Art of the Week

Flack, Audrey (b.1931, U.S.)
Lady Madonna, 1975
Lithograph, 86 x 61 cm.
Gift of Mr. and Mrs. William E. Welsh, Jr. P’84

Audrey Flack holds a graduate degree and an honorary doctorate from Cooper Union in New York City, and a Bachelor of Fine Arts degree from Yale University. She attended New York University’s Institute of Fine Arts where she studied the history of art. She was awarded the St. Gaudens Medal from Cooper Union, and the honorary Albert Dome professorship from Bridgeport University. She is an honorary professor at George Washington University, and is currently a visiting professor at the University of Pennsylvania. Audrey Flack has taught and lectured extensively both nationally, and internationally. A pioneer of Photorealism and a nationally recognized painter and sculptor, Ms. Flack’s work is in the collections of major museums around the world, including the Metropolitan Museum of Art, The Museum of Modern Art, the Solomon R. Guggenheim Museum, and Whitney Museum of American Art and the National Museum of Art in Canberra, Australia. She was the first photorealist painter to have work purchased by the Museum of Modern Art. Audrey Flack lives and works in New York City and Long Island.

This same sense of the beyond extends into her subject matter as well, with images of religious icons mixed with a pop sensibility. One of her most haunting works is the “Macarena Esperanza,” which is represented in this show with a lithograph of the original oil painting she did in 1971. The Macarena, the patron saint of Seville, Spain, is memorialized in life- size statue that stands in a small Seville church. The statue had a profound effect on Flack when she first saw it in 1970. Executed by the artist Luisa Roldan in the 17th century, it is a hallmark of the Spanish Baroque style. The polychromed wood technique that “La Roldana” was famous for fit in perfectly with Flack’s own personal vision, being the three-dimensional equivalent of the glossy effect given by the airbrush. Flack’s version, like the original, shows the saint in a state of mourning, with large tear drops falling down a face so smooth it appears to made of colored glass. She is ornately adorned, almost to the point of gaudiness, with a towering golden headdress, flowing robes of white lace and an abundance of gold accessories.

Flack, Audrey. Audrey Flack, on painting / New York: H. N. Abrams, 1981] ND237.F46 A4 1981
Flack, Audrey. Breaking the rules: Audrey Flack, a retrospective 1950-1990 / New York: H.N. Abrams [in association with J.B. Speed Art Museum, Louisville], 1992. QUARTO N6537.F53 A4 1992
Icons of healing energy: the recent work of Audrey Flack. By: Gouma-Peterson, Thalia. Arts Magazine, Oct83, Vol. 58, p136-141
Re-vamping the vamp. By: Frueh, Joanna. Arts Magazine, October 1982, Vol. 57, p98-109

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Today is the anniversary of the birth of Mark Tobey

In the Collections of Hobart and William Smith Colleges, we are fortunate to have two works by Tobey:

Mark Tobey (1890-1976)
Vibrating Surface, 1974
Etching on BFK Rives paper, 66 x 50 cm.
Gift of Kenneth Halsband ‘88

Mark Tobey (1890-1976)
Grand Parade, 1974
Lithograph on Arches paper, 66 x 50 cm.
Gift of Kenneth Halsband ‘88

