The New Britain Museum of American Art is pleased to present the exhibition Masterpieces of The Sanford B.D. Low Illustration Collection, opening on July 8.

Consisting of over 80 works by approximately 70 artists, this presentation represents a small yet exceptional portion of the Museum’s nearly 1,800-piece Low Illustration Collection. The Museum’s first director, Sanford B.D. Low, was an advocate for illustration who led the New Britain Museum of American Art to become one of the first institutions to recognize illustration as a fine art rather than merely an instrument of commerce.

Providing a veritable history of American illustration, the exhibition spotlights works by groundbreaking artists such as Maxfield Parrish, Norman Rockwell, N.C. Wyeth, Howard Pyle, and many others. These artists skillfully captured American values in story, advertisement, and cover illustrations for publications such as Scribner’s Magazine and The Saturday Evening Post.

David Blossom
Benedict Arnold, n.d., Acrylic polymer on board, 22 x 29 in. ,Gift of David Blossom, 1987.26.LIC

Frederic Sackrider Remington
Infantryman in Field Costume, 1890, Watercolor and gouache on board, 21 x 13 1/16 in. Harriet Russell Stanley Fund, 1952.16LIC

N.C. Wyeth
“One more step, Mr. Hands,” said I, “and I’ll blow your brains out!” 1911, Oil on canvas< 47 x 38 1/8 in. Harriet Russell Stanley Fund 1953.18

Richard Calkins
Buck Rodgers in the 25^th Century, National Newspaper Service, Chicago: 1936, Gouache, pen and ink, 26 ½ x 18 ¼ in., The Robert Lesser Collection, 2009.22.78LIC

Allen Anderson
Apache Flame! From Frontier Stories, Summer 1950, Oil on canvas, 30 x 20 ½ in., The Robert Lesser Collection, 2009.22.1LIC

“Masterpieces of The Sanford B.D. Low Illustration Collection”
July 8 – October 2, 2016
New Britain Museum of Amerian Art
New Britain, CT

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Through the pairing and perspectives of two artists – the writer Isaac Babel and the painter Yefim Ladyzhensky – ODESSA / ОДЕ?ССА: BABEL, LADYZHENSKY AND THE SOUL OF A CITY offers an enriching dialogue between two masters across different media, bringing to life a city in the midst of revolution.

The original exhibition immerses visitors in the legendary Black Sea metropolis’s frontier commercial life, polyglot swirl of cultures, colorful underworld and masterful artistry, all in the midst of the revolution, civil war and dramatic social transformations of the 1920s and 1930s. ODESSA / ОДЕ?ССА pairs the iconic writing of Babel with the monumental works by the lesser‐known Ladyzhensky. The writer and painter identified with the bawdy culture and swashbuckling underworld of the heavily Jewish Moldavanka neighborhood of Odessa. Each interpreted his city and country during the years leading up to and following the Bolshevik Revolution through an Odessan lens, characterized a by an unmistakably Jewish sardonic whit and humor.

ODESSA / ОДЕ?ССА features over fifty paintings and drawings by Ladyzhensky, most exhibited for the first time in the U.S. His large tempera paintings of daily urban life in Odessa, inspired by his childhood memories of the city, closely relate to Babel’s characterization of the city in The Odessa Tales, chronicling a group Moldavanka Jewish gangsters during the Soviet Revolution. Ladyzhensky twice executed a series of illustrations of Babel’s Red Cavalry, which was based on the writer’s experiences in the Red Army during the Soviet‐Polish War. The exhibition features an almost complete set of Ladyzhensky’s pen‐and‐ink drawing, as well as a number of earlier paintings based on Babel’s harrowing account of war and army life.

Yefim Ladyzhensky, Moving to a New Apartment; tempera on canvas; collection of the Khononov family.

Yefim Ladyzhensky, The Movies Come to Town; tempera on canvas; collection of the artist’s family.

Yefim Ladyzhensky, Roofers; tempera on canvas; collection of the Khononov family.

ODESSA / ОДЕ?ССА ‐ Babel, Ladyzhensky, and the Soul of a City
Thru November 13, 2016
Yeshiva University Museum
New York, NY

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The Milwaukee Art Museum, the largest visual art institution in Wisconsin and one of the oldest art museums in the nation, will reopen its Collection Galleries to the public November 24. The reopening is the culmination of a 6-year, $34 million project to transform the visitor experience through dramatically enhanced exhibition and public spaces and bright, flowing galleries.

“The new Milwaukee Art Museum is poised to set the standard for a twenty-first-century museum at the heart of a great city,” said Museum Director Daniel Keegan. “What began as a desire to preserve the space and Collection grew into a significant expansion that rejuvenates and sets the future course for the entire institution.”

