusion into the rural landscape, and the simultaneous urge to recreate elements of nature within urban settings.
Ongoing for more than two centuries, this transformation has developed as a major theme for artists, who examine its effects on history, art, and memory. Against the surroundings of the huge remains of abandoned factories, toxic sites along the Hudson, communities transform and nature regenerates. Wides' new exploration includes historically important or iconic and contemporary landscapes, the built environment, and rural, suburban and exurban areas that define today's sprawling vistas.
Susan Wides: The HudsonValley, From Mannahatta to Kaaterskill is organized by the Hudson River Museum.
The Chemistry of Color:
The Sorgenti Collection of Contemporary African–American Art February 5 – May 8, 2011
Barbara Bullock (b. 1938) Animal Healer (Healer Series), 1990
Gouache on shaped paper, 67 x 39 ¼ in.
Many African American artists made creative breakthroughs drawing inspiration from the courage of the Civil Rights movement of the 1960s. The Chemistry of Color traces developments in African American art throughout the 20th century, beginning with masterworks by Romare Bearden and Jacob Lawrence, including paintings, sculptures, works on paper and mixed-media objects that are vibrant, bold, optimistic and spectacularly colorful. Artists represented include Benny Andrews, Sam Gilliam, Howardena Pindell, Faith Ringgold, Betye Saar and Raymond Saunders. The 70 pieces express the new American ideals and identities forged in the period 1970 to 1990.
Color and style are key elements of communication throughout the exhibition. From vibrant saturated hues that are cheerful, bold, or even harsh, to pastel watercolors that convey a coolness, light, or gossamer memories, the artwork in this show explores the process of art making. The result is a collection of works that contribute to a vocabulary of imagery relevant to the African American experience, culture, and history. Their work is autobiographical, reflective, celebratory, and seeks and creates meaning in the world of material objects.
The Chemistry of Color: The Sorgenti Collection of Contemporary African-American Art is organized by the Pennsylvania Academy of the Fine Arts.
Paintbox Leaves: Autumnal Inspiration from Cole to Wyeth September 25, 2010 – January 16, 2011
The fall landscape and paintings of its trees in full glory is often regarded as uniquely American. On September 25, the Hudson River Museum, Yonkers, opens Paintbox Leaves: Autumnal Inspiration from Cole to Wyeth, which includes nearly 100 paintings from major museums and private collections and examines the narrative of the American artist’s fascination with autumn.
It was the Hudson River School painters who began the tradition of seasonal landscape painting, developing the notion of an American terrain enhanced by autumn color and the emotional response it provokes. But, while autumn landscapes celebrate color and bounty, they also foreshadow the bleakness of a winter to come, acting as scenic memento mori.
There is one season when the American forest surpasses all the world in gorgeousness, wrote Hudson River School painter Thomas Cole in 1835, that is the autumnal; — then every hill and dale is riant in the luxury of color — every hue is there, from the liveliest green to deepest purple from the most — golden yellow to the intensest crimson.
Paintbox Leaves displays 19th-century art, including that of Cole and Cropsey, “America’s painter of autumn,” alongside that of later American Impressionists and contemporary artists, who reinvigorated landscape painting. Their artwork lends itself to four themes: “the Harvest and the Hunt,” symbol of the fruitful domestication of the American landscape; “the Visitor In the Landscape,” reflecting man’s evolving relationship with nature and tourism; “the Leaf and the Magic of Color” tracing artistic and scientific inquiry into the phenomena of autumn; and “Autumn Abstraction,” reflecting artistic influence on the depiction of natural forms.
Artists in the exhibition include: Milton Avery, George Bellows, Thomas Hart Benton, Albert Bierstadt, James Renwick Brevoort, Frederic Edwin Church, Thomas Cole, Jasper Francis Cropsey, Charles Edouard du Bois, John Whetten Ehninger, Sanford Gifford, Stephen Hannock, Marsden Hartley, Childe Hassam, Winslow Homer, George Inness, Yvonne Jacquette, John Marin, Thomas Moran, Grandma Moses, Maxfield Parrish, Robert Reid, Clive Smith, Andrew Stevovich, Worthington Whittredge, Andrew Wyeth, and Jamie Wyeth.
The exhibition includes loans from two dozen major museums and private collections. Exceptional museum loans include:
Thomas Hart Benton, Autumn, 1940. Whitney Museum of American Art
Albert Bierstadt, Autumn Woods, 1886. New-York Historical Society
Hugh Breckenridge, Autumn, 1931. Philadelphia Museum of Art
Frederick Church, Autumn Landscape,1856. Florence Griswold Museum
Thomas Cole, The Clove, Catskills, c. 1824. New Britain Museum of American Art
Marsden Hartley, Autumn, 1908. University of Minnesota
Frederick Childe Hassam, The Jewel Box. Old Lyme, 1906 National Academy Museum
William Davis Moore, Autumn Leaves, 1875-1880. Long Island Museum of American Art
Maxfield Parrish, Jack Frost, 1936. The Haggin Museum
The exhibition has been organized by Hudson River Museum curators Bartholomew F. Bland and Laura L. Vookles. Noted scholar William H. Gerdts, Ph.D. contributed the introduction to the fully illustrated catalogue, the first published survey dedicated to the autumn landscape of 19th and 20th-century American Art.
Richard Deon: Paradox and Conformity July 3 - September 5, 2010
During the past 20 years, Hudson Valley resident Richard Deon has explored the visual style and methods employed by textbook illustrators from the 1950s. These unsung artists sought to introduce school children to public institutions, history, and politics through the use of easily graspable images and situations. Deon draws on their methods, arranging figures with implicit cultural connotations in situations that mimic the civic and didactic. However, he places viewers in puzzling territory, where the seemingly familiar describes "an uneasy pictorial absurdity." Through aesthetic isolation and dislocation, misidentification and nonsensical juxtapositions, the artist allows conflicting images and ideas to coexist without the hope of resolution. This exhibition includes more than 30 paintings, ranging from monumental banners to easel-sized canvases, as well as small-scaled ink-jet prints from different three graphic series.
