A publication for the members of The Frances Lehman Loeb Art Center Fall 2009
F ro m t h e d i r e c to r
In Praise of Home Cooking When I was a freshman in college I paid my first visit to Manhattan and its vast cultural resources. While there, I met up with an acquaintance from high school who was a graduate student in art history at NYU. I asked him if he could recommend a good exhibition to see at one of the museums and he answered flippantly “There’s usually a good one at the Frick Collection.” These were the days when the Frick only exhibited its small, fabulous, but static permanent collection. Clearly the message was that great objects in permanent collections are often overlooked by visitors, even first-timers, for the sake of seeing the latest traveling blockbuster project. In spite of this modern fact of life, museums like ours continue to devote a portion of their resources to adding to and improving the permanent collection in order that they might fulfill their missions ever better over time. The wisdom of this strategy reveals itself during times of fiscal constraint and duress. When the cost of producing large traveling exhibitions cannot be met by the organizing institution or rented by a host venue, such plans are often cancelled or deferred. We have recently heard from several museums to whom we had promised to lend objects, that plans for the exhibitions had been shelved for a year or two or scotched altogether. It is at these times that fine permanent collections can be mined by creative curators for new meaning and interpreted for the public in exciting ways. To think of art storage as a pantry stocked with marvelous ingredients that can be combined in imaginative new ways, encourages us to cook at home rather than take out meals from restaurants. When I first arrived at this institution in 1991, this was a survival skill since we had virtually no money to spend on exhibitions. With growth over the years and the welcome arrival of several exhibition endowments, we have been free to import a certain number of key exhibitions. The Art Center’s exhibitions schedule for 2009-2010 is a mixture of rented and permanent collection projects but as we can expect smaller returns on the endowment over the succeeding two years, the ability to mine an even better permanent collection today (than in the early 1990s) will demonstrate its worth once more. There are collateral benefits to this approach. Curators are free to do more research on the objects in their care, something that can be supplanted as a priority by the needs of working with incoming traveling exhibitions. It also encourages input from faculty and other colleagues and can result in projects tailored to more specifically meet the needs of the Vassar curriculum. With these facts in mind, my thanks goes out to the farsighted and prescient directors and curators of the Vassar College Art Gallery who believed in building the art collection for the future since their future has become our present. James Mundy The Anne Hendricks Bass Director
Art at Vassar Fall 2009
Uncovering a Rich Trove
O N V IE W
Drawn by New York: Six Centuries of Watercolors and Drawings at the New-York Historical Society August 14 – November 1, 2009
Celebrating the four-hundredth anniversary of Henry Hudson’s famed voyage up the Hudson in 1609, the exhibition Drawn by New York: Six Centuries of Watercolors and Drawings at the New-York Historical Society also celebrates the rich trove of fine art found at the New-York Historical Society. The exhibition spans six centuries, from rare mid-sixteenth-century watercolors of European birds—precursors of the work of Audubon—to representations of the World Trade Center before and after September 11, 2001. Astounding visual records from early voyages of discovery as well as picturesque views of the sublime American landscape are also on display. The presentation includes images that evoke America’s growing wealth and power, such as Charles Dana Gibson’s satirical pictures of Gilded Age society, and celebrations of the American people, from portraits of explorers, artists, and inventors to images of immigrants, street vendors, and workers.
Joshua Rowley Watson (English, 1771-1818) View of Lake George, New York, Folios 37v-38r in a Sketchbook, 1816 Watercolor, graphite, and black ink wash on two sheets of paper, bound into a sketchbook; each sheet 4 7/8 x 8 7/8 inches New-York Historical Society, Museum purchase, Beekman Family Association Fund, 1958.85 Visitors to Drawn by New York can view the entire Watson sketchbook on a touch screen monitor and see the artists’ impressions of early America.
Organized by the New-York Historical Society, Drawn by New York provides an overview of the depth and range of the Historical Society’s important holdings, while allowing visitors a unique insight into America’s evolving image. The Art Center’s exhibition is a selection of eighty-one works from the larger, groundbreaking exhibition held at the New-York Historical Society in the Fall of 2008. The Society’s collection of watercolors and drawings was the first established in any public institution in the United States and includes a special concentration of works that reflect New York’s scenery, settlements, citizens, and collecting patterns (including its early sixteenth-century watercolors). Yet until now, this extraordinary collection of some 8,500 original works of art has never been the subject of a traveling exhibition. Following these guiding themes, the exhibition at the Art Center is arranged around New York’s scenery—its rivers, fall, and land; the state’s settlements; and portrayals of New York’s citizens, from colonial to contemporary times. Just as Niagara Falls and the Hudson River have charmed generations of artists, the state’s settlements—especially New York City—have attracted artists from the seventeenth century onward. The exhibition includes one of the first-known views of the city, then called New Amsterdam, from around 1650. A sweeping scene of the harbor and nascent city at the tip of the island, it abruptly contrasts with the grand, neoclassical architecture of the federal city in later works on view. The Great Fire of 1835 destroyed most of the buildings at the city’s tip and the business district of Wall Street, as is shown in Nicolino Calyo’s Neapolitan-inspired gouache of the city on fire, from sketches he made while watching the conflagration. Almost two centuries later the experience was replicated in Donna Levinstone’s pastel triptych, Eternal Rest. Levinstone’s emphasis on the fiery clouds of smoke around Wall Street’s World Trade Center updates the New York City theme to the recent past while also eerily recalling Calyo’s The Great Fire of 1835.
Fall 2009 Art at Vassar
Portrayals of New York’s citizens are also an integral part of the permanent collection of the New-York Historical Society. For example, the appealing 1798 portrait of Robert Fulton by John Vanderlyn drawn in revolutionary Paris with the then new Conté crayon, portrays the future developer of the highly successful steamboat, the Clermont, with romantic intensity. Depictions of significant people and events in the collection date to and even beyond the tragedy of September 11, 2001. The exhibition and its accompanying catalogue aim to uncover the riches of the NewYork Historical Society’s collection, spanning six centuries and developments in the American national identity, celebrating both art drawn in New York and art drawn by New York artists. The exhibition at the New-York Historical Society and the publication of the catalogue and its research were generously supported by the Getty Foundation, Leonard L. and Ellen Milberg, Barbara and Richard Debs, Pam and Scott Schafler, Eli Wilner & Company, Inc., The Samuel H. Kress Foundation, Furthermore: a program of the J.M. Kaplan Fund, Alexander Acevedo, and Graham Arader. Patricia Phagan The Philip and Lynn Straus Curator of Prints and Drawings
An Ode to the Hudson An Outdoor Concert with Pete Seeger On Saturday, October 10, American icon Pete Seeger performed a selection of inspiring songs complementing the exhibition Drawn by New York on the Vassar College Chapel Lawn. A regular on 1940 radio music shows, he played and sang with The Weavers in the 1950s, the song “Goodnight, Irene” being their most popular hit. A prolific songwriter, he wrote or co-wrote some of the most memorable songs associated with the 1960s, including “Where Have All the Flowers Gone?” and “If I Had a Hammer.” Seeger continues to inspire generations of Americans with his songs and messages of social awareness and responsibility. In 1969, he founded Clearwater, an environmental and educational organization that built a replica of one of the types of ships that sailed the Hudson River in the eighteenth and early nineteenth centuries. Through programs and classes aboard ship, Clearwater and Seeger have become leaders in the environmental movement to restore the Hudson to “clear water once more.” Seeger was joined by local musicians and student performers for a full afternoon of music and celebration. The concert was co-produced by the Art Center and Campus Activities.