Lewis Wickes Hine American, 1874?1940
A Carolina Spinner 1908 Gelatin silver print 
4 11/16 x 6 5/8 in. (11.91 x 16.83 cm)
Milwaukee Art Museum, Gift of the Sheldon M. Barnett Family
M1973.83 Photo by John R. Glembin

Herzfeld Center for Photography and Media Arts Makes Milwaukee Hub for Growing Art Field

As part of its November 24, 2015, grand reopening, the Milwaukee Art Museum will debut the new Herzfeld Center for Photography and Media Arts, a 10,000-square-foot space devoted to a global array of photography, film, video installation, and media art. Unparalleled in size and scope for the region, the Center will present the Museum’s rarely seen photography collection of 3,800 works, and will host exhibitions by world-renowned artists working in photography, film, video and digital media. It is funded by a generous gift from long-time supporters, the Herzfeld Foundation.

As the Museum’s first dedicated space for light and media art, and signals both the growing importance of photography and media art as art forms and as a cornerstone of the Museum’s Collections.

“The Herzfeld Center makes Milwaukee the new destination for photography and media art audiences nationwide,” said Lisa Sutcliffe, curator of photography and media arts. “Milwaukee’s photography and film community is a vibrant part of the cultural landscape of the city, and the Museum now reflects these vital art forms.”

The Center’s inaugural exhibition, Light Borne in Darkness, presents highlights from the Museum’s Collection, shown together for the first time. Visitors can discover the history of the medium through its most important masters, including Edward Steichen, whose Pool, Milwaukee (ca. 1899), launched his career as a photographer; Alfred Stieglitz, considered the father of American photography; Wisconsin native and social reformer Lewis Hine; American masters Diane Arbus, Lee Friedlander, Garry Winogrand, and Stephen Shore; iconic works by Walker Evans, Louis Faurer, Robert Frank, and William Klein; and landmark works by Uta Barth, Roni Horn, and Lorna Simpson.

“Light Borne in Darkness: Photography Highlights from the Permanent Collection“
November 24, 2015–April 10, 2016
Herzfeld Center for Photography and Media Arts
Milwaukee Art Museum
Milwaukee, WI

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Sam Francis, Straight Line of the Sun, 1975. Milwaukee Art Museum, gift of the Sam Francis Foundation, California M2009.549. © Sam Francis Foundation, California / Artists Rights Society (ARS), New York. Photo by John R. Glembin.

Sam Francis, First Stone, 1960. Milwaukee Art Museum, gift of the Sam Francis Foundation, California M2009.173. © Sam Francis Foundation, California / Artists Rights Society (ARS), New York. Photo by John R. Glembin.

The Milwaukee Art Museum will present Sam Francis: Master Printmaker,  sponsored by Sendik’s Food Market, as the  inaugural exhibition in the Bradley Family Gallery, a new 4,000-square-foot changing exhibition space in  the Museum’s renovated and expanded Collection  Galleries. It will be on view November 24, 2015–  March 20, 2016.

Debuting as part of the Museum’s reopening celebration, Sam Francis: Master Printmaker honors the 2009 gift of more than five hundred prints from the Sam Francis Foundation that made the Milwaukee Art Museum the largest repository of the artist’s works on paper. It is the first time the works will be on view in Milwaukee.

“Sam Francis: Master Printmaker”
November 24, 2015–March 20, 2016
Milwaukee Art Museum
Milwaukee, WI

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Alfred Stieglitz (American, 1864–1946) tirelessly promoted photography as a fine art. Through his own photographic work over the course of a half-century, the photographic journals he edited and published, and the New York galleries at which he organized exhibitions of photographs, paintings, and sculpture, Stieglitz showed photography to be an integral part of modern art in America. In a search for artistic ancestors, he looked intently at photography of the 19th century, most notably that of Julia Margaret Cameron and the Scottish duo David Octavius Hill and Robert Adamson. Their work resonated for Pictorialism, a movement that valued painterly, handcrafted images, and these earlier photographs were exhibited and reprinted for new audiences. Stieglitz’s fledgling interest to create a history of photography as an art form was also evidenced in his decision, later in his career, to revisit his own prior output, reprinting earlier images in a high modernist style.

The Stieglitz collection at the Art Institute includes several later Cameron and Hill and Adamson prints along with important works by Stieglitz himself, Edward Steichen, and other Pictorialist artists. Drawn entirely from the permanent collection, this exhibition examines how 19th-century photographs influenced Pictorialist practice. Fostering close looking at different photographic processes—from salt and albumen prints of the 19th century, to carbon prints and photogravures of turn-of-the-century reproduction, to crisp gelatin silver prints of the modernist period—it shows Stieglitz and his circle in the context of a changing photographic history.

