SUArt Galleries - Summer/Fall 2016 by SUArt Galleries

NEWSLETTER ABOUT PRINTS

The Legacy of Stanley William Hayter and Atelier 17 SUMMER/FALL 2016 WHATâ&#x20AC;&#x2122;S INSIDE: 3 ABOUT PRINTS: Syracuse Print Fair & Symposium 4 Notes from the Director 7 Traveling Exhibition Program

8 Exhibition and Programming Calendar 10 An Unusual Tiffany Vase & Lamp 14 The Wiezel Gallery: Maurice Sendak & Ed Koren

EXHIBITION/EDUCATION/COLLECTION Syracuse University Art Galleries/Shaffer Art Building /Syracuse Ne w York 13244

suart.syr.edu

FEATURED/EXHIBITION

ABOUT PRINTS:

THE LEGACY OF STANLEY WILLIAM HAYTER AND ATELIER 17 August 18–November 20, 2016

GALLERY RECEPTION

Thursday, September 8, 5–7 p.m. In 1962, S. W. Hayter published his second major text on the

About Prints: The Legacy of Stanley William Hayter and Atelier 17

graphic arts that he intended for “the intelligent layman”

explores Hayter’s ideas about contemporary printmaking and the

who might collect or have an interest in contemporary

artists who created these works. Using Hayter’s own checklist of

printmaking. About Prints was reviewed extensively by art critics,

important prints, the exhibition looks at why these images are

historians and other printmakers and generally acclaimed “a

innovative or essential to understanding how the graphic arts

standard work both for the potential collector and anyone

were being transformed throughout the 20th century. Works by

interested in modern art.” Hayter was the founder of Atelier 17

recognizable artists such as Picasso, Marc Chagall, and Henry

and by the early 1960s considered one of the most influential

Moore are examined, along with other important visionaries such

printmakers of the 20th century, in large part because of the

as Andre Masson, Max Ernst, and Joan Miró. Technical innovators

environment he created in his Parisian and New York print

like Karl Schrag, Arthur Deshaies, and Krishna Reddy are also

studios. Working with some of the most important artists of the

represented in the exhibition, along with Helen Phillips, Mauricio

day, Hayter championed experimentation and the development

Lasansky, and S. W. Hayter.

of new printing techniques while understanding that any form of printmaking is merely a tool for the expression of an artistic idea. Cover: Stanley William Hayter, Sorcerer (Wizard), 1953. Syracuse University Art Collection, 2015.0649. © 2016 Artists Rights Society (ARS), New York / ADAGP, Paris

PRINT FAIR & SYMPOSIUM/EDUCATION ATELIER 17: A Gathering Place for Avant-Garde Artists September 23–24, 2016 10:00 A.M.–2:00 P.M. Shemin Auditorium, Shaffer Art Building

Joann Moser, former deputy chief curator of the Smithsonian American Art Museum; Andrew Raftery, professor of art at the Rhode Island School of Design; Christina Weyl, curator of Innovation and Abstraction: Women Artists and Atelier 17.

This three-day event will bring leading print curators and scholars to Syracuse to discuss the legacy of S. W. Hayter and Atelier 17. Speakers will address issues of working in a community of progressive-thinking artists who shared an interest in printmaking, modern art movements and experimentation; as well as how this studio/atelier environment impacted American and European art from the 1920s onward. Speakers for the event include Joann Moser, former deputy chief curator of the Smithsonian American Art Museum; Andrew Raftery, printmaker and professor of art at the Rhode Island School of Design; and Christina Weyl, who wrote her dissertation on women artists at Atelier 17 and curated the recent exhibition Innovation and Abstraction: Women Artists and Atelier 17 at the Pollock-Krasner House and Study Center in East Hampton, New York.

SYRACUSE PRINT FAIR

Friday and Saturday, September 23–24 noon–6 p.m. Sunday, September 25 noon–4 p.m. Shaffer Art Building Galleria The symposium will also feature a print fair with leading galleries from the International Fine Print Dealers Association (IFPDA) in attendance. The exhibitors include Susan Teller Gallery (NYC), Dolan Maxwell (Philadelphia), The Annex Galleries (Santa Rosa, California), The Old Print Shop (New York City) Thomas French Fine Art (Fairlawn, Ohio) and Lake Effect Editions (Syracuse University). One session of the symposium will be for students and other attendees to ask questions of the print dealers concerning the role they play for collectors and other issues that may be important to contemporary collecting. Organized by Domenic Iacono, curator of the exhibition, the symposium is presented in collaboration with the Syracuse University Humanities Center in the College of Arts and Sciences at Syracuse University, organizer of the 2016 Syracuse Symposium™ Place.