Art at Vassar Fall 2009
U P COMI N G E X HI B ITIO N S
Albrecht Dürer: Impressions of the Renaissance November 14 – December 24, 2009
With keen curiosity and limited education, Albrecht Dürer interacted with leading humanists and scholars of the northern Renaissance, an exciting period when the spread of resurrected texts and classical art sparked a fashionable cultural revolution in his native Nuremberg. Their discussions and friendships inform many of his prints, which became monuments in the history of printmaking. The ideas Dürer confronted in his prints stem in part from his conversations with these scholars and their knowledge of ancient and contemporary literature made available in first and newly published editions. For instance, he often discussed intellectual issues with his dearest friend Willibald Pirckheimer, a Nuremberg scholar and translator who studied at the Universities of Padua and Pavia. Pirckheimer amassed a private library of classical texts and was at the center of the elite humanist circle in Nuremberg. As a result of these stimulating conversations, references to classical and humanist texts abound in Dürer’s work. For instance, knowledge of the tale of Prodicus, as told by Xenophon, emerges in his engraving, Hercules at the Crossroads, where the future hero must decide his road in life, whether to follow the difficult path of virtue or venture down the more convenient one of pleasure. Dürer’s design in this print melded story with knowledge of contemporary Italian art, especially engravings by Mantegna, such as his Battle of the Sea Gods. On the other hand, knowledge of contemporary Florentine humanist sources, such as the writings of Poliziano, can be seen in the artist’s Nemesis, or “The Large Fortune.” Here a formidable, severe goddess with “whirring wings” walking and “floating in empty air” oversees the destiny of a valley and village far below. Dürer’s fantastic rendering of Nemesis clings to the words of Poliziano’s poem. Revived classical sources and the rise of humanism attracted Dürer and propelled his prints of classical gods and goddesses, sea monsters, and satyrs, as well as his portraits of scholars. At the same time, interest in new theological writings stimulated the artist and his contemporaries and propelled their prints of Saint Jerome, biblical figures, Satan, and Death. Indeed, there was much scholarly activity at the time on St. Jerome, by Desiderius Erasmus and by Dürer’s neighbor and friend, Lazarus Spengler, among others.
Albrecht Dürer (German, 1471-1528) Hercules at the Crossroads, c. 1498 Engraving in black ink on cream laid paper Gift of Mrs. Felix M. Warburg and her children 1941.1.30
The exhibition is organized by The Frances Lehman Loeb Art Center and includes thirty-five prints from the permanent collection as well as a few loans, including contemporary books from Special Collections in the Vassar College Library. Included are numerous works from the Art Center’s Felix M. Warburg Collection of Old Master prints. Subjects range from portraits by Dürer of classical scholars Pirckheimer, Erasmus, and Philip Melanchthon to prints with biblical and allegorical themes, including Dürer’s Adam and Eve, St. Jerome in his Study, and Melencolia I. Engravings by his German contemporaries, such as Martin Schongauer, Georg Pencz, Heinrich Aldegrever, Hans Sebald Beham, and Albrecht Altdorfer are presented, as well as are prints by Italian contemporaries, including Marcantonio Raimondi. Patricia Phagan
The Philip and Lynn Strauss Curator of Prints and Drawings
Fall 2009 Art at Vassar
U P COMI N G E X HI B ITIO N S
Art in the Making Harry Roseman: Hole in the Wall January 29 – June 20, 2010
Harry Roseman (American, b. 1945) A study for forthcoming Hole in the Wall installation, 2009 Acrylic paint on photographic Giclee print Courtesy of the artist Harry Roseman (American, b. 1945) A study for forthcoming Hole in the Wall installation, 2009 Acrylic paint on photographic Giclee print Courtesy of the artist
Harry Roseman, the current chair of Vassar’s Art Department and professor of sculpture and drawing at the College since 1981, has been creating compelling art work in various media, including painting, drawing, sculpture, and photography, for nearly three decades. Roseman is a talented artist and professor who has gained a great deal of recognition for the diversity and the high caliber of his work. In addition to his studio work, he has been commissioned to create major works of public art, one of which is in the New York Subway at Wall Street and another is situated in New York’s John F. Kennedy Airport in the International Terminal. In July 2008, Roseman created a site-specific installation entitled Woven Walls at the Kleinert Art Center in Woodstock, New York, which serves as the inspiration for a new work he will create at The Frances Lehman Loeb Art Center over winter break. The Art Center has commissioned the artist to create a site-specific installation directly on a 30 x 14 foot wall in the atrium gallery, the bright, airy space that is the entryway to the main galleries. High overhead is a large round window that serves as the inspiration for the title of the exhibition. Roseman will create a painted drawing across the entire wall in response to the unique architecture and scale as well as other features particular to this space. Like Woven Walls, Roseman’s installation at Vassar will consist of a monochromatic drawing in acrylic or latex paint, applied directly to the walls. The making of the wall drawing is an intuitively driven, fluid process with details falling into place in response to the space. The towering walls of the atrium gallery, the verticality of the space, and other architectural elements will be incorporated into the
Art at Vassar Fall 2009
new installation. The artist intends to accentuate the height and airiness of the space by addressing issues of gravity and the elongating effect of the long and narrow proportions. The resulting work will alter the viewer’s experience of the space and the nature of the Art Center’s atrium gallery, breathing new life into this now sixteen year-old building. Roseman will work with composer Adrienne Elisha on a collaborative component of the installation, which will result in a live musical performance. Elisha is fascinated by the inherent possibilities of visual images and their translation into musical form, color, timber, and sonic imagery. Visual art has been a strong influence on her work and at times she has made abstract drawings as a preparatory step in structuring new work. The two artists, who have similar working styles, will work together and maintain a dialogue throughout the entire process, continually responding to one another’s work. The performance will be part of the seventh annual Modfest, a two-week campus-wide festival featuring music, dance, poetry, and visual art.
In Concert Mark your calendar for these two musical events presented in conjuntion with Hole in the Wall: Friday, January 29, 2010
Beginning at 5:30 pm there will be a brief lecture by the artist and a screening of a film showing the making of his Woven Walls installation, followed by a public concert premiering the new work by composer Adrienne Elisha in the atrium gallery. Thursday, February 4, 2010
During Late Night, composer Adrienne Elisha will perform newly commissioned work in the atrium gallery as part of Modfest. Late Night at the Lehman Loeb is generously supported by the Jane W. Nuhn Charitable Trust.
Harry Roseman: Hole in the Wall is the inaugural exhibition in a new program, which provides artists a laboratory-like environment to create new work on site. The program takes full advantage of the Art Center’s distinctive architecture and reflects our commitment to featuring contemporary art in the context of Vassar’s world-class collection. The commission is a continuation of the strong tradition of many successful programs that involve Vassar College bringing living artists to campus to create original works of art on the premises. The campus has hosted remarkable and memorable site-specific artwork in its rich history— from Tree Dance, the famous 1971 performance in which Gordon Matta Clark created a performance in a tree inspired by spring fertility rituals, to the 1997 installation of one of Sol Lewitt’s wall drawings, which was executed by studio art majors in the twentieth-century galleries. One of the goals of this project is to offer a new perspective on the museum environment as a place not only where art is exhibited, but also where new art is produced. Mary-Kay Lombino The Emily Hargroves Fisher 1957 and Richard B. Fisher Curator
Calling All Poets In conjunction with the ninth annual Modfest, an annual campus-wide celebration of music, dance, poetry of the past one hundred years, the Art Center is calling all poets to submit their original poems about works of art in the twentieth century galleries. Submissions will be reviewed and the selected poems will be posted on labels alongside the work of art that inspired them throughout Modfest. The deadline for submissions is Tuesday, December 1st. For more information, visit the Art Center website or call 845-437-7745.