Richard Deon: Paradox and Conformity is based on an exhibition originally curated by Thomas Piché, Jr., for the Daum Museum of Contemporary Art, Sedalia, MO, which has been re-organized for presentation at the Hudson River Museum.
Bakelite in Yonkers: Pioneering the Age of Plastics February 6 – June 6, 2010
Every day we come into contact with synthetic materials so familiar to us that life without them would be hard to imagine. Bakelite in Yonkers is a dynamic exhibition of more than 300 objects that show the development of Bakelite, a new material vital to an array of twentieth century consumer products — ash trays, toilet seats, door handles, blocks, bracelets, clocks, dinnerware, flashlights, toasters, kitchen mixers, castanets, and toy cars — to name a few! Inventor Leo Baekeland invented Bakelite at Snug Rock, his home in Yonkers between 1905 and 1907. Pioneering and brilliant, he quickly realized the scientific and commercial value of his discovery. First an inexpensive alternative to precious materials such as ivory, this exhibition traces how Bakelite soon reached the height of popularity as a key material in Art Deco objects, and was a favorite material of designers from Norman Bel Geddes and Raymond Loewy to Philippe Starck.
Bakelite in Yonkers: Pioneering the Age of Plastics is organized by Reindert Groot for the Amsterdam Bakelite® Collection, and Hugh Karraker in partnership with the Hudson River Museum.
This exhibition and its programs were made possible, in part, by Glenn L. Beall, Caroline Boyle-Turner, Bud and Fran Johns, Werner H. Kramarsky, James MacDonald, and Steven Naifeh.
Additional support was provided by the
Bakelite is a registered trade name of Hexion Specialty Chemicals, Inc., Columbus, Ohio.
Jacob Lawrence: Prints, 1963-2000 A Comprehensive Survey March 13 – June 6, 2010
Showcasing Jacob Lawrence’s entire oeuvre of printmaking, this exhibition highlights one creative aspect of one of the greatest African American artists of the twentieth century. The exhibition includes more than 70 brilliantly-colored individual prints, including the complete Legend of John Brown series, Eight Studies for the Book of Genesis, and prints based on the paintings from the Life of Toussaint L’Ouverture series. One of the key themes of the exhibition is struggle. As Lawrence himself noted: “I am dealing with struggle throughout my work, I think struggle is a beautiful thing. I think it has made our country what it is, starting with the American Revolution. I would like to think of the struggle in my work as not being just a black symbol, but a symbol of man’s capacity to endure and triumph.”
Jacob Lawrence: Prints, 1963-2000 A Comprehensive Survey is presented courtesy of DC Moore Gallery, New York
Collecting for a New Millennium:
Recent Acquisitions 2000-2010
· Landscape Art & the Hudson River - February 6 – June 6, 2010
· Glenview & Yonkers - February 6 – May 16, 2010
The museum celebrates the first decade of this new millennium with a major two-part exhibition of collections acquired since the year 2000. Its dual themes are inspired by connections between museum’s collecting mission and its unique setting along the Hudson, embracing the Trevor home, Glenview. Paintings, sculpture, decorative arts, textiles and historical objects illuminate the long narrative of a river and the people living beside it.
In the Middle Level Main Gallery, the museum’s focus on the river ranges from nineteenth-century paintings by James Bard, William Trost Richards and William Mason Brown to prints and postcards of the Hudson River to works by recent photographers Harry Wilkes and Guy Gillette.
In Middle Level Gallery Gallery 1 (on view throguh May 16th, 2010) Glenview and the Trevor family are shown as the hub for the museum’s cultural history research and collecting. Objects on view include gifts from the Trevor family, Victorian clothing, and photographs of Yonkers people and places.
Overall, the exhibition provides a rare opportunity to see over 100 recent acquisitions—many seldom on view—weave a web of enlightening stories.
Collecting for a New Millennium: Recent Acquisitions 2000-2010 is organized by the Hudson River Museum.
Dutch New York:
The Roots of Hudson Valley Culture June 13, 2009 - January 10, 2010
The year 2009 marks the 400th anniversary of Henry Hudson’s voyage up the Hudson River. This major exhibition and its accompanying publication will explore New York’s Dutch roots and the differing ways Dutch-influenced culture has been interpreted throughout New York’s long history. From legends and celebration to scholarly critique and analysis, New Yorkers’ understanding of their unique heritage has changed over the years and contributed to the distinctive culture that is New York today.
Lambert Doomer, Couple with a Globe, 1658 Oil on panel, 28 ½ x 21 ½ in Robert Hull Fleming Museum, University of Vermont, Gift of Prentis Cobb Hale Jr. 1957.21.1
The exhibition will explore five key moments of Dutch influence: 1609, when the Half Moon entered New York harbor; 1709, during a period when Dutch culture continued to thrive under English rule; 1809, when Washington Irving’s popular stories began to romanticize Dutch heritage; 1909, when the Hudson-Fulton Celebration attempted to create a common Dutch past for a rapidly growing nation; and 2009, at a moment when the very concept of historical “celebration” is increasingly debated. These stories will be illustrated through a rich array of paintings, prints, photographs, furniture, decorative arts, maps and ephemera from the Museum and other collections. Major lenders include the National Gallery of Art, the Smithsonian American Art Museum, the Brooklyn Museum, the New-York Historical Society, and Yale University Art Gallery.
Edward Moran, Henry Hudson Entering New York, 1892
Oil on canvas, 36 x 53 inches Collection of Berkshire Museum, Pittsfield, Massachusetts
The exhibition is being co-curated by Roger Panetta, Adjunct Curator of History, Hudson River Museum and Visiting Professor of History at Fordham University; Bartholomew F. Bland, Curator of Exhibitions, Hudson River Museum, and Laura L. Vookles, Chief Curator of Collections, Hudson River Museum. Eminent outside scholars will provide expertise and contribute to the accompanying publication, which will have national distribution through Fordham University Press.
America's 'Other' Illustrator January 31 - May 10, 2009
Retrospective of famed American illustrator comprises original paintings and drawings, including covers for The Saturday Evening Post and advertisements for Arrow Collars and Shirts.
