Public Art Installation By Derek Fordjour Debuts This Fall at The Whitney

Half Mast, a new work by Derek Fordjour (b. 1974, Memphis, TN) will be the eighth work in the ongoing series of public art installations on the façade of 95 Horatio Street, located directly across from the Whitney Museum of American Art and the High Line. The installation marks the artist’s first museum solo exhibition.

Derek Fordjour (b. 1974), Half Mast, 2018. Collection of the artist; courtesy Night Gallery, Los Angeles

Derek Fordjour (b. 1974), Half Mast, 2018. Collection of the artist; courtesy Night Gallery, Los Angeles

Half Mast is organized by the Whitney in partnership with TF Cornerstone and High Line Art. The series has featured works by Alex Katz (2014), Michele Abeles (2015), Njideka Akunyili Crosby (2015–2016), Torbjørn Rødland (2016-2017), Puppies Puppies (2017), Do Ho Suh (2017-18), and Christine Sun Kim (2018).

Fordjour works primarily in the realm of portrait painting to create vibrant scenes that subtly address subjects of systemic inequality, race, and aspiration, particularly in the context of American identity. Half Mast, a 2018 painting reproduced as a 17 x 29-foot vinyl print, will be unveiled this fall on the southwest corner of Gansevoort and Washington Streets.

Half Mast considers the recent national conversation around gun violence, speaking in particular to the surge of school shootings and to the everyday atrocities impacting Black and Brown communities in the United States. The piece offers a portrait of this complex moment in U.S. history by presenting many figures that are part of this conversation in one compressed, shared space. Seen in the crowd are law enforcement officials and civilians, including students, as well as absent figures, bodies marked with targets, and teddy bears and balloons reminiscent of street-side memorials.

Printed brightly in Fordjour’s signature graphic style, Half Mast retains a disquietingly buoyant quality while reflecting on loss and the abuse of power. In Half Mast and other work, the artist draws on the language of games, sports, and the carnivalesque, layering the canvas with humble materials—such as newspaper, oil pastels, and charcoal. His palette and use of pattern allude to Americana and Pop Art as well as the visual culture of his Ghanaian heritage.

The work speaks to the sense of unease and gross neglect that colors much of contemporary life in the United States and serves as a public acknowledgment of loss. Yet the meaning of Derek’s image can also flip. Half Mast alludes to possibilities of a civic movement or celebration and is a reminder of the power of individuals to resist and shape their everyday conditions,” says Allie Tepper, the curatorial project assistant organizing the installation.

Fordjour’s practice frequently engages with the use of public space, and Half Mast is one of two current commissions of major public work. The artist is also the recipient of a 2018 MTA Commission for a permanent installation at the 145th Street subway station in Harlem.

Derek Fordjour has exhibited in numerous venues including the Brooklyn Academy of Music, the Sugarhill Children’s Museum, and the Taubman Museum. He is a graduate of Morehouse College and earned a Master’s Degree in Art Education from Harvard University and an MFA in Painting at Hunter College. He currently serves as a Core Critic at the Yale University School of Art. Fordjour is the recipient of a 2018 MTA Commission for the entire 145th Street subway station in Harlem. He was awarded a 2018 Deutsche Bank NYFA Fellowship and was a 2017-18 artist-in-residence at the Sharpe-Walentas Studio Program in New York. He will present a solo exhibition at Night Gallery in Los Angeles in winter 2019.

Derek Fordjour: Half Mast is part of Outside the Box programming, which is supported by a generous endowment from the Jacques and Natasha Gelman Foundation.

Philadelphia Museum of Art to Present Celebrated Film Trilogy and New Performance by Artist Yael Bartana

This fall, the Philadelphia Museum of Art will premiere Bury Our Weapons, Not Our Bodies!, a new site-specific public performance by acclaimed Israeli-born artist Yael Bartana. Scheduled to take place on September 22, 2018 (through to January 1, 2019) at the Independence National Historical Park in Philadelphia, this performance will be presented as part of a solo exhibition at the Museum dedicated to the artist’s provocative film trilogy, And Europe Will Be Stunned (2007-2011). Marking its Philadelphia debut, this trilogy will be an immersive installation in the Joan Spain Gallery of the Museum’s Perelman Building.