The American painter, poet and composer Mark Tobey was born in Centerville, Wisconsin on December 11, 1890. As of 1906 he studied watercolor and oil painting at the Art Institute in Chicago. Afterwards, he worked as a model drawer in Chicago and as of 1911 in New York. In 1918 Mark Tobey converted to Bahaism, this Persian belief seems to have had a great impact on both his life and his art.
 From 1922 to 1925 he worked as an art teacher at the Cornish School in Seattle. He was very interested in European Cubism and East Asian painting and calligraphy. He collected the art of the Tlinkit and Haida Indians, especially textiles and wooden sculptures.
 In 1925 Mark Tobey traveled to Europe and stayed in Paris for some time; he also visited Barcelona, Athens, Istanbul and Beirut, went onto a pilgrimage to the holy site Bahá’í in Haifa, and also visited Akka to learn more about Persian and Arabian calligraphy. 
His first one-man show took place in Chicago in 1928. From 1930 to 1937 he taught at the Dartington Hall School in Devonshire, England. His journeys played an important role in Tobey’s life. In 1932 he went to Mexico and in 1934 to China and Japan – where he dealt with the teachings and paintings of Zen, haiku poetry and also calligraphy in a monastery in Kyoto.
 The effects of these journeys can be observed in his works. The artist returned to the U.S. in 1937 because of the changing political situation in Europe. He lived in Seattle until 1960. He made his first music compositions as of 1938. In 1944 the Willard Gallery in New York showed his “White Writings” pictures for the first time; this exhibition marked his artistic breakthrough. Tobey covered the image carrier with many layers of white or a similarly light color – this is the beginning of the “all over” painting, a style that is also applied by other artists such as Jackson Pollock. Mark Tobey’s works became more and more abstract and complied with the artist’s meditative and contemplative lifestyle.
 Mark Tobey’s works were shown in the 1959 and 1964 Documenta exhibitions in Kassel and in numerous other exhibitions all over the world. He was one of the most important precursors of American Abstract Expressionism. The Smithsonian Institution in Washington held his first retrospective in 1974.
 Mark Tobey moved to Basel in 1960 where he died on April 24, 1976. Tobey produced most of his prints in the years just before his death, from 1973-1975. These include a number of lithographs and etchings.

Seitz, William Chapin. Mark Tobey. New York, Museum of Modern Art in collaboration with The Cleveland Museum of Art and The Art Institute of Chicago; distributed by Doubleday, Garden City, N.Y. [1962] ND237 .T56 S4
Tobey, Mark. Tribute to Mark Tobey. Washington : Published for the National Collection of Fine Arts by the Smithsonian Institution Press: [For sale by the Supt. of Docs., U.S. Govt. Print. Off.], 1974. ND237 .T56 S58 1974
Mark Tobey et la rondeur parfaite; with English text. By: Ashton, Dore. XXe Siecle, May 1959, Vol. 21, p66-69, 4p
Mark Tobey. By: Ammann, Jean-Christophe. Werk, December 1966, Vol. 53, p494-500, 7p
Une journée avec Mark Tobey. By: CHEVALIER, Denvs. Aujourdhui, October 1961, Vol. 6, p4-13, 10p
Vision of Mark Tobey. By: Von Wiegand, Charmion. Arts Magazine, September 1959, Vol. 33, p34-41, 8p
Mark Tobey, white writing for a Janus-faced America. / influence of Asian calligraphy on his painting By: Winther-Tamaki, Bert. Word & Image, January/March 1997, Vol. 13, p77-91, 15p

Call for Exhibition Proposals

The Davis Gallery at Houghton House
Exhibition Proposal
Deadline February 1, 2017

The Davis Gallery accepts submissions for exhibitions from emerging and established artists in all media: painting, drawing, printmaking, sculpture, photography, digital art and mixed media. All artwork submitted is reviewed by our gallery. The deadline for proposals is February 1st of each year.

Name of show/artist(s)

Choose one or more available shows:
Fall, Show 2 October 13-November 10
Fall, Show 3 November 17-December 15
Spring, Show 4 January 26-February 23

Budget-Fixed Expenses:
NOTE: ALL BUDGET EXPENSES MUST BE APPROVED BY KATHRYN VAUGHN BEFORE THE MONEY IS SPENT!
Postcards
Posters
Reception
Wall Text
Dinner for artist(s)
Transportation of work
Transportation, housing, etc. for artist(s)
If possible, book ahead Harris House which is free
Special installation needs
Honorarium for talk
Honorarium for workshop

Budget: please note special requests:

The exhibition proposal should address the following:
1. A general explanation of the quality of the art proposed
2. A statement of why you believe this show would be relevant to our community in terms of content and timing
3. A detailed list of times and dates (if any) for which you would like staff and student help in installation and taking down the exhibition