Fall 2009 Art at Vassar
C U R ATOR ’ S CHOICE
A Painter to be Watched In an interview earlier this year, Thomas Nozkowski remarked about his painting process, “I believe that what I’m doing is actually very close to our normal way of looking at and thinking about the world. We slowly build up a whole web of associations and meanings.” One could say of Nozkowski’s long-lasting career as a painter, that he has slowly built up a web of meaning along with a growing appreciation for his work. While Thomas Nozkowski has never been a household name, he has from the beginning, achieved critical acclaim for his contribution to the field of abstract painting and he has earned a reputation as a talented, sophisticated, and innovative artist. His first solo museum exhibition organized by Jack Cowart at the Corcoran Gallery of Art in 1997 was positively reviewed in several publications including The Washington Post and The New Criterion where his work was compared to that of William Baziotes and Willem de Kooning.
Thomas Nozkowski (American, 1944 - ) Untitled (6-96), 1990 Oil on canvas board, 16 x 20 inches Gift of Thomas Nozkowski and Joyce Robins, in honor of Casimir Nozkowski, class of 1998. 1998.4
In 1998, Casimir Nozkowski (who is now a maker of films, websites, and videos including a few Youtube videos of his father) graduated from Vassar, and the artist and his wife Joyce Robins donated Untitled (6-96) to the collection in honor of their son. This painting, a fine example of his idiosyncratic world of flat, geomorphic shapes applied onto canvasboard, shows evidence of the artist’s painstaking process of layering paint only to scrape, sand, and wash down the surface and reveal what lies below. Freely floating against an indeterminate umber background his unique abstract forms in mustard and orange look like primitive silhouettes from another world. A delicately wavy, white line encircles these shapes, which seem to huddle together in the lower right corner. Since Vassar acquired this painting, many have commented on Nozkowski’s singular take on abstraction, his steadfast commitment to a particular format, and his ability to surprise his audience again and again. Ken Johnson, writing for The New York Times described his compositions as “often comically awkward”. He goes on to say that, “Surrealist, constructivist, Abstract Expressionist, and Pop influences are evident in pictures that seem by turns loopy, geopmetric, gestural, or cartoonlike.” An artist who never repeats himself but is known for his consistency, Nozkoski has uniformly (and perhaps rebelliously) stuck by his horizontal format and small scale of sixteen by twenty inches regardless of stylistic fashions that have come and gone. The choice to make works in this small scale also confirms his clear relationship to modern design including domestic items such as furniture and ceramics, perhaps a sensibility that lingers from the 1970s when he was primarily making sculpture. Today, Nozkowski’s paintings are still full of vibrant and original forms that are rich with emotion and delight. Nozkowski’s paintings have been shown in over 300 museum and gallery exhibitions worldwide, including 65 solo shows. Lately, his career has been experiencing a renaissance as renewed attention is being paid to the enormous influence he has had on other artists. In June 2007 ten works were featured in the much talked-about Think with the Senses, Feel with the Mind – Art in the Present Tense, Robert Storr’s exhibition at the Italian Pavilion at the Venice Biennale. Earlier that summer, Thomas Nozkowski: Subject to Change opened at the Ludwig Museum, Koblenz, Germany. Thomas Nozkowski: Paintings, a survey from 1979 through 2003, was organized by the Fisher Landau Center in New York in Spring 2008. Untitled (6-96) was recently included in a survey exhibition of the artist’s work at the National Gallery of Canada in Ottawa, Thomas Nozkowski, from June 26th through September 20, 2009. The exhibition, organized by Marc Mayer, included sixty paintings produced over the past twenty years gathered from public and private collections across North America for the largest exhibition of Nozkowski’s work to date. The catalogue includes essays by Mayer and Robert Storr and is the first major monographic publication on the artist. Mary-Kay Lombino The Emily Hargroves Fisher 1957 and Richard B. Fisher Curator
Art at Vassar Fall 2009
The Frances Lehman Loeb Art Center and the Vassar College community are pleased to welcome Diane Butler as the new Andrew W. Mellon Coordinator of Academic Programs. This new position at the Art Center was made possible through a $1.2 million challenge grant from the Andrew W. Mellon Foundation. The goal of this new position is to broaden and strengthen collaborations between Vassar faculty and the Art Center. In this role, Dr. Butler will work with faculty members to support the college curriculum with works of art in the permanent collection.
Butler received her Bachelor of Music from Bowling Green State University in 1982, her Teacher Certification from University of Wisconsin at Oshkosh in 1991, her Master of Professional Studies in African and African American Studies from Cornell in 1997, her Master of Arts in the History of Art and Archaeology from Cornell in 2001 and her Doctor of Philosophy the History of Art and Archaeology from Cornell in 2004. Her dissertation was entitled, Of Bodies and Borders: Images of Africans on Early Modern Maps and is being considered for publication.
Photograph by Gabe Schuster
Dr. Butler is well-suited for this new position. Most recently, Dr. Butler was a Visiting Assistant Professor of Africana Studies at Cornell University in Ithaca, New York. At Cornell, she taught Introduction to African Art, African Cinema, and Africa Through European Eyes. During her time at Cornell, both as a faculty member and as a graduate student, Dr. Butler worked closely with the Johnson Museum of Art. Dr. Butler curated several exhibitions, including Politics in Print, The Renaissance Body, and Virtue, Vice and Vanitas. Dr. Butler also catalogued the African Art collection at the Johnson and worked with her students on an upcoming interactive display of that collection. Dr. Butler has also served as Curator at the Picker Art Gallery at Colgate University in Hamilton, New York from 2002 to 2006. There she curated a diverse set of exhibitions including, Iraq 2003: the Fault Lines, An Eye for the Baroque: Highlights from the Collection of Arnold and Seena Davis, Lighting Up the Night Sky: Dutch Celebrations with Fireworks, and The Topical Thomas Nast: Race, Rum, Catholics, and Corruption. Diana Butler
Butler writes, “These varied positions have enabled me to enact a core belief that analytical engagement with original works of art can not only be inspirational, but utterly transformative, especially in the context of a liberal arts education.” Cathy Klimaszewski, Ames Associate Director for Programs and Curator of Education at the Herbert F. Johnson Museum of Art at Cornell, said of her former colleague, “Diane is a gifted teacher. She has had experience working with people of all ages, and she really shines with college students. A consummate scholar, she has a rare ability to capture the big ideas and help the students find connections that make them personal, relevant, and memorable.”
Sights and Sounds On Wednesdays at noon this past April, visitors to the Art Center were provided with a live soundtrack to accompany their visit. A new series, Notes on Art: Noontime Concerts at the Art Center, was developed in collaboration with the Music Department to celebrate the arts at Vassar and provide a musical interlude in the middle of the week for the community. Students took a break from their studies and staff members escaped their desks to listen to the works of Mozart, Brahms, Ravel, Gershwin and other composers performed by talented Vassar students. Gathering in the twentieth century galleries, listeners could enjoy these weekly performances while considering the work of Pollock, Rothko, and other luminaries from the permanent collection. The series will continue on Tuesdays at noon in April 2010.