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Portrait of Yael Bartana. Photo by Birgit Kaulfuss. Image courtesy of the artist and Philadelphia Museum of Art, 2018.

Born in 1970 in Kfar Yehezkel, Israel, Yael Bartana lives and works in Berlin and Amsterdam. In her films, installations, and photographs, Bartana investigates the ideas of homeland, return, and belonging, often in ceremonies, memorials, public rituals, and actions that are intended to reaffirm and question collective identities and ideas of the nation or the state.

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Image from “Zamach (Assassination),” 2011, by Yael Bartana. From the trilogy “And Europe Will Be Stunned.” (Collection of both the Philadelphia Museum of Art and Walker Art Center, Minneapolis; purchased by the PMA with funds contributed by Nancy M. Berman and Alan Bloch and the Philip and Muriel Berman Foundation, and the Committee on Modern and Contemporary Art; and purchased by the WAC, T. B. Walker Acquisition Fund, 2013). Image courtesy of the artist and Philadelphia Museum of Art, 2018.

Taking the complex history of Jewish-Polish identity as its point of departure, And Europe Will Be Stunned addresses the themes of nationhood, memory, and belonging that are integral to Bartana’s work. It first debuted at the Venice Biennale in 2011, where Bartana represented Poland. Shortly thereafter, the trilogy was jointly acquired by the Philadelphia Museum of Art and the Walker Art Center in Minneapolis. Employing a visual vocabulary reminiscent of Stalinist and Zionist propaganda of the early 20th century, And Europe Will be Stunned chronicles the radical program of a fictional political movement called the Jewish Renaissance Movement in Poland (JRMiP). Created by Bartana, together with Polish activist Sławomir Sierakowski, the JRMiP advocates for the return of over three million Jews to their forgotten Polish homeland. Informed by the histories of the Israeli settlement movement, Zionism, anti-Semitism, and the Palestinian right of return, the trilogy uses the real and the imagined to speak to global complexities about identity and self-determination in an increasingly unstable world.

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Still from “Mur i wieża (Wall and Tower),” 2009, by Yael Bartana. From the trilogy “And Europe Will Be Stunned.” (Collection of both the Philadelphia Museum of Art and Walker Art Center, Minneapolis; purchased by the PMA with funds contributed by Nancy M. Berman and Alan Bloch and the Philip and Muriel Berman Foundation, and the Committee on Modern and Contemporary Art; and purchased by the WAC, T. B. Walker Acquisition Fund, 2013). Image courtesy of the artist and Philadelphia Museum of Art, 2018.

Beyond the walls of the Philadelphia Museum, Bartana will realize Bury Our Weapons, Not Our Bodies! as a means of extending the themes of the artist’s trilogy into the birthplace of American democracy – Philadelphia. Bartana’s performance is a call to action, aiming to make visible the systems of violence and displacement that have been perpetuated through weapons, both literal and symbolic. As the title suggests, the performance will bury these weapons, rendering them useless, as they are incorporated into a choreographed funeral—a living monument—that will include a staged procession and a collective eulogy about war and survival. The movements of the performers are inspired by those of Israeli artist and dance composer Noa Eshkol (1924-2007), specifically evoking Eshkol’s 1953 memorial assembly performed in remembrance to the Holocaust. Bringing together funerary tradition, military ritual, and personal testimony, Bartana’s new performance will deepen the artist’s investigations into the construction of memory and the aesthetics of national identity.

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Still from “Mary Koszmary (Nightmares),” 2007, by Yael Bartana. From the trilogy “And Europe Will Be Stunned.” (Collection of both the Philadelphia Museum of Art and Walker Art Center, Minneapolis; purchased by the PMA with funds contributed by Nancy M. Berman and Alan Bloch and the Philip and Muriel Berman Foundation, and the Committee on Modern and Contemporary Art; and purchased by the WAC, T. B. Walker Acquisition Fund, 2013). Image courtesy of the artist and Philadelphia Museum of Art, 2018.

