Student Magazine Collection No. 8 (December 2024) by wellinmuseumofart

Collection

Welcome to the eighth edition of Magazine! This edition highlights the Wellin Museum’s 2024-25 exhibition, extended interviews with curator Liz Shannon and featured artist Alexa Hatanaka. We explore how Menagerie intersects with the performance of gender and erotic art as well as showcase local artists and their work. We have also created enjoyable interactives, from an exciting word search to a puzzling crossword.

This edition was created through community. A community that started with our predecessors Celia, Sae, and Miriam who made the very first Collection Magazine just a few years ago. As a new team, we have worked hard this semester to follow in their footsteps while adding our own personal touches. With four out of five new members, we definitely encountered many bumps in the road. Whatever the bump (and there were many), we were sure to laugh our way through it. And the whole museum heard.

Museum Educator Marjorie Hurley was instrumental in guiding us as we explored our personal interests in art, learned the inner workings of InDesign, and proofread and copy edited articles dozens of times. Thank you Assistant Registrar Laura Laubenthal for fulfilling our countless image requests, and thank you to our larger Wellin Docent community for offering us support wherever we needed it!

We hope that these pages bring you closer to your neighborhood art museum: The Wellin! We intend for these articles to peak your interest in art and allow you to interact with all the happenings at the Wellin museum. We hope you find joy in scribbling down your answers to the crossword and listening to our music suggestions. All while, of course, encouraging you to come and explore Menagerie: Animals in Art From the Wellin Museum!

Until then,

Menagerie: Animals in Art From the Wellin Museum. It includes many

Here's to Collection no. 8! With many more to come...

With Menagerie Curator

Liz Shannon

By Lily Watts & Eliza Behrke

In an interview with Dr. Elizabeth (Liz) Shannon, the Collections Curator at the Wellin Museum, we discuss what her job as curator entails and how she developed Menagerie, the museum’s current yearlong exhibition. Liz talks about the inspiration behind the show, which brings together nearly 300 objects from the museum’s diverse collection of nearly 10,000 works. She reflects on the process of selecting pieces that span numerous cultures and periods, the importance of showcasing underrepresented artists, and how Menagerie invites visitors to reflect on their relationship with animals and the environment.

Eliza: Liz, you're the Collections Curator here at the Wellin. What exactly does that entail?

Liz: It entails lots of things! I manage the collections department. I'm lucky that it's not just a department of one. I have Laura [Laubenthal], my assistant registrar. We work with Tracy [Adler, Johnson-Pote Director] and other members of our team to figure out what we're going to purchase, and then take forward all of those purchases, get the works into the museum, catalog them, and care for them. We manage all of the spaces where we're storing art and arrange all the works on the painting racks. We have new works that are coming in but also works that have been in the collection for a long time. We want to make sure that [the public] can find information from 50 to 100 years ago...We also research the collection, manage all the collection class visits, and curate our Archive Hall and our Object Study Gallery.

Eliza: What brought you to the Wellin?

Liz: I hadn’t worked in a teaching museum before the Wellin, but I have an academic background. I have a PhD in Art History and have taught Art History and History of Photography at several colleges. I’ve also worked in various museums and art spaces. When I saw the job at the Wellin, I was struck by the combination of a strong contemporary art program and the teaching aspect on a college campus. It’s rare to find an institution that engages both with its collection and with interesting contemporary artists.

Lily: It is a special place! This is also a special exhibition. We're interested in what inspired the concept of Menagerie.

Liz: We work with contemporary art often, but we also have this collection that's approaching 10,000 objects across periods and cultures. I wanted to find a theme that was going to enable us to dig into the collection and be as open as possible for everyone. Not everybody feels like art museums are for them. But who doesn't like animals, right? We wanted a theme that would be broad, which would enable us to cover a wide period and have many different artists and cultures represented.

Lily: I can tell you that I would have been very overwhelmed if I were in your position. I'm so indecisive, I think the walls would be completely covered from the floor to the ceiling in art.