Fall 2009 Art at Vassar
S EEI N G A N D L E A R N I N G
Lessons from Springside Local is a popular word these days. People are eating local, buying local, and acting local. Local is not so much a noun or geographic description, but more a verb: to be local is to have an awareness and commitment to the area where you live. This is not some new hipster trend. The United States was founded on community and a commitment to ‘the local’. The Art Center has recently put on exhibition three ‘local’ paintings by nineteenth century landscape artist Henry Gritten. The three canvases, promised gifts from Mr. and Mrs. Thomas Evans, Jr. (Tania Goss, Vassar College class of 1959) and conserved with the support of an anonymous donor and Anne P. Strain of Poughkeepsie, depict three views of Matthew Vassar’s summer residence, Springside. These paintings are local in a geographic sense because Springside was situated in Poughkeepsie off of what is now Route 9. Beneath a blue-sky sheep graze, cows are led down a dirt path, and a farmer and his young daughter walk to their home framed by autumn trees. The paintings offer the twenty-first century viewer a bucolic vision of mid-nineteenth century life in the Hudson Valley. Ms. Evans writes, “When I learned about the Gritten paintings coming up at auction, I felt that Vassar simply had to own them not only because they depicted Matthew Vassar’s property but more importantly because in their naïve way they gave historic and beautiful insight into mid nineteenth century life along the Hudson River Valley. It is no surprise that our first American painting movement originated from that area and produced some of our greatest treasures.” Our modern understanding of ‘the local’ is also rooted in these paintings. In 1850, Matthew Vassar purchased property in Poughkeepsie as a possible site for a new rural cemetery. With stunning views of the Hudson River, the purchase recognized the national trend to situate cemeteries in idyllic natural settings. However, when there was no response to Mr. Vassar’s solicitations to the public to purchase plots, he decided to use the property instead for his summer residence. Mr. Vassar commissioned Andrew Jackson Downing to design his country retreat.
Henry Gritten (English, 1818-1873) Springside: Scenic Paths and Gatehouse, 1852 Oil on canvas Promised gift of Mr. and Mrs. Thomas M. Evans, Jr. (Tania Goss, class of 1959)
At this time, Andrew Jackson Downing was a household name. Born in Newburgh, New York in 1815, Downing set out, in his words, to “contribute something to the improvement of the domestic architecture and the rural taste of the country”. By the age of twentyseven, Downing had not only improved but defined American taste. Downing did this by writing two influential books: A Treatise on the Theory and Practice of Landscape Gardening Adapted to North America (1841) and Cottage Residences (1842). Inspired by Romantic literature, particularly the work of Goethe, Downing believed in the transformative and fulfilling properties of the Beautiful. Downing did not consider the experience of the Beautiful the privilege of the wealthy. Downing instead advocated that every American deserved and would benefit from a comfortable and well-designed home. Now referred to as ‘the cult of domesticity’, authors like Downing and Catherine Beecher, believed that reform of the world should begin in the home. Downing wrote as a well-informed and practical friend. His inspiring essays in Cottage Residences are accompanied with detailed plans for several different homes ranging in style and affordability. His designs and advice also took into consideration the location of the home. A home in the south should look different than a house in the northeast; a home should reflect the place where it is built. His guidance was well - received. Americans had previously relied on English texts intended for the gentry. Suddenly there was a kind, intelligent American writing clearly
Art at Vassar Fall 2009
about living in America. Downing’s books were reprinted several times and Downing appeared as a regular columnist in the popular periodical, The Horticulturalist. When Downing died tragically in a boat racing accident in July 1852, the New York Tribune lamented there was “none whom the country could so little afford to lose, or whose service to the community could so little be replaced.” His untimely death makes the design of Springside all the more significant. Although Downing inspired the design of American homes, this was the only major domestic commission in his short life. The Gritten paintings are essential to demonstrating how Downing’s ideals were put into practice. The viewer notices the overall synthesis of the architecture and landscape design. Springside does not look like it was designed: Springside looks like it emerged. This effect is achieved by painting the structures in the colors recommended in Cottage Residences. The pale yellows capture the light and blend with the surrounding trees. The structures are built with wood and the siding is installed vertically. Downing argued that if trees grew vertically, lumber should be used vertically. Matthew Vassar welcomed the public to visit his Springside estate after it was completed. The Poughkeepsie Eagle declared in July 1852, “Surely, Paradise could scarcely have been lovelier.” Many Poughkeepsie residents enjoyed visiting the grounds and its fame became so great that a song, “Springside Mazurka” was written by Charles Grube. In 1864, Vassar moved permanently to Springside and asked the public that he may be allowed “a quiet retirement”. After Vassar’s death in 1868, the property changed hands several times and was finally declared a National Historic Landmark in 1969. The Springside Landscape Restoration group continues to work to preserve Springside and the property is once again open to the public. If we take our definition of ‘local’ from the model of Downing, then we would understand the term to mean a keen awareness, consideration and appreciation of place. If we include the model of Matthew Vassar, we expand the definition to include a commitment and contribution to the needs of the community. In keeping with these ideals, the Art Center is pleased to share these paintings with the Poughkeepsie community. There has already been a teacher workshop, in partnership with Dutchess County BOCES and Marist College, where area educators learned about and discussed how they could incorporate these paintings into their curriculum. We are in the process of developing an interactive website where visitors can delve further into the significance and history of Springside. More than views of pleasant pastures, these paintings serve as important reminders of the place and ideals upon which this institution was founded.
Springside: View of Gardener’s Cottage and Barns, 1852 Oil on canvas Promised gift of Mr. and Mrs. Thomas M. Evans, Jr. (Tania Goss, class of 1959)
Nicole M. Roylance Coordinator of Public Education and Information
Springside: View of Barn Complex and Gardens, 1852 Oil on canvas Promised gift of Mr. and Mrs. Thomas M. Evans, Jr. (Tania Goss, class of 1959) Recommended colors for home exteriors from Cottage Residences. Vassar College: Special Collections.
Fall 2009 Art at Vassar
MEM B ER S HI P M ATTER S
The Importance of Membership Being a member of The Frances Lehman Loeb Art Center is being part of a special community of art lovers. As a member, you can take pride in watching your contributions manifest themselves into programs, exhibitions and acquisitions.
Members look on as Don Nice discusses his work.