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This Just In:A Message from Rose McGowan on Asia Argento

I would first of all like to start off this statement saying thank you for your patience. A lot of people have been demanding answers and a response to the recent events surrounding Asia Argento’s sexual assault case. Many people believe that because we have been close in each other’s lives over the past year that perhaps I am affiliated with this incident or being complicit. I am not.

I first met Asia on a red carpet, but it’s only been the past year through our shared experience of the HW case that we have bonded. Asia was a person who understood my trauma in a way that many others didn’t. We were able to talk through them together and champion each other’s voices. We even got matching dot tattoos! Something I had posted on my IG just about a month ago. It’s no secret to anyone that Im a blunt, candid, brazen individual vocally- and I think that’s what I really related to Asia the most with. They were edgy, confrontational, and strong willed with very little care about how much other’s liked or disliked them. Rare things to find in women in this industry or the world.

But then everything changed. In an instant. I received a phone call and series of messages from the being I’ve been dating- Rain Dove. They said that they had been texting with Asia and that Asia had revealed that she had indeed slept with Jimmy Bennet. Rain also shared that Asia had stated that she’d been receiving unsolicited nudes of Jimmy since he had been 12. Asia mentioned in these texts that she didn’t take any action on those images. No reporting to authorities, to the parents, or blocking of Jimmy’s social media. Not even a simple message “Don’t send me these images. They are inappropriate.” There were a few other details revealed as well that I am not at liberty to mention in this statement as investigators do their job.

Rain Dove said that they were going to go to the police with these texts once we were done speaking no matter what. But that they wanted me to be aware of them so that I may be able to take further actions. I responded with “You have to. You must.” I wasted no time. It wasn’t hard to say or support. What was hard was the shell shock of the realisation that everything the MeToo movement stood for was about to be in jeopardy. An hour after our conversation was finished Rain Dove confirmed that they had turned over the texts and were in conversation with officers. Almost 48 hours later the texts were in the press.

I had introduced Rain Dove to Asia Argento last month, three days after the passing of Anthony Bourdain. I was with Asia to comfort and support her. Rain Dove came to support us both. It was an emotionally chaotic time and Rain Dove suggested we go to Berlin for a couple days to take the mourning out of Asia’s home and into a neutral space. So we did. While in Berlin Asia had mentioned that she was being extorted for a large sum of money every month by someone who was blackmailing them with a provocative image. No one in the room knew who the extortionist was. Now we know it to be a reference to this case.

Rain Dove continued on communicating with Asia occasionally after meeting her- and their conversations have been their own. I know Rain is a person to whom many high profile entities consult when they are experiencing social pressures because Rain is good at guiding them through the research confrontation, rehabilitation, and solution process. While they are a person who is good at keeping a secret for those dedicated to making things right- they are also justice driven. So it was not a surprise to me that I received that call and the messages from them. I’ve referred to Asia in the past as “My Ride or Die” and said very clearly that their friendship comes first. I know that coming to me with those messages must have been hard for Rain because of that so I commend them for their bravery.

To the people who have checked in with me to see if I’m alright- the answer is thank you and Yes. I’ll be fine. Its sad to lose a friend connection, but whats even more sad is what happened to Jimmy Bennet. Whether or not the extortion case is true- it wasn’t fair and it wasn’t right. It is the type of thing I fight against alongside so many. The reason I haven’t released a statement is because I’ve frankly been extremely humbled by this event. I had to take a step back and realise that in my own activism while I fight hard with passion- I need to evolve. In the past I have been occasionally angry. As a victim I was justified in fiery feelings. But I know that those accused are the friends, parents, and family members of other people. There absolutely should be no leeway or tolerance for sexual assault. Hard stop. NONE. Victims also shouldn’t be told how they should react or what they should say about their abusers. However as allies to the victim and voyeurs of an event we should find a better way to balance support of the victim with due process for the accused. I’ve never claimed to be perfect. This week especially has made me come to terms with the fact that we all have a lot of growing to do, including myself.

At this current moment it may be easy to focus on the drama of the situation. The conspiracy. But the real focus should be on supporting justice. Supporting honesty. And supporting each other. We can not let this moment break the momentum of a movement that has freed so many people. We must use it to allow us to become stronger. More compassionate. More aware. And More organised.

