When American writer Henry James labeled the group of American women sculpting in Rome the “white marmorean flock,” he also made another note. “One of the sisterhood was a negress, whose color, picturesquely contrasting with that of her plastic material [white marble], was the pleading agent of her fame.” Like many of his contemporaries, James attributed the success of Edmonia Lewis to her skin color while also disregarding her mixed-race heritage.
In the early nineteenth century, it was difficult to be an American sculptor. There were no professional art schools, no specialized carvers, few quality materials, and only a few practicing sculptors in America. The pilgrimage to Rome was a necessity for those who aspired to be sculptors. If a woman wished to pursue sculpting, she confronted additional obstacles. Continue reading
The Thomas Cole National Historic Site has announced the inaugural art exhibition in its “New Studio” building at the former home of Thomas Cole (1801-1848), founder of the first distinctly American art movement.
The New Studio, built in 1846, was designed by Cole, and demolished in 1973 before the historic site became a museum. The reconstruction, to be officially unveiled with the opening of the exhibition on May 1, 2016, provides the Site with museum-quality climate-controlled space for displaying art. The upcoming show will be the first to take advantage of that new capacity. Continue reading
Since colonial times, the port city of New York has sent ships, goods and ideas to the Caribbean which in turn dispatched its own flow of staples, people, symbols and imaginative language North.
In the new show at Harlem’s Wintner-Tikhonova Fine Art Gallery open till Jan. 17, Caribbean artists show varieties of imagination rooted in that history of exchange. Francks Deceus from Haiti offers an abstracted photographic image of a dapper suited man in derby hat imprinted on an outlined version of a worker’s jumpsuit, evoking the urban and rural amalgam that haunts the identity of so many New Yorkers hailing from the Caribbean. Continue reading
“I went out after a Christmas tree and some laurel, through seas of mud,” wrote Jervis McEntee on Christmas eve, 1881, “to the place where I always go on the cross road between the Flat-bush and Pine bush roads. It rained a part of the time and turned into a snow storm on our return.”
Another year, McEntee’s usual places for a tree were so wet that he settled for a small hemlock on the side of the hill where he lived. It was a hill that offered a panoramic view of the entire village as well as the Rondout Creek and the Hudson River. His father James, an engineer who had helped build the nearby Delaware and Hudson Canal, had built the first house on the hill and the family still lived there. Continue reading
Malcolm X- Rally for Birmingham, 1963. by Larry Fink. Images Courtesy of Ilon Art Gallery
“If new thought can enter the mind, even for a moment, then change has a chance,” writes JT Liss. His photographs search for those figures and visions that allow us to see new ways and think new thoughts.
Ilon Gallery’s show Harlem: Life in Pictures on view in a classic 1890s brownstone, demonstrates how historic images of figures that have become iconic can acquire new resonance when displayed along fresh takes on a neighborhood that has been a cradle of creativity for well over 100 years. Continue reading
While the tourism industry has prospered in Sullivan County, New York for more than 150 years now, the concept of fall foliage as a tourism tool is relatively new.
The idea of promoting the changing colors of the leaves on the trees to encourage tourists to visit an area did not exist much at all before the late 1930s, and although both the Berkshires in Massachusetts and the Poconos in Pennsylvania were promoting fall foliage tours as far back as the 1940s, the Catskills did not begin to cash in on the idea until the 1950s. Continue reading
The Thomas Cole National Historic Site will host five Hudson River School Art Trail hikes.
These guided hikes go to the painting sites of the 19th-century artist Thomas Cole and his contemporaries including Frederic Church, Jasper Cropsey, Sanford Gifford, and Asher B. Durand. Participants will be able to see the same views that appear in famous landscape paintings. Continue reading
“What is the Hudson River School?” is the frequently asked question that prompted the Albany Institute of History & Art to present the exhibition The Making of the Hudson River School: More than the Eye Beholds in 2013. The exhibition featured 96 works from the Albany Institute’s collection of Hudson River School paintings, drawings, prints, and historical documents, along with 38 works from several private collections that had not been shown before in a public exhibition.
This exhibition, which highlights such a key component of New York State’s history and the history of American art, has been digitized and is now available as the museum’s first online exhibition, bringing the story of the Hudson River School to greater audiences. Continue reading
Long before digital technology made instant worldwide communication possible, political protests and calls for action reached the public through posters. Posted on walls and bulletin boards, slapped up on store windows and church doors, these works often featured bright colors and modernist art-inspired graphics, and were quickly mass-produced to inform communities, stir up audiences, and call attention to injustice.
This summer, the New-York Historical Society is presenting 72 posters dating from the early 1930s through the 1970s in Art as Activism: Graphic Art from the Merrill C. Berman Collection, on through September 13, 2015. Continue reading
On July 8-9, New York City-based auction house Guernsey’s will be conducting an unreserved auction of an extraordinary collection of patriotic posters relating to World War I, believed to be the largest such collection known to exist.
The collection is that of Brooklyn-born Edward H. McCrahon, who joined the French Army two years before the United States entered the war. Once the U.S. became involved, McCrahon returned home, joined the U.S. Army, rising to the rank of Colonel. During his stint in France he became interested by war poster art. At the end of the war, McCrahon began assembling his collection and by the mid-1930s his collection was widely exhibited. Continue reading