Alfred Stieglitz. Georgia O’Keeffe,1918. The Art Institute of Chicago. Alfred Stieglitz Collection.

Julia Margaret Cameron. Julia Jackson, 1867. The Art Institute of Chicago. Harriott A. Fox Endowment

Julia Margaret Cameron. Thomas Carlyle, 1867, printed 1875. The Art Institute of Chicago. Alfred Stieglitz Collection.

David Octavius Hill and Robert Adamson. Portrait of James Nasmyth,c. 1844. The Art Institute of Chicago. Alfred Stieglitz Collection.

Alfred Stieglitz. The Hand of Man,1902. The Art Institute of Chicago. Alfred Stieglitz Collection.

Alfred Stieglitz.The Steerage, 1907, printed 1920/39. The Art Institute of Chicago. Alfred Stieglitz Collection.

“Alfred Stieglitz and the 19th Century”
thru March 27, 2016
The Art Institute of Chicago
Chicago, IL

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Museum Profile: André Kertész
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The Kertesz profile is a frame that was originally custom milled for the André Kertész exhibit February 6 – May 15, 2005 at the National Gallery of Art

Jamie Kinroy was our first MFA award winner. Immediately after graduating last year he was offered an exhibit at the Minneapolis Institute of Art.  Exhibits for artists are always stressful.  Having your first exhibit immediately following your MFA exhibit is very stressful. I think you will agree with us his talent speaks for itself.

Artists Statement
My work is rooted in comics, but rejects sequential illustration, ‘plot’ or single narratives, and is instead focused solely on intricately designed locations or environments. The images work together in the aim of building a comprehensive picture of a personal urban cosmology; an imagined, but contemporary and global city, built out of my influences and lived experience of a range of places – Scotland, Minneapolis, Japan.

Functioning in a similar way to the open-world environments of the current generation of video games (like Skyrim, Red Dead Redemption and Grand Theft Auto V), my work aims for the possibility that viewers might put themselves in, and imaginatively navigate the spaces I construct.

Each print, drawing, and painting becomes a window onto a familiar but undefinable scene that has the potential for infinite narratives.

Born in Edinburgh, Scotland, Jamie Kinroy visited Japan before calling Minneapolis home.

An artist talk will take place Thursday, November 19, 7 p.m.

Spirit Temple, 2015 Photolithograph Courtesy the artist (c) Jamie Kinroy

Manhunt, 2015 Digital Print Courtesy the artist (c) Jamie Kinroy

“Edgeworld”
October 15, 2015 – January 3, 2016
Minneapolis Institute of Art
Minneapolis, MN

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The Peabody Essex Museum (PEM) announces the first U.S. exhibition tour of Theo Jansen’s famed Strandbeests (“beach animals”). Working along the Dutch seacoast, Jansen has spent the last 25 years developing and evolving his Strandbeests, which today have become a global phenomena.

An annual rhythm structures the Strandbeests’ life cycle. Innovations are imagined and explored in the studio in winter, then tested and adapted on the beach in summer. Each new species of Strandbeest boasts new tactics and adaptations for their seaside survival. By fall, the creatures have outlived their evolutionary use and become part of Jansen’s fossil record. Like evolution itself, this process is ruthless, searching and unending.

Animaris Umerus (2009), Scheveningen beach, The Netherlands. Photo by Lena Herzog.

Animaris Percipiere (2005). Courtesy of Theo Jansen. Photo by Loek van der Klis.	Theo Jansen, Scheveningen beach, Netherlands (2011). Courtesy of Theo Jansen. Photo by Loek van der Klis.
Animaris Gubernare, Stille Strand, Netherlands (2011). Courtesy of Theo Jansen.	Animaris Umerus, Stille Strand, Netherlands (2009). Courtesy of Theo Jansen. Photo by Loek van der Klis.

ORIGIN OF THE SPECIES
With a singular focus and sense of play, Jansen has developed his Strandbeests from rudimentary structures into intricate, autonomous creatures that can respond to environmental changes by storing wind power, anchoring against oncoming storms and tacking away from the water’s edge. Originally inspired by the threat of rising sea levels, Jansen imagined a mechanical creature that could pile sand back up on the dunes. As time went on, Jansen became more fascinated with exploring ideas around the origins of life.

A selection of large- scale kinetic sculptures are accompanied by artist sketches, immersive video, and photography by Lena Herzog, who spent more than seven years documenting the Strandbeests’ evolution. Herzog’s work – which represents the most in-depth and sympathetic record of Jansen’s relationship to the beests – has recently been published by TASCHEN.