NOTES FROM THE DIRECTOR This year we are celebrating 10 years of the SUArt Galleries. It has been an exciting time for the galleries and our staff is looking forward to the future and the possibilities that lay ahead. While we have much to be proud about having accomplished during the last decade, it is the opportunity to grow and impact more of our campus community that really motivates us. This next year will see several new projects with colleagues here at the University and with other academic museums and galleries that we think will have a lasting impact on our programming. More information about these activities will appear in this newsletter. Domenic Iacono, Director

Fred Becker, Insect-Beast, 1953. Collection purchase, Robert Bradley Fritz ’51 Purchase Fund. Syracuse University Art Collection, 2014.0459

Our opening exhibition this year is especially important to me

The works in this show were selected, in large part, using

because I have spent much of my professional career curating

Hayter’s own checklist of important prints that he developed

exhibitions about prints and developing our print collection here

for his 1962 landmark book in printmaking called About Prints.

at Syracuse. The exhibition, About Prints: The Legacy of Stanley

A number of the prints in the exhibition are from Hayter’s

William Hayter and Atelier 17, brings together a large selection

personal collection and have been acquired for our permanent

of works from our collection that were created by members of

collection through the generosity of his daughter-in-law, Carla

the famed Atelier 17. Displayed with artwork borrowed from the

Esposito Hayter. Hayter’s widow, Desiree Moorhead Hayter, was

Brooklyn Museum, Harvard University, Yale University Art Gallery,

also instrumental during my research for this exhibition and

and numerous other institutions, this exhibition investigates the

very helpful with information about Hayter and the atelier.

incredible impact that S.W. Hayter had on art, and American art in particular. An English artist who spent most of his career in Paris,

As part of the programming for the exhibition we will be

Hayter was recognized as a master engraver, printer, and facilitator

hosting a symposium on September 23-25, that will include

for important artists who wanted to make prints but lacked the

our first print fair at the Galleries. The symposium will bring

expertise. Picasso, Miró, Jackson Pollock, and Marc Chagall were

several important scholars to campus, including fellow

among the artists who looked to Hayter for information about

members of the Print Council of America; Joann Moser, former

print processes. During World War II, Hayter moved his atelier to

deputy chief curator at the Smithsonian American Art Museum

New York City, where he attracted other European artists who

in Washington, D.C.; Andrew Raftery, who is a professor of

were escaping Nazi oppression and American artists who were

art at the Rhode Island School of Design; and Christina Weyl,

intrigued by the avant-garde artists who were working there. Peggy

who wrote her dissertation on women printmakers at Atelier

Guggenheim, Marcel Duchamp, Piet Mondrian, Fernand Léger,

17. We will also be hosting several prestigious print galleries

and others mingled and exchanged thoughts and ideas with those

at our September fair, including Susan Teller Gallery and

who were enrolled at the New School for Social Research. Robert

The Old Print Shop from New York City, Dolan/Maxwell from

Motherwell, Berenice Abbott, Mark Rothko, David Smith, and

Philadelphia, the Annex Gallery of Santa Rosa California,

others came in contact with other artists, many of whom became

Thomas French Fine Art from Akron, Ohio, and Syracuse

the next generation of important American printmakers.

University’s own Lake Effect Editions. NOTES continued on page 12

FEATURED/COLLECTION

POLITICS ON PAPER: Art with Agenda from the Syracuse University Art Collection August 18–September 18, 2016

For centuries, artists, publishers, and activists have utilized printmaking processes to inform the public, illustrate their points of view, and to incite change. This exhibition examines the longestablished bond between the printed image and social commentary. Included are drawings, cartoons, and illustrations from important cartoonists such as Thomas Nast, Paul Szep, Alan Dunn, and Barry Blitt; as well as prints and photographs by Francisco de Goya, Käthe Kollwitz, Barbara Morgan, and Robert Rauschenberg. The works on paper selected reflect a variety of social motives including politics, war, race inequality, and gender issues.

Harlow Blum, The Candidate (Whistle Stop), 1966. Syracuse University Art Collection, 1975.067.

The Print Study Room

The Photography Study Room

21 ETCHINGS AND POEMS

WANDERLUST: TRAVEL PHOTOGRAPHY FROM THE SYRACUSE UNIVERSITY ART COLLECTION

Mark Klett, Storm Clouds over Eastern Idaho, near Craters of the Moon, 1980. Syracuse University Art Collection, 1990.165.02. Willem de Kooning and Harold Rosenberg, Revenge, 1960. From the portfolio 21 Etchings and Poems. Syracuse University Art Collection, 1975.067.

Defined by the Photographic Society of America as an image that expresses the characteristic features or culture of a land

Artist Peter Grippe conceived the idea for 21 Etchings and

as they are found naturally, with no geographic limitations,

Poems after becoming the director of Atelier 17 in New York

the genre of travel photography has intrigued artists since

City upon Stanley William Hayter’s return to Europe. The

the dawn of photography in the 1830s. This exhibition of

project captures a pivotal time in the American arts scene,

over 20 original photographs explores how a variety of artists

incorporating a mixture of movements from Surrealist and

from the late 1800s until today have captured landscapes,

Abstract Expressionist art to the Imagist, New York School, and

either near or far, in order to give viewers a glimpse of

Beat generation of poetry. Included in the portfolio are artists

diverse and varied places.