Asia you were my friend. I loved you. You’ve spent and risked a lot to stand with the MeToo movement. I really hope you find your way through this process to rehabilitation and betterment. Anyone can be better- I hope you can be, too. Do the right thing. Be honest. Be fair. Let justice stay its course. Be the person you wish Harvey could have been.

Creepy Crawlers Alive!

Annenberg Space for Photography Showcases Creepy, Crawly, Fluffy, Fierce, Mini, Mammoth, Wild and Weird Animals in the National Geographic Photo Ark Exhibit Opening October 2018

Exhibition Features Photographer Joel Sartore’s Work to Document Every Animal Species Under Human Care

The Annenberg Space for Photography, Los Angeles’ premier destination for photography, announced its next exhibition opening in Fall 2018. The National Geographic Photo Ark—a vibrantly photographed, animal-centric show—will run from Oct. 13, 2018, through Jan. 13, 2019.

The Photo Ark is National Geographic photographer and Fellow Joel Sartore‘s ambitious project to shoot studio-quality portraits of every species living in the world’s zoos and wildlife sanctuaries, including mammals, reptiles, birds, fish, amphibians, and even insects. His goal is to inspire people not only to care but also to help protect animals from extinction before it’s too late.

National Geographic Spingbok Mantis

A springbok mantis (Miomantis caffra) at the Auckland Zoo, Auckland, New Zealand © Photo by Joel Sartore/National Geographic Photo Ark

This traveling exhibition at Annenberg Space for Photography marks the first time these extraordinary images will be shown in a space dedicated solely to the art of photography. Highlighting hundreds of species with Sartore’s stunning, large-format prints, visitors will come eye-to-eye with a selection of the more than 8,000 species Sartore has photographed in dozens of countries for the Photo Ark to date.

Some of the exhibition’s interactive components include a documentary film providing a behind-the-scenes look at Sartore’s project, its mission and conservation efforts; interactive animal-related games; a studio where guests can be photographed with their favorite animal as a backdrop; and a gallery devoted to California’s indigenous species. Annenberg Space for Photography will also offer a full slate of programming, including field trips, workshops, and its acclaimed Iris Nights lecture series that will appeal to animal and photography fans alike.

National Geographic Chameleon

A veiled chameleon (Chamaeleo calyptratus) at Rolling Hills Wildlife Adventure, Salina, Kansas © Photo by Joel Sartore/ National Geographic Photo Ark

Photo Ark gives visitors the opportunity to experience the animal kingdom up close and personal,” said Annenberg Foundation Chairman, President, and CEO Wallis Annenberg. “The powerful close-up images Joel has captured grab viewers and don’t let go. His brilliant photography connects us to creatures we may know little about and inspires us to want to take action to protect them.”

In addition to creating an archival record for generations to come, this project is a platform for conservation and shines a light on individuals and organizations, such as the Annenberg Foundation, working to support animal welfare and conservation efforts.

The beauty of the National Geographic Photo Ark is that it allows audiences around the world to look creatures of all shapes and sizes in the eyes and gain a better understanding and appreciation of the planet’s biodiversity,” said Kathryn Keane, Vice President of Public Experiences at the National Geographic Society. “We are thrilled to be working with Annenberg Space for Photography to highlight the power of photography to make an impact. Continue reading

Nashville’s Frist Art Museum Announces 2019 Schedule of Exhibitions

Lineup Features French and British Masterpieces from the Mellon Collection; Photography by Dorothea Lange; Frida Kahlo, Diego Rivera, and Mexican Modernism from the Gelman Collection; A Survey of Surrealism; Native Women Artists; Eric Carle; and More

The Frist Art Museum has announced its 2019 schedule of exhibitions. In the Ingram Gallery, the year begins with the companion shows Van Gogh, Monet, Degas, and Their Times: The Mellon Collection of French Art from the Virginia Museum of Fine Arts and, both intriguing looks into the Mellons’ remarkable collecting strategies.  will showcase celebrated works from one of the most significant private holdings of twentieth-century Mexican art. Hearts of Our People: Native women artists is the first comprehensive exhibition exclusively devoted to Native women artists.Frist-Art-Museum