Joseph Christian Leyendecker (1874-1951) was born in Germany and came to Chicago as a child in 1882. He apprenticed at the Chicago engraving house of J. Manz & Company, where he advanced to a full-time position as staff artist, while attending the Chicago Art Institute. He studied in Paris for two years at Académie Julian, under the tutelage of Jean Paul Laurens and Benjamin Constant. The famous neo-classical artist Adolphe Bouguereau then directed the school, and Leyendecker was considered by all three masters to be the brightest student at the Académie. Leyendecker learned, while in Paris, that a good artist could have a rewarding and lucrative career as an illustrator and decided to devote himself to that pursuit; he seldom deviated from his chosen field throughout his long career.
Between 1898 and 1918 Leyendecker created forty-eight cover paintings for COLLIER'S magazine, and in 1899 the artist executed his first SATURDAY EVENING POST cover. It was the first of the 322 covers he would produce for the magazine, more than any other artist working for the SATURDAY EVENING POST, including Norman Rockwell. His popularity was due to his ability to convey the essence of both everyday life in America and international events through paintings that reflected his unique sense of drama, romanticism, and humor. In 1905 he received his most important commission when hired by Cluett, Peabody & Company, Inc., which manufactured Arrow Brand shirt collars. The ''Arrow Collar Man'', as well as the images he created for Kuppenheimer Suits and Inter-woven Socks, soon came to define the fashionable American male of the early 20th century. As part of an advertising campaign for Kellogg's Corn Flakes, Leyendecker created a series of children's images that are as winsome and winning today as when they were created more than 90 years ago.
Organized By The Haggin Museum, Stockton, California
Whitfield Lovell: All Things In Time September 27, 2008 – May 10, 2009
Whitfield Lovell will be presented at the Hudson River Museum as a large-scale survey exhibition showcasing the work of one of the contemporary art world’s finest interpreters of lost or contested history. Born in the Bronx in 1959, Lovell has become internationally recognized for his large-scale tableaux and room-sized installations that combine evocative found historical objects with exquisitely rendered life-sized charcoal portraits, frequently based on historic photographs. These elements are combined to strikingly picturesque effect and create a dramatic situation or “scene” which is left to the viewer to interpret.
Lovell finds the raw materials for his art in tag sales, flea markets, and architectural salvage yards. His work focuses on the lives of African Americans in the United States from the span of Reconstruction through World War II, and his work subtly suggests this period’s intense societal and political changes. Many of the photographs that inspire Lovell’s art are of anonymous individuals, the biographical details of their lives lost to time. The imaginary narratives that Lovell constructs gives them a sense of agency and provides arresting contrasts, which attest to the artist’s great creativity in transforming everyday objects into powerful commentary on society. This exhibition was made possible, in part, by a gift from
The exhibition is accompanied by a catalogue.
Eating on Arcadia:
Hudson River Views on Ceramics October 4, 2008 – April 12, 2009
After the War of 1812, the United States’ renewed trade with England and her citizens’ growing cultural self-consciousness created fertile ground for the importing of scenic Staffordshire ceramics. At the time, Americans were becoming an avid audience for images glorifying the beauties of their nation. From the cities to the wilderness, artists, printmakers and publishers promoted this unique scenery, and premier among these treasures was the Hudson River. Since only the wealthy could afford oil paintings, popular art played a large role in this patriotic consumption. The most elaborate Hudson River prints were from the hand-colored Hudson River Portfolio (1821-25). Recognizing the trendy value of these images, English ceramics companies, such as Enoch Wood & Sons and James and Ralph Clews, began to copy these and other prints onto affordable earthenware ceramics for the American market.
Eating on Arcadia will illustrate the middle-class craze for this scenic transferware, which began in the 1820s and continued for much of the Victorian era. Numerous examples of plates, platters, tureens and pitchers featuring views up and down the Hudson River will be juxtaposed with the original prints that inspired them. Through these sets of mass-produced dishes, many an American family sat down to evening dinner with the beauties of the Hudson spread before them.
Andrew Stevovich: The Truth About Lola September 27, 2008 – January 11, 2009
Andrew Stevovich may consider himself an abstract painter more concerned with meticulous composition than narrative, but don’t tell that to the highly figurative characters who appear on his canvases. Because of his classically organized, flat backgrounds of color and simple shapes, his work has frequently been compared to the early Italian Renaissance masters from Giotto to Botticelli. However, this exhibition of more than fifty paintings and drawings will explore another facet of Stevovich’s work: his relationship and inspiration drawn from twentieth-century German Expressionism. Lurking behind his figures’ shifty gazes are nightclubs, neon, card games, and cocktails, all captured with an air of alienated decadence that link Stevovich directly to the tradition of artists like George Grosz and Max Beckman, known for their jaundiced looks at café society.
The exhibition and catalogue for Andrew Stevovich: The Truth About Lola have been made possible by Adelson Galleries.
The exhibition will be accompanied by a catalogue.
Space Is the Place June 21 – September 7, 2008 A traveling exhibition of contemporary art that explores the infinite potential of space exploration
Space Is the Place focuses on contemporary art that looks to space exploration —its infinite potential and its historical successes and failures as seen in the works of an international group of artists during the last fifteen years. This collection of contemporary art — paintings, sculptures, photographs, installations, and sound, and video — highlights the importance of imagination and dreaming in the quest for space travel, that powerful catalyst for artists. Artists in the exhibition:
Laurie Anderson, Colette Gaiter, Lia Halloran, Ronald Jones, Nina Katchadourian, Oleg Kulik, Julian LaVerdiere, Aleksandra Mir, MIR Project, Damian Ortega, Marko Pelijhan in collaboration with PACT Systems, Steve Roden, Jason Rogenes, Adam Ross, Katy Schimert, Jane and Louise Wilson.
The title — Space Is the Place — derives from a 1974 movie about an influential jazz-fusion band, whose leader, Sun Ra, spoke of making music sublime enough to elevate humanity beyond Earth, transcending reality. Much like the cosmic themes of Sun Ra, the exhibition reaches out to realms beyond our planet.
