George Segal: Street Scenes
Organized by the Madison Museum of Contemporary Art
September 5–December 6, 2009
This is the first exhibition to focus specifically on the artist’s exploration of the urban environment using life-size tableaux, executed in both plaster and bronze. The works address commonplace aspects of the city from cinema marquees to parking garages, diners and buses, exploring the reality of urban decay throughout the 20th century, with numerous works inspired by and derived from life in Manhattan’s East Village.
Left Image: George Segal, Cinema, 1963. Plaster, illuminated Plexiglas, metal, 118 x 96 x 30 inches. © The George and Helen Segal Foundation/licensed by VAGA, New York. Collection of the Albright-Knox Art Gallery, Buffalo, New York. Gift of Seymour H. Knox, 1964. Photograph: © Albright-Knox Art Gallery, Buffalo, New York.
Right Image: George Segal, The Diner, 1964–66. Plaster, wood, chrome, laminated plastic, Masonite, fluorescent lamp, glass, paper, 93 3/4 x 144 1/4 x 96 inches. © The George and Helen Segal Foundation/licensed by VAGA, New York. Collection Walker Art Center, Minneapolis. Gift of the T. B. Walker Foundation, 1966
Organized by the Madison Museum of Contemporary Art.
Generous funding for George Segal: Street Scenes has been made possible by the National Endowment for the Arts as part of American Masterpieces: Three Centuries of Artistic Genius; Bill and Jan DeAtley; Whyte Hirschboeck Dudek S.C.; Daniel Erdman; Associated Bank; the Steinhauer Charitable Trust; J.H. Findorff & Son; CUNA Mutual Group; the Dane County Cultural Affairs Commission with additional funds from the Overture Foundation; and Gina and Michael Carter.
This exhibition is made possible in part through the generosity of Harold and Anne Berkley Smith, the Dr. Henry and Lois Foster Endowment of Contemporary Art and the Diane Belfer Endowment for Sculpture.
New York, New York: The 20th Century
Organized by the Norton Museum of Art
October 3–December 27, 2009
Conceived as a counterpoint to George Segal: Street Scenes, this exhibition features 56 paintings, photographs, sculptures, and works on paper that capture New York’s incomparable urban atmosphere and the human interface with it. The exhibition is drawn entirely from the Norton Collection and features artists such as Berenice Abbott, Diane Arbus, Stuart Davis, Andreas Feininger, Edward Hopper, Reginald Marsh, and Jim MacMillan’s moving photograph of the World Trade Center on 9/12/01.
Left Image: JEROME MYERS (American, 1867–1940): Concert in Central Park, New York, 1919. Oil on canvas, 30 by 25 inches. Gift of Elsie and Marvin Dekelboum, 2005.61
Middle Image: ANDREAS FEININGER (American, born France, 1906–1999): Midtown Manhattan from Weehawken, New Jersey, 1942. Gelatin silver print, 16 by 20 inches. Gift of Wysse Feininger in memory of her husband Andreas, 2000.56 ©Andreas Feininger, gift of Feininger family, courtesy Bonni Benrubi Gallery, NYC
Right Image:WILLIAM GROPPER (American, 1897–1977):Art Opening, about 1959. Oil on canvas, 32 x 22 in (81.3 x 55.9 cm). Gift of Mr. Paul M. Kaminsky, 78.8
Organized by the Norton Museum of Art.
This exhibition is made possible in part through the generosity of Harold and Anne Berkley Smith and the Priscilla and John Richman Endowment for American Art.
William Kentridge: Five Themes
Co-organized by the Norton Museum of Art and the San Francisco Museum of Modern Art
November 7, 2009–January 17, 2010
This South African artist was recently recognized by Time Magazine as among the “100 Most Influential People in the World.” Kentridge works in multiple media to explore themes of imperialism, colonialism, apartheid, and other forms of social and cultural dysfunction. This massive exhibition is a résumé of the last several years of his career and includes work from The Nose, commissioned by the Metropolitan Opera of New York for their production of the opera by Shostakovich. After presentation in San Francisco, Forth Worth, West Palm Beach, and New York City, the exhibition will embark on a world-wide tour including several European capitals, Australia, and Abu Dhabi (tentative).
Left Image: William Kentridge, Invisible Mending (still), from 7 Fragments for Georges Méliès, 2003; 35mm and 16mm animated film transferred to video, 1:20 min.; Collection of the artist, courtesy Marian Goodman Gallery, New York, and Goodman Gallery, Johannesburg; © 2008 William Kentridge; photo: John Hodgkiss, courtesy the artist
Middle Image: design by Pentagram for William Kentridge: Five Themes; © SFMOMA
Right Image: William Kentridge, Drawing for II Sole 24 Ore [World Walking], 2007; Charcoal, gouache, pastel, and colored pencil on paper; 84 x 59 in. (213.5 x 150 cm); Collection of Doris and Donald Fisher; © 2008 William Kentridge; photo: courtesy Marian Goodman Gallery, New York
Organized by the Norton Museum of Art and the San Francisco Museum of Modern Art.