In the Upper-Level Galleries, Dorothea Lange: Politics of Seeing examines the photographer’s work through the lens of social and political activism, presenting arresting images from the Great Depression, Japanese internment camps, and other work through the 1950s. Monsters & Myths: Surrealism and War in the 1930s and 1940s features works by Salvador Dalí, Max Ernst, René Magritte, Joan Miró, Pablo Picasso, Dorothea Tanning and more, and explores the powerful and unsettling images that were created in response to the threat of war and Fascist rule. Eric Carle’s Picture Books: Celebrating 50 Years of “The Very Hungry Caterpillar” presents nearly 100 original artworks, spanning five decades of the beloved illustrator’s picture-book career.

In the Gordon Contemporary Artists Project Gallery, the Frist presents Claudio Parmiggiani: Dematerialization, the first museum exhibition in the United States by the revered Italian artist. The Brazilian artist duo OSGEMEOSidentical twin brothers Gustavo and Otavio Pandolfo—will transform the gallery into a vibrant, immersive installation. The year will conclude with an exhibition of new sculptures by New York-based artist Diana Al-Hadid.

n the Conte Community Arts Gallery, the Frist presents the community-focused exhibitions Young Tennessee Artists; Connect/Disconnect: Growth in the “It” City; and Nashville Walls.

The Frist Art Museum’s 2019 Schedule of Exhibitions (Dates subject to change)

Van Gogh, Monet, Degas, and Their Times: The Mellon Collection of French Art from the Virginia Museum of Fine Arts

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Vincent van Gogh (Dutch, 1853–1890). The Wheat Field behind St. Paul’s Hospital, St. Rémy, 1889. Oil on canvas, 9 1/2 x 12 3/4 in. Virginia Museum of Fine Arts, Richmond. Collection of Mr. and Mrs. Paul Mellon, 83.26. © Virginia Museum of Fine Arts. Photo: Katherine Wetze. 

February 1–May 5, 2019, Ingram Gallery

Offering more than seventy works by masters such as Edgar Degas, Édouard Manet, Claude Monet, Henri Rousseau, and Vincent van Gogh, this exhibition celebrates Mr. and Mrs. Paul Mellon’s extraordinary gift of French 19th- and early 20th-century art to the Virginia Museum of Fine Arts. With its core of Impressionist paintings, the collection also comprises masterpieces from every important school of French art—from Romanticism through the School of Paris. These works represent more than 150 years of French art and exemplify the Mellons’ personal vision and highly original collecting strategies, which provide a context for understanding this unique collection of French art. Organized by the Virginia Museum of Fine Arts

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Van Gogh, Monet, Degas, and Their Times: The Mellon Collection of French Art from the Virginia Museum of Fine ArtsClaude Monet. Field of Poppies, Giverny, 1885. Oil on canvas, 23 5/8 x 28 3/4 in. Virginia Museum of Fine Arts, Richmond. Collection of Mr. and Mrs. Paul Mellon, 85.499. © Virginia Museum of Fine Arts. Photo: Katherine Wetzel

A Sporting Vision: The Paul Mellon Collection of British Sporting Art from the Virginia Museum of Fine Arts

February 1–May 5, 2019, Ingram Gallery

With representative masterpieces of the genre—including works by Sir Francis Grant, John Frederick Herring, Benjamin Marshall, George Morland, and George Stubbs—this exhibition celebrates Mr. and Mrs. Paul Mellon’s gift of British sporting art to the Virginia Museum of Fine Arts and marks an opportunity to view the entire breadth of this outstanding and comprehensive collection. It also proposes a fresh look at sporting art within wider social and artistic contexts, including the scientific and industrial revolutions of the 18th and 19th centuries, the transformation of the British countryside, the evolutionary history of the horse and other animals, and society’s changing habits and customs. Organized by the Virginia Museum of Fine Arts.