The following materials must accompany this proposal:
Exhibition Prospectus packages should include the following:
• Cover letter
• Biographical materials (resume, CV, proposal/description of work, artist statement)
• Press reviews, tear sheets, past postcard announcements, websites, etc.
• 5 or more high resolution images (Images should represent a sampling of your current artwork)
• All materials should be labeled with all pertinent information
• Include a Self-addressed stamped envelope (SASE) for return of materials

Mail to:
Kathryn Vaughn, Visual Arts Curator
Department of Art and Architecture
Hobart and William Smith Colleges
300 Pulteney Street
Geneva, New York 14456
kvaughn@hws.edu
315.781.3483

Art of the Week

Japanese, Edo (1615-1868)
Tea Bowl (Chawan) for Cha-no-yu with Artist’s Seal, 1700-99
Raku, 6 cm. diam.
Gift of William Collins

The Edo period is the period between 1603 to 1868 in the history of Japan when Japanese society was under the rule of the Tokugawa shogunate and the country’s 300 regional Daimyo. The period was characterized by economic growth, strict social orders, isolationist foreign policies, an increase in both environmental protection and popular enjoyment of arts and culture. The flourishing of Neo-Confucianism was the major intellectual development. This system of thought increased attention to a secular view of man and society. The ethical humanism, rationalism, and historical perspective of Neo-Confucian doctrine appealed to the official class.

A chawan is a bowl used for preparing and drinking tea. There are many types of chawan used in tea ceremonies, and the choice of their use depends upon many considerations. Chawan are classified according to their place of origin or manufacture, color, shape, materials and other characteristics. Chawan are also classified according to the type of tea that will be served in them. Although the Japanese word for the tea ceremony, chanoyu, literally means “hot water for tea,” the practice involves much more than its name implies. Chanoyu is a ritualized, secular practice in which tea is consumed in a specialized space with codified procedures. The act of preparing and drinking matcha, the powdered green tea used in the ceremony, is a choreographed art requiring many years of study to master. When presented with a bowl of tea, a guest will notice and reflect upon the warmth of the bowl and the color of the bright green matcha against the clay before he begins to drink.

Raku ware is a type of Japanese pottery that is traditionally used in the Japanese tea ceremony, most often in the form of tea bowls. It is traditionally characterized by being hand shaped rather than thrown; fairly porous vessels, which result from low firing temperatures; glazes; and the removal of pieces from the kiln while still glowing hot. In the traditional Japanese process, the fired raku piece is removed from the hot kiln and is allowed to cool in the open air or in a container filled with combustible material.

Munsterberg, Hugo, The ceramic art of Japan : a handbook for collectors / Rutland, Vt. : C.E. Tuttle, 1964. NK4167 .M85 1964
Pekarik, Andrew. Japanese ceramics from prehistoric times to the present / Southampton, N.Y. : Parrish Art Museum, c1978. NK4167 .P44
Sanders, Herbert H. The world of Japanese ceramics, Tokyo ; Palo Alto, Calif. : Kodansha International, [1967] TP804 .J3 S3 1967
Mikami, Tsugio, The art of Japanese ceramics. New York, Weatherhill [1972] NK4167 .M4613
https://en.wikipedia.org/wiki/Edo_period
https://en.wikipedia.org/wiki/Chawan
https://en.wikipedia.org/wiki/Raku_ware

Today is the birth anniversary of Eliot Porter.

In the Collections of Hobart and Williams Smith Colleges, you will find four photographs by Porter.

Porter, Eliot (1901-90, U.S.)

