Using Holes to Reveal History’s Blindspots

 

Gentleman with Negro Attendant, ca. 1785-88. Ralph Earl (1751-1801). Oil on Canvas. New Britain Museum of American Art. Harriet Russell Stanley Fund, 1948.06.

Upon a quick glance, the newest addition to the Colonial Gallery at the New BritainMuseum of American Art has left some visitors panic-stricken – an understandable  reaction considering the fact that the painting has two large holes cut out of it. But do not worry, the NBMAA has not been vandalized, in fact, the holes are meant to be there. The work, Jaavon and the Unknown Gentleman, was recently commissioned by the Museum from New Haven artist Titus Kaphar as part of an new project of pairing contemporary art with older works from the permanent collection. The purpose of this project, Appropriation and Inspiration, is to highlight the ways in which historical awareness has shaped the practice of many contemporary artists.  Appropriation and Inspiration is not yet a full-fledged exhibition, but rather a budding initiative that will develop into a museum-wide installation in the near future.

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Andy Warhol: Saving the American Art Market Single-handedly?

Man Ray, 1974. Andy Warhol (1928-1987). Acrylic polymer and silkscreen on canvas, 14 ¼ x 11 in. New Britain Museum of American Art, Friends Purchase Fund, 1979.084.

The last three years in the global art market have seen massive changes. The overall leaders have completely changed, with China rising from third and fourth place in the last decade to first in 2010. Meanwhile, France seems to be in a downward spiral, hard-pressed for a solution to fix its market. Their history has been prosperous in the past, but the 20th century has been less than kind. American art is still a viable commodity within the global market, however, as can be seen by Andy Warhol’s “performance” in 2010.

The taste of an art audience varies year by year, and with the 1991 crash and recovery shifting the focus from what was popular towhat sells. Fast forward to 2007, and the dominance of Pablo Picasso (1881-1973) and Andy Warhol (1928-1987) on the art market, intermixed with a few Impressionist, as well as a massive Chinese influence-all of which helped to form the art world into a global economy that is approaching 10 billion dollars per year. Andy Warhol is at the forefront of these sales, with his revenue alone in 2010 being his all time high of $313, 535, 564.

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Table Tennis & Art Forgeries

One of Efremoff's artworks

Efremoff is on the forefront of New Media art. He obtained his MFA from the University of Connecticut, and has exhibited all over the United States and abroad in counties including Italy, Germany, and South Korea.

Working in this “new media” is, of course,  new and constantly in flux. New Media was pioneered in the 1960s, and modern technology has opened the door to endless possibilities. The very definition of “art” comes into question with these new parameters because of the plastic nature of the medium.

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Putting the “American” in American Art

A bust of Bryson Burroughs, by his wife

Bryson Burroughs (1869-1934) worked as a curator at the Metropolitan Museum of Art for 28 years in the early 20th century. During his time at the Met, he was responsible for their massive increase in American art holdings, in addition to numerous other achievements including the first acquisition for a public collection of a work by Paul Cezanne (1839-1906). Burroughs’ curatorial decisions and influences were prominent in the advancement of the art market in the early 20th century. Interestingly, his ideas also had a major impact on the NBMAA’s decision to collect solely American art, with a focus on contemporary work.

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Frieseke: Under the French Influence

The Green Parasol, 1915. Frederick Carl Frieseke (1874-1939). Oil on Canvas, 31 3/4 x 32 in. The Jack Warner Collection.

One of the main artists featured in the upcoming exhibition An American Odyssey: The Warner Collection of American Art is Frederick Carl Frieseke. Born in Michigan, he studied at The Art Institute of Chicago beginning in 1893. Afterwards he went to the Art Students League in New York City in 1897, until he finally traveled to Paris in 1898. Abroad, he developed and refined his style. In Paris Frieseke studied at the Académie Julien and at the Académie Carmen under James Abbott McNeill Whistler (1834-1903) for a brief period.