While the theme of outer space unites all the work, the subject lends itself to an exploration of the technological, environmental, and sociopolitical forces affecting life on earth. Some artists reflect back to the giddy days of the space race, recalling the Russian space sites as relics or ruins, while others imbue the first American moon walk with a sense of nostalgia and desire for a bygone era. Some examples: Polish-born artist Aleksandra Mir’s video, First Woman on the Moon (1999), performed on a beach in the Netherlands thirty years after the first moon walk, uses the fantastical context of space exploration to comment on the continuing problem of gender inequality; The new work of Laurie Anderson, NASA’s first artist-in-residence, emphasizes imagination. “When you hang out at NASA,” Anderson observes, “you realize that a lot of research has to do with beauty, starting with Einstein, who rejected certain theories because they violated his aesthetic sense.”
Organized by iCI (Independent Curators International), New York, the exhibition is curated by Alex Baker, curator of contemporary art at the Pennsylvania Academy of the Fine Arts, Philadelphia, and Toby Kamps, senior curator at the Contemporary Arts Center, Cincinnati.
An illustrated catalog, co-published by iCI and the Contemporary Arts Center, Cincinnati, accompanies the exhibition.
The exhibition Space Is the Place is organized and circulated by iCI (Independent Curators International), New York. The guest curators are Alex Baker and Toby Kamps. The exhibition, tour, and catalogue are made possible, in part, by a grant from the Horace W. Goldsmith Foundation, with additional support from the iCI Exhibition Partners.
Anna Richards Brewster:
American Impressionist June 21 – September 7, 2008
Organized by Dr. Judith Maxwell in collaboration with Susan Brewster McClatchy for the Fresno Metropolitan Museum of Art and Science, Fresno California, this innovative and comprehensive exhibition encompasses Anna Richards Brewster’s (1870 – 1952) works in oil, watercolor, gouache, and pen designs for book-illustration. It brings together paintings and prints from private and public collections to resurrect the reputation of an artist who was one of the best-known American woman artists at the turn of the century, and who at the age of 20, won the prestigious Dodge Prize at the National Academy of Design for the best picture by a woman artist in 1890. Anna Richards Brewster, American Impressionist, seeks to demonstrate Brewster’s historical context and her role as a successful artist at the beginning of the twentieth century, a time when women were just starting to break into the professional and academic spheres of the art world.
It spans her 45 most productive years and includes more than 50 plein-air scenes, portraits and still-lifes, as well as some charming illustrations she did for a book written by her mother A New Alice in Old Wonderland, published by Lippincott in 1896. Also on view are examples of her revealing and thoughtful letters to her friend Annie Ware Winsor Allen, written from her teenage years through the early years of her marriage. The show is an examination of the struggles and triumphs of an American woman’s career in art in the late nineteenth and early twentieth centuries.
Anna Richards Brewster’s remarkable life and artistic career were spent striving to express the inexpressible through the visual arts. Brewster herself recognized this inherent paradox of art-making in a letter discussing the difficulty of painting nature: “The more terribly, piercingly beautiful she looks, the more baffling and inscrutable she is. It is great pain to see the grace of her every last gesture, and know that one cannot possibly even tell of it.” As Guest Curator Judith Maxwell describes in the opening of her catalogue essay Life in Art, Brewster is an artist who sought to capture the truth of nature and its divine and diverse beauty.
Anna Richards Brewster was born into a prominent New England family, the daughter of well-known landscape and marine painter William Trost Richards and the poet and writer Anna Matlack Richards. The Richards family traveled extensively in the Northeast of the United States, and further a-field in England, France, and Ireland. These journeys provided the subject-matter for William and Anna’s landscape and cityscape paintings and taught Anna to work from her day-to-day experiences. Unlike her father, who was devoted to natural truth (i.e. realism), Anna was interested in the possibilities of human artifice and worked in varying styles, at times influenced by J.M.W. Turner, Childe Hassam and other contemporary artists working in the style of Impressionism, at other moments influenced by the paintings of Rembrandt or Edward Hopper.
Anna’s artistic productions provide a fascinating view into her life. This is reflected in works showing a variety of locales once frequented by the artist: New York, where Anna traveled to in 1889 to find new mentors (John LaFarge and William Merrit Chase); Clovelly, England, where Anna went to pursue an independent artistic career; London, where Anna went to escape the isolation and quiet of Clovelly; and various other places such as Algeria, Greece, Spain, and Italy, seen with her husband William Tenney Brewster during his sabbaticals from teaching.
The show is designed to shed light on the reasons for Brewster’s current obscurity as well as on the art market at the turn of the 20th Century. She started painting at the age of 14, had a studio in England for nine years, and exhibited and sold both in Europe and in America. She continued to paint prolifically after her marriage to Barnard College English professor William Tenney Brewster in 1905, making oil sketches during their sabbatical travels around the world.
Although she had her husband’s encouragement and has been called one of the best-known American women artists at the turn of the century, today, few have heard of her or seen her paintings. This was due, in part, to her refusal to actively market her work after the death of her son in 1910, and in part to her experimentation with many different styles of expression. This made it difficult to categorize her work and for dealers to sell it.
To understand this phenomenon better, the exhibition is organized by style, from the Barbizon-influenced romanticism of her fantasy A Knight Errant, through the impressionist, loaded brush style of many of her landscapes and portraits like Devout Reading, Clovelly, to the harshly lit realism of her Hopperesque Steam Table.
Red Grooms: In the Studio &
The Bookstore February 9 - May 25, 2008
Return of Red Grooms’ Bookstore
and a New Exhibition that Traces His Creative Path
One of America’s major artists with a truly popular following, Red Grooms is returning to the Hudson River Museum thirty years after his creation of The Bookstore – a gem in the Museum’s permanent collection that has become an artistic emblem of Westchester County.
The worlds that inspire Grooms stretch from silent movies to dance halls to America’s urban canyons and first colonies. Red Grooms grew up in Nashville and began his career as an actor. His sense of theater is integral to the multimedia experience he creates in sculpture, paintings, and films. Now a quintessential New York artist, Grooms shows the city’s people and their neighborhoods with both wit and acute comment. His commentary has endeared The Bookstore to thousands since its installation at the Hudson River Museum in 1979.