THEO JANSEN
The artist first came to prominence in 1980 when he flew a “UFO” across the skies of Delft, Holland. For the past 20 years Jansen has been creating and exhibiting his dramatic, kinetic Strandbeests. He has appeared on multiple TED Talks, been the subject of a New Yorker profile and shown his work in Asia, Europe and now the United States.

LENA HERZOG
Lena Herzog is a Russian-American photographer. Her work has been featured and reviewed in numerous publications including The New York Times, The Los Angeles Times Magazine, The Paris Review, Harper’s Magazine and Cabinet Magazine. She is the author of several books of photography and her work has been internationally exhibited.

Exhibition Tour
Peabody Essex Museum (PEM) 
September 19, 2015 – January 3, 2016

Chicago Cultural Center
February 6 – May 1, 2016

Exploratorium
May 27 – September 5, 2016

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The first installment of the biennial Ruttenberg Contemporary Photography Series features the work of New York–based photographer Deana Lawson. For nearly a decade, Lawson has been investigating the visual expression of global black culture and how individuals claim their identities within it. Her staged portraits, carefully composed scenes, and found images speak to the ways in which personal and social histories, familial legacies, sexuality, social status, and religious-spiritual ideas may be drawn upon the body.

Lawson began her work in and around her Brooklyn neighborhood but has recently branched out nationally and internationally to places such as Louisiana, Haiti, Jamaica, Ethiopia, and the Democratic Republic of the Congo. While her themes have remained consistent, her landscapes have shifted and broadened—the global scope of the pictures, in her words, “concern and affirm the sacred black body” and speak to a collective psychic memory of shared experiences.

Lawson starts her process by researching communities she has chosen for their cultural histories. Once on site, strangers met through chance encounters become her subjects, selected for a particular expression, mannerism, style of dress, or cultural or religious affiliation. The resulting images are often inspired by multiple trips or planned well in advance. They draw upon Western and African diasporic conventions of self-presentation, popular culture, mythology, and religious rituals and beliefs—emphasizing dialogues among the past, present, and future of black culture.

Sponsors
The Ruttenberg Contemporary Photography Series is generously supported by the David C. and Sarajean Ruttenberg Arts Foundation.

Deana Lawson. Nikki’s Kitchen, Detroit, Michigan, 2015. © Deana Lawson. Courtesy of Rhona Hoffman Gallery, Chicago.

Deana Lawson. Mama Goma, Gemena, DR Congo, 2014 © Deana Lawson. Courtesy of Rhona Hoffman Gallery, Chicago.

Deana Lawson. As Above So Below, Port-au-Prince, Haiti, 2013. © Deana Lawson. Courtesy of Rhona Hoffman Gallery, Chicago.

Deana Lawson. Kingdom Come, Addis Ababa, Ethiopia, 2014. © Deana Lawson. Courtesy of Rhona Hoffman Gallery, Chicago

Exhibition
“Deana Lawson: Ruttenberg Contemporary Photography Series”
September 5, 2015 – January 10, 2016
Art Institute of Chicago
Chicago, IL

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“Contemporary printmaking is extremely diverse,” stated Jane Glaubinger, curator of prints. “Some artists reinterpret traditional printmaking techniques, while others experiment with new technologies or print on unusual materials. The large size of paper and presses allow prints to rival the scale of paintings that dominate the field of vision.”While some artists look inward to personal issues for inspiration, others look at the larger world. Fresh Prints: The Nineties to Now offers a glimpse of the multitude of prints produced in the last two and a half decades that depict images of many themes including: political and social upheaval, feminism, ecology and AIDS. None of these prints have previously been exhibited at the museum. Artists featured in this exhibition utilize a variety of printmaking techniques such as: lithography, etching, engraving, linoleum cut, drypoint, screenprint and woodcut to express their artistic vision. Whether by well- known artists or newcomers, these prints offer visual stimulation and provocative ideas.

The last twenty-five years have been filled with political and social turmoil and strife while computer technology and rapid communication networks promote a more global perspective. One of the prints featured in this exhibition, Annette Lemieux’s Stolen Faces, acknowledges the incessant hostilities and the ubiquity of the photograph in our experience of the modern world. This largescale lithograph, measuring 32-by-90 inches, presents the pixelated faces of anonymous soldiers so that they resemble people on television news shows who wish to hide their identities. A war photograph is represented on the right panel as the image would be seen on a black-and-white television while on the left is its color television counterpart. The central panel of the triptych, an image that has three panels placed next to each other, further dramatizes the anonymity of war with an image of only the pixelated heads of soldiers, disembodied, as if vaporized by the technologies of war, photography and electronic mass media.