Generous support for the exhibition is provided by the Koret Foundation. Additional support is provided by the National Endowment for the Arts.
This exhibition is made possible in part through the generosity of Ralph and Muriel Saltzman, The Milton and Sheila Fine Endowment for Contemporary Art, and The Contemporary and Modern Art Council of the Norton Museum of Art.
Media support provided by The Miami Herald / El Nuevo Herald.
Habsburg Treasures: Renaissance Tapestries from Vienna
Organized by the Kunsthistorisches Museum, Vienna; circulated by International Arts & Artists
January 16–April 11, 2010
The tapestry collection of the Kunsthistorisches Museum, Vienna, is one of the greatest in existence. Richly woven with silk, wool, and gold thread, these eight gigantic wall hangings were made for the Hapsburg emperors at the famous Brussels atelier of Frans Geubels. They depict one of the most beloved secular themes in the 16th-century repertoire of Flemish tapestry-making: the legendary founding of ancient Rome by Romulus and Remus. The series begins with the birth of the two brothers, when they were placed in a basket and set afloat on the Tiber River, and ends with the legendary Rape of the Sabine Women.
Left Image: The Founding of Rome [detail], about 1565/70. Brussels, Workshop of Frans Geubels. Wool, silk, silver, and gold, 11 ft. 10 in. x 10 ft. 5 in. (360 x 318 cm). Kunsthistorisches Museum, Vienna, T VIII/6
Right Image: The Founding of Rome, about 1565/70. Brussels, Workshop of Frans Geubels. Wool, silk, silver, and gold, 11 ft. 10 in. x 10 ft. 5 in. (360 x 318 cm). Kunsthistorisches Museum, Vienna, T VIII/6
Organized by the Kunsthistorisches Museum, Vienna; circulated by International Arts & Artists.
This exhibition is made possible in part through the generosity of Laurence Levine Charitable Fund, Sir Thomas R. Moore, the Mr. and Mrs. Hamish Maxwell Exhibition Endowment and the Gioconda and Joseph King Endowment for Exhibitions.
Media support provided The Palm Beach Post and Palm Beach Daily News.
Avedon Fashion 1944–2000
Organized by the International Center of Photography, New York
February 9–May 9, 2010
Richard Avedon (1923–2004) revolutionized fashion photography in the post-World War II era and redefined the role of the fashion photographer. Anticipating many of the cultural cross-fertilizations that have occurred between high art, commercial art, fashion, advertising, and pop culture in the last forty years, he created spirited, imaginative photographs that showed fashion and the modern woman in a new light. This exhibition will be the most comprehensive exploration to date of Avedon's fashion photography during his long career at Harper's Bazaar, Vogue, The New Yorker, and beyond. It will present new scholarship on the evolution and extraordinary, ongoing impact of his work. The exhibition will feature more than 130 works and will include vintage prints, contact sheets, magazine layouts, and archival material.
The exhibition was organized by the International Center of Photography with the cooperation of The Richard Avedon Foundation, New York; Fraenkel Gallery, San Francisco; and Pace/MacGill Gallery, New York. This exhibition and its catalogue were made possible with a major lead grant from the Henry Luce Foundation. Additional support was received from the ICP Exhibitions Committee, National Endowment for the Arts, Robert Mapplethorpe Foundation, Clémence and William von Mueffling, Mary Ann and Frank Arisman, Harper's Bazaar, The John and Annamaria Phillips Foundation, Joseph and Joan Cullman Foundation for the Arts, and Mark McCain.
Local presentation of this exhibition is made possible in part through the generosity of William and Sarah Ross Soter and the Photography Committee of the Norton Museum of Art.
Media support provided Palm Beach Daily News.
Reclaimed: Paintings from the Collection of Jacques Goudstikker
Organized by The Jewish Museum, NY
February 13–May 9, 2010
Jacques Goudstikker was one of the most important Dutch dealers of Old Master Paintings between the two World Wars of the previous century. Literally hours before the Nazi invasion of The Netherlands, in April 1940, Goudstikker with his young wife and infant son boarded a ship bound for England and the United States. Only a few days at sea, Goudstikker died accidentally and shortly thereafter the dealer’s gallery, in Amsterdam, was looted by Hermann Goering. For years, Goudstikker’s widow unsuccessfully fought for the restitution of the collection which had been recovered, after the War, and distributed among Dutch museums. After lengthy litigation and the presentation of Goudstikker's typewritten inventory, 200 paintings were restored to Marei van Saher, the art dealer's daughter-in-law, in February 2006. The exhibition includes both artworks as well as archival material—documents, photographs, inventories—which bring to life a tragic episode of 20th-century history.
Left Image: Jacques Goudstikker in his gallery. Marei von Saher, the heir of Jacques Goudstikker.
Middle Image: Interactive Computer Program of Jacques Goudstikker's inventory notebook, the Blackbook. Facsimile, open: approx. 7 x 9 in.