True to the larger-than-life environmental sculptures that brought Pop Artist Grooms attention around the globe, The Bookstore deftly joins two favorite haunts for New York City book lovers—the lively and oldest secondhand bookshop in New York City, the Isaac Mendoza As the museum embarked on plans to construct a new lobby, shifting visitor flow throughout the building, plans were considered to relocate the piece to a new dedicated gallery. Grooms approved the major conservation efforts and changes to the work that included altering the position of the two entrances to fit the new gallery space, the creation of a new central island, which incorporated the original vinyl patrons, and the design for a new painted floor to replace the red wall-to-wall carpeting adapted from the original space. The conservation work was executed by Tom Burckhardt, who oversaw the re-installation.
Grooms has had scores of exhibitions over his career but In the Studio is the first to explore not only his triumphs, such as his most famous work Ruckus Manhattan, but also Grooms’ path to creativity. Grooms brings vision to visible reality with a happy combination of meticulous planning and preliminary studies in the form of miniature paper, clay and wood models, or maquettes. Among the models appearing the show In the Studio that have never been seen before are a miniature ticker tape parade featuring Mayor LaGaurdia; Peacable Kingdom; a large-scale model of dozens of different animals decorating a giant “tree of life;” Snake Charmer, part of a design for a proposed circus series; a model for the Iowa State Fair, featuring the famed “butter cow” and Flamenco Dancers, Grooms’ latest work that is now evolving into a design for a huge sculpture only to be imagined. Ranging from a few inches to nearly eight feet, the models are made quickly, the artist’s fingerprints still on them, others finished pieces. The most elaborate illuminate, play music, and move.
The exhibitions will be accompanied by a catalogue.
Red Grooms: In the Studio was made possible, in part, through the support of the Westchester County Executive and the Westchester County Board of Legislators.
Pattern and Decoration:
An Ideal Vision in American Art, 1975-1985 October 27, 2007 – January 20, 2008
Brad Davis -
Shiva's Dogs I, 1979
Acrylic and polyester on canvas
50 in. x 68 in. (127 cm x 172.72 cm)
Marieluise Hessel Collection, Hessel Museum of Art, Center for Curatorial Studies, Bard College, Annandale-on-Hudson, New York
This first comprehensive survey of the Pattern and Decoration Movement (P&D) explores the work of 11 artists prominent within the movement in the 1970s — Cynthia Carlson, Brad Davis, Valerie Jaudon, Jane Kaufman, Joyce Kozloff, Robert Kushner, Kim MacConnel, Tony Robbin, Miriam Schapiro, Ned Smyth, and Robert Zakanitch.
The exhibition was organized by the Hudson River Museum and guest curator Dr. Anne Swartz, and will be accompanied by an illustrated catalogue showing the scope, history, and legacy of the movement and includes essays by Arthur Danto, Temma Balducci and John Perreault.
This exhibition has been made possible, in part, by a gift from
The catalogue for Pattern & Decoration: An Ideal Vision in American Art, 1975-1985 was made possible, in part, by a grant from Furthermore: a program of the J.M. Kaplan Fund. Additional support was provided by Marieluise Hessel , Virginia Galtney and Mary Ross Taylor, and Meredith and David Brown.
Building Books: The Art of David Macaulay June 16, 2007 – September 2, 2007
The Hudson River Museum presents Building Books: The Art of David Macaulay, an exhibition of the world-famous author and illustrator’s original drawings, paintings, and studies on view from June 16, 2007 through September 2, 2007.
Macaulay uses art to communicate complex concepts in a fun and accessible manner. His imaginative and often humorous illustrations are sure to inspire and delight the whole family. Macaulay’s most popular book to date,
The Way Things Work, is an entertaining and whimsical illustrated guide to the inner workings of machines. In more than a dozen additional books, he has displayed the construction of intricate architectural structures, examined a centuries-old sailing vessel from past and present perspectives, and taken readers on journeys into his unique imagination. Building Books explores both Macaulay’s work and his artistic process.
Building Books: The Art of David Macaulay has been organized by the Norman Rockwell Museum in Stockbridge, Massachusetts.
Building Books: The Art of David Macaulay has been made possible by a gift from
Building Books: The Art of David Macaulay is part of “Open Books,” a county-wide collaboration exploring children’s books and their illustrations, presented by
I WANT Candy: The Sweet Stuff in American Art June 16, 2007 – September 2, 2007
Twentieth-century mass marketing of sweets turned American artists' attention to the candy that is the sweet stuff of this fun-filled exhibition. I WANT Candy examines ideas about the "forbidden fruit of the American psyche. On our sweet tableau: The Still Life of Tradition," "The Cavity of Consumerism," and "Candy as Canvas." The exhibition is organized by the Hudson River Museum.
Fifty-five works by forty-two contemporary artists are featured in the exhibtion and include:
Becca Albee, Julie Allen, Peter Anton, John Baeder, Barton Lidice Benes, Mindy Best, Morgan Bulkeley, Neil Christensen, Orly Cogan, Sharon Core, Will Cotton, Cindy Craig, James Del Grosso, Marylyn Dintenfass, Dan Douke, Travis Conrad Erion, Emily Eveleth Janet Fish, Audrey Flack, Cara Wood Ginder, Ralph Goings, Susan Graham, Red Grooms, Kirsten Hassenfeld, Bruce Helander, Richard Hickam, Ruth Grace Jervis, Zane Lewis, Mary Magsamen & Stephan Hillerbrand, Melissa Martens, Kim Mendenhall, Don Nice, Patricia Nix, Brendan O’Connell, John Salvest, Masaaki Sato, Jessica Schwind, Beverly Shipko, Tjalf Sparnaay, Wayne Thiebaud, and Stephanie Jaffe Werner.
I WANT Candy: The Sweet Stuff in American Art has been made possible by a gift from
Contemporary Photography and the Garden -
Deceits and Fantasies February 1 - May 13, 2007
Occupying a restive position between wilderness and civilization, gardens are a locus of man’s attempt to tame nature. Since the mid-1980s many photographers have created bodies of work that examine the diverse forms and rich metaphorical associations of gardens. Contemporary Photography and the Garden brings together the work of sixteen American and European artists.