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Washington Square Park: Artistically Inspiring

Washington Square Park, New York City

New York City has hundreds of iconic landmarks, parks, monuments, streets, and buildings. During the early 20th century it was a bustling city, full of excitement, investment, and room for expansion and it quickly became a destination for travelers, immigrants, and artists. Art societies and academics became widely accepted and popular, and popped up all over the city. The depictions of New York increased dramatically throughout this time period. This metropolitan destination  could not be missed by any one in the art world, and many moved there to be part of the burgeoning art scene. Therefore, it is no surprise that dozens of prominent artists in the NBMAA’s collection lived and worked in New York City, and derived endless inspiration from the city.

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The Last Man to Paint The First President

George Washington, 1824. Rembrandt Peale (1778-1860). Oil on canvas, 30 x 25 in. New Britain Museum of American Art, Gift of Dr. Timothy McLaughlin.

Rembrandt Peale is known for his portraits of George Washington, one of which the New Britain Museum of American Art is delighted to have as a new acquisition this Presidents month. Rembrandt Peale is supposedly the last artist for whom Washington sat shortly preceding his death. Born in 1778 in Pennsylvania to the famous painter Charles Willson Peale (1741-1827), Rembrandt began drawing at age eight. His father tutored him in art and the natural sciences, and he produced his first self-portrait at age thirteen. Peale’s most talented area and source of financial mainstay was painting portraits that were solid, accurate, and straightforward. By 1795, he painted a portrait of George Washington that honestly spoke to the hero’s humanity. Peale greatly admired and was inspired by the work of Gilbert Stuart (1755-1828), who is known for his Vaughan and Athenaeum portraits of the first President.

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Minimalist George Washington & Benedict Arnold

General George Washington Resigns, 2002. Mary Dwyer (b. 1959). Acrylic on Wood, 26 x 23 in. New Britain Museum of American Art, General Purchase Fund, 2001.109.

The Revolutionary War took place after the thirteen American colonies declared their independence from Britain in 1776. Each side partook in a war that lasted until 1783. George Washington was commander-in-chief of the American forces, and Benedict Arnold was also on the confederate side of the Americans. Both of these important Generals are famous to this day, yet for very different reasons. Washington became the first President of the United States of America because of his noble actions during the war. Conversely, Arnold was unhappy with Congress’ decision to pursue charges of money-related issues against him, and also with their lack of interest in promoting him. His anger turned into his changing of sides, thus becoming a traitor of the American Revolution.

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(Painted) Patented Pigs and Genetic Debates

Patented Pigs, 2008. Marcus Antonius Jansen (b. 1948). Oil enamel collage on canvas, 48 x 60 in. New Britain Museum of American Art, Marcus A. Jansen / Artist Rights Society (ARS), New York, 2010.16.

If a work of art reflects the time it was created, what are we to make of the NBMAA’s recent acquisition, Patented Pigs by Marcus Jansen?

The painting was inspired by an article that appeared in Greenpeace Magazine titled “Monsanto Files Patent for New Invention: The Pig.” The article addresses this multinational agricultural biotecnology company’s attempt in 2004 to patent two processes designed to control the breeding of pigs with a specific marker gene.
Greenpeace and other opponents claimed Monsanto was trying to patent the breeding of all pigs. The company, on the other hand, said the patents would apply only to pigs bred using a specific process capable of locating genes which increase pig size.

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Contemporary Artwork, Classic Materials

Mad Meg (detail), 2010. Judith Schaechter (b.1961). Stained Glass Lightbox, 52 x 21 in. New Britain Museum of American Art, Paul W. Zimmerman Fund, 2010.66.

There are countless contemporary artists who have appropriated classic materials to create their works of art. In selecting acculturated media, such as stained glass, these artists infuse the resulting artworks with powerful connections to the past. They confront the traditions of society to engage the viewer in a conversation about what art is, where it came from, and where it is going. The New Britain Museum of American Art has recently acquired two striking examples of contemporary art that are born out of classic traditions and materials from centuries past.

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