Note from the Curator
Albert Bierstadt, Yosemite Valley, Glacier Point Trail, ca. 1873. Oil on canvas. Gift of Mrs. Vincenzo Ardenghi
Yosemite: Exploring The Incomparable Valley
Commemorating the 150th anniversary of Yale’s Peabody Museum of Natural History and the 100th anniversary of the creation of America’s National Park Service, Yosemite: Exploring the Incomparable Valley considers one of the country’s most celebrated natural landmarks. Join the Gallery during the run of the show for programming that explores the ways in which Americans have found inspiration in the western landscape and have sought to understand its marvels—through paintings, prints, and photographs as well as botanical and geological specimens. To celebrate the opening of the exhibition, join us on Thursday, October 6, at 5:30 pm, for “Yale at Yosemite: A Conversation across University Collections,” with Mark D. Mitchell, the Holcombe T. Green Curator of American Paintings and Sculpture and the curator of the exhibition, and David S. Kelly, Director of the Yale Peabody Museum of Natural History and the Frank R. Oastler Professor of Ecology at the Yale School of Forestry and Environmental Studies. Mitchell and Skelly discuss the role that Yale played in the early exploration of the awe-inspiring landscape of the American West. Additional programs include exhibition tours, gallery talks, and a Gallery+ with student musicians. For more information, view the website calendar.
Associate Curator of Programs
and Leah Rosofsky
New Haven Promise Intern
Note from the Curator
From Grace Notes: Reflections for Now. © William Struhs 2016
Grace Notes: Reflections for Now is co-sponsored by the following: Office of the President; Andrew Carnduff Ritchie Fund; Yale Center for British Art; Yale University Art Gallery; Yale Repertory Theatre/No Boundaries; Center for the Study of Race, Indigeneity, and Transnational Migration; Beinecke Rare Book & Manuscript Library; Yale Institute of Sacred Music; Afro-American Culture Center; Alumni Diversity and Inclusion Task Force; Department of African American Studies; Department of the History of Art; Dwight Hall at Yale; Initiative on Race, Gender, and Globalization; Intercultural Affairs Council; International Festival of Arts & Ideas; Joseph Slifka Center for Jewish Life at Yale; JUNCTURE, an initiative of the Schell Center for International Human Rights; New Haven Promise; Office of Public Affairs & Communications; Office of the Associate Dean for the Arts in Yale College; Office of the Secretary and Vice President for Student Life; Saint Thomas More, the Catholic Chapel and Center; Yale Alumni Arts League; Yale Black Alumni Association; Yale Chaplain’s Office; Yale College Dean’s Office; Yale Divinity School; Yale School of Art; Yale School of Music; and Yale University Office of New Haven and State Affairs. It was commissioned by Spoleto Festival USA, curated by Sarah Lewis, and premiered at the College of Charleston Sottile Theatre in June 2016.
Reflections for Now
On Thursday, December 1, at 6:30 pm, acclaimed photographer and video artist Carrie Mae Weems delivers the Andrew Carnduff Ritchie Lecture, titled Past Tense, at the Yale University Art Gallery. Weems, a 2013 MacArthur Fellow, has spent a lifetime reflecting on themes of social justice, race, and identity. Deeply invested in the transformative power of art, in this talk Weems discusses the nature of her work, and its connection to our shared history. Her lecture follows her recent sold-out performances of Grace Notes: Reflections for Now at the Yale Repertory Theatre, which brought together a cast of extraordinary artists from different disciplines—including composer/musician Craig Harris, composer James Newton, poet Aja Monet, writer and theater artist Carl Hancock Rux, dancer Francesca Harper, and singers Eisa Davis, Alicia Hall Moran, and Imani Uzuri—and was originally conceived as a response to President Barack Obama’s singing of “Amazing Grace” during his eulogy for Reverend Clementa Pinckney, one of the victims of the shooting at Emanuel African Methodist Episcopal Church. This fall, Rux, Davis, and Hall return to the Gallery as Hayden Visiting Artists, as part of our (Inter)sections series. The Gallery also presents a special installation that coincides with Weems’s presence on campus. The selection of works on view, featuring Weems’s Slave Coast series as well as objects by other contemporary American artists, such as Titus Kaphar, propose a new look at the legacy of slavery and critically question our history. For related programming, at the Gallery and around campus, use the link below.
Associate Curator of Programs
and Monique Atherton
Stillman family, Tall Case Clock, probably Westerly, Rhode Island, ca. 1795. Maple (primary); maple, butternut(?), sycamore, yellow poplar, and chestnut (secondary). Private collection
Art and Industry in Early America: Rhode Island Furniture, 1650–1830
Thursday–Friday, September 15–16, 2016
Rhode Island was the center of a dynamic and active cabinetmaking trade during the colonial and Federal periods, and its makers produced some of the most iconic pieces of American furniture ever created. Art and Industry in Early America: Rhode Island Furniture, 1650–1830, the first major survey of early Rhode Island furniture in half a century, gathers more than one hundred examples of their work. On display are some of the masterpieces of American furniture—many from the two great centers of Rhode Island furniture making, Newport and Providence. These are presented alongside objects made in smaller towns, such as Warren and Coventry, illuminating how their makers interpreted the styles of the more populous centers. The 2016 Oswaldo Rodriguez Roque Memorial Lecture and Symposium is being presented in conjunction with the exhibition.
The Oswaldo Rodriguez Roque Lecture on Thursday evening is open to the public; space is limited. Registration is required for the symposium on Friday; there is no registration fee.
Upcoming Lecture Series
Walsh discusses Portrait of Aeltje Uylenburgh (1632), from the collection of Rose-Marie and Eijk van Otterloo
Rembrandt Today: Six Lectures by John Walsh
Begins Friday, October 28, 2016, 1:30 pm
No Dutch artist produced a larger number of important works than Rembrandt van Rijn, and none has provoked more debate among art historians. In this series of six lectures, John Walsh, B.A. 1961, Director Emeritus of the J. Paul Getty Museum, in Los Angeles, presents an overview of Rembrandt’s career. Each lecture explores a single picture, first focusing on its details, then on its context. The series is prompted by the yearlong loan by Rose-Marie and Eijk van Otterloo of Rembrandt’s Portrait of Aeltje Uylenburgh.
Note: All lectures are held in the Robert L. McNeil, Jr., Lecture Hall. Seating is limited. Doors open one hour prior to each lecture.
Generously sponsored by the Martin A. Ryerson Fund.
Programs Advisory Committee
The Gallery’s new Programs Advisory Committee offers Yale students the chance to inform the content, focus, accessibility, and relevance of Gallery programs—from lectures and talks to performances and film screenings. Working closely with the Programs Department, the committee considers the Gallery’s University and local communities and how those audiences engage with the collection.
Meet the Curator
Molleen Theodore, the Associate Curator of Programs, a position generously funded by Jane and Gerald Katcher, is developing the Gallery’s new Programs Department, conceptualizing and overseeing programs that build on the current roster and envision new offerings to suit the expanded and renovated museum. She collaborates across the museum, the University, and the community, developing partnerships across disciplines, to foster programs that enhance and broaden visitor engagement with the works of art at the Yale University Art Gallery. In addition, Molleen has supervised students in curating exhibitions, including Many Things Placed Here and There: The Dorothy and Herbert Vogel Collection at the Yale University Art Gallery and Jazz Lives: The Photographs of Lee Friedlander and Milt Hinton. She has served as a critic at the Yale School of Art and a lecturer in the Department of the History of Art at Yale. Molleen holds a PH.D. from the CUNY Graduate Center with a focus on the art of the 1960s and 1970s.Download CV