Claudio Parmiggiani: Dematerialization

February 1–May 5, 2019, Gordon Contemporary Artists Project Gallery

Italian artist Claudio Parmiggiani (b. 1943) resists classification. Though associated with the Arte Povera movement and conceptualism of the 1960s and ’70s, he works somewhere in between. His art evokes universal themes of time, absence, memory, and silence while drawing on classical references as well as the subtle quietude of paintings by Giorgio Morandi. Parmiggiani’s signature process of “Delocazione” (displacement) was originally inspired by the silhouettes of dust left behind after objects were removed. For more than forty years, Parmiggiani has created his own version of this effect by stoking the flames from controlled combustions, filling rooms with smoke and capturing the outlines of objects in the resulting soot. Mirroring the technical process of photograms, these haunting images record the paradoxical presence of objects now absent. This will be the artist’s first museum exhibition in the United States.

Organized by the Frist Art Museum.

Dorothea Lange: Politics of Seeing

March 15–May 27, 2019, Upper-Level Galleries

Collection of the Oakland Museum of California

Dorothea Lange: Politics of Seeing Dorothea Lange. Migrant Mother, Nipomo, California, 1936. Gelatin silver print. © The Dorothea Lange Collection, the Oakland Museum of California, City of Oakland. Gift of Paul S. Taylor

Dorothea Lange (1895–1965) is recognized as one of the most important photographers of the twentieth century, and her insightful and compassionate work has exerted a profound influence on the development of modern documentary photography. With hardship and human suffering as a consistent theme throughout her career, Lange created arresting portraits with the aim of sparking reform. This is the first exhibition to examine her work through the lens of social and political activism, presenting iconic photographs from the Great Depression, the grim conditions of incarcerated Japanese Americans during World War II, and inequity in our judicial system in the 1950s. The exhibition encompasses 300 objects, including 130 vintage and modern photographs, proof sheets, letters, a video, and other personal memorabilia. Organized by the Oakland Museum of California.

Dorothea Lange: Politics of Seeing is supported in part by the Oakland Museum Women’s Board, the Henry Luce Foundation, the Susie Tompkins Buell Fund, Ann Hatch and Paul Discoe, the Robert Mapplethorpe Foundation, and Peter Rossi/Stifel, Nicolaus & Co.

Connect/Disconnect: Growth in the “It” City

Conte Community Arts Gallery, March 22–August 4, 2019

Inspired by a 2017 Tennessean article about how Nashville has been growing at a rate of one hundred people per day, Connect/Disconnect is a community exhibition that will feature photographs by Davidson County residents of diverse ages and backgrounds, showing how the population boom has affected them and the lives of the people around them. The exhibition seeks to explore the rising connectivity between neighborhoods and communities, and the potential for disconnection between people and socioeconomic classes as Nashville adapts to record growth. Its themes may include the new atmosphere of entrepreneurship and creativity, the impact of transit and housing on current and new residents, and the ongoing effects of recent and historical events. Continue reading

“Little Ladies: Victorian Fashion Dolls and the Feminine Ideal” at The Philadelphia Museum of Art

This fall, the Philadelphia Museum of Art will present Little Ladies: Victorian Fashion Dolls and the Feminine Ideal, (November 11, 2018 – March 3, 2019, Dorrance Special Exhibition Galleries, first floor) an exhibition starring four extraordinary dolls and their extravagant wardrobes. Known as Miss Fanchon, Miss G. Townsend, Miss French Mary, and Marie Antoinette, they were made in France in the 1860s and 1870s. The ultimate toys for privileged girls of this period, these dolls reflected the world of adult fashion, being fully equipped with miniature versions of the myriad garments, accessories, and other personal possessions of a well-to-do Victorian lady. As models of womanhood, these fashion dolls represented Victorian culture, when most believed that the aim of a girl’s life was to marry and raise children, and women were exhorted to dress well, follow the strictures of contemporary etiquette, and excel in their proper sphere of domestic and social duties.

The dolls, which measure between 18 to 22 inches in height and have painted bisque heads, leather bodies, and hair wigs, come with tiny accouterments that are notable for their number, detail, and variety. Miss Fanchon’s trunk, for example, contains over 150 objects, including eighteen dresses, and her gloves, which measure just over two inches tall, have all the features of full-size gloves, including gussets, points, and button closures.

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Three doll dresses from Miss Fanchon’s wardrobe, late 1860s-1870s, possibly France. Gift of Gardner H. Nicholas in memory of Mrs. Gardner H. Nicholas, 1922-58-9a—c, 14a,b,3.