Willem de Kooning, Franz Kline, and S.W. Hayter. 5

THE PALITZ GALLERY/NYC EXHIBITION

John Taylor Arms, Through Wind and Weather, 1922. Gift of Mr. Hamilton Armstrong. Syracuse University Art Collection, 2011.0096.

A MAGNIFICENT OBSESSION SELECTIONS FROM THE HAMILTON ARMSTRONG COLLECTION OF PRINTS AUGUST 15–NOVEMBER 10, 2016 THE PALITZ GALLERY, Syracuse University Lubin House 11 E. 61st St., New York City suinnyc.syr.edu In the early 19th century, few artists used printmaking as an original art form. Not until the emergence of Goya, Blake, and Charles Méryon did an etching revival take place and other artists begin to actively investigate the unique qualities of the hand-printed image. We are fortunate that Mr. Hamilton Armstrong appreciated these distinctive characteristics and amassed an interesting collection of Charles Méryon etchings. Méryon (1821-1868) produced a series of etchings that depicted a changing Parisian landscape and, in turn, captured the imagination of a number of English and American printmakers who appreciated his renderings of urban scenes. Mr. Armstrong delighted in the extraordinary scenes that Méryon created and acquired other architectural etchings by John Taylor Arms, Samuel Chamberlain, Frederick Griggs, and Henry Rushbury.

ALSO AT THE PALITZ GALLERY

CONTINUUM: Celebrating 40 Years of Point of Contact NOVEMBER 14, 2016–FEBRUARY 2, 2017 Continuum tells the story of Point of Contact’s journey over the last 40 years through the lens of its permanent art collection. Many of the pieces included in the exhibition have been created specifically for Point of Contact publications and exhibitions and provide a unique perspective on the evolution of the organization. The exhibition features artists including Judy Pfaff, Nam June Paik, Liliana Porter, and Gregory Crewdson. 6

ON THE ROAD/TRAVEX Dancing Atoms: Barbara Morgan Photographs

Pulled, Pressed and Screened: Important American Prints FORT SMITH REGIONAL ART MUSEUM, FORT SMITH, ARKANSAS

FORT SMITH REGIONAL ART MUSEUM, FORT SMITH, ARKANSAS OCTOBER 24, 2016-JANUARY 20, 2017 JULY 8–OCTOBER 30, 2016

Poetry of Content: Five Contemporary Representational Artists

The Art of Mary Petty PENSACOLA MUSEUM OF ART, PENSACOLA, FLORIDA JULY 22–OCTOBER 8, 2016

KALAMAZOO INSTITUTE OF ART, KALAMAZOO, MICHIGAN

Pure Photography: Pictorial and Modern Photographs from the Syracuse University Art Collection

NOVEMBER 5, 2016- FEBRUARY 19, 2017

North and South: Berenice Abbott’s U.S. Route 1 SOUTHEAST MUSEUM OF PHOTOGRAPHY, DAYTONA STATE COLLEGE, DAYTONA, FLORIDA OCTOBER 20, 2016–FEBRUARY 11, 2017

JUNIATA COLLEGE MUSEUM OF ART, HUNTINGTON, PENNSYLVANIA

SPECIAL LECTURE: FEBRUARY 3, 2017

SEPTEMBER 22–OCTOBER 29, 2016

BEFORE THE INTERSTATE: RT. 1, BERENICE ABBOTT AND THE AMERICAN SCENE

Nyumba ya Sanaa: Works from the Maryknoll Collection

WITH DAVID L. PRINCE, CURATOR OF COLLECTIONS, SUART GALLERIES daytonastate.edu/catalog/stusvcs/smp Want to learn more about the exhibitions available? Visit us online at

travex.syr.edu

SUZANNE ARNOLD ART GALLERY, LEBANON VALLEY COLLEGE, ANNVILLE, PENNSYLVANIA OCTOBER 10–DECEMBER 18, 2016 SPECIAL LECTURE: NOVEMBER 10, 2016 FERTILE GROUND: ART FROM TANZANIA WITH DOMENIC IACONO, DIRECTOR, SUART GALLERIES www.lvc.edu/gallery/events

CALENDAR/EXHIBITION AUGUST 18–NOVEMBER 20, 2016 Main Gallery

AUGUST 18, 2016 –MAY 14, 2017

THE COLLECTION GALLERIES AND THE COLLETTE GALLERY of Ethnographic Art

ABOUT PRINTS: The Legacy of Stanley William Hayter and Atelier 17

The Photography Study Room

WANDERLUST:

Travel Photography from the Syracuse University Art Collection The Print Study Room

21 ETCHINGS AND POEMS The Print Cabinets

THE PRINTS OF

THOMAS HART BENTON

ALSO ON VIEW

POLITICS ON PAPER:

PRINT PROCESSES AND TECHNIQUES

OPENING RECEPTION

THE PALITZ GALLERY

Art with Agenda from the Syracuse University Art Collection

Syracuse University Lubin House 11 E. 61st St., New York City

THURSDAY, SEPTEMBER 8 5–7 p.m. SEPTEMBER 20–OCTOBER 23, 2016 Wiezel Gallery

MAURICE SENDAK:

50 Years; 50 Works; 50 Reasons

Charles Méryon, Le Pont au Change, Paris, 1854. Gift of Mr. Hamilton Armstrong. Syracuse University Art Collection, 2011.0280.