As the membership program continues to grow, so do the opportunities to go “behind the velvet ropes”. In June, members were treated to a rare gift – a studio visit with renowned contemporary artist, Don Nice. His home and studio are set among the beautiful Hudson River Valley in Garrison, New York, with views of Storm King Mountain and West Point – Beauty surrounds him. When we walked up the narrow staircase to his third floor studio, we saw that he is an artist who lives among his work. Members where completely in awe as the pages came to life with beautiful watercolors of blues, greens and browns. Just when we thought we couldn’t be shown any more, the roll of toilet paper came out! With sheets in-hand, Nice created clouds, mountains and fiords. Members were impressed how Nice not only talked about his passion for painting, but his passion for teaching. He emphasized the importance of teaching young artists that the quality of your tools matter. Use the good paper, save for the best brushes. These are not items to take for granted. There is an artistry found in their manufacturing. This year brings spectacular exhibitions to the Art Center with great opportunities for members to join in events in the Hudson Valley and beyond. New destinations will be introduced, taking us to institutions that have works from our permanent collection on loan. Allowing us to see, and hear, how the jewels of our collection shine with those of other institutions. Now more than ever, membership is vital to the success of the Art Center as well as the art world we hold dear. Whether you’ve been a member for 30 years or several, I am proud to call myself part of this incredibly dedicated group. Jennifer E. Cole Coordinator of Membership, Special Events & Volunteer Services
2009 Membership Membership contributions are vitally important in advancing art education and outreach programs for the community, the development of exhibitions, and the acquisition of works for the collection. Director’s Circle ($5,000) Judith Loeb Chiara ’49 Mary Pick Hines ’53 Arthur L. Loeb
Benefactor ($2,500) Joseph A. Coplin ’88 Jane Hertzmark Hudis ’81 Joan Oestreich Kend ’56 Dara Mitchell Offit Mary Ellen Weisl Rudolph ’61 Lynn Gross Straus ’46
Patron Members ($1,000) Frances Beatty Adler ’70 John P. Arnhold Andrea M. Baldeck ’72 Anne Hendricks Bass ’63 Christie’s James T. Curtis ’84 Mary Lee Lowe Dayton ’46 Elizabeth Bradley Dorsey ’44 Brent H. Feigenbaum ’82 Sheila ffolliott ’67 Julia Amster Fishelson ’46 Bettie Schroth Johnson ’56 James and Caroline Miller Kautz ’55
Art at Vassar Spring Fall 2009 2009
James K. Kloppenburg ’77 Luisa La Viola ’64 Linda Carr Milne-Tyte ’62 Grace McGraw Parr ’48 Belle Krasne Ribicoff ’45 Mary Coxe Schlosser ’51 Adam Sheffer ’90 David Smiley ’80 and Lauren Kogod Christopher R. and Roberta R. Tunnard Ann Thom Welles ’45-4 One anonymous donor
Donor Members ($500) Jean Coller Allen ’43 Jane Callomon Arkus ’50 Phebe Townsend Banta ’61 Mary Ann Bickford Casey ’60 Elizabeth Lewisohn Eisenstein ’45-4 Maryann Kallison Friedman ’55 Ann Snyder Harrod ’60 Frances Aaron Hess ’53 Anne Hoene Hoy ’63 Katharine Candee Hunvald ’52 Henry P. Johnson ’88 and Susan Imbriani Johnson ’87 Jonathan Kagan The Lachaise Foundation Jean Bronson Mahoney ’52 Mr. and Mrs. Jason D. McManus Steven W. Neu ’94 James G. and Purcell Scheu Palmer ’62 Patricia O’Brien Parsons ’51 Mr. and Mrs. Charles E. Pierce Lamson and Sally Lyman Rheinfrank ’63 Phyllis Davison Teasdale ’43
Judith J. Twombley Mr. and Mrs. Vincent Vallarino Nora Ann Wallace ’73 Sue Ann Gotshal Weinberg ’51 Ann Thom Welles ’45-4 Georgia Elmes Welles ’52 Katharine Stone White ’36
Sustaining Members ($250) Mr. and Mrs. Charles M. Andola Mary Benjamin Arnstein ’47 Dan and Sandra Bane Anne Miller Bennett ’61 Lydia Pratt Blackshaw ’52 Aurelia Garland Bolton ’57 Dorothy Addams Brown ’45-4 Barbara Buenger ’70 Anne Holton Bushman ’44 Sally Thackston Butler ’52 Dr. Michael and Betty Oseid Carey ’52 Elizabeth Goodrich Chamberlain’38 Sally Dayton Clement ’71 Katinka Podmaniczky Coleman ’39 Julia Blodgett Curtis ’62 Elisabeth Petschek de Picciotto ’50 Peter Donhauser ’81 and Whitney Wilson Donhauser ’89 Nancy Dunston Dorris ’62 Margaret Townsend Downward ’36 Dawn Weigert Effron ’57 Tania Goss Evans ’59 Carolyn Peck Farris ’53 Margot Hirsh Feely ’52
Linda Walder Fiddle ’81 Mary Ann Famiello Flemma ’54 Eleanor Fay Gambee ’62 Miriam Mendlovitz Gold ’53 Theodora Simon Greenbaum’47 Carla Lawson Gude ’65 Charlotte I. Hall ’54 Sara Green Handley ’72 Ann Snyder Harrod ’60 Mark Delavan Harrop ’76 and Lucy Mayer Harrop ’74 Margaret Frey Hastings ’55 Claire Werner Henriques ’52 Mary Lee Telley Herbster ’56 Isabelle Miller Hyman ’51 Martha Rivers Ingram ’57 Jane Reisman Jampolis ’59 Elizabeth H. Jones ’40 Juliette Saisselin Killion ’81 Ann Rasmussen Kinney ’53 Susan Cosgriff Kirk ’55 Margaret Newhouse Kirkpatrick ’74 Phyllis Bronfman Lambert ’48 Mr. and Mrs. Jeffrey M. Landes ’87 Judith Axenzow Lewittes ’63 William and Mary Lunt Elizabeth Cabot Lyman ’64 Virginia Cretella Mars ’51 Peter C. McGinnis Alice Pack Melly ’56 Elizabeth Gosnell Miller ’84 Florence K. Millar ’44 Ann Kieswetter Morales ’58 Priscilla M. Morgan ’41 Caroline Morris ’65 Sylvia Allen Nelson ’53 Mary Hyde Ottaway ’59 William A. Plapinger ’74
Anne Lyman Powers ’45-4 Elise Power Quimby ’56 Eleanor Mack Raths ’56 Katharine Lee Reid ’63 Rebecca Schmitt Richardson ’52 Deborah Menaker Rothschild ’71 Katharine Clapp Ruhl ’59 Louise Edelman Sagalyn ’47 Geraldine Poppa Schechter ’59 Ruth Ann Scherm ’45 Nancy Schwartz ’52 Adrian L. Scott ’57 Dorothy B. Seiberling ’43 Innis Shoemaker ’64 Milbrey Rennie Taylor ’68 Eleanor Mallory Thomas ’60 Suzan Barnes Thomas ’69 Helen Sonnenberg Tucker ’47 Anne Henoch Vogel ’63 Thomas Warfield Joan Andrews Watters ’50 Hope Manning Wismar ’57