Liz: There’s a lot going on. And we’re trying to include as many works by women and people of color as possible. We have an awful lot in the collection by straight white men, not to anybody’s surprise. For example, we have a couple of Walter Williams prints that we forgot about. I thought, ‘This is a Black artist whose works we’ve never shown.’ He's an underrecognized artist, and many of his works include animals, so we can give him a platform in this show.

Lily: I didn't know that you guys wanted to highlight underrepresented artists in this show.

Liz: Not necessarily highlight them, but we are trying to diversify the collection in many ways. Sometimes our records don't reflect things that are now important to us. In the past, it may not have been as relevant to have information about an artist’s identity, but now that is something that students want to know. If we were coming across objects that we felt were interesting by artists that we weren't immediately familiar with, we chose to research more about [their background]. This sometimes turned up information that was interesting and useful, and helped to diversify the knowledge that we held about the artists in the collection.

Eliza: So, by and large, rather than finding new objects, you’re digging deeper into older objects—specifically on the identity of who created them?

Liz: In general, finding out more about the objects themselves and some of the topics that these objects engage with. Really understanding, like, ‘Why was this work made at this time? Who is this artist? What were they doing? What are they about?’ It's enabled us to do a lot more with what we already have.

Lily: Do you have a favorite piece in the exhibition?

Liz: I have a bunch of favorites. Sometimes the images in the database aren't amazing, but then you see the work in person, and it's beautiful! We have a print by Félix Bracquemond, Swallows in Flight, with birds flying all over the page, and one is breaking out through the border, coming right at you. It's just gorgeous.

Photograph by Janelle Rodriguez

And I found out all this stuff about Bracquemond: his connection to Japanese prints, his friendship with Manet, and how he helped get the Impressionists into printmaking. Discovering all this history is what I love. The print is just great, and nobody has engaged with it for a long time!

Eliza: As you mentioned, the collection of objects housed here at the Wellin is extensive. What would you say are the strengths and weaknesses of working with such a large and diverse collection?

Liz: One of the challenges is that it's a large collection, and we have a small museum staff and collections team. Also, when you’re working on a college campus or any institution that’s been around for a while, objects come into the museum, and the context of why they’re here may not be preserved. I’m lucky because I’ve got an awesome team, and sometimes we can track down that information.

Lily: Do you feel like you faced any of those challenges in curating this exhibition specifically?

Liz: Oh yeah, all the time. We’ve got the Luan bird Chinese censer, a bronze incense burner. Not long after I started, a professor asked if we had materials related to the Silk Road. This object came up, but there was confusion over whether it was Chinese or Persian, and if it was a peacock or something else. We didn’t have solid information, and the piece wasn’t in great shape either. So, I sent it off to be conserved. The conservator confirmed it had likely been buried, maybe as a funeral good. It's very old, and we may learn more in the future about how it ended up in Central New York. If we discover it shouldn’t be with us, we'll address that.

Lily: That's what’s special about this museum, being on a college campus. We have special resources because we are connected to an academic institution.

Liz: Yes! We’re lucky that we have seminar room spaces where students can handle certain objects with clean hands under supervision. For example, we’ve discussed how there are problematic issues surrounding some of the objects that have ended up with us. But it is important to be able to talk about, explore, and understand the impact of colonialism; what that means in terms of museums, culture, what we're taught, and what we're taught to value. How did we end up here? Where did we come from? You can trace that story through the collections that we have here, and at Hamilton more generally.

Lily: I was curious about what messages or feelings you want visitors to take away from this exhibition. Is there a central message you want people to walk away with?

Liz: There were a couple of things I was thinking about while the exhibition was developing. I hope that anybody who comes to see the exhibition can have just a positive museum experience. I wanted this show to be one where you could come in, not read a single label, and still take something away.

I also wanted to hopefully encourage people to be more aware of the animals in our environment and think more about animals and how we utilize all aspects of them, like in a literal, practical, ‘I'm wearing leather shoes’ way. Or, in pop culture, if someone describes you as a ‘beast,' is that good or bad? Context is important.

Lily: I think it's good!

Liz: Well, it's dehumanizing, though, too. It can be good; it can be bad. It depends on the context and who's saying it. I started to get overwhelmed by it all, and I didn't want to overwhelm the people visiting the show. But I did want to include material that would allow visitors to go down avenues that interest them.