Right Image: Pieter van Roestraeten (1630–1700), Still Life with an English Silver Ginger Jar, 17th century, oil on panel. Marei von Saher, the heir of Jacques Goudstikker.
Organized by The Jewish Museum, NY.
Local presentation of this exhibition is made possible in part through the generosity of Mr. Eric P. Ross and Family in memory of Mrs. Lore Ross, with additional support from Melvin and Claire Levine, Ms. Laurie S. Silvers and Mr. Mitchell Rubenstein, and the Sydelle and Arthur Meyer Endowment Fund. Media support provided by Sun Sentinel.
RFK Funeral Train Rediscovered: Photographs by Paul Fusco
Organized by the Norton Museum of Art
From February 13, 2010
On June 5th, 1968, Robert Kennedy was assassinated in Los Angeles as he campaigned for the presidential nomination. Kennedy's body was flown to New York City for a memorial service at St. Patrick’s Cathedral and then carried by train from New York to Washington D.C. for burial at Arlington National Cemetery. Hundreds of thousands of mourners lined the railway tracks to pay their final respects to Kennedy. On board the train was Magnum photographer Paul Fusco, on assignment for LOOK Magazine. From inside the train, Fusco took some 2000 pictures of the mourners—black, white, rich, poor, in large groups and on their own. The resulting images are one of the most powerful and affecting series of photographs ever taken. This commemorative edition of 20 images was printed in 2008 on the occasion of the 40th anniversary of Kennedy’s assassination.
Left Image: Untitled, from RFK Funeral Train Rediscovered. Cibachrome. On loan from Ellen and Jerome Stern. Courtesy Danziger Projects. Copyright Magnum Photos.
Right Image: Untitled, from RFK Funeral Train Rediscovered. Cibachrome. On loan from Ellen and Jerome Stern. Courtesy Danziger Projects. Copyright Magnum Photos.
Organized by the Norton Museum of Art.
This exhibition is made possible in part through the generosity of Priscilla and John Richman.
Here Comes the Sun: Warhol and Art after 1960 at the Norton
Organized by the Norton Museum of Art
From February 13, 2010
This exhibition will feature a diverse selection of artworks made after 1960, all of which belong to the Norton but are more or less frequently exhibited. Some have become “classics” in a relatively short time, such as Andy Warhol’s flower painting of 1964, Harry Bertoia’s Sunburst III (1968), and Sir Anthony Caro’s Topper (1978–79). Others deserve to be better known, such as a pair of signature stripe paintings by Karin Davie, Nice I and Nice II (1992) and works in new media like Chilean-born Alfredo Jaar’s romantic light-box image with mirrors, Untitled (Water), from 1991–94.
Left Image: ANDY WARHOL (American, 1928–1987): Flowers, 1964. Acrylic, silkscreen on canvas, 24 x 24 in. Exchange with Jules Brassner, 86.33 © 2009 Andy Warhol Foundation for the Visual Arts/ Artists Rights Society (ARS), New York
Right Image: KARIN DAVIE (Canadian, born 1965): Nice #1 and Nice II, 1992. Oil on canvas, each 90 x 60 in. (228.6 x 152.4 cm). Purchase, the Rose L. Kraft Fund, 93.3-.4 © Karin Davie
Organized by the Norton Museum of Art.
This exhibition is made possible in part through the generosity of the Michael M. Rea Endowment.
On the Silk Road and High Seas: Chinese Ceramics, Culture and Commerce
Organized by the Norton Museum of Art
August 21–November 28, 2010
Since the second century BCE, the so-called “Silk Road” stretched for thousands of miles from eastern China to the Black Sea, thus linking the great civilizations of east Asia with those of southwest Asia and, thereby, to Europe. In later centuries the trade and cultural influences which flowed back and forth on land were transferred to the sea, as maritime shipping eventually came to dominate world commerce. The superb examples of Chinese ceramics featured in this exhibition were prized at home and treasured abroad, where they were indeed rarities until the mid 18th century. Specific styles and innovations that arose as a result of cross-cultural exchanges are highlighted.
Left Image: Tomb offering stand, Tang dynasty, 8th century. Earthenware, three-color (sancai) glaze, 2 1/16 x diam. 11 1/4 in. Purchase, the R.H. Norton Trust, 62.11
Middle Image: Bottle, probably for Portuguese export market, Ming dynasty, early 17th century. Porcelain, underglaze cobalt blue and white decoration, 8 3/8 x diam. 2 7/8 in. Purchase, the R.H. Norton Trust, 70.5
Right Image: Plate with implements of a Chinese money changer, Qing dynasty, Qianlong period (1736–1795), about 1750. Porcelain, famille rose overglaze enamel decoration and gilding, diam. 9 in. Gift of Leo and Doris Hodroff, 2002.86
Organized by the Norton Museum of Art.
This exhibition is made possible in part through the generosity of John and Heidi Niblack.