Contributing Members ($100) Margaret Nichols Allport ’45-4 Phoebe Haffner Andrew ’60 Robert A. Annibale ’80 Joyce Jacobson Axelrod ’61 Susan Stevenson Badder ’63 Jane Myers Baker ’41 Betsy Shack Barbanell ’61 Vivian Endicott Barnett ’65 Marcia Linden Barr ’59 Meta Packard Barton ’50 Alexandra Grigg Beitz ’82 Karen Zelfman Bell ’68 Susan Stanton Benedict ’77 Thane E. Benson ’74 Jane Cohen Bergner ’64 H. Blair Bess ’80 Jeannetta Wilson Black ’40 Beverly F. Blatt ’65 Susan McCallum Bledsoe ’64 Albert and Susan Deisseroth Blodgett ’62 Deborah Boldt ’69 Aurelia Garland Bolton ’57 Sally Humason Bradlee ’51 Lois Fishstein Bregstein ’56 Barbara Bellin Brenner ’61 Barbara Buenger ’70 Mr. and Mrs. Nicholas K. Burke Sadie Jane Effron Cahn ’33 Georgia Sims Carson ’52 Barbara Philen Chase ’56 Richard H. Chazen Margaret Mears Cianfarini ’70 Robin Rowan Clarke ’60 Frances White Cohen-Knoerdel ’55 Elizabeth Randolph Cole ’53 Glenn and Madaleine Cole Mary Hawkins Cook ’59 Milton and Lilla Blumenthal Cooper ’49 Kimberly Shuck Cowan ’87 Julia Cuniberti ’44 Rochelle Rudolph Cyprus ’61 Clare L. Dana ’64 Joan K. Davidson Laura D. Davis ’79 Mr. and Mrs. Malcolm H. Davis Sally Bixby Defty ’53 James H. DeGraffenreidt, Jr. and Mychelle Farmer Jeanne Marie Del Casino ’74 Lisa Denby ’87 Patricia Ellen Deneroff ’73 Elisabeth Petschek de Picciotto ’50 Nilufer Ozizmir DeScherer ’83 Stephen Dewhurst ’75 Carol Nipomnich Dixon ’57 Karen B. Domino ’73
Karen M. Dowd ’84 Christopher D. Drago ’98 Harriet Bouvy Drake ’52 Lucinda Nash Dudley ’57 Dana Hutchinson Dunn ’71 Elizabeth Hires Edelson ’96 Mr. and Mrs. Jack Effron Charles J. Engel Eleanor Morss English ’41 Lisa Engoren Mary Lloyd Estrin ’66 Debra Barnhart Fairweather ’78 Mr. and Mrs. Stuart P. Feld Naomi Goldstein Feldman ’52 Frances Daly Fergusson Joanne Bluestone Feuerman ’64 Linda Walder Fiddle ’81 Mr. and Mrs. Dan Finkle Geraldine Gewirtz Friedman ’41 Ann Walker Gaffney ’59 Arthur L. Gellert Maryann P. Genco Enid Fessenden Gifford ’45 Mrs. Frederic S. Glazener Robert F. and Margaret Skelly Goheen ’41 Paul E. Greenberg ’83 Reva Messeloff Greenberg ’58 Alison de Lima Greene ’78 Louisa B. Grenquist ’95 Karen Margolis Griswold ’82 Jerome and Debbie Grossman Dr. and Mrs. Arthur H. Groten Joan Joffe Hall ’56 Gloria Shaw Hamilton ’41 Shirley M. Handel Joseph and Susan Witter Handelman ’54 Ann Snyder Harrod ’60 Maryalice Peirce Hartshorn ’62 Nancy N. Hathaway Christine Havelock Dorothy Kittell Hesselman ’51 Ann Heywood Frances Benson Hogg ’62 Alice Ingram Hooker ’55 Anne Hoene Hoy ’63 Mary Alice Hunter ’38 Dr. Stuart Isaacson Waleska Evans James ’45-4 Margaret Daly Johnson ’84 Roxy Johnson Deborah G. Jones Evie T. Joselow ’83 Sara Caldwell Junkin ’64 Virginia Lewisohn Kahn ’49 Karen Garver Karl ’72 Juliana Boyd Kim ’69 Margaret A. King ’87 Mr. and Mrs. Joseph Kolanko Mr. and Mrs. Michael Korda Sarah Schoenkopf Kovner ’57 Jane Krupsaw ’66 Jayne M. Kurzman ’68 Rose Kean Lansbury ’53 William and Catherine Leach Heather J. Lemonedes 3 Paul G. Lenhart ’79 Joseph P. Leonardo ’90 Walter A. Liedtke Gay Patterson Lord ’57 Margaret Thom Lovejoy ’39 Frances Levison Low ’41 Ken Lustbader ’83 Kathleen Brown Mantaro ’86 Eric Marcus and Eslee Samberg Drs. Joseph and Margaret Marcus Aura S. Marinescu ’84 Elizabeth Fox Martin Dr. Paul Masters and Dr. Jill Taylor Susan Matorin ’64 Janet Maughan Karlan Sloan McCarthy ’61 Jean Humason McCullough ’51 Thomas and Gail Levy
McGlinchey ’64 Bannon Jones McHenry ’52 Christine McKay Susan McKone-Burks Brendan McMahon ’07 Rev. Mary Bigelow McMillan ’41 Margaret MacInnis Meagher ’62 Charlotte Saville Metcalf ’62 Ellen Elting Michelman ’58 Jay D. Montfort ’89 Eleanor Johnson Moore ’56 Carol Ross Moran ’55 Elizabeth Motika Patricia Grant Mudge ’50 Edward J. Mulvey Anne B. Ogden ’68 Mary Holl Oldshue ’73 Eric D. Ort ’86 Lynda Wallace Painton ’61 Valerie Ritter Paley ’83 Dr. and Mrs. Robert Palmer Benjamin A. Pardo ’83 Suzanne F. Patterson ’57 Jane Gale Pattison ’58 Marjorie Fingerhood Pfeffer ’41 Katherine Hibbs Pherson ’83 Mary Ellen Schwartz Pindyck ’68 Colleen Bell Plantinga ’74 Robert L. Pounder Nancy L. Purdy ’51 Gloria Rabinowitz ’59 Lucile Thiessen Rawson ’61 Alden Calmer Read ’52 Marilyn Resnick Redfield ’62 Pauline Ashley Reid ’49 Evangeline B. Reilly Kelly K. Reynolds ’87 Margaret Milner Richardson ’65 Mr. and Mrs. John Rinn Eleanor Little Roberts ’49 N. Elizabeth Roberts ’80 Barbara Aaron Rosston ’84 Maxine Aaron Rosston ’46 Audrey Lewis Ruge ’73 Wilfrid E. Rumble Margaret Shafer Saunders ’48 Elisabeth Barrett Schalk ’63 Viktoria Coleman-Davis Schaub ’73 Norma Honig Schlesinger ’52 Jane Carney Scully ’65 Elizabeth Wade Sedgwick ’36 Roberta I. Shaffer ’74 Richard J. Shea ’85 and Lytitia Fadell Shea ’86 Elizabeth K. Shequine Leslie H. Shih ’90 Innis Shoemaker ’64 Frances Liepold Singer ’53 Jane Wade Skorko Mr. and Mrs. Pierce Smith Tessa Bowman Smith ’54 Richard Smolin Jill Spiller ’63 Barbara Hadley Stanton ’57 Phoebe Rentschler Stanton ’50 Nancy Raab Starnbach ’61 Bryna Horuvitz Sweedler ’61 Bernadette Symanski Steven Terr Mary Ellen Aamot Thierheimer ’67 Felicitas Thorne Janeth Lloyd Thoron ’53 Judith Fiedler Topilow ’63 Ludmilla A. Trigos ’86 Freda Coffing Tschumy ’61 Catharine Valentour John Veres Alice Myers Wald ’62 Lois Kahn Wallace ’61 Nancy Walsh David I. Watson Sylvia Babcock Weaver ’46 Lillian Weigert
Elizabeth Bassett Welles ’59 Lenore Levine Weseley ’54 Marcia Goldman Widenor ’51 Leah Johnson Wilcox ’69 Wildenstein & Co., Inc. Howard and Lenore Litzky Winkler ’56 Mr. and Mrs. William Wixom Agnes Strauss Wolf ’43 Robin L. Woodard ’69 Myra Krieger Zuckerbraun ’59