I also think tolerance is important: obviously, different cultures have different relationships with animals. I don't want to say one is right and one is wrong—I think that's problematic. But, trying to encourage people to be open to different points of view, to listen, to think, to not just react. Having a critical but sophisticated understanding of like, why do we race horses? Why can that be problematic? For how long have we been doing that?

Lily: I have one more question. This is a year-long show. How do you feel like this exhibition is going to contribute to the Wellin’s overall history or legacy?

Liz: I think legacy comes with time. I’m interested to see how the show is received. Right now, people are mostly telling me the nice things. I think it’s great that we’re showing such a broad range of material. Hopefully, part of the legacy will be people feeling more connected to the environment. Having the show on for a full year is also helpful. Faculty have more time to familiarize themselves with it; if they can’t bring classes this semester, maybe next semester they can. Also, a lot of our programming is inspired by docents. I'm curious to see how they’ll respond and engage—or not engage—and we’ll see how it goes.

We want to thank Liz Shannon not only for this interview, but for her work on Menagerie. Without her, this show would not have been possible.

Menagerie: Animals in Art From the Wellin Museum is on view until June, 8 2025.

By Kenna Smith

Erotic & Nude Art

Depictions of nude bodies have been part of artistic traditions since the very beginnings of art itself. Museums teem with the sculpted bodies of Greek gods, Adam and Eve before they fall from paradise, and Venus in her many forms. All of these figures are usually completely nude and divinely beautiful. It seems obvious then, that a beautiful nude might not have been painted or sculpted just to be a study of the human body, but also a pleasurable and erotic thing to look at. In most art classes or museum tours I’ve participated in, nudity and the nude body are addressed often because of their persistent presence in the history of art. Some of the most venerated eras and styles in art—the Renaissance, Classicism, ancient Greek and Roman art—overflow with nudes. Addressing nudity, in class or museum contexts, usually means denying nudity altogether and insisting on the nude figure as purely artistic, a study of the body, a non-charged state of being. The sexual essence of nudes has been veiled by mythological scenes, where nudity symbolizes power, religious works, and academic studies of the body. It is almost taboo to suggest that nude art is also made for pleasure. But nudity is charged; it is inherently erotic. Sexual, even pornographic, imagery has always bubbled right under the surface of high art.

Art historian Lynda Nead comments on the precarious balance between vulgar and acceptable for nude art, writing that “It [nude art] is at the center [of high culture] because within art historical discourse paintings of the nude are seen as the visual culmination of Renaissance idealism and human-ism. This authority is nevertheless always under threat, for the nude also stands at the edge of the art category, where it risks losing its respectability and spilling out and over into the pornography.”

In Western artistic spheres the acknowledgement of eroticism in nude art has been slow to take hold. Non-Western cultures have depicted and acknowledged sex and eroticism freely and graphically for centuries, but only in the past 200 or so years has blatant sexuality come to the forefront in Western art. Freed from the shackles of myth, religion, and the academy, eroticism and sexuality can exist for their own sake.

Tom Wesselmann’s Shiny Nude in the Wellin Museum's collection weaves together the long tradition of the erotic reclined female nude with modern, pin-up-esque sexuality. Wesselmann’s work is associated with the pop art movement. His work focuses on unmistakably American desires, ads, consumerism, and sex. Often, his work is lewd, intertwining nude female figures and selected body parts with cigarettes,

oranges, makeup, and a host of other items. Shiny Nude harkens back to the reclined, lazing figures of Titian’s Venus of Urbino or Manet’s Olympia (Manet's etching Olympia can be seen in the Wellin's collection). Wesselmann’s nude figure is supported by cushions and fabrics, her elbow is propped up, and her implied gaze meets the viewer much like Titian's and Manet’s figures. Yet, despite their similarities, Shiny Nude crosses a line into the world of the distinctly sexual, even pornographic. Titian's and Manet’s figures both remain guarded and semi-covered, their hands covering their pudendum. The figure in Shiny Nude, without shame, remains uncovered and exposed. Wesselmann’s nude is modern. She sports tan lines, lipstick, and unnaturally yellow hair, all common aspects of fellow artist Mel Ramos’s work. Shiny Nude resembles Ramos’s 1970s print, Manet’s Olympia, more than traditional nudes. Both take inspiration from the traditional, but they parody it. Ramos’s Olympia is a pin-up. Her sexuality is saucy and unabashed. She smirks at the viewer with lidded eyes; she also has tan lines and unnaturally blonde hair. Wesselmann and Ramos are both looking to the past, to the “old masters,” to make their work. Yet the kind of eroticism they employ is undeniably a modern American one.