Ranging from depictions of gardens as tranquil havens to places of tension where exquisite beauty seems to coexist uneasily with inexorable forces of nature, these photographs present the artists’ varied responses to the physical structure, atmosphere, and symbolism of the garden. Sixty-seven works depicting gardens in Japan, Indonesia, India, France, Great Britain, Brazil, Mexico, and the United States evidence an astonishing diversity of design and scale. Photographs by Sally Apfelbaum, Linda Hackett, Sally Gall, Geoffrey James, Len Jenshel, Erica Lennard, and Jack Pierson comprise one group of works exploring the lyrical beauty and luxuriant atmosphere garden. Another group of artists, including Lynn Geesaman, Jean Rault, Gregory Crewdson, and Marc Quinn, play against the notion of a garden as an idyllic site for the pursuit of pleasure. Daniel Boudinet and Fischli and Weiss emphasize the garden as a work of art in its own right.
Geoffrey James Villa Medici, Alley from the Pincio wall to the courtyard garden, 1984
Gelatin silver print, 3 ¾ x 10 ½ inches
Collection of the artist, Toronto
This exhibition is organized by the American Federation of Arts, and is made possible, in part, by a grant from the A.R. Brooks Trust. Additional support is provided by the Founders Circle of the AFA.
Trees, a Photography Portfolio, 1958-1975 February 1 - May 13, 2007
One of the most renowned nature photographers of the 20th century, Eliot Porter (1901-1990) was a pioneer in the use of color for fine-art color photography. Ten photographs by Porter from Trees, a portfolio of his prints dating from 1958-1975, are on view.
Beside color, Porter’s landscape photography is set apart by detail of the landscape. Rather than focus on scenic panoramas, Porter put himself and his camera right in the undergrowth to reveal the wonder in a narrow slice of nature. In fact, the scenes in the Trees portfolio show many of Porter’s photographs that are vertical formats of nature, rather than the more typical panorama view.
Sylvia Sleigh: Invitation to a Voyage September 30, 2006 - May 6, 2007
Painter Sylvia Sleigh’s monumental work Invitation to a Voyage: the Hudson River at Fishkill, 1979-99, composed of 14 separate canvases, each 8 x 5 feet, is a panorama of the Hudson River peopled with art world figures and individuals significant to Sleigh’s life. Set along the scenic banks of the Hudson River, the work alludes to similar scenes of pastoral gatherings by the eighteenth-century painter Jean Antoine Watteau. This work was first inspired by a train trip to Sleigh took to Albany, where she was struck by the beauty of the Hudson and Bannerman’s Castle on Pollopel Island in the middle of the river. The exhibition will be accompanied by a display of photographs, drawings and preliminary oil sketches that trace Sleigh’s inspiration over the 20 years it took her to complete the series of canvasses.
Neil Welliver: Chosen Terrain September 30, 2006 - January 7, 2007
Featuring over 35 paintings and prints from the artist’s gallery and select museums, the exhibition is a memorial celebration of this 20 th century master of landscape and monumental modernist painting.
Welliver’s paintings synthesized onsite observation with modernist theories of color and abstraction. The title, Chosen Terrain, refers to Welliver’s strong connection to the land he chose to paint. Former U.S. poet laureate Mark Strand, a friend of Welliver commented: "What we see — and what moves us — are the force and depth of his (Welliver’s) connection to his chosen terrain.’"
Guy Gillette: Photographs September 30, 2006 - January 7, 2007
Since the late 1940s, Guy Gillette’s photographs have captured major international news events as well as quieter moments reflective of the nation’s culture. In this first solo show of his work are artistic and political figures that include Audrey Hepburn, Diane Keaton, Carl Sandburg, Lillian Gish, Richard Burton, Eli Wallach, Mahalia Jackson, and President Eisenhower. His photographic essays on the Korean War, the construction of Lincoln Center and the Civil Rights Movement, which appeared frequently in Life, Time, Fortune and other publications, will also be shown. A long-time resident of Yonkers, Gillette was included in the Museum of Modern Art’s landmark The Family of Man exhibition, curated by Edward Steichen in 1955. Guy Gillette: Photographs is sponsored by
Got Cow? Cattle In American Art, 1820-2000
June 24 to September 10, 2006
Got Cow? an exhibition of paintings, sculpture and photographs from museums across the U.S. takes both a lighthearted and serious approach to the animal that has been a favorite subject of artists. Got Cow? explores the cow’s appearances in traditional landscapes and mythology and then as a subject for artists such as Andy Warhol and Roy Lichtenstein, who were intrigued by the cow’s form, pattern, and use as a symbol of traditionalism in contemporary art.
Photographs by James Welling and Music by Will Welling
June 24 - September 10, 2006
A collaboration of photographs by James Welling that merge the nature, culture and industry of the Hudson Valley with Will Welling’s original music that captures the farm’s biological rhythms in fiddle tunes. This exhibition was commissioned by Minetta Brook as part of Watershed: The Hudson Valley Art Project, a series of new public artworks that engages the natural and cultural geography of the Hudson River Valley.
Westchester: The American Suburb January 28 - May 28, 2006
Most people have a mental picture of an idealized suburb: green lawns, white picket fences and ranch houses. The majority of Americans now live in the suburbs, but the definition of the suburbs keeps changing. From the romantic enclaves of the 19th century to the Edge Cities of the 21st, Westchester County’s long and varied history makes it one of America’s classic suburbs—one whose dynamism contributes directly to current debates over the character and meaning of suburban life. Westchester: The American Suburb challenges the prevalent notion of a dull, homogeneous, sterile environment and offers a more nuanced definition by identifying key issues that place suburbs at the intersection of American values and aspirations.
This exhibition was made possible, in part, through the support of the Office of the Westchester County Executive, the Westchester County Board of Legislators, and a grant from the Graham Foundation for Advanced Studies in the Fine Arts.