Individual Members ($50) Sheila Nipomnich Abrams ‘52 Diana Adams Catherine W. Albanese Lydia Tyner Anderson ’44 Mary White Anderson ’43 Tom Anderson Georgia Perkins Ashforth ’54 Liane Wiener Atlas ’43 Margot Schutt Backas ’54 Margot Farr Baldwin ’57 Dorothy Baran Marcia Linden Barr ’59 Bernadette Barrett Meta Packard Barton’50 Edith McBride Bass ’54 Cynthia E. H. Baughman ’68 Joan Dreyfuss Baumrind ’51 Barbara Courier Bell ’63 Susan Koelle Bell ’61 Marco S. Bellin ’89 Nancy Bialler ’69 Susan McCallum Bledsoe ’64 Betty Lou Perlroth Blumberg ’58; ’57 Lois Dalis Blumenfeld ’48 Ray F. Boedecker Jean Ramsey Bower ’57 Judy Brand Dr. and Mrs. Eric Brocks M. Elizabeth Brothers ’50 Ann Distler Brown ’48 Maryann Bruno ’82 Alice Ramsey Bruns ’31 Carol Boyd Burkle ’59 Alison H. Burr ’77 John B. Carroll ’72 Patricia Purcell Chappell ’54 Eliza Childs ’71 Jo Ann Citron ’71 Angela M. Clark Dumont M. Clarke ’74 Rosemary Klineberg Coffey ’57 Judith Simon Cohen ’59 Glenn and Madaleine Cole Sherri Manly Cornish Dr. Elizabeth Kay Spencer Crabb Anne Goheen Crane ’63 Nancy Fryer Croft ’69 Elaine Crosby Maria Martinez Cullen ’61 Rochelle Rudolph Cyprus ’61 Ziva Eckstein Dahl ’65 Elizabeth Adams Daniels ’41 Emily Darrow ’87 Ann Gouger Davis ’61 Mary Lou Benson Davison ’40 Margaret Goodman Decker ’45; 46 Sally Bixby Defty ’53 Barbara Rowe deMarneffe ’52 Barbara Singer Demerath ’72 Lillian DePasquale Allen Deragon Lee Martin DeYoung ’70 Ernest J. Dieterich Carol Nipomnich Dixon ’57 Deborah Detchon Dodds ’65 Karen B. Domino ’73 Dorothy Varisco Donaho ’45 John M. Donoghue Nancy Swan Douglas ’48 Margaret Anne Doyle
Spring Fall 2009 Art at Vassar
Mary Ellen Blumenfeld Doyle ’60 Jack and Joan Coan Dunbar ’48 Wendy Lipsey Ecker ’62 Edith McLane Edson ’47 Constance Comly Ellis ’56 Howard A. Ellis Marygrace Elson ’78 Camille Cottrell Espeut ’45-4 Alicia Craig Faxon ’52 Joan E. Fay Elisabeth West FitzHugh ’47 John A. Fitzsimmons, Jr. Blair Fleischmann Patricia Stubbs Fleming ’57 Judi H. Freeman ’78 Sarah Winters French ’54 Ruthellen Fried ’72 Joan Mann Friedman ’44 Christine R. Fritz George Gallup Turkan Kumbaraci Gardenier ’61 Jane Lothrop Gardiner ’53 Christine Benedict Garo ’46 Mr. and Mrs. M. Gregg Gau Daisy D. Genrich Pamela Miller Gerard ’56 Peggy Pike Gesell ’35 Eleanor Graefe Clare Downey Graham ’68 Elizabeth Jane Green ’73 Ron Green Errico W. Gregory Louisa B. Grenquist ’96 Jacob Grossberg Mr. and Mrs. Andre D. Guenoun David Hagstrom Rev. Robert C. Hamlyn Louise Lipsey Harpel ’58 Maryalice Peirce Hartshorn ’62 Delmar Hendricks Alison D. Hinchman ’94 Oldriska Penizek Hutcheson ’54 Alison Church Hyde ’59 Helene Cohn Isaac ’52 Elizabeth Wade Isham ’51 Roxie Johnson Molly B. Jones Ellin Roudin Kalmus ’46 Gilda M. Karu Colleen M. Kelly Sarah L. Kennedy Juliana Boyd Kim ’69 Marcia Tuttle Knowles ’41 Marjorie Fine Krems ’85 Benjamin N. Krevolin Elizabeth DeLong Kuhl ’47 Cheryl C. Kurer ’79 Alice Louise Beal Kurten ’52 Anna S. Kwawer ’07 Michelle C. Lamuniere ’88 Kathleen Holman Langan ’46 Ann Carnohan Lawson ’55 Carol L. Lawton ’71 Carla Linscheid Lerman ’54 Jane A. Levenson ’61 Zoe Webber Levinson ’45 Karen Joy Lewis ’68 Sherry Rabbino Lewis ’54 Marion Siskind Liebowitz ’54 Naomi Riker Linzer ’46 Elaine C. Lipschutz Janet West Lloyd ’55 Ann Hume Loikow ’70 Alison Luchs ’70 Jayne Luttinger Susan Widing Lynch ’76 Kathleen Brown Mantaro ’86 June Ross Marks ’49 Carol Buettner Marley ’64 Natalie Junemann Marshall ’51 Jon Massaro ’78 Carole Ann Mazer Phoebe Dare Anderson McCarthy ’69
Art at Vassar Spring Fall 2009 2009
Ann Mehaffey Mr. and Mrs. Jeffrey Messinger Beatrice Berle Meyerson ’52 Dr. and Mrs. John Mitamura Lillian Moerschell ’71 Stephen Richard Motika Lois R. Mound ’63 Jeanne Bernhard Opdycke ’57 Joan M. Oury Kathryn L. Perkins Ann Shanedling Phillips ’57 Jean Daniels Portell ’62 Kelly Porter Elizabeth Stratton Pratt ’50 Anthony Prizzia Teresa Quinn John Rapp Carol L. Reichert Evangeline B. Reilly Samuel W. Rein Ethel L. Richardson ’70 Nancy Bailey Riegel ’57 Suzanne H. Rodgers ’61 Mr. and Mrs. Barry Rosen Rosalie C. Rossi Mr. & Mrs. Lawrence Rothbaum Diana Nieman Rothenberg ’63 Joseph Rubenstein Judie Rubin Genevieve McSweeney Ryan ’80 Mary Hyman Samuels ’40 Prof. and Mrs. Peter Saul Dr. and Mrs. Edward Scarvalone Phyllis Wurtzel Scherr ’70 David M. Schwartz Perle Klausner Scope ’51 Nancy Row Scott ’70 Jane Corney Scully ’65 Elayne Seaman Anne Munger Seavey ’42 Herbert L. Shultz Gail Simon Rev. and Mrs. W. Winston Skinner, Jr. Beverly LeBov Sloane ’58 Janet Simon Smith ’35 Kathleen Tener Smith ’65 Patricia Osborne Smith ’50 Donald Spanel Elizabeth Bigelow Stewart ’44 Barbara Finch Stock ’53 Mary Worley Stone ’48 Anne Parks Strain ’56 Mary Kay Sullivan ’72 Kathryn Knowles Suminsby ’56 Elizabeth Myerson Tableman ’43 Whitney Templeton ’89 Nancy Cale Thompson ’61 Jessica Tomb Kristen E. Vale ’96 Mary Congdon Van Evera ’43 Maria Verven Caroline Gregson Wabl ’95 Harriett Gordon Wagman ’54 Dorothy H. Walter ’07 Lesley Yu Walter ’74 Alvin Wanzer Katharine Stevens Ward ’44 Estelle Cashman Weedon ’64 Anne Weil Weinberg ’64 Emilie Lagerholm Welles ’55 Sherrill Brown Wells ’62 Constance Eustis Weseloh ’48 Margaret Whelan Carol C. Williams ’59 Susan DeBevoise Wright ’69 Kenneth T. and Barbara W. Yanavage ’84 Anne Hines Young ’81 Susan Babson Young ’61 Ellen Almoian Yuracko ’61
Junior Members Douglas A. Dalesssandro ’07 Reed M. Handley ’08 Anna S. Kwawer ’07
Eleanore R. Neumann ’07 Daniel Wong ’12
Student Members Rebecca Aleman ’10 Ashley Alter ’10 Caitlyn Anderson ’12 Eleanor Boothroyd ’10 Lynne A. Ciccaglione ’11 Lindsay Cook ’10 Elizabeth C. Crabb ’12 Chelsea Dahl ’09 Mariclare Dasigenis ’12 Brian D. Farkas ’10 Julia Fields ’12 Walter W. Fisher ’12 Elizabeth M. Gardner ’09 Lucien P. Garo ’11 Anna-Elysia Glover ’11 Anna Nichole Gorman ’10 Danielle Goodman-Levy ’09 Alice B. Grossman ’10 Sarah Harshman ’11 Emily J. Hefter ’12 Virginia Herbert ’12 Sydney Hessel ’12 Jill Kaufman ’10 Chelsea E. Kelly ’09 Meredith Kendall ’09 Ida Kershaw Caroline Kessler ’12 Ani S. Kodzhabashera ’12 Hannah K. Kullberg ’10 Greg Brian Lichtenstein ’12 Chelsea Mitamura ’11 Samuel Murray ’12 Rachael Nease ’09 Maria Laura Ribadenoira ’10 Jennifer Richards ’10 Anna Rogulina ’11 Hannah Roth ’09 Eric Schuman ’12 Jennifer Shiroky ’11 Lia S. Simonds ’10 Allison H. Smith ’10 Michelle L. Stein ’10 Magnolia Swanson ’12 Alexandra M. Thom ’09 Evan Waldron ’12 Tiffany Win ’12 Daniel Wong ’12