Clouds Forming over Mount Baker, Washington, July 30, 1975.  Color Nature Landscapes I. Cibachrome, 51 x 61 cm. Gift of Mr. and Mrs. Chester J. Straub p’87 (Christopher Straub) hws-p-60

Running Water, Roaring Fork Road, Great Smoky Mountains, Tennessee, October 10, 1967. Color Nature Landscapes II. Cibachrome, 61 x 51 cm. Gift of Mr. and Mrs. Chester J. Straub p’87 (Christopher Straub) hws-p-61

Shade Tree in Bloom, Great Smoky Mountains, Tennessee, April 14, 1968. Color Nature Landscapes I.  Cibachrome, 61 x 51 cm. Gift of Mr. and Mrs. Chester J. Straub p’87 (Christopher Straub) hws-p-62

Waterfall, Hagavtn, Iceland, July 25, 1972. Color Nature Landscapes II. Cibachrome, 61 x 51 cm. Gift of Mr. and Mrs. Chester J. Straub p’87 (Christopher Straub) hws-p-63

Eliot Porter was an American photographer best known for his color photographs of nature. An amateur photographer since childhood, Eliot Porter earned degrees in chemical engineering and medicine, and worked as a biochemical researcher at Harvard University. In 1938, Alfred Stieglitz showed Eliot Porter’s work in his New York City gallery. The exhibit’s success prompted Eliot Porter to leave Harvard and pursue photography full-time. In the 1940s, he began working in color with Eastman Kodak’s new dye transfer process, a technique Eliot Porter would use his entire career. Eliot Porter’s reputation increased following the publication of his 1962 book, “In Wildness Is the Preservation of the World”. Published by the Sierra Club, the book featured Eliot Porter’s color nature studies of the New England woods and quotes by Henry David Thoreau. A best-seller; several editions of the book have been printed. Eliot Porter traveled extensively to photograph ecologically important and culturally significant places. He published books of photographs from Glen Canyon (Utah), Maine, Baja California, Galápagos Islands, Antarctica, East Africa, and Iceland. Cultural studies included Mexico, Egypt, China, and ancient Greek sites. James Gleick’s book, “Chaos: Making a New Science (1987)”, caused Eliot Porter to reexamine his work in the context of chaos theory. In 1990, Eliot Porter published, Nature’s Chaos which combined his photographs with Gleick’s writings. Eliot Porter bequeathed his personal archive to the Amon Carter Museum. Eliot Porter’s brother, Fairfield Porter, was a realist painter and art critic.

Martineau, Paul, Eliot Porter : in the realm of nature / Los Angeles, CA : J. Paul Getty Museum, c2012. QUARTO TR721 .M385 2012

A heightened perception: the color of wildness. By: Solnit, Rebecca. Aperture, Summer2001, Issue 164, p1-15, 15p

Art of the Week

Anders Zorn (1860-1920)
Edo, 1907
Etching, 21 x 35 cm.
Gift of Robert North in memory of Marion de Mauriac North ‘32
Collections of Hobart and William Smith Colleges

Zorn was born in Yvraden, a hamlet in the village of Utmeland in the parish of Mora, Dalarna, and was raised on his grandparents’ farm in Yvraden. He began to study at the age of twelve in the school at Mora Strand before progressing during the autumn of 1872 to a secondary grammar school in Enköping. From 1875–1880, Zorn studied at Royal Swedish Academy of Arts in Stockholm, Sweden. He traveled extensively to London, Paris, the Balkans, Spain, Italy and the United States, becoming an international success as one of the most acclaimed painters of his era. While his early works were often brilliant, luminous watercolors, by 1887 he had switched firmly to oils. Zorn painted portraits as well as scenes depicting rustic life and customs. Zorn is also famous for his nude paintings and realistic depictions of water. It was primarily his skill as a portrait painter that gained Zorn international acclaim based principally upon his incisive ability to depict the individual character of his model. His subjects included three American Presidents, one of whom was Grover Cleveland in 1899 and William H. Taft and Theodore Roosevelt. At 29, he was made Chevalier of the Légion d’honneur at the Exposition Universelle 1889 Paris World Fair.

Zorn, Anders, Anders Zorn rediscovered : November 27-December 19, 1984 : an exhibition / Long Beach : The Museum, c1984. N7093 .Z6 A4 1984