Wednesday, March 3, 2010


National Academy Museum & School of Fine Arts
New York City

February 17-June 8, 2010

"The 185th Annual: An Invitational Exhibition of Contemporary American Art will feature 65 emerging and established artists selected by a jury of National Academicians.  This biennial invitational is an inter-generational exhibition of non-Academicians that offers an opportunity for the public to preview new artistic directions in contemporary American art.  Seen from the perspective of distinguished American artists, this national exhibition includes artists working in the New York area and the Eastern region as well as the Midwest, West Coast, and as far away as Hawaii."

The Frances Lehman Loeb Art Center at Vassar College 
Poughkeepsie, NY

Revealed Anew: Selections from the Collection
November 7, 2008 – January 4, 2009

"The three rooms of “Revealed Anew” are arranged chronologically: Old Masters, 19th-century works, and the 20th century. Two of the treasures of the show are Albrecht Dürer’s engraving Adam and Eve from 1504 and Pablo Picasso’s aquatint Blind Minotaur from 1934. Sculptures are rarely shown at the Loeb center, but two appear in this show. Female Allegorical Head is a bronze by Malvina Hoffman (1887-1966), an African-American sculptor who studied with Rodin. Sleep is a luminous alabaster work by Robert Laurent (1890-1970), a French-American artist.

The last room is dominated by Americans. Andy Warhol’s The New Spirit is a large hot pink-and-gold screen print of Donald Duck from 1985. Photographer Billy Name has a portrait of Marilyn Monroe. Valerie Jaudon’s Untitled is a pastel geometric abstraction."

Read full reivew @ Chronogram Magazine 

American University Museum at the Katzen Arts Center 

Claiming Space: Some American Feminist Originators
November 2007 to January 2008 

The Claiming Space exhibition showcases nineteen founders of the Feminist Art Movement in America, emphasizing their large-scale, innovative, and politically confrontational pieces of the 1970s. For these artists, claiming physical space was an empowering act, a metaphor for asserting the political and cultural identity that had been denied to women in the public arena. Co-curated by Norma Broude and Mary D. Garrard, themselves pioneering feminist scholars and AU professors, Claiming Space focuses on multiple aspects of the period's pathbreaking feminism:

  • the art of feminist political protest (Judith Bernstein, Sandra Orgel Crooker, Suzanne Lacy and Leslie Labowitz, Faith Ringgold, May Stevens)
  • the expressive and cultural empowerment of the female body (Judy Chicago, Betsy Damon, Mary Beth Edelson, Nancy Fried, Yolanda Lopez, Cynthia Mailman, Carolee Schneemann, Hannah Wilke)
  • the visual pleasure of the feminist-led Pattern and Decoration Movement (Valerie Jaudon, Jane Kaufman, Joyce Kozloff, Howardena Pindell, Miriam Schapiro)
A fully illustrated catalogue with introductory essay by Broude and Garrard and statements by each artist will be available. Running concurrently with WACK! Women Artists and the Feminist Revolution at the National Museum of Women in the Arts, Claiming Space showcases many artists not in that exhibit and major works such as Schapiro's 52-foot long Anatomy of a Kimono, not exhibited in the U.S. since the 1970s. 

Hudson River Museum
Yonkers, New York

"Pattern and Decoration: An Ideal Vision in American Art, 1975-1985 will be presented by the Hudson River Museum from October 27, 2007 through January 20, 2008. This exhibition is the first comprehensive survey of the Pattern and Decoration Movement (P&D) and an exploration of its enduring contribution to the American art scene. 

P&D flourished as an alternative in American art, in contrast to the painterly abstraction championed by critics such as Clement Greenberg. The energetic work of its artists challenged the status quo of Minimalism, Formalism, and Conceptualism. They valued the bold pattern, craft, and ornament that was prompted in the 1960s and 70s by a new regard for the Women’s Movement and women’s esthetic drive, non-western art, and artists’ travels in Europe, Mexico, North Africa, the Middle East, and Asia. The artists drew from the diverse subject matter they saw for their elaborate and eccentric images. The guest curator for the exhibition, Dr. Anne Swartz, comments:
P&D is an interesting counterweight to claims of uni-directional cultural influence and arrogance—that America sends out but does not acknowledge the importation of cultural forms and motifs. Arguably, P&D is the first postmodern art movement because its artists utilized a broad array of source material and embraced the impermanent, the common, and the excluded in forming their content and images.
The exhibition explores the work of artists prominent within the P&D 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. Responsive to non-western art and folk art as well as textile design and wallpaper, their work has, in turn, influenced many quarters of the art world."

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