Donors to Special Funds: Purchase, Reunion, Matching Gifts, Bequests, Special Events Ernst & Young Foundation Matching Gift Program ExxonMobil Foundation, Inc. IBM Matching Gift Program Andrea Leeds Miron ’75 Moody’s Foundation Matching Gift Program Jane W. Nuhn Charitable Trust Patricia O’Brien Parsons Marcia Goldman Widenor ’51
Gifts were given in memory of: Isabelle Pounder
Photography Council Lisa Arons Aldridge Frank Arisman Michael and Joyce Jacobson Axelrod ’61 Dr. Andrea M. Baldeck ’72 James C. Curtis ’84 Louise Field Susan M. Fowler-Gallagher Howard Greenberg Maryalice Peirce Hartshorn ’62 James Kloppenburg Sam J. D. Lehr ’87 Ann Lawrance Balis Morse ’59 Bryna Horuvitz Sweedler ’61 Artur Walther
Friends Council George Adams, Jr. Jane Callomon Arkus ’50 Andrea M. Baldeck ’72 Joan Hirschhorn Bright ’83 Anne Holton Bushman ’44 Jennifer Cole James T. Curtis ’84, Chair Virginia Herrick Deknatel ’29 Whitney Wilson Donhauser ’89 Harriet Bouvy Drake ’52 Sheila ffolliott ’67 Maryann Kallison Friedman ’55 Mary Weitzel Gibbons ’51 Nancy Gail Harrison ’74 Claire Werner Henriques ’52 Mary Pick Hines ’53 Steven Hirsch ’71 Anne Keating Jones ’43 Evie T. Joselow ’83 Jonathan Kagan Juliette Saisselin Killion ’81 Susan Cosgriff Kirk ’55 Heather Lemonedes ’93 Gay Patterson Lord ’57 Jean Bronson Mahoney ’52 Andrea Leeds Miron ’75 Dara Mitchell Offit Ann Lawrance Balis Morse ’59 James Mundy ’74, The Anne Hendricks Bass Director Purcell Scheu Palmer ’62 Robert Pounder Belle Krasne Ribicoff ’45 Harry Roseman Mary Ellen Weisl Rudolph ’61 Mary Coxe Schlosser ’51 Adam Sheffer ’90 H. Peter Stern Christopher Tunnard Katharine Stone White ’36 Allison C. Whiting ’86
Staff James Mundy The Anne Hendricks Bass Director
Mary-Kay Lombino Emily Hargroves Fisher ’57 and Richard B. Fisher Curator
Patricia Phagan The Philip and Lynn Straus Curator of Prints and Drawings
Diane Butler Andrew W. Mellon Coordinator of Academic Affairs
Nicole M. Roylance Coordinator of Public Education and Information
Jennifer E. Cole Coordinator of Membership, Special Events & Volunteer Services
Joann Potter Registrar
Karen Casey Hines Assistant Registrar
Bruce Bundock Preparator
Francine Brown Office Specialist
Beverly Doppel Membership/Accounting Assistant
Matthew Woodard Dominick Canino Manfred Schunzel Museum Guards
Dances at an Exhibition
L ATE N I G HT AT THE L EHM A N L OE B
On a typical museum trip, visitors usually take two postures: sitting or standing. Interior yearnings to move are usually suppressed (or stopped by a security guard). This past July, members of the 2009 Powerhouse Apprentice program crawled, jostled, shimmied, flitted, and tumbled through the twentieth-century galleries as part of the “soundpainted ballet” Dances at an Exhibition. The apprentices responded to 750 gestures, based on a sign language created in the 1970s by Walter Thompson, from director and conductor Mark Lindberg. The one-hour performances captivated museum visitors who were impressed by the frenetic energy of the apprentices. At the command of Lindberg, performers responded to his gestures and transformed the gallery space. Late Night at the Lehman Loeb is made possible by the generous support of the Jane W. Nuhn Charitable Trust.
Members of the Powerhouse Apprentice 2009 Apprentice Company perform in the twentieth century galleries. “Soundpainting: Dances at an Exhibition,” the 2009 Powerhouse Apprentice Company © Vassar College/ Buck Lewis.
Fall 2009 Art at Vassar
Non Profit Organizaion U.S. Postage Paid Permit No. ## Utica, NY
A publication for the members of The Frances Lehman Loeb Art Center Fall 2009
Left: James E. Allen (American, 1894-1964) Teeming Ingots, 1935 Etching, 22 x 16 inches John P. Eckblad Collection.
At the Heart of Progress: Coal, Iron and Steam since 1750 Industrial Imagery from the John P. Eckblad Collection
On the Cover: Thomas Davies (English, c.1737- 1812) Niagara Falls from Above (detail), c. 1766 Watercolor, brown and black ink, gouache, and graphite with selective glazing; graphite, 13 1/2 x 20 3/4 inches The New-York Historical Society, Museum purchase, Traveller’s Fund, James S. Cushman, and Foster-Jarvis Funds, 1954.2.
January 22- March 21, 2010 At the Heart of Progress examines the legacy of coal, iron, and steam through prints and posters drawn from one of the most extensive private art collections associated with industry and labor. Organized by the Ackland Art Museum at the University of North Carolina at Chapel Hill, the exhibition surveys the Faustian bargain between humanity and carbon. The exhibition of seventy prints, five books, and one children’s toy, focuses on several themes including, mining, iron, and steel making, smokestack landscapes, and images of laborers. Its wide artistic range includes eighteenth-and nineteenth century English and French landscapes, and post-impressionist images from the golden age of French printmaking in the 1890s. The exhibition is generously supported at Vassar by The Friends of the Frances Lehman Loeb Art Center Exhibition Fund.
Art at Vassar Fall 2009
The Frances Lehman Loeb Art Center 124 Raymond Avenue, Box 703 Poughkeepsie, New York 12604 http://fllac.vassar.edu The Art Center is open Tuesday to Saturday 10:00 to 5:00, Thursday 10:00 to 9:00, and Sunday 1:00 to 5:00. We are closed Thanksgiving Day, and from Christmas to New Year’s Day.