Suit Shopping: An Engraved Narrative, 2000-2002. Andrew Raftery (American, b. 1962). Engraving; 37.8 x 52.8 cm. Gift of friends in memory of Ann Bassett and Tom Johnson 2003.15. © Courtesy of the Artist and Mary Ryan Gallery, New York, NY.

Born, 2002. Kiki Smith (American, b. 1954). Color lithograph; 172.9 x 142.5 cm. The Cleveland Museum of Art, Gift of Agnes Gund and Daniel Shapiro 2004.34.

Fresh Prints: The Nineties to Now
Sun, 03/22/2015 to Sun, 07/26/2015
The Kelvin and Eleanor Smith Foundation Exhibition Gallery
Cleveland Museum of Art

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Senufo: Art and Identity in West Africa is the first presentation of Senufo art in the United States in the last 50 years and includes more than 160 works borrowed from nearly 60 public and private collections in Europe, Asia, Africa and North America, many of which have never before been publicly displayed.

The selection of masks, figures and decorative arts in diverse styles and mediums, the exhibition introduces visitors to the poro and sandogo societies, the primary settings for the production and use of works of art in the Senufo-speaking region of northern Côte d’Ivoire. Drawing on recent research in Mali and Burkina Faso, the exhibition also includes sculptures not usually attributed to Senufo-speaking artists or patrons, thus shattering the boundaries of the arts typically identified as Senufo.

Female figure. Unidentified artist. Wood, cowrie shells, abrus seeds, latex; h. 90.5 cm. Private Collection. BAMW Photography

Helmet. Unidentified artist. Wood; h. 52 cm. Newark Museum, Purchase 1966, The Member’s Fund, 66.619

“Original scholarship has always been a defining aspect of the work of the Cleveland Museum of Art, and this important exhibition offers a new approach to the understanding, and presentation of African art” said William M. Griswold, director of the Cleveland Museum of Art. “While emphasizing the unique nature of every work of art, Senufo: Art and Identity in West Africa demonstrates there are often common formal and functional threads as culture groups influence each other’s arts.”

Organized by the Cleveland Museum of Art, Senufo: Art and Identity in West Africa will subsequently also travel to the Saint Louis Art Museum and the Musée Fabre in Montpellier, France.

Included in the exhibition are a handful of historical photographs and books as well as 14 gelatin silver prints made by French photographer Agnès Pataux in Burkina Faso and Mali in 2006–8.

Senufo: Art and Identity in West Africa”
February 22 – May 31, 2015
Cleveland Museum of Art
Cleveland, OH

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The Cleveland Museum of Art presents The Believable Lie: Heinecken, Polke, and Feldmann, an exhibition focusing on relationships among the photographic work of three artists active during the 1970s that drew on ideas of surrealist/Dada culture of the 1920s and 1930s and influenced succeeding generations of photographers and media artists. The artists—Robert Heinecken,

Sigmar Polke and Hans-Peter Feldmann—hail from different backgrounds: two Germans and one Los Angeles native who all matured in the decades following World War II. The exhibition is on view now through November 30, 2014 in the museum‘s Photography Galleries.

Although the three artists each have significant exhibition histories, this is the first exhibition to bring their photographic work together, shedding light on the iconographic and formal choices they made when photography ascended into the contemporary art arena,‖ said Lisa Kurzner, The Believable Lie guest curator. ―Each embraced photography as one element of an artistic practice guided as much by literature, philosophy and an attention to popular culture as by classical formal concerns of the medium. Yet, photographic process and context remained important to them.

Costume for Feb. ’68, 1968. Robert Heinecken (American, 1931–2006). Black and white film transparency over magazine collage; 22.9 x 12.7 cm. Image courtesy Marc Selwyn Fine Art, MSFA 12274. © The Robert Heinecken Trust.

Sunset, mid-1970s. Hans-Peter Feldmann (German, b. 1941). Color Xeroxes; 105.4 x 121.9 cm (overall). © Hans-Peter Feldmann, courtesy 303 Gallery, New York. HPF 131.

Untitled (Straẞe), 1971. Sigmar Polke (German, 1941–2010). Gelatin silver print; 24 x 18 cm. Michael Werner Gallery, New York and London, POG 4103. © 2014 Estate of Sigmar Polke / Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn, Germany

The Believable Lie: Heinecken, Polke, and Feldmann at the Cleveland Museum of Art
July 20, 2014- November 30, 2014
Cleveland Museum of Art
Cleveland, OH

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