OCTOBER 28–DECEMBER 23, 2016 Wiezel Gallery

AUGUST 15–NOVEMBER 10, 2016

A MAGNIFICENT OBSESSION:

ED KOREN:

The Capricious Line

Selections from the Hamilton Armstrong Collection of Prints

The Study Gallery

NOVEMBER 14, 2016–FEBRUARY 2, 2017

IT’S A WRAP:

CONTINUUM:

African Textiles

Celebrating 40 Years of Point of Contact 8

CALENDAR/EDUCATION LECTURE / SYMPOSIUM

LUNCHTIME LECTURES

September 23–24, 2016 10 a.m.–2 p.m. Atelier 17: A Gathering Place for Avant-Garde Artists

SELECT WEDNESDAYS AT 12:15 p.m. For a complete list of scheduled lectures, visit suart.syr.edu

Shemin Auditorium, Shaffer Art Building

September 7 Gallery Talk: About Prints

SYRACUSE PRINT FAIR Friday and Saturday, September 23–24 noon–6 p.m. Sunday, September 25 noon–4 p.m.

with Domenic Iacono, Director

September 14 Gallery Talk: Politics on Paper with Andrew Saluti, Assistant Director

September 28 Gallery Talk: Maurice Sendak

Shaffer Art Building Galleria

ORANGE CENTRAL Friday, September 16 at the SUArt Galleries

October 26 Gallery Talk: 21 Etchings and Poems

11:15 a.m. ART ON CAMPUS TOUR

November 2 Gallery Talk: Ed Koren

with Syracuse University Art Galleries associate director David Prince

1 p.m. SPECIAL GALLERY TOUR About Prints: The Legacy of Stanley William Hayter and Atelier 17 with director Domenic Iacono

Saturday, September 17 11 a.m. BEHIND THE SCENES

Special programming designed specifically to engage

Join Domenic Iacono, director, and Andrew Saluti, assistant

children and families with the exhibitions and

director, for a behind-the-scenes tour of the SUArt Galleries,

collections at the SUArt Galleries

focusing on close examination of the encyclopedic permanent art collection, highlighting works on paper and printmaking.

Saturday & Sunday October 1–2 2 p.m. Sendak Gallery Adventure & Art Activity

Learn from our two print curators how to build a print collection of your own, and tips on appreciating and identifying works on paper. visit syr.edu/alumni/events/orangecentral for more information.

FAMILY WEEKEND

Saturday, October 8 2 p.m. Where the Wild Things Are Storytime and Scavenger Hunt

Friday, October 28 2 p.m. GALLERY TOURS

AN UNUSUAL TIFFANY VASE AND LAMP Louis Comfort Tiffany, originally trained as a painter, became intrigued with interior design after journeying to Europe and North Africa in 1870 with fellow artist Robert Swain Gifford. There, Tiffany developed a strong aesthetic sympathy for North Africa’s exotic architecture and cultures from his stops in Malaga, Gibraltar, Tangier, Malta, Alexandria, Cairo, Tunisia, and Algeria. Other stylistic inspirations included the arts and crafts movement, which called for a return to handmade objects using local materials, and Art Nouveau, whose aesthetics championed flowing, curvilinear shapes taken from nature. Returning to America, Tiffany began experimenting with decorative arts design and more broadly with planning Louis Comfort Tiffany, Snake Charmer at Tangier, Africa, 1872. Gift of Louis Comfort Tiffany Foundation, 1921. Metropolitan Museum of Art, 21.170.

residential spaces. His first work in glass occurred in the mid1870s at a commercial works in Brooklyn. In 1878, he started Louis C. Tiffany and Co., which included a glass shop. One of his

SUArt Galleries has in its permanent collection an impressive

earliest windows incorporated a broad, sinuous swath of multi-

group of objects from the Tiffany Studios, perhaps none more so

colored glass into a very unconventional lead glass composition.

than the Peacock decorated vase and the Murano-style lamp.

This was installed in the entrance hall of his home and studio at

Donated by Helen Fowler Moore in 1940. The two pieces are on

the Bella apartments on East 26 Street.

view in the permanent collection display cases. They illustrate

the range of colors and effects that could be achieved with Favrile Tiffany’s move into decorative arts design didn’t deter his

glass and each offers a unique look into the workings of the

painting. His style took on an Orientalist sensibility from his North

Tiffany Studios.