The dolls are furnished with dresses for every occasion, from housework to fancy social events, as well as undergarments (chemises, drawers, petticoats, corsets, hoop skirts, bustles, and even tiny dress shields), outerwear, and accessories including bonnets, hair ornaments, jewelry, fans, and footwear.

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Miss Fanchon’s Gloves, late 1860s-1870s, France. Gift of Gardner H. Nicholas in memory of Mrs. Gardner H. Nicholas, 1922-58-109a,b. Doll’s Handbag, late 1860s-1870s, France. Gift of Mrs. William Hill Steeble and Martha B. Newkirk in memory of their mother, Mrs. I. Roberts Newkirk, 1977-189-4aa.

In addition to personal care items such as a toothbrushes, combs, and mirrors, two dolls are provided with clothes hangers (not yet common in full-size households), while the plethora of other objects includes tiny books, visiting cards, a photo album, sewing kit, sheet music, writing set, alarm clock, newspaper, opera glasses, and even roller skates.

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Doll’s Sewing Equipment, late 1860s-1870s, France. Gift of Edward Starr, Jr., 1976-58- 9Ah1-7 and Gift of Mrs. William Hill Steeble and Martha B. Newkirk in memory of their mother, Mrs. I. Roberts Newkirk, 1977-189-4y.

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Coming Soon: “Larry Fink: The Boxing Photographs” at The Philadelphia Museum of Art

The Philadelphia Museum of Art presents an inside look at the tough and unsentimental world of boxing—including Philadelphia’s Blue Horizon gym—through the photographs of Larry Fink. Widely recognized as one of this country’s greatest photographers, in Larry Fink: The Boxing Photographs (August 11, 2018–January 1, 2019, Levy Gallery, Perelman Building) Fink captures the subculture of boxing through its champions and challengers, its ambition-fueled gyms and rowdy rings and overheated atmospheres of locker rooms, as well as the many fascinating people—among them coaches, trainers, mothers, fathers, girlfriends, and spectators—who populate this world. This focused exhibition of about 80 gelatin silver prints celebrates a promised gift of the only complete set of Fink’s boxing photographs, including many that have never been published.

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“Blue Horizon, Philadelphia, Pennsylvania, January 1992,” by Larry Fink (Promised gift of the Tony Podesta Collection, Washington DC) © Larry Fink. Image courtesy of Philadelphia Museum of Art, 2018.

(This exhibition of photographs by Larry Fink is drawn from the promised gift of 250 works to the Philadelphia Museum of Art by Anthony T. Podesta.)

Acknowledged by Sports Illustrated as the “last great boxing venue in the country,” the Blue Horizon was located at 1314 N. Broad Street in Philadelphia. From November 1961 when it opened until its close in June 2010, it was the site of many famous international, regional, and local fights, including some fictional fights that appeared in the movie Rocky V (1990). The building still stands today.

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“Champs Gym, Philadelphia, Pennsylvania, February 1993” by Larry Fink (Promised gift of the Tony Podesta Collection, Washington DC) © Larry Fink. Image courtesy of Philadelphia Museum of Art, 2018.

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“Castlehill, Allentown, Pennsylvania, June 1993,” by Larry Fink (Promised gift of the Tony Podesta Collection, Washington DC) © Larry Fink. Image courtesy of Philadelphia Museum of Art, 2018.

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“Mike Tyson and Jimmy Jacobs, New Paltz, New York, February 1986,” by Larry Fink (Promised gift of the Tony Podesta Collection, Washington DC) © Larry Fink. Image courtesy of Philadelphia Museum of Art, 2018.

Fink’s fascination with boxing was borne out of an assignment in 1986 to photograph sportsman Jimmy Jacobs, who was also the manager of the world heavyweight champion at the time. Firing at maximum shutter speed, Fink learned how to move quickly and easily around the boxers, capturing fleeting moments of the agony, glory, shock, and satisfaction involved in amateur and professional bouts. He would continue to document boxers, gyms, and matches around the country through 2004. The works selected for display are from the artist’s intensive eighteen-year study. Continue reading