Paul Barolsky comments on Ramos’s work, but his words apply to Wesselmann as well, “She [Ramos’s Olympia] is as much a part of our real world as Olympia was of Manet's. Her persona has been shaped by modern commerce, fad, fashion, and advertising, by cosmetics and the cult of the body.”

These four paintings can be seen as a progression in the overtness of eroticism: Titian to Manet, Manet to Wesselmann and Ramos. Though sexuality has become more obvious in works made in the 20th and 21st centuries, they are drawing from a long lineage of erotic art. Despite the denial of it, eroticism has always been present in art. Modern artworks like Shiny Nude cannot be separated from their roots, but rather connect modern sexuality with centuries-old eroticism.

Judith Butler Meets Menagerie:

The Interdisciplinary Nature of Art

By Sydney Piccoli

While exploring Menagerie: Animals in Art from the Wellin Museum, I could not help but recognize the ways in which animal imagery lends itself to the performance of gender. Gender studies scholar Judith Butler defines gender in Western society as a performance in which the repetition of gendered acts creates the perception of gender. In reality, there is no stable gender, but rather it is through the performance of acts that align with society’s expectations (i.e. for women wearing a dress and putting on makeup) that forms gender as a concept. In artworks from Menagerie, animal imagery intensifies and disrupts how subjects perform gender.

The circa 1962 gelatin silver print Provoke the bull and wait for the shock, Spain, from the series La Corrida (The Bullfight) by Yvan Dalain depicts a man bullfighting. Bullfighting is a form of violent entertainment that involves a human fighting a bull in an arena. Men are often bullfighters because Spanish society perceives them as being better built, both mentally and physically, for such an aggressive sport. In Dalain’s image, the bullfighter evidently controls the animal. The bullfighter’s elaborate traje de luces (suit of light), pike, and handle on the bull suggests that he’s the one in control. Even the artwork’s title Provoke the bull and wait for the shock reinforces that the bullfighter is the agent who drives the narrative forward. Society envisions a man as a strong, controlling figure. By depicting a man bullfighting, the photographer uses animal imagery as a tool for intensifying the bullfighter’s performance of masculinity.

René Burri’s 1961 gelatin silver print titled Farmer collecting hay in his fields between Marktheidenfeld and Aschaffenburg, Germany can be interpreted in a very similar way. Burri’s work depicts a farmer steering a horse. Despite the difference in size between the horse and the man, it is clear that the man has power in the image. He controls the horse, utilizing its labor to meet the heavy demands of farmwork. The horse becomes something the man can control, allowing for his performance of masculinity.

Alfred Eisenstaedt’s 1935 silver gelatin print Abyssinian soldiers on horseback with flags, second Italo-Abyssinian War, Ethiopia demonstrates how animals as symbols allow for the performance of masculinity. Eisenstaedt’s print depicts a body of soldiers on horseback. One after another, they flock together holding flags tall and proud. The artwork’s title explains that this image visualizes the second Italo-Abyssinian War. Although not armed for battle, the image is certainly trying to portray the men’s strength in nationalism. The men being on horses elevates the image’s message, as the men read as more powerful, especially given society’s understanding of horses as strong animals. The same can be said for Dmitri Baltermants's gelatin silver print 1941-1945 Four Cavalrymen, World War II. The men being on horseback allows them to be seen as more powerful and to more intensely perform their masculine gender.