African travels that’s visible in Snake Charmer at Tangier, Africa, 1872. The image captures the exoticism of an architecturally

The vase stands nearly 19 inches tall and 12 inches wide and

distinct open air market flooded with warm, raking light. Tiffany’s

has a broad, flaring shoulder that tapers to a narrow base. Eight

interest in Islamic architecture was deep and influenced his later

amber and green peacock “eyes” surround the rim with eight

designs, including his 84-room residence, Laurelton Hall, built

smaller ones of violet and green below these. The upper third

between 1902 and 1905 near Oyster Bay, Long Island.

is an opaque light blue glass that changes to a dark green blue iridescent glass with silver highlights on the lower portion. Nash,

Tiffany combined his sympathy for arts and crafts ideas

trained as a glass chemist in England, shows an artist’s sensitivity

with a strong interest in color that propelled the company’s

in the remarkably subtle transition from the opaque shoulder to

experiments with opalescent window glass. This type of glass usually mixed several colors together. A competitor, John La Farge, conducted concurrent trials with the process and both he and Tiffany are credited with its invention. Opalescent glass was an important technological advancement and offered a range of aesthetic applications. Another significant technical advancement was the development of a brilliantly colored, often iridescent glass called Favrile. Invented by the company’s chief glass chemist, Arthur J. Nash between 1887 and 1888, the name derived from Fabrile, an Old English word for handmade. Nash personally devised and mixed the formulas for a broad array of colors that would become company hallmarks and also designed the majority of shaped vessels produced by the glass works.

Louis Comfort Tiffany, Peacock decorated vase, circa 1901. Gift of Helen Fowler Moore. Syracuse University Art Collection, 0040.188.

Louis Comfort Tiffany, [Window], circa 1880. Metropolitan Museum of Art, 2002.474.

/COLLECTION increasing amounts of complementary iridescent color below. A strong organic pattern of lines, some embedded and some in shallow relief, surround the vase and heighten the natural motif. Determining a date for the vase is difficult because, although there is an inventory number, 7352, it is missing the usual suffix letter indicating the year of manufacture. Instead, the vase has a prefix letter “o” that confirms it being an undated special order work. However, it’s almost certain that this vase was made after 1900 because the peacock eye motif didn’t appear before then. The lamp is an even more curious work to date. Markings on the bottom of the base: an etched L.C. Tiffany, Favrile, and the numeral 538 scratched into the foot near the cord hole, might initially lead one to think the lamp was produced between 18921893, before the introduction of inventory suffixes. This thought could be supported by information that Tiffany began producing lamps in the early 1890s and that an electric fixture was included in his booth at the 1893 World’s Columbian Exposition in Chicago. Further research reveals, however, that the earliest lamps were illuminated by fuel rather than electricity and the fixture shown in Chicago was a chandelier, not a table lamp. Martin Eidelberg, in his 2005 book, The Lamps of Louis Comfort Tiffany, offers a further clarifying explanation. “By the beginning of 1898, Tiffany was also fabricating lamps fitted for electricity. Louis Comfort Tiffany, Murano-style lamp, circa 1900. Gift of Helen Fowler Moore. Syracuse University Art Collection, 0040.190.

For the Paris 1898 Salon, he submitted an electric lamp, but unfortunately the model is not described. More significant, approximately half of the 27 table lamps and hanging shades that S. Bing sent to an important exhibition of Tiffany’s work at the

from a wide foot sharply up to a thin neck supporting a pull

Grafton Galleries, London, in 1899 were for electricity.” By 1903,

chain bulb fixture, harp, and Moorish styled finial.

Tiffany advertisements primarily promoted electric lamps and in 1906 the company offered 200 electric lamp bases and shades,

It is an interesting side note that the company’s products all

and 200 hanging shades, indicating their popularity. Thus the

bore Louis Comfort Tiffany’s name no matter who the designer

likelihood that the Murano-style lamp was made between 1905

and fabricators were. In this respect the firm was similar to the

and 1920 .

large studios of the Renaissance and later periods. An example

in the permanent collection is the large portrait of Louis XIV Tiffany lamp manufacture fell under the general purview of Clara

by Hyacinthe Rigaud. The original, full-length portrait was

Wolcott Driscoll. She shared Tiffany’s interest in nature and

commissioned as a gift from the king to Philip V of Spain. Upon

from 1897 to her departure from the company around 1908 she

its completion, however, Louis liked it so much that it became his

designed and fabricated some of their most iconic lampshades,

official likeness and dozens of copies, including this one, were

including the Dragonfly, Wisteria, and Poppy designs. Driscoll

produced by his studio. Often, assistants would paint most of the

joined the company in 1888, and by 1892 supervised the “Tiffany

image and Rigaud would add facial details and highlights.

Girls,” a department exclusively made up of up to 40 unmarried women who selected and cut the glass pieces for and assembled

What is rather remarkable is that the lamp is completely intact.

many of the firm’s lead glass windows and all of the lead glass

Glass objects produced for domestic use aren’t immune from

lamp shades and mosaic lamp bases.

damage, hence the sales brochures offering replacement lamp

shades. This lamp’s base is of an equally thin glass, reducing The blown Favrile glass base and shade of the Murano-style

further its chances of survival. Pictures have been shared with

lamp distinguish it from other Tiffany lamp designs. The lamp’s

several curators around the country and none have seen its like

designation as a “Murano”-style object comes from an undated

before. Thus, this lamp joins the Peacock-decorated vase as now

sales brochure illustrating several versions of the shade with

rare examples of the Tiffany Studios’ early 20th century art design.

different decorative patterns. The vast majority of the company’s lamps, though, had cut, leaded glass shades and bases made from cast bronze or combinations of bronze and glass mosaic.