Law & Order: Crime Scenes October 1 – December 31, 2005
Presenting more than 30 images of “crime scenes” from the hit NBC TV series, Law & Order, that were captured by the show’s official photographer, Jessica Burstein. These stunningly realistic works are linked to the long artistic tradition of trompe l’oeil — to fool the eye. The photographs will be displayed alongside actual Law & Order props, including crime scene objects, marked scripts, and special-effect and imitation body parts. The exhibition includes a memorial to actor Jerry Orbach, the show’s star detective Lennie Briscoe, who died last year. This exhibition was organized by George Eastman House, International Museum of Photography and Film.
The work of George Hurrell (1904-1992) has become synonymous with the unblemished and stylized perfection of the Hollywood portrait. From his early success as chief photographer for MGM Studios in the 1930s, to his nostalgic resurgence at the end of his career, Hurrell’s photographs defined the genre for over six decades and continue to exert their influence today. Focusing on more than 50 of his portraits of classic movie stars, Hurrell’s Men exude an unmistakable masculine energy balanced by the perfection of their glamorous exteriors. The actors seen through his lens have come to typify the visual assumptions that speak of the Hollywood system or conjure the spell of “star quality.”
The exhibition is organized by the Sheldon Art Galleries and curated by Tim Wride, Director of the No Strings Foundation, Los Angeles. The exhibition is drawn from the extensive collection of Hurrell’s photographs owned by the Pancho Barnes Trust Estate Archive, Pasadena, California.
Hurrell’s Men has been made possible with support from AVR Realty Company.
Silver Screen Silents:
from the Collection
October 1 – December 31, 2005
Photographs of scenes shot on California film sets before 1920, from the Hudson River Museum collection, will be on view from October 1 through December 31, 2005. The films, some produced by the famous American Mutoscope and Biograph Company, feature silent era stars Ivan Christie, Walter Coyle, Joseph McDermott and Marie Malatesta.
Greener Pastures: Images of Arcadia in the Collection of the Hudson River Museum June 4, 2005 – January 1, 2006
Greener Pastures shows the arcadian ideal of an unchanging countryside inhabited by shepherds and farmers uncorrupted by civilization, a vision of the ancient Greeks that is still a powerful connection in Western art and literature. The pastoral landscape was also celebrated in Hudson River School paintings and in magazines, prints, and literature at the turn of the century. This exhibition is drawn from the museum’s permanent collection, the exhibition includes more than 30 nineteenth-century works in oil, watercolor, photography, bronze, ceramics, wood, and textiles.
American Impressions: An Arcadian Vision Paintings from the Akron Art Museum June 4 - Sept 5, 2005
Featuring 35 paintings from the collection of the Akron Art Museum, this exhibition examines American art at the end of the nineteenth century when many American artists retreated from the realities of the early modern era - with its burgeoning industry and crowded cities- and envisioned instead an American Eden. They often employed European impressionistic techniques to convey pastoral beauty, rather than embracing the bustle and pollution of their industrializing nation. They painted tranquil landscapes and dreamy portraits of women, aiming to fulfill the widely held belief that art should delight the senses and elevate the spirit. Among the artists featured are; Ralph Blakelock, William Merritt Chase, Thomas Wilmer Dewing, Frederick Frieseke, Childe Hassam, William Morris Hunt, George Innes, Willard Metcalf, Elihu Vedder and Julian Weir.
An exhibition organized by The Trust for Museum Exhibitions, Washington, D.C.
The Diaries of Emily Trevor:
A Sound Installation for Glenview by John Morton June 11 – September 11, 2005
Artist-in-residence John Morton composed The Diaries of Emily Trevor, an original sound composition, that melds two works housed in Glenview, the museum's Victorian home — a vintage music box and the diaries of Emily Trevor, who once lived in Glenview. The project, which uses an historical object to create a contemporary work of art, received support from the New York State Council on the Arts, a State Agency, through the Sites Re-Seen initiative of the Museum Program.
Susan Leopold: Castles and Untold Stories June 11 – September 5, 2005
Susan Leopold designed her work for the Hudson River Museum to explore Bannerman Castle, a romantic ruin on Pollopel Island in the Hudson River. Her panoramic photo-construction plays with perspective, the poetry of decay, and the bizarre history of this dramatic edifice.
Tiffany by Design January 29 - May 15, 2005
Tiffany by Design, at the Hudson River Museum, on view from January 29 through May 15, explores the design, construction and fabrication of Tiffany lamps made between 1900 and 1925. Approximately 50 Tiffany lamps and lamp parts, and one leaded-glass window from the collection of the Neustadt Museum of Tiffany Art will be displayed as well as black-and-white photomurals that show Tiffany producing art ware in his studio.
Organized by The Neustadt Museum of Tiffany Art
Cappy Thompson: Glass Vessels for a Dream Voyage February 5 - May 22, 2005
Known for her distinctive narrative designs incorporating myth, fairy tales, and her personal dreamscape, Cappy Thompson has been using the vessel form to dramatic effect for nearly 15 years. Glass Vessels for a Dream Voyage includes nearly two dozen vessels that feature many of the animal motifs that run through Thompson's work and shows how her vessels have been strongly influenced by medieval imagery from many sources, including Hindu, Pagan, Judaic, Buddhist, Islamic and Christian cultures. The vessel provides the perfect canvas on which she can depict her dreams, their circular shape representing the fluidity of dream narratives that have no clear beginning and ending.
Birdspace: A Post Audubon Artists Aviary October 9 - January 9, 2005
Michael Crespo The Treasure in the Cave, 2001
Oil on linen; 16 x 20
This thematic exhibition investigates the prevalence of bird and bird culture subjects in contemporary art since the early 1990s, while also revealing how far artists have evolved in their use of bird imagery since the days of John James Audubon, the first major bird artist. Sections will be devoted to "The Humanity of All Living Things," "Mortality, Loss, Remembrance and Transformation," "Identity and Autobiography," and "Satirical Gaming." Features works in all mediums by artists such as Jacqueline Bishop, Ross Bleckner, Petah Coyne, Walton Ford, Adam Fuss, Roni Horn, Ernesto Pujol, Hunt Slonem, Kiki Smith, Fred Tomaselli, Thomas Woodruff, and many others.