Given such strong examples of how animal imagery reinforces the performance of gender, we can also notice moments where animal imagery disrupts gender norms. For example, the 1951 gelatin silver print Dr. Albert Schweitzer at Lambaréné, Gabon exhibits a performance of masculinity that differs from Eisenstaedt and Dalain’s artworks. It is a more gentle masculinity. The animals in the artwork are no longer objects to be provoked and challenged (like in Dalain’s work), or tools for exemplifying the strength of men (as in Eisenstaedt’s work). Rather, the deer in Gabon’s photograph are entities that both provide and receive affection. Dr. Albert Schweitzer pets one deer as the other innocently nibbles at his pants. Whereas the societal image of men more closely aligns with Eisenstaedt and Dalain’s works, this photograph shatters gender performance because it so strongly deviates from what society expects a man to be and act like.

Frank Horvat’s 1955-1959 vintage gelatin silver print Miss Dodo of Hamburg hugging poodle, Crazy Horse Saloon, from the series Strip-Tease demonstrates how animal imagery cultivates a performance of femininity. Horvat’s work depicts a woman all dolled up hugging a glamorous poodle. It’s the performance of a woman we expect to see. Society paints women as nurturing, motherly figures. In Horvat’s work, we see just that. We can understand this image as a contrast to Dr. Albert Schweitzer at Lambaréné’s. The figures are performing the same act—they are cuddling with animals—but because we have different pre-conditioned ideas of genders, we understand the images differently.

Menagerie: Animals in Art from the Wellin Museum seeks to explore animal significance and symbolism. In doing so, the exhibition demonstrates how animal imagery in artworks can aid the performance of gender either by reinforcing or disrupting societal norms. Although the exhibition does not intend to specifically focus on gender, the ability for it to be understood through a gendered lens ultimately speaks to its interdisciplinary nature. 13

Wellin Staff & Their Pets

Laura & Tigress

Tigress (10) is a snuggle bug and would sit on Laura’s lap all day if she could. After seven years of taming, she’s close to joining the indoor cats, Whimsy and Biscuit, but still enjoys her cozy heated bed on the porch.

Brielle & Lennox

By Lily Watts

Marjorie & Benny

Gabby & Elway

Elway (14) is named after the Denver Broncos legend John Elway. His favorite thing is to sit on the couch and nap with Gabby. He is very sweet and snuggly during their quiet moments together.

Benny (4) is strong and enjoys looking out the window, where he often climbs a tall pile of spare tires to get a better view. His favorite game is called "hard ball," where he chases a small plastic ball that his family throws for him.

Lennox (19) passed away this past August. He was a gift for Brielle’s 4th birthday. They loved to cuddle on the hammock, and they grew up together as lifelong companions.

Lily & Moochie

Moochie (13) passed away in March 2023. He was Lily’s best friend. They loved to cuddle, take naps, and eat snacks together. Moochie's favorite food was ﬁlet mignon.

Eliza & Rafa

Rafa (2) is named after Rafa Nadal. He’s usually super energetic, but at the end of the day, he loves to sit down and relax with his brother Gonzo while watching TV.

Ellie & Mo

Mo (4) is named after Liverpool’s Mo Salah. He loves going on drives on the Blue Ridge Parkway and has a very adventurous spirit, always ready for a new scenic route.

Holly & Pearl

Pearl (13) loves taking naps and cuddling while playing Stardew Valley. She will also “sing” for you if you whistle the right tune, a fun quirk that never fails to make Holly smile.

Nawar & Mishti

Nawar & Mishti

Mishti's (8) name means "sweet" in Bengali. She is a big cuddler. Her favorite thing is to loaf on Nawar’s chest before bed, and she was adopted the same night as her brother.

Whitney & Billie Beans

Billie Beans's (2) favorite thing to do is jump on Whitney’s bed to wake her up in the mornings. They also enjoy long walks in the park. Fun fact: they share the same birthday!

Bella & Brady

Brady (11) is a mini goldendoodle who loves visiting Grandma’s house, where he gets spoiled with treats and belly rubs. He’s always excited for the extra pamepring!

Down

1. Mythical companion of Dionysus, depicted as a half-man, half-goat creature in Greek mythology

3. Small songbird known for graceful flight, or something you might do before speaking nervously

5. American photographer from Clinton, NY; daughter of Hamilton College's famed peony hybridist

6. Famous cartoonist who popularized the donkey and elephant as symbols for the U.S