David L. Prince 4

Associate Director & Curator of Collections My thanks to Arlie Sulka, managing director of the Lillian Nassau Gallery in New York City, and to Laura Fiser, curator of collections and exhibitions at the Paine Art Center and Gardens in Oshkosh, Wisconsin, for their kind assistance with information on the Murano-style lamp.

This leads me to wonder if the Murano-style lamp was designed and produced by Arthur Nash rather than Clara Driscoll. Nash was the acknowledged expert in glass formulas and managed all of the glass-blowing activities. The shade was of a generic design and offered in a range of decorative patterns, sizes, and types of glass. The base incorporated the shade’s decorative pattern into a cylindrical form that funnels

1 S. Bing was Siegfried Bing, Tiffany’s exclusive European dealer who ran Maison de l’Art Nouveau, a Paris gallery featuring work by artists associated with Art Nouveau, from 1895-1904. 2 It’s now believed that the incised number was not a Tiffany inventory number but was added later by a commercial gallery. 3 Eidelberg posits that women were preferred for the work because it was believed they possessed greater dexterity, had a keener eye for subtle color variations and, as demonstrated from his earlier company partnerships with Candace Wheeler, Tiffany liked working with women. 4 Tiffany added a foundry and a metal shop to the Corona factory in 1897, where they manufactured a variety of standing and table lamp bases and other small metal luxury items for sale.

NOTES FROM THE DIRECTOR cont. Working with colleagues at University College and the School

will be displaying Maurice Sendak: 50 Years; 50 Works, 50 Reasons

of Art we will also be offering an eight-week non-credit course

which will feature 50 of his works as part of the 50th anniversary

on Collecting Fine Art Prints. This class, intended for our campus

celebration of the publication of Where the Wild Things Are. The

and local Syracuse community, will discuss a variety of topics

artwork is presented with heartfelt words from 50 extraordinary

including print processes, the history of prints, how to acquire

people, whose lives were all touched by this beloved author and

prints, on-line sources of information, and much more. We’ll

illustrator. (Organized by Steven Brezzo, and toured by Opar, Inc.

use the exhibition as a starting point for our class discussions

On display from September 20 until October 23.)

and the University Art Collection print room for looking at many important prints. More information about this class will follow in

Additionally we will be presenting an exhibition of drawings

the newsletter.

called Ed Koren: The Capricious Line. This exhibition looks at the career of the renowned cartoonist and longstanding contributor

We will also be showing 21 Etchings and Poems, a landmark

to The New Yorker Magazine. Collectively, his 50 original drawings

publication that had a profound impact on contemporary art and

and watercolors will demonstrate his ability to keenly observe

culture. Championed by Peter Grippe, a member of the atelier

our society with humor and wit. (Developed by the Wallach Art

and former director of the New York City workshop after Hayter

Gallery at Columbia University, curated by Diane Fane and David

returned to Paris in 1950, this portfolio paired artists with poets

Rosand and organized for tour by International Arts & Artists,

to create unique works of art. The partnerships for this project

Washington D.C. On display from October 28 until December 23.)

included Grippe and Dylan Thomas; Willem de Kooning and Harold Rosenberg; Letterio Calapai and William Carlos Williams;

After the close of the About Prints exhibition on November

and Franz Kine and Frank O’Hara, among others. Syracuse

20 we will be installing an exhibition that comes to us from

purchased this portfolio immediately upon its publication by the

Kansas State University, where curators at the Beach Museum

Morris Gallery in 1960. Curated by College of Visual and Performing

developed Art for Every Home: Associated American Artists. The

Arts, Museum Studies graduate student Courtney Spencer Eppel.

show premiered in Kansas last year and recently closed at the Grey Gallery, New York University. The exhibition includes

Also on display in our Print Cabinets will be two shows that

more than 130 examples of the art produced by the famous

deal with art on paper. The prints of Thomas Hart Benton will

New York City sales gallery that made its reputation during the

be on display for the Art History Senior Seminar and Professional

Great Depression and in the 1950s and 1960s with its mail order

Practice/ 655: Proseminar in Graduate Research Methods and

catalog of art. This show will open in January.

Scholarly Writing courses taught by professor Sascha Scott. From these works students in her class will develop annotated labels

If you are able to visit our galleries this fall you will also notice

that help describe Benton’s work and place it in the context of

a change in our permanent collection galleries. Our associate

his career. The second display will be a didactic show about

director, David Prince, has selected a number of pieces to replace

printmaking processes to help our visitors understand the

the works on paper that have been on display for the last 15

differences among the media on display. Woodcuts, engravings,

months. He has also developed annotated labels to help identify

etchings, and lithographs are just a few of the processes that will

important aspects of his selection.

be exhibited in the gallery this semester, and this display will help describe what makes each process unique.

At the Palitz Gallery we will be presenting the exhibition A Magnificent Obsession: Selections from the Hamilton Armstrong

In our Photography Study Room we will be presenting Wanderlust:

Collection of Prints. Mr. Armstrong made of gift of nearly 250

Travel Photography. This exhibition investigates how artists from

prints to the University in 2011 that included work by Rembrandt,

the late 19 century until today have been captivated by the th

potential of landscape images and their ability to transport our imagination, whether the locale be exotic or not. Emily Dittman, our collection and exhibition manager, developed this show that will become part of our traveling exhibition program next year. In the Wiezel Gallery we will be displaying Politics On Paper: Art with Agenda, an exhibition that looks at the parallels between the printed image and social commentary. Drawn from the SU Art Collection by our assistant director, Andrew Saluti, this show includes work by Thomas Nast, Paul Szep, Alan Dunn and Barry Blitt; as well as Goya, Käthe Kollwitz, Barbara Morgan, and Robert Rauschenberg. Considering the political season that is upon us, these works should resonate with many of our visitors as they deal with issues of politics, war, race inequality, and gender issues. During the fall semester we will also be presenting two important exhibitions that are also inspired by our holdings in the University Art Collection. You may recall that we house the work of Mary Petty and Alan Dunn, two important cartoonists and social commentary artists. As part of our commitment to developing programming relevant to this collection of work we

S. L. Margolies, Men of Steel, 1941. Syracuse University Art Collection, 1966.309. Included in the exhibition Art for Every Home: Associated American Artists, opening January 12.

THE PRINT CABINETS/EDUCATION THE PRINTS OF

PRINT PROCESSES AND TECHNIQUES

THOMAS HART BENTON

Art Werger, I Dreamed I Could Fly, 2015. Gift of Lake Effect Editions. Syracuse University Art Collection, 2016.0007. Thomas Hart Benton, Letter from Overseas, 1943. Collection purchase. Syracuse University Art Collection,1968.032. ©The Estate of Thomas Hart Benton/Licensed by VAGA, New York, N.Y

NOTES continued

Audubon, Daumier, and other important artists. It also

when Pearsall made a visit to campus. The art collection also

contained an impressive number of works by artists who were

received a wonderful gift of art from Christiane Hyde Citron,

intrigued with the documentation of the changing landscape in

granddaughter of Minna Citron, who added more than 30

Europe, including Charles Méryon, John Taylor Arms, Samuel

new pieces to the collection, including Disillusion, an etching

Chamberlain, and Henry Rushbury. We are fortunate that

and aquatint that was made at Atelier 17. I am sure some of

Hamilton Armstrong saw beauty in their renderings of these

these pieces will be part of our Minna Citron exhibition that we

scenes, and his gift to Syracuse University will allow future

will be developing in the next two years. Also of note, Robert

generations of students to examine the personal interpretations

Kipniss, whose collection of artwork here at SUArt continues

of these artists, who attempt to capture fleeting moments in

to grow through the generosity of our good friend Jimmy

European architectural history. Earlier this year, we created a

White, donated three Anthony van Dyck etchings. A fabulous

study cabinet display for our colleague Amy Wyngaard in the

impression of the artist Frans Snyders was accompanied by two

Department of Languages, Literatures, and Linguistics, that

other noteworthy first state impressions, one of Paul de Vos and

utilized many of these prints and others created by French artists

another of Justus Sutterman. The latter print has a collector’s

for her French 301, Grammar and Composition, class. Looking at

stamp on the back of the print that indicates it came from the

and discovering what the artists were creating in these images

famed Collection D’Arenberg of Belgium.

helped Amy’s students to develop their language skills. On a sadder note, Ellen Oppler, longtime professor of art history Later in the semester, our friends and colleagues at the Point

at Syracuse, passed away last year. Ellen had made gifts to the

of Contact Gallery will be displaying work at the Palitz Gallery

collection before her retirement and her estate added additional

to celebrate their 40 anniversary. Pedro Cuperman, Teresita

material that she had acquired during visits to Japan. Some

Paniagua, Miranda Staats Traudt, and others have led this

of you may remember her work on the Rico Lebrun exhibition

innovative art and literature program and we congratulate

Transformations/Transfiguration that was displayed at the Lowe

them on their success over the years. They have been very

Art Gallery in the 1980s. We also just recently lost a dear friend

active as an open forum for research and dialogue about

and colleague, Pedro Cuperman, who was the founder and editor

contemporary art (especially verbal, written, and visual) in

of Point of Contact, a journal of creative scholarship and original

Central New York since 1975.

art that provided a crossdisciplinary publication for world-

renowned as well as emerging writers, artists, and scholars. This past academic year, friends of the SUArt Galleries were

His vision eventually led to the Point of Contact Gallery that

very generous in their support of our activities. That support

continues to present important and thought-provoking art.

included more than $25,000 for our exhibitions, publications, and art purchases. We’ve also added more than 125 objects to our

We have a number of traveling exhibitions that are on the

collection since January, including prints by Art Werger that were

road this semester, including Pulled, Pressed and Screened:

made during his visit to the School of Art printmaking workshop.

Important American Prints (at the Fort Smith Regional Art

Working with professor Dusty Herbig and his students, Werger

Museum in Fort Smith, Arkansas), Poetry of Content: Five

printed an edition of I Dreamed I Could Fly, and the proofs for

Contemporary Realist Artists (at the Kalamazoo Institute of Art,

that edition came to the permanent collection. In January we

in Kalamazoo, Michigan), and Nyumba Ya Sanaa: Works from

also acquired the photographs by Stacy Pearsall that were used

the Maryknoll Collection (at the Arnold Art Gallery at Lebanon

in her Hard Earned exhibition here at the gallery during the fall

Valley College in Annville, Pennsylvania). More information

2016 semester. Those images had a profound impact on visitors

about all our current traveling shows, including dates of

to our galleries, especially the veterans and ROTC students

display, is on our ON THE ROAD/TRAVEX page.

who attended some of the events we hosted in November

THE WIEZEL GALLERY/EXHIBITION

MAURICE SENDAK:

50 YEARS; 50 WORKS; 50 REASONS September 20–October 23, 2016 Maurice Sendak: 50 Years; 50 Works; 50 Reasons is a comprehensive retrospective of select works by the late artist. The original work is supplemented with accompanying comments by celebrities, authors, and noted personalities such as Bill Clinton, Spike Jonze, and author Tony M. DiTerlizzi. Organized by Steven Brezzo and toured by Opar, Inc, the exhibition celebrates the 50th anniversary of the publication of Where the Wild Things Are with original drawings, prints, posters, and more from one of the greatest children’s authors of the 20th century.

ED KOREN:

THE CAPRICIOUS LINE October 28–December 23, 2016 Edward Koren: The Capricious Line celebrates the fivedecade career of renowned cartoonist and long-standing contributor to The New Yorker Edward Koren. This exhibition profiles approximately 50 original works on paper, many displayed for the first time. Edward Koren: The Capricious Line was developed by the Wallach Art Gallery at Columbia University and encompasses an eclectic set of themes Koren tackles with his wry, astute criticism. Curated by Diane Fane and David Rosand and organized for tour by International Arts & Artists, Washington D.C. With over 1,000 cartoons published in The New Yorker since 1962, Koren’s distinctive style and relatable characters deftly articulate the neurosis of contemporary society. Touching Edward Koren, Self-Portrait, 1991. Photo courtesy of the artist.

on a diverse set of issues, ranging from parenting to man’s relationship to nature, Koren creates succinct scenes that portray man’s awkward rapport with the environment. 14

THE GALLERY SHOP/SUPPORT ORIGINAL PRINTS

EXHIBITION CATALOGS

The Artist’s Proof Created by acclaimed illustrator and longtime faculty member Roger De Muth, this relief print depicts a studio assistant

ABOUT PRINTS:

working on the artist’s cherished Albion printing press in his Cazenovia, New York, studio. Hand signed by the artist, each

The Legacy of Stanley William Hayter and Atelier 17

impression comes in a hand-printed and embossed folio. Published by the SUArt Galleries in 2013 in an edition of 200. Available now exclusively at the SUArt Gallery Shop.

The purchase of all SUArt Galleries catalogs, posters, and prints DIRECTLY SUPPORTS the dynamic exhibitions and engaging programs and events that strive to enrich the Syracuse arts community. Shop online at suart.syr.edu/shop

Art THE

OF GIVING

Go to suart.syr.edu/give-now to support the Galleries today. Once at the secure giving page, you can let us know exactly how you want your gift to be used. The SUArt Galleries

Be a part of the Arts at SU. Support SUArt today.

also accepts tax deductible donations of artwork and

suart.syr.edu/give-now/

ethnographic objects. Contact us at suart@syr.edu or 315443-4097 for more information.

THE GALLERY AS CLASSROOM/EDUCATION

COLLECTING FINE ART PRINTS Special non-credit eight-week course with Domenic Iacono

Ever want to know why someone would spend a quarter million dollars on a print? What is the difference between an original print and a reproduction? How can I tell whether I am spending the right amount on a print? What is the difference between a lithograph and an etching? Join Domenic Iacono for an eight-week seminar on Collecting Fine Art Prints. The course will be held at the Print Study Room in the SUArt Galleries on the Syracuse University campus and will use prints from the permanent collection. The course will cover the history of print media (or how prints are made), how one can acquire original prints from dealers, auctions, or on-

WEDNESDAY EVENINGS 6–7:30 p.m. August 31–October 19, 2016 Meeting in the Print Study Room of the SUArt Galleries Shaffer Art Building, Main Campus

Course Fee: $125

line vending, and how to learn about the true value of prints. Original prints by Dürer, Rembrandt, Whistler, Picasso, and Jasper Johns as well as more contemporary prints will be

Download the registration form on our website:

discussed during the class. Private behind-the-scenes views of the print room, digital imaging laboratory, and frame shop will occur routinely during the course. Class members will also have special access to print dealers during the September Print Fair at the SUArt Galleries.

suart.syr.edu/vnc-100collecting-fine-art-prints/