Curated by David Rubin, CAC New Orleans. Toured under the auspices of Pamela Auchincloss/Arts Management.
Audubon's Birds of America:
Shape, Texture, Plumage, Color October 9 - January 9, 2005
Twenty-two prints by America's best-known ornithologist-artist John James Audubon (1785-1851), from his groundbreaking Birds of America, show his artistry producing accurate illustrations of birds in their habitats.
Konti & Manship in Yonkers Showing to October 7, 2004
The Museum's collection includes prime examples by two of the most important sculptors ever to work in Yonkers: Isidore Konti (1862-1938) and Paul Manship (1885-1966). This summer, these works are the focus of an exhibition in the Upper Main and Voter Galleries, which will highlight The Brook (1901) by Konti and Diana and Actaeon (1925) by Manship. In the early 20th century, Konti, a Hungarian who grew up and studied in Austria, was a highly skilled practitioner of the waning Beaux-Arts tradition. Though Manship, a herald of Art Deco Modernism, is better remembered, both artists achieved international renown in their day, when their statues adorned the lavishly landscaped gardens of Samuel Untermyer's Greystone estate.
Paul Manship (1885-1966) Actaeon, 1925
Bronze, cast by Alexis Rudier, Paris,
Gift of the City of Yonkers
Konti lived in Yonkers from 1906 until his death, even moving his studio here from New York City in 1914. In 1908, the sculptor, busy with several commissions, hired Manship as an assistant. Though Manship left Konti's studio in fall 1909 after winning a Rhinehart Scholarship (Prix de Rome) to the American Academy in Rome, the two men had formed a close professional and personal friendship that lasted many years. Commissions from Samuel Untermyer tied Manship to Yonkers intermittently, but Konti remained in Yonkers for the rest of his life. The venerable sculptor became a key member of the local cultural scene, co-founding the Yonkers Art Association, serving as commissioner of the new Yonkers Museum of Science and Arts (now The Hudson River Museum), and producing four local commissions for public statuary. The exhibit will conclude with plaster models and photographs of some of these works, as well as Konti's tabletop bronze The Harvest, a recent purchase.
Shaped by the Wind: Kites June 12 - September 12, 2004
Kiteflying appeals to our aural, visual and tactile senses, and kite-making is a rich medium for artistic expression. The kite makers in Shaped by the Wind share artistic originality, an understanding of the principals of flight, engineering, and kiteflying skills recognized worldwide. Among the many influences on their work, these kite artists cite specific painters and sculptors; cultural traditions; historical kites; ocean sailing; space exploration; performance art; animation and costume design; and book illustrations.
For more than 2,500 years, kites were created for military, scientific, religious, ceremonial and recreational purposes. Today, we are most familiar with kites in sports and recreation. The kites in this exhibition are made as works of art. Artists, often trained in more traditional media such as painting and sculpture, have found that in the making and flying of kites they are best able to realize their artistic goals. Shaped by The Wind: Kites includes kites by George Peters, Stuart Allen, Marc Ricketts, Scott Skinner and Tal Streeter from the U.S.; Istvan Bodoczky, Hungary; Jackie Matisse; and Marthe and Jean Marie Simonnet, France; Anna Rubin, Austria; and Mikio Toki, Japan. Their explorations with materials, structures, surfaces, and the interactions between colors and forms have added to their kite's expressive possibilities. From bamboo and delicate handmade paper, to space-age materials, these kites reflect the artists' distinct, individual voices. Their kites are arresting in repose, but it is in flight that their dream-like, gravity-defying properties are revealed. While flying, they are truly shaped by the wind.
Susan Jennings River (excerpt), 2003
DVD, 60 min. Collection of the artist
Imaging the River
October 4, 2003 - May 23, 2004
Celebrates the Hudson River as an inspiration for artists in the 19th, 20th and 21st centuries. The works in the exhibition reflect the dramatic transformation in the way we view the river historically, culturally and aesthetically, documenting our on-going relationship with the Hudson.
William Henry Bartlett, 1809-1854
View of Palisades, Hudson River
Noted Hudson River Prints in Glenview Galleries January 31 - May 2, 2004
Glenviews second-floor hall gallery will highlight Hudson River prints from mid-nineteenth-century travel books Most are from the highly influential 1840 publication American Scenery that featured text by Nathaniel P. Willis and engravings based on drawings by the English artist William Henry Bartlett. Bartlett, a travel illustrator from the 1830s to1850s, journeyed to every site he depicted, from the Hudson Highlands to the Nile River.
Joseph Cornell Hotel de l'Etoil, n.d.
Mixed media collage;
17 1/4 x 11 1/8 x 3 7/8"
Collection of The HRM
Joseph Cornell at the Hudson River Museum
October 4, 2003 - January 11, 2004
Joseph Cornell was a pioneer of assemblage and mixed-media constructions of found objects. This year marks the centennial of his birth in Nyack. In celebration, Cornell's works from the museum collection are on view in Glenview. The museum owns two boxes and two collages by Cornell as well as a watercolor and a facsimile drawing by Cornell's younger brother, Robert.
Cornell made his box constructions from the 1930s through the early 1960s. Filled with images and fragments of text, they reflect his deep personal interests in Renaissance art, literature, astronomy, music, ballet, European travel, and Victorian games. The museum's boxes are part of two Cornell series from the 1950s. The Hotel series boxes are sparse with white interiors in peeling layers to suggest age. Cornell's later boxes can be grouped into several series, in which a main theme is developed among many layers and nuances of visual and textual reference. Like most of his work, specific meanings remain elusive, as if they are symbolist image poems.
Eye Candy: Sculptures by Peter Reginato June 21 - September 7, 2003
Five whimsical sculptures by Peter Reginato will animate the Museum Courtyard this summer.
Meditations of Spirit: Dozier Bell Contemporary Landscapes June 21 - September 7, 2003
These paintings of unidentified landscapes, earth, sky and space are literally and metaphorically about conflict, science and spirit.
From the collection of the Hancock Shaker Village in Pittsfield, Massachusetts, Crafting Utopia presents 115 beautifully crafted objects, including wooden ware, household objects, costumes, textiles, furnishings and graphics for Shaker products.