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Once Removed: Sculpture’s Changing Frame of Reference
December 12, 2012–April 7, 2013
Once Removed features contemporary artists, such as Carol Bove, Ree Morton, and Allen Ruppersberg, who have taken divergent approaches to undermining sculpture’s traditional autonomy. Some incorporate readymade objects and references beyond the gallery. Others use film and video to double the sculptural effect. Many have cast off the “neutral” pedestal as a mode of presentation and have built their work’s setting into the sculpture itself. Once Removed includes artworks from the 1970s to the present that assert their own expanded frame, encouraging viewers to question the status of three-dimensional art today.
Made possible by the Janet and Simeon Braguin Fund and an endowment created with a challenge grant from the National Endowment for the Arts.
Image: Rachel Harrison, The Spoon Bender, 2011. Wood, polystyrene, cement, acrylic, felt, canvas, steel chair, plastic doll, and eyeglasses. Courtesy of the artist and Greene Naftali Gallery, New York. Photograph: John Berens
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Robert Adams: The Place We Live,
A Retrospective Selection of Photographs
August 3–October 28, 2012
Featuring over 200 photographs, this definitive retrospective traces more than 45 years of work by one of the most significant chroniclers of the American West. All of Robert Adams’s major projects are represented, including his groundbreaking work on the suburbs of Colorado, his elegiac portrayal of southern California, and his more recent meditations on the endangered landscape of the Pacific Northwest. Drawn from the Gallery’s master sets of the photographer’s work, the exhibition presents an epic narrative of the American experience in the late 20th and early 21st centuries.
The exhibition is accompanied by two major publications—a monograph, What Can We Believe Where? ($25, Members $20),and a three-volume retrospective, The Place We Live, ($250, Members $200),which will contain over 400 images, including some previously unpublished, and a wealth of new scholarship on the influential photographer’s work.
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Made possible by Helen D. Buchanan; Allan K. Chasanoff, B.A. 1961; Lara Rubin Constable, B.A. 1989, and The Reed Foundation; the Samuel Freeman Trust; Nathaniel W. Gibbons, B.A. 1979; Betsy and Frank Karel; Saundra B. Lane; Melanie and Rick Mayer, B.A. 1982, and the MFUNd; Mark McCain and Caro MacDonald/Eye and I; Mr. and Mrs. Alexander K. McLanahan, B.A. 1949; Ms. Eliot Nolen, B.A. 1984, and Mr. Timothy P. Bradley, B.A. 1983; Risher Randall, Sr., B.A. 1950; the Shamos Family Foundation; Mary Jo and Ted P. Shen, B.A. 1966, Hon. 2001; Jane P. Watkins, M.P.H. 1979; the Janet and Simeon Braguin Fund; and an endowment created with a challenge grant from the National Endowment for the Arts.
The acquisition of Robert Adams’s master prints was made possible through a gift from Saundra B. Lane, a grant from the Trellis Fund, and the Janet and Simeon Braguin Fund.
Image: Robert Adams, Colorado Springs, Colorado, 1968. Gelatin silver print. Purchased with a gift from Saundra B. Lane, a grant from Trellis Fund, and the Janet and Simeon Braguin Fund |
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Life, Liberty, and the Pursuit of Happiness:
American Art from the Yale University Art Gallery
An Exhibition Presented in Three Parts
We the People
July 29–December 31, 2011
Defining the Nation
January 31–April 8, 2012
America Rising
May 8–July 8, 2012
This exhibition draws upon the Gallery’s renowned collection of American art to illuminate the diverse and evolving American experience from the time of the settlements of the 17th century to the World’s Columbian Exposition in 1893. The works in this exhibition—including treasures such as John Trumbull’s Declaration of Independence and Winslow Homer’s Morning Bell—now return to New Haven for a three-part presentation.
Exhibition and publication organized by Helen A. Cooper, the Holcombe T. Green Curator of American Paintings and Sculpture, with Robin Jaffee Frank, the former Alice and Allan Kaplan Senior Associate Curator of American Paintings and Sculpture; Elisabeth Hodermarsky, the Sutphin Family Associate Curator of Prints, Drawings, and Photographs; and Patricia E. Kane, Friends of American Arts Curator of American Decorative Arts, all Yale University Art Gallery. Made possible by generous funding from Happy and Bob Doran, B.A. 1955; Carolyn and Gerald Grinstein, B.A. 1954; Mrs. William S. Kilroy, Sr.; Mrs. Frederick R. Mayer; Mr. and Mrs. Alexander K. McLanahan, B.A. 1949; Nancy and Clive Runnells, B.A. 1948; Ellen and Stephen D. Susman, B.A. 1962, for their special support of the audio tour; the Eugénie Prendergast Fund for American Art, given by Jan and Warren Adelson; and the Friends of American Arts at Yale, and supported by an indemnity from the Federal Council on the Arts and the Humanities
Image: John Trumbull, The Declaration of Independence, July 4, 1776, 1786–1820. Oil on canvas. Yale University Art Gallery, Trumbull Collection |
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American Design from the John C. Waddell Collection
Through March 11, 2012
This temporary installation explores how American corporations partnered with freelance industrial designers during the 1930s to create eye-catching products that would appeal to Depression-era consumers. These products frequently used innovative materials—like plastic and laboratory glass—and sleek, streamlined shapes that blended functionality with style. Some of the designers worked in relative anonymity while others became well-known advocates for the importance of good design in mass production.
Related Publication
A Modern World: American Design from the Yale University Art Gallery, 1920–1950
Image: John Vassos, case designer, and RCA Manufacturing Company, Incorporated, Portable Phonograph, Model M, ca. 1935. Aluminum, chromium-plated steel, velvet, and plastic. Yale University Art Gallery, John C. Waddell Collection |
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Remembering 9/11
September 1, 2011–January 19, 2012
To commemorate the tenth anniversary of September 11, 2001, the Gallery presents Remembering 9/11, a rumination on the tragic events of that day. Included are works by Yvonne Jacquette, Nathan Lyons, and Judith Shea, as well as a special installation of Wounded Cities, Leo Rubinfien’s acclaimed series of photographs.
Panel Discussion
Thursday, September 22, 5:30 pm
Ten Years Later: Artists Remember 9/11
In conjunction with the Gallery’s installation of Remembering 9/11 and the Haas Family Arts Library’s exhibition The Book as Memorial: Book Artists Respond to and Remember 9/11, artists Nathan Lyons, Leo Rubinfien, Judith Shea, and Robbin Ami Silverberg will join Joshua Chuang, Assistant Curator of Photographs at the Gallery, and Jae Rossman, Assistant Director for Special Collections at the Robert B. Haas Family Arts Library, for a conversation on the impact of September 11 on their lives and work.
Exhibition organized by Joshua Chuang, Assistant Curator of Photographs. Made possible by the Cornelia Cogswell Rossi Foundation under the direction of Charles B. Kaufmann III, B.A. 1966; John R. Raben, Jr., B.A. 1967; and Laurie Warren.
Image: Leo Rubinfien, Leaving New York, 1993. Varnished pigmented inkjet print. Lent by the artist, courtesy of the
Robert Mann Gallery, New York |
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Old Javanese Gold: The Hunter Thompson Collection
March 25–August 14, 2011
In the early centuries of the Common Era, a civilization rose up in Indonesia that became a locus of trade, culture, and religion, the most impressive traces of which were found on the island of Java. Ancient Javanese artifacts in gold display exceptional skill and artistry and are a significant source of information on aspects of Javanese society, culture, religion, economy, and technology. Old Javanese Gold: The Hunter Thompson Collection presents a selection of around 200 objects from the Hunter Thompson Collection, one of the founding donations to the Gallery's new Department of Indo-Pacific Art, including jewelry, sculptures, coins, statues, containers, and accessories.
In conjunction with this installation, the Gallery is pleased to republish the classic 1990 publication Old Javanese Gold, by John Miksic, which will be available in May.
Installation made possible by Thomas Jaffe, B.A. 1971; James H. Slater, B.A.1944; and an endowment created with a challenge grant from the National Endowment for the Arts.
Image: Crown Top or “Usnisha” Cover, Javanese, 650–1000. Gold. Yale University Art Gallery, Gift of Valerie and Hunter Thompson |
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Embodied: Black Identities in American Art from the Yale University Art Gallery
February 18–June 26, 2011
David C. Driskell Center, University of Maryland,
College Park
September 16–October 29, 2010
A collaboration among a team of students from Yale and the University of Maryland, College Park, Embodied: Black Identities in American Art from the Yale University Art Gallery features works that address, question, and complicate the paradigms that have mapped meanings onto African American bodies throughout history. The 54 works selected for the exhibition, representing the Gallery’s commitment during the past decade to growing this area of the collection, include paintings, sculpture, decorative arts, prints, drawings, and photographs. The exhibition is accompanied by a fully illustrated catalogue.
Exhibition and publication organized by Yale University and University of Maryland students, under the direction of Pamela Franks, Deputy Director for Collections and Education, Yale University Art Gallery, and Robert E. Steele, M.P.H. 1971, M.S. 1974, Ph.D. 1975, Executive Director, David C. Driskell Center, University of Maryland, College Park. Made possible by by Lois Chazen; Laura M. and James A. Duncan, B.A 1975; Mr. and Mrs. Elliott L. Schlang, B.A. 1956; Francis H. Williams; the Jane and Gerald Katcher Fund for Education; the Nolen-Bradley Family Fund; the Florence B. Selden Fund; and the John F. Wieland, Jr., B.A. 1988, Fund for Student Exhibitions.
Image: Kerry James Marshall, Untitled, 2009. Acrylic on PVC. Yale University Art Gallery, Purchased with the Janet and Simeon Braguin Fund and a gift from Jacqueline L. Bradley, B.A. 1979. © Courtesy of the artist and Jack Shainman Gallery, New York |
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John La Farge's Second Paradise: Voyages in the South Seas, 1890–1891
October 19, 2010–January 2, 2011
Addison Gallery of American Art, Phillips Academy, Andover, Mass.
January 22–March 27, 2011
In 1890, John La Farge and his friend, the historian Henry Adams, embarked on a journey to the islands of the South Pacific—Hawaii, Samoa, Tahiti, Rarotonga, Fiji, Australia, Indonesia, Singapore, and Ceylon (now Sri Lanka)—a journey that would keep them away from their homes for well over a year. John La Farge’s Second Paradise: Voyages in the South Seas, 1890–1891 showcases many of the most important La Farge oils, watercolors, and sketches from that trip—some executed on site, others upon La Farge’s return to his home studio. The exhibition is inspired by the acquisition by the Gallery of 11 previously unknown sketchbooks from the trip—also on display in the exhibition—filled with drawings of people and landscapes, as well as copious notes on culture and language, providing new insight into this period in La Farge’s career. The exhibition is accompanied by a fully illustrated catalogue, copublished with Yale University Press.
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Exhibition and publication organized by Elisabeth Hodermarsky, the Sutphin Family Associate Curator of Prints, Drawings, and Photographs, Yale University Art Gallery. Made possible by a grant from the Terra Foundation for American Art; Katherine D. and Stephen C. Sherrill, B.A. 1975 (Phillips Academy 1971); Denise Bouché Fitch in memory of George Hopper Fitch, B.A. 1932; Mr. and Mrs. Charles P. Sutphin, B.A. 1981; and Mr. and Mrs. James E. Duffy, B.S. 1951, with additional support provided by an endowment created with a challenge grant from the National Endowment for the Arts.
Image: John La Farge, Entrance to Tautira River, Tahiti, ca. 1893. Watercolor. Collection of Mr. and Mrs. Willard G. Clark. |
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Jane Davis Doggett: Talking Graphics
January 26–July 11, 2010
The special installation Jane Davis Doggett: Talking Graphics features the work of Jane Davis Doggett, M.F.A. 1956, who is known for her career in creating graphic identities and wayfinding systems for massive public spaces, including 40 international airports. Doggett recently invented the concept of IconoChrome™ images—“geometric designs in colors expressing philosophically profound messages.” Her series Talking Graphics consists of these colorful designs, converted to vector images and printed as books and large panels. Images from the series are installed at the Gallery in conjunction with a January 28 Artist Talk presented by Doggett, followed by a book signing.
Image: Jane Davis Doggett, IconoChrome™ image from Talking Graphics (Exartis Publishers, 2007) |
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Eero Saarinen: Shaping the Future
February 19–May 2, 2010
Eero Saarinen: Shaping the Future is the first major exhibition to examine the architect’s wide-ranging career from the 1930s through the early 1960s. Saarinen was one of the most prolific, unorthodox, and controversial masters of 20th-century architecture. His iconic designs, ranging from the tulip chair to the 630-foot-tall Gateway Arch in Saint Louis, helped create the international image of the United States in the decades following World War II. Saarinen also continued Yale’s commitment to modern architecture through the swooping concrete vaults of Ingalls Hockey Rink. Presented in conjunction with the Yale University School of Architecture, the traveling exhibition features drawings, models, furniture, photographs, films, and ephemera.
Exhibition organized by the Finnish Cultural Institute in New York; the Museum of Finnish Architecture, Helsinki; and the National Building Museum, Washington, D.C., with the support of the Yale School of Architecture. ASSA ABLOY is the global sponsor for the exhibition. Additional support is provided by Kevin Roche John Dinkeloo and Associates, Florence Knoll Bassett, Agnes Gund and Daniel Shapiro, Elise Jaffe and Jeffrey Brown, Jeffrey Klein, Earle I. Mack, Marvin Suomi, anonymous donors, and the Ministry of Education, Finland. Support for the Yale venues is provided by ASSA ABLOY, Stanley Tigerman and the Joann and Gifford Phillips, Class of 1942, Fund.
Image: Eero Saarinen, Side Chair, 1956. Aluminum base, fused plastic finish, molded plastic shell reinforced with fiberglass, and upholstered seat cushion. Yale University Art Gallery, Mabel Brady Garvan Collection |
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Continuous Present
October 6, 2009–January 10, 2010
Continuous Present features a selection of work by 11 of today’s most compelling contemporary artists working in a broad array of media, including film, video, photography, painting, and sculpture. The artists chosen for the show—Francis Alÿs, Peter Fischli and David Weiss, Rodney Graham, Roni Horn, On Kawara, Thomas Nozkowski, Gabriel Orozco, Laura Owens, Dieter Roth, and Franz West—share a keen interest in time and sensory perception despite the aesthetic diversity of their practices. Their work reveals the capacity for art to profoundly reposition our physical and intellectual engagement with the world around us as they invite us to experience the “continuous present.”
Exhibition organized by Jennifer Gross, the Seymour H. Knox, Jr., Curator of Modern and Contemporary Art, Yale University Art Gallery. Made possible by the Janet and Simeon Braguin Fund, with additional support provided by the Carol and Sol LeWitt Fund and Allen Grover Fund for Contemporary Art.
Image: Rodney Graham, still from City Self/Country Self, 2000. 35 mm film transferred to DVD. Collection of the Vancouver Art Gallery, Vancouver Art Gallery Acquisition Fund
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The Pull of Experiment: Postwar American Printmaking
September 25, 2009–January 3, 2010
The Pull of Experiment: Postwar American Printmaking explores a dynamic and innovative 20-year period following the Second World War that fundamentally changed the boundaries of intaglio printmaking. The exhibition features more than 40 prints drawn from the Gallery's collection of works on paper that highlight experimental printing techniques, reflecting the creative spirit incited by the interaction of American and émigré artists following the war. Presenting works by major printmakers of the period, including Stanley William Hayter, Boris Margo, Gabor Peterdi, and Karl Schrag, The Pull of Experiment also includes important works by artists such as Jackson Pollock and Louise Nevelson, whose postwar prints bore the influence of this period of innovation.
Exhibition organized by Katherine Alcauskas, the Florence B. Selden Fellow, Department of Prints, Drawings, and Photographs, Yale University Art Gallery. Made possible by an endowment created with a challenge grant from the National Endowment for the Arts and the Florence B. Selden Fund, with additional support provided by Mr. and Mrs. James N. Heald II, B.S. 1949.
Image: Karl Kasten, Valencia, 1960. Color etching and aquatint. Yale University Art Gallery, Gift of James N. Heald II, B.S. 1949 |
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Time Will Tell: Ethics and Choices in Conservation
May 22 –September 6, 2009
This exhibition offers a rare opportunity to explore the process of fine arts conservation, uncovering the relationship between curators and conservators and the objects entrusted to their care. Each of the works in the exhibition, which includes Asian ceramics, African ritual objects, ancient statues and mosaics, and American and European paintings and decorative arts from the Gallery’s collection, illustrates a different conservation dilemma. What does cleaning a painting’s surface reveal? Should fragmented objects be displayed as pieces or reassembled into a convincing pastiche? Should damaged objects be repaired for aesthetic reasons? The passage of time impacts not only the physical state of an object but also the techniques used to preserve it. Time Will Tell examines the evolving science of conservation and the questions that arise in preserving works of art while staying faithful to the artists’ intentions.
Image: Figure of a Woman, Roman,
1st century B.C.–early 1st century A.D. Marble. Yale University Art Gallery, Purchased with the Ruth Elizabeth White and Leonard C. Hanna, Jr., B.A. 1913, Fund
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Picasso and the Allure of Language
January 27–May 24, 2009
Nasher Museum of Art at Duke University
August 20, 2009–January 3, 2010
Throughout his life, Pablo Picasso had close friendships with writers and an abiding interest in the written word. Building on the rich collection of artworks and materials at the Yale University Art Gallery and the Gertrude Stein Archives at Yale's Beinecke Rare Book and Manuscript Library, this exhibition is the first to survey the relationship between art and literature, and painting and writing, in Picasso's work. Displaying approximately 80 objects, the exhibition begins with an examination of Picasso's early associations with writers such as Stein, Guillaume Apollinaire, and Max Jacob, and concludes with the postwar period.
Publication
Picasso and the Allure of Language is accompanied by a fully illustrated catalogue. For more information, please visit the Gallery's Bookstore.
Exhibition and publication organized by Susan Greenberg Fisher, the Horace W. Goldsmith Associate Curator of Modern and Contemporary Art. Made possible by an endowment created with a challenge grant from the National Endowment for the Arts, with additional endowment support provided by the Horace W. Goldsmith Foundation; Ketcham Family Memorial Fund; George and Schatzie Lee Fund; Carol and Sol LeWitt Fund; Leah G. and Allan C. Rabinowitz, Yale College Class of 1954, Fund; and Edward Byron Smith, Jr., Family Fund; and with support provided by the Nasher Museum of Art at Duke University. Image: Pablo Picasso, Dice, Packet of Cigarettes, and Visiting-Card, 1914. Collage. Gertrude Stein and Alice B. Toklas Papers, Yale Collection of American Literature, Beinecke Rare Book and Manuscript Library, Yale University. © 2009 Estate of Gertrude Stein. Used with permission of Estate of Gertrude Stein. © 2009 Estate of Pablo Picasso/ Artists Rights Society (ARS), New York |
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Tea Culture of Japan: Chanoyu Past and Present
January 20–April 26, 2009
Tea Culture of Japan: Chanoyu Past and Present illuminates the importance of Japanese tea culture and examines the ways in which it has evolved over the centuries. Imported to Japan from China during the ninth century, the custom of serving tea did not become widespread until the thirteenth century. Before the rise of the simple wabi aesthetic, tea service involved precious objects displayed lavishly in a large room. By the late fifteenth and sixteenth centuries, powdered tea was ceremonially prepared by a skilled tea master and served to a small group of guests in a tranquil setting; this way of preparing tea became known as chanoyu. Tea Culture of Japan brings together approximately 100 objects—drawn largely from distinguished private collections and supplemented by the works in the collection of the Yale University Art Gallery. Objects on view range from the ninth century through the present day and include ceramic tea bowls from Japan, Korea, China, and Vietnam, as well as bamboo tea scoops, iron kettles, maki-e lacquer incense containers, and Zen-inspired calligraphic works.
Publication
Tea Culture of Japan is accompanied by a fully illustrated catalogue. For more information, please visit the Gallery's Bookstore.
Symposium
The Journey of Chanoyu
An International Symposium on the Tea Culture of Japan, Past and Present
Friday, April 17, 2009 9:00 am–5:00 pm
Robert L. McNeil, Jr., Lecture Hall
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Exhibition and publication organized by Sadako Ohki, the Japan Foundation Associate Curator of Japanese Art at the Yale University Art Gallery. Made possible by the E. Rhodes and Leona B. Carpenter Foundation; Ann and Gilbert H. Kinney, B.A. 1953, M.A. 1954; the Japan Foundation Endowment of the Council on East Asian Studies; the Mary Livingston Griggs and Mary Griggs Burke Foundation; and an endowment created with a challenge grant from the National Endowment for the Arts. The symposium is supported by Yale University’s Council on East Asian Studies, with the cooperation of the Todai-Yale Initiative, and the Japan Foundation, New York. Image: Ido Tea Bowl, Korean, Yi (Joseon) dynasty, 16th century. Stoneware with crackled glaze. Yale University Art Gallery, Promised gift to the Yale University Art Gallery of Peggy and Richard M. Danziger, LL.B. 1963 |
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First Doubt: Optical Confusion in Modern Photography
October 7, 2008–January 4, 2009
Celebrating a major gift of over two hundred photographs from the collection of Allan Chasanoff, B.A. 1961, this exhibition will explore the seldom-discussed phenomenon of optical confusion in photography. Drawn from the Chasanoff Collection, as well as from the Gallery's permanent collection, First Doubt will feature approximately 100 photographs by a diverse array of photographers across the twentieth century. Seen together, they reveal the interpretive nature of the lens and the interpolative nature of the photograph.
Publication
This exhibition is accompanied by a fully illustrated catalogue, First Doubt: Optical Confusion in Modern Photography, by Joshua Chuang, available at the Gallery's Bookstore.
Exhibition organized by Joshua Chuang, Assistant Curator of Photographs, Yale University Art Gallery. Made possible by an endowment created with a challenge grant from the National Endowment for the Arts and the Florence B. Selden Fund, with additional support provided by the James Edward Maloney '72 and the Nitkin Family Funds for Photography. Image: Imogen Cunningham, Roi (detail), 1927, printed 1993. Gelatin silver print. Yale University Art Gallery, The Allan Chasanoff, B.A. 1961, Photography Collection |
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Grand Scale: Monumental Prints
in the Age of Dürer and Titian
September 9–November 30, 2008
This exhibition showcases mural-size prints from the late fifteenth century to 1630, when ambitions—to rival painted images, to assert and justify political rule, or simply to adorn wall surfaces—prompted printed imagery to expand. Surviving in far fewer numbers than smaller prints, mural-size print ensembles sometimes reached over ten feet in height and stretched to 16 feet in length. Grand Scale displays approximately 50 oversize prints from the German, Italian, and Netherlandish schools, including compositions by Sandro Botticelli, Albrecht Dürer, Titian, Jacopo Tintoretto, Bartholomaeus Spranger, and Peter Paul Rubens.
Publication
This exhibition is accompanied by a fully illustrated catalogue, Grand Scale: Monumental Prints in the Age of Dürer and Titian, edited by Larry Silver and Elizabeth Wyckoff, copublished by Yale University Press and the Davis Museum and Cultural Center, Wellesley College, available at the Gallery's Bookstore.
Exhibition organized by the Davis Museum and Cultural Center, Wellesley College, and supported by major gifts from the Marjorie and Gerald Bronfman Foundation, Samuel H. Kress Foundation, Robert Lehman Foundation, and Wellesley College Friends of Art with additional funds from International Fine Print Dealers Association. Presentation at the Yale University Art Gallery organized by Suzanne Boorsch, the Robert L. Solley Curator of Prints, Drawings, and Photographs, and made possible by Mr. and Mrs. Frederic D. Wolfe, B.S. 1951, on behalf of The Wolfe Family Charitable Foundation. Image: Albrecht Dürer, Wolf Traut, Hans Springinklee, and Albrecht Altdorfer, after Jorg Kölderer, The Triumphal Arch of Maximilian I, 1515 (Bartsch edition, 1799) Woodcut (42 woodcuts and 2 etchings; original edition printed from 192 blocks). National Gallery of Art, Washington, Gift of David P. Tunick and Elizabeth S. Tunick, in honor of the appointment of Andrew Robison as Andrew W. Mellon Senior Curator |
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Van Gogh’s Cypresses and The Starry Night: Visions of Saint-Rémy
June 15–September 7, 2008
The Yale University Art Gallery is pleased to exhibit side by side two of Vincent van Gogh’s most renowned paintings, Cypresses (Metropolitan Museum of Art, New York) and The Starry Night (Museum of Modern Art, New York). Completed in June 1889, during his yearlong confinement at the asylum in Saint-Rémy, these two paintings exemplify the work of this modern master at the height of his creativity. In both works, van Gogh’s dazzling use of clear, bold colors laid down in swirling, gestural strokes demonstrates his expressive and imaginative power. Together, Cypresses and The Starry Night reveal the artist’s vivid and tender vision of Saint-Rémy as he observed the French countryside from his window—by day and through the night.
Please note: All advance tickets for this exhibit have been reserved. Same-day tickets and standby tickets are available in person at the Information Desk.
Installation organized by Jennifer Gross, the Seymour H. Knox, Jr., Curator of Modern and Contemporary Art, Yale University Art Gallery. Made possible by an endowment created with a challenge grant from the National Endowment for the Arts. Image: Vincent van Gogh, The Starry Night, Saint-Rémy, June 1889. Oil on canvas. The Museum of Modern Art, Aquired through the Lillie P. Bliss Bequest, 1941 |
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Everyday Monuments: The Photographs of Jerome Liebling
May 23–September 7, 2008
This monographic exhibition features approximately fifty photographs by American artist Jerome Liebling. Active since the 1940s, Liebling has explored a variety of photographic themes including social-documentary photographs of people and places, poetic images of the relics and historic homes of literary figures, and photographs of mannequins and corpses. The body of work on display includes representative examples from the many facets of Liebling’s practice.
Exhibition organized by Yale students under the direction of Pamela Franks, Deputy Director for Collections and Education, and Aja Armey, Museum Educator, both of the Yale University Art Gallery. Made possible by the Janet and Simeon Braguin Fund, and The Nolen-Bradley Family and Jane and Gerald Katcher Funds for Education. Image: Jerome Liebling, Butterfly Boy, New York City, 1949. Gelatin silver print. Yale University Art Gallery, Purchased with a gift from Jane and Gerald Katcher, LL.B. 1950, and the Janet and Simeon Braguin Fund |
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From Any Angle: Photographs from the Collection of Doris Bry
May 23–September 7, 2008
From Any Angle: Photographs from the Collection of Doris Bry celebrates the remarkable collection of over two hundred photographs brought together by Doris Bry and currently on loan to the Yale University Art Gallery. A noted scholar of eminent American photographer Alfred Stieglitz, Bry is perhaps best known as the agent and confidant of Stieglitz’s wife, the painter Georgia O’Keeffe. Her collection includes photographs by renowned masters, such as Irving Penn and Berenice Abbott, as well as intriguing works by lesser-known artists, and includes examples of a wide range of styles and photographic media.
Publication
This exhibition is accompanied by an illustrated catalogue. For more information, please visit the Gallery's Bookstore.
Exhibition organized by Yale students under the direction of Pamela Franks, Deputy Director for Collections and Education, and Ash Anderson, PH.D. candidate in the History of Art, both of the Yale University Art Gallery. Made possible by the John F. Wieland, Jr., B.A. 1988, Fund for Student Exhibitions, and The Nolen-Bradley Family and Jane and Gerald Katcher Funds for Education. Image: Albert Renger-Patzsch, Untitled (St. Malo), ca. 1942. Gelatin silver print. Doris Bry Inadvertent Collection |
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Behind the Seen: The Photographs of Abelardo Morell
June 24–August 10, 2008
This exhibition provides an in-depth look at the role that artworks and monuments play in Abelardo Morell’s major photographic series. Approximately forty images are on display, featuring Morell’s work in black and white alongside his newest color photographs, and including twenty of his camera obscura images. The exhibition also features a special camera obscura room, which invites visitors to enter the space of one of the artist’s pictures. Morell is the current Happy and Bob Doran Artist in Residence at the Yale University Art Gallery and is creating new work based on the Gallery’s collections. Several recent photographs made at the museum are on view for the first time.
Exhibition organized by Anna Hammond, Deputy Director for Programs and Public Affairs, and Christine Paglia, the Florence B. Selden Curatorial Intern in the Department of Prints, Drawings, and Photographs, both of the Yale University Art Gallery. Made possible by the Janet and Simeon Braguin, and Florence B. Selden Funds, with additional support provided by Nancy and Robinson A. Grover, B.A. 1958, M.S.L. 1975, and a bequest from Nicholas D. Ohly. Image: Abelardo Morell, Camera Obscura Image of Houses across the Street in Our Living Room, 1991. Gelatin silver print. Yale University Art Gallery, The Allan Chasanoff, B.A. 1961, Photography Collection |
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Master Drawings from the Yale University
Art Gallery
February 12–June 8, 2008, first floor
(Opened in October 2006 at The John and Mable Ringling Museum of Art, Sarasota, FL; presented at the Blanton Museum of Art, Austin, TX, June 1–August 12, 2007; and at the Smart Museum of Art, University of Chicago, IL, October 4, 2007–January 13, 2008)
Master Drawings from the Yale University Art Gallery comprises approximately eighty-five master drawings from the Gallery's collection, providing a survey of European draftsmanship from the late fifteenth to the mid-nineteenth centuries. The drawings range from early studies in the late-medieval model-book tradition (an anonymous Venetian Lion) up to the beginnings of modern art (Edgar Degas' Portrait of Giulia Bellelli, ca. 1858–59). Drawings of all media, genres, and types—preparatory studies for paintings or prints, finished drawings, and casual sketches—are included, and a range of national schools, including French, German, Italian, Netherlandish, and Spanish, is represented. Intended to draw new attention to Yale’s rich but relatively little-studied collection of European drawings, the exhibition and catalogue provide the first comprehensive look at Yale’s collection of European drawings in over thirty years.
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Special Event
Sir Timothy Clifford, the former Director General of the National Galleries of Scotland, presented the Ryerson Lecture, “Discovering and Acquiring Old Master Drawings: An Autobiographical Account,” on Thursday, February 28, at 5:30 PM. Free and open to the public. A reception followed at 6:30 PM.
Publication
Master Drawings is accompanied by a fully illustrated catalogue, copublished by the Gallery and Yale University Press. For more information, please visit the Gallery's Bookstore.
Exhibition and publication organized by Suzanne Boorsch, the Robert L. Solley Curator of Prints, Drawings, and Photographs, and John Marciari, the Nina and Lee Griggs Associate Curator of Early European Art. Made possible by the Florence B. Selden Fund and the Samuel H. Kress Foundation, with additional support provided by Mr. and Mrs. Bruce B. Dayton, B.A. 1940, and Dr. and Mrs. Edmund P. Pillsbury, B.A. 1965. Image: Giovanni Francesco Barbieri, called Guercino, Caricature of a Man Wearing a Large Hat, ca. 1630–40. Yale University Art Gallery, Gift of Edmund P. Pillsbury, B.A. 1965 |
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Making it New: The Art and Style of Sara and Gerald Murphy
February 26–May 4, 2008, first floor
Sara and Gerald Murphy are best remembered as the captivating American expatriates who inspired F. Scott Fitzgerald’s Tender Is the Night. This exhibition is the first to explore the couple’s relationships with some of the pivotal figures in avant-garde circles in Paris in the 1920s. Their legendary style—modern in its apparent simplicity and freedom from stifling social regimentation—was a touchstone for many artists, writers, and musicians of the period—among them their friends Fitzgerald, Fernand Léger, Pablo Picasso, Cole Porter, Ernest Hemingway, Serge Diaghilev, and Jean Cocteau. Gerald Murphy himself was a brilliant and inventive painter. Regrettably, only seven of his canvases survive. They are brought together here for the first time, along with paintings, watercolors, drawings, and photographs by artists within his circle, such as Georges Braque, Juan Gris, Léger, and Picasso. Photographs and home-movie footage of the Murphys and their friends, as well as personal correspondence and artifacts, also help bring the era to life.
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Symposium
"A Freshly Invented World":
Art and Innovation in the 1920s
Saturday, April 12, 9:15 AM–5:00 PM
Robert L. McNeil, Jr., Lecture Hall
The 16th Annual Oswaldo Rodriguez Roque Memorial Symposium is organized in conjunction with the exhibition Making It New. On Friday evening before the symposium, Wanda Corn, the Robert and Ruth Halperin Professor Emerita in the Department of Art and Art History at Stanford University, presents the keynote Oswaldo Rodriguez Roque Lecture, "Making Murphy New."
The conference program, including registration information, is available as a downloadable PDF. Or, for more information, please call 203.432.0616.
Art Talk Episode
Undergraduate Gallery Guide Elyse Nelson speaks with curator Helen Cooper, poet Nancy Kuhl, and conservator Mark Aronson about Gerald Murphy's Bibliothèque. Go to Art Talk podcast -->
This exhibition is accompanied by a fully illustrated catalogue, Making It New: The Art and Style of Sara and Gerald Murphy, edited by Deborah Rothschild and published by the Williams College Museum of Art and the University of California Press, available at the Gallery's Bookstore.
Exhibition organized by the Williams College Museum of Art and supported in part by the National Endowment for the Humanities: great ideas brought to life; the Terra Foundation for American Art; the Getty Foundation; and the Dedalus Foundation, Inc. The presentation at the Yale University Art Gallery is organized by Helen A. Cooper, the Holcombe T. Green Curator of American Paintings and Sculpture. Supported by John, LG 1975, and Barbara Robinson, of the Widgeon Point Charitable Foundation; Anna Marie and Robert F. Shapiro, B.A 1956; the Eugénie Prendergast Fund for American Art, given by Jan and Warren Adelson; and the Friends of American Arts Exhibition Fund. |
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Colorful Impressions: The Printmaking Revolution in Eighteenth Century France
January 29–May 4, 2008, fourth floor
Celebrating one of the most innovative periods in the history of color printmaking, this exhibition includes ninety-five images, many of which are presented in multiple impressions or alongside related drawings. During the second half of the eighteenth century in France, newly invented engraving and etching techniques were combined with new ways of printing a single image from multiple plates. For the first time, full-color prints could be created from four basic colors: red, yellow, blue, and black. Within just a few decades, thousands of images were produced, including some of the most complex and beautiful color prints ever made. Most of the works in Colorful Impressions reflect the carefree spirit of the ancien régime, an era of royal indulgence before the French Revolution in 1789. Compositions are by the most celebrated artists of the time, including François Boucher, Jean-Honoré Fragonard, Jean-Baptiste Le Prince, Hubert Robert, and Jean-Antoine Watteau.
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The exhibition is accompanied by a fully illustrated catalogue, Colorful Impressions: The Printmaking Revolution in Eighteenth-Century France, available in paperback at theGallery's Bookstore.
Exhibition organized by the National Gallery of Art, Washington. The presentation at the Yale University Art Gallery is organized by Suzanne Boorsch, the Robert L. Solley Curator of Prints, Drawings and Photographs. Supported by an endowment made possible by a challenge grant from the National Endowment for the Arts. |
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Art for Yale: Collecting for a New Century
September 18, 2007–January 13, 2008, first and fourth floors
This exhibition showcases more than 300 exceptional works of art drawn from each of the Gallery’s curatorial departments—American Paintings and Sculpture, American Decorative Arts, African Art, Asian Art, Early European Art, Ancient Art and Art of the Ancient Americas, Coins and Medals, Modern and Contemporary Art, and Prints, Drawings, and Photographs. Included are many works by major artists never before on public view. Art for Yale: Collecting for a New Century serves as a sequel to the acclaimed 2001 exhibition Art for Yale: Defining Moments, which charted the Gallery’s evolution from its beginnings as a picture gallery housing John Trumbull’s collection to a dynamic, multi-faceted institution that has continued to delight and inspire students, scholars, and the public through the generations.
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Art for Yale is accompanied by a richly illustrated catalogue, with an introduction by Jock Reynolds. For more information, please visit the Gallery's Bookstore.
Exhibition and publication organized by Jock Reynolds, the Henry J. Heinz II Director; Susan Matheson, Chief Curator and the Molly and Walter Bareiss Curator of Ancient Art; and Joshua Chuang, the Marcia Brady Tucker Assistant Curator of Photographs. Supported by the Robert Lehman Endowment and Janet and Simeon Braguin Funds with additional support provided by Carolyn H. Grinstein and Gerald Grinstein, B.A. 1954, Dr. Jane Frank Katcher and Gerald Katcher, LL.B. 1950, H. Christopher Luce, B.A. 1972, Jan Perry Mayer and Frederick R. Mayer, B.A. 1950, Anna Marie Shapiro and Robert F. Shapiro, B.A. 1956, and an endowment created with a challenge grant from the National Endowment for the Arts. |
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Telling a Larger Story: Collecting Miniatures for a New Century
September 18–January 13, 2008, third floor
Like the miniatures on view in Art for Yale, this additional selection highlights the heyday of this art form in America. Painted in watercolor on ivory and sometimes framed to be worn as jewelry, these small portraits or tiny scenes of romance or mourning often served as a way to hold on to absent loved ones. They were commissioned by couples celebrating their marriage or the birth of their first child, by young wives grieving for husbands lost to war or disease, by parents filled with joy or suffering devastating loss. Each keepsake is a significant work of art in its own right; together they help us to tell the story of miniature painting in America, and the larger tale of the miniature’s unique role in social history.
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Exhibition organized by Robin Jaffee Frank, the Alice and Allan Kaplan Senior Associate Curator of American Paintings and Sculpture. |
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The Architect’s Table: Swid Powell and Postmodern Design
September 25–January 6, 2008, third floor
The Architect’s Table: Swid Powell and Postmodern Design celebrates the Swid Powell Collection and Records, now housed at the Yale University Art Gallery. The company, founded in 1982 by Nan Swid and Addie Powell, produced innovative housewares designed by the foremost architects of the 1980s, including Frank Gehry, Zaha Hadid, Stephen Holl, Richard Meier, Robert A. M. Stern, Stanley Tigerman, and Robert Venturi, among others. Through meticulous research and marketing, Swid Powell helped the architects transform their ideas into finished objects, many of which have become icons of Postmodern design. This exhibition of highlights from the archive includes original drawings, promotional material, silver, ceramics and glass, and rare prototypes for unexecuted objects.
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Organized by John Stuart Gordon, the Benjamin Attmore Hewitt Assistant Curator of American Decorative Arts. Supported by an anonymous gift and an endowment created with a challenge grant from the National Endowment for the Arts. |
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Made for Love:
Selections from the Jane Katcher Collection of Americana
February 13–August 26, 2007, third floor
A doll’s quilt inscribed with a tender lullaby, an ivory trinket carved by a sailor far from home, a portrait of a father and daughter—these and other captivating works of folk and decorative art from the eighteenth and nineteenth centuries are featured in Made for Love: Selections from the Jane Katcher Collection of Americana. The thematic exhibition, drawn from this important collection of American folk and decorative art, features thirty-nine objects that contain expressions of affection between men and women, parents and children, students and teachers, and friends, examining the material symbols Americans used to express bonds of affection.
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Symposium
Hand and Heart: Collecting, Curating, and Creating American Folk Art
Saturday, March 31, 9:15 am–5:00 pm
Robert L. McNeil, Jr., Lecture Hall
The 15th Annual Oswaldo Rodriguez Roque Memorial Symposium is organized in conjunction with the exhibition Made for Love. On Friday evening before the symposium, Steven Mintz, Fellow, Center for Advanced Study in the Behavioral Sciences, and the John and Rebecca Moores Professor of History, University of Houston, presents the keynote Oswaldo Rodriguez Roque Lecture, "Private Passions: Art and the Hidden History of Love and Friendship."
The conference program, including registration information, is available as a downloadable PDF. Or, for more information, please call 203.432.0615.
Exhibition organized by Erin E. Eisenbarth, the Marcia Brady Tucker Curatorial Fellow at the Yale University Art Gallery. The exhibition is supported by an endowment made possible by a challenge grant from the National Endowment for the Arts and by Friends of American Arts at Yale Exhibition and Publication Fund. |
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Private Faces of Public People: 1750–1900
September 2005–June 2007, third floor
This special exhibition of American miniatures from the Gallery’s collection features twenty-nine portraits of leaders in politics and the arts, including George and Martha Washington, Andrew Jackson, Benjamin West, and Paul Revere. Portrait miniatures, often decorated with locks of hair on the reverse, served as surrogates for absent loved ones during long separations when husbands and fathers—statesmen, soldiers, artists, and actors—traveled to serve their country or earn a living, leaving their families behind.
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Organized by Robin Jaffee Frank, the Alice and Allan Kaplan Associate Curator of American Paintings and Sculpture. |
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What Is a Line? Drawings from the Collection
May 1–July 22, 2007, fourth floor
What is a Line?, featuring modern and contemporary drawings from the Gallery’s collection, examines the different ways that artists have defined, challenged, and reflected upon the role of the line in drawing. The exhibition includes over sixty drawings by artists such as Carl Andre, Trisha Brown, Philip Guston, and Agnes Martin, among others. In addition, an original wall drawing by artist Sol LeWitt accompanies the exhibition, underscoring the diversity of effects possible when an artist stretches a line to its naturally expansive conclusion. The show is organized by a curatorial team of Yale students, who were responsible for all aspects, including exhibition design and interpretive materials, as well as the installation of the LeWitt drawing.
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Exhibition organized by Yale students under the direction of Anna Hammond, Deputy Director for Education, Programs, and Public Affairs; Pamela Franks, Curator of Academic Initiatives; both of the Yale University Art Gallery; and Christine Mehring, Assistant Professor of the History of Art at Yale. This exhibition is made possible by the Florence B. Selden Fund, and the Jane and Gerald Katcher and the Nolen-Bradley Family Funds for Education, with additional support provided by Drs. Joseph L. Koerner, B.A. 1980 and Margaret L. Koster, and by Carol and Sol LeWitt in memory of Robert Rosenblum. |
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Responding to Kahn:
A Sculptural Conversation
December 10, 2006–July 8, 2007, first floor
Yale students celebrate the reopening of the Gallery’s main building, designed in 1953 by American architect Louis Kahn and restored in 2004–6, with this special exhibition of works from the collection. Responding to Kahn: A Sculptural Conversation highlights the restored building and the relationship between modern art and architecture, with particular emphasis on postwar sculpture. The curatorial team of students, who represent a range of disciplines, organized all aspects of the exhibition, from the selection of objects to the installation design, interpretive materials, and accompanying catalogue.
Panel Discussion
Responding to Kahn
Thursday, February 22, 5:30 pm
Robert L. McNeil, Jr., Lecture Hall
Free and open to the public; seating is limited
Contemporary artists whose work is installed in Responding to Kahn: A Sculptural Conversation gather to discuss their work, its placement in the show, and its relationship to the newly renovated Kahn building.
Exhibition and publication organized by Yale students under the direction of Pamela Franks, Curator of Academic Initiatives, Yale University Art Gallery. This exhibition and publication are made possible by the Jane and Gerald Katcher Fund for Education, The Nolen-Bradley Family Fund, and Mr. and Mrs. Theodore P. Shen, B.A. 1966. The panel discussion is supported by the Hayden Visiting Artists Program.
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Making a Mark:
Four Contemporary Artists in Print
December 10, 2006–April 1, 2007, fourth floor
This exhibition presents a selection of prints by Enrique Chagoya, Carroll Dunham, Jane Hammond, and Kiki Smith from the collection of the Yale University Art Gallery. Printmaking plays a vital and integral role in the working processes of these artists, acting both as an extension of and in exchange with the work in their primary medium. Drawn to printmaking’s inherent properties, such as multiplicity, reversal, and layering, and open to engaging in both traditional and nontraditional methods, these artists explore and challenge what it means to “make a mark.” The diversity of work presented in the exhibition—from Chagoya’s comic-book style narratives to Hammond’s vision of the heavens—gives an insider’s look into a vibrant dialogue taking place in contemporary printmaking.
Symposium
The Contemporary Print:
Artists and Master Printers
Saturday, March 3, 9:00 am–6:30 pm
Robert L. McNeil, Jr., Lecture Hall
Free and open to the public; seating is limited.
This contemporary printmaking symposium, held in conjunction with the special exhibitions Making a Mark: Four Contemporary Artists in Print and Jasper Johns: From Plate to Print, expands the discourse on contemporary printmaking with a particular focus on collaboration and the contribution of new technologies. Panelists include Enrique Chagoya, Carol Dunham, and Kiki Smith.
The conference program, including registration information, is available as a downloadable PDF. Or, for more information, please call 203.432.3728.
Exhibition organized by Elizabeth C. DeRose, the Florence B. Selden Curatorial Assistant, Department of Prints, Drawings, and Photographs, Yale University Art Gallery. Supported by the Florence B. Selden Fund, with additional support provided by Mr. and Mrs. Alexander K. McLanahan, B.A. 1949. The symposium is supported by the Florence B. Selden Fund and the Hayden Visiting Artists Program.
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Jasper Johns:
From Plate to Print
December 10, 2006–April 1, 2007, fourth floor
Printmaking has been integral to the work of preeminent American painter Jasper Johns throughout his career. He approaches each project with a thorough knowledge of the medium, exploiting its intrinsic characteristics—mark-making, replication, reversal, layering, fragmentation, and memory. Jasper Johns: From Plate to Print focuses on an untitled 1999 intaglio print by the artist, featuring the working proofs, trial proofs, and progressives leading up to the final print, as well as the five plates used in its creation. The exhibition offers a rare opportunity to explore the artistic and mechanical process of printmaking while providing a glimpse into the artist’s creative process—his development of motifs, color choices, and graphic enhancement.
The exhibition is accompanied by an illustrated catalogue, with an essay by the curator. Available at the Gallery's Bookstore; for more information, please call 203.432.7421.
Exhibition and publication organized by Elizabeth C. DeRose, the Florence B. Selden Curatorial Assistant, Department of Prints, Drawings, and Photographs, Yale University Art Gallery. Supported by the Florence B. Selden and the Heald Foundation Prints, Drawings, and Photographs Funds, with additional support provided by Mr. and Mrs. Alexander K. McLanahan, B.A. 1949. The symposium is supported by the Florence B. Selden Fund and the Hayden Visiting Artists Program. |
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To Know the Dark:
American Artists' Visions of Night
August 22, 2006–January 22, 2007, third floor
This exhibition explores that evocative period from dusk to dawn in the works of nineteenth- and twentieth-century American artists, among them Robert Adams, Ralph Albert Blakelock, Oscar Bluemner, Winslow Homer, Edward Hopper, and Yvonne Jacquette. Artists' visions of night—offering intimations of suspense, mystery, romance, fantasy, fear, despair, and hope—are as much psychological explorations of the mind as they are transcriptions of the external world. Accompanied by quotations from literature, including the poem by Wendell Berry that provides the title for this show, the exhibition invites visitors to consider how night has been variously interpreted in images and words.
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Exhibition organized by Helen A. Cooper, the Holcombe T. Green Curator, and Robin Jaffee Frank, the Alice and Allan Kaplan Senior Associate Curator of American Paintings and Sculpture. The exhibition is supported by Friends of American Arts at Yale, the Eugénie Prendergast Fund for American Art given by Jan and Warren Adelson, and an endowment made possible by a challenge grant from the National Endowment for the Arts. |
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Baubles, Bangles, and Beads:
American Jewelry from Yale University,
1700–2005
February 7–July 23, 2006, third floor
Mourning rings, miniatures, knee buckles, bracelets, and other notable and unusual selections from the Gallery’s collections of gold, silver, and costume jewelry are presented in this exhibition, many on public view for the first time. From a necklace of gold beads created by a colonial goldsmith to insignia from the Society of the Cincinnati and the Masons; from Bakelite bracelets from the 1930s to studio jewelry from some of the country’s finest contemporary artisans, the exhibition reveals how Americans have adorned and accessorized themselves for over two hundred years.
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The exhibition is accompanied by an illustrated catalogue, with an essay by the curator. Available online (see Information: Museum Store) or at the Gallery's Museum Bookstore; for more information, please call 203.432.7421.
Exhibition and publication organized by Erin Eisenbarth, Acting Assistant Curator of American Decorative Arts. Supported by endowments made possible by the Friends of American Arts at Yale and a challenge grant from the National Endowment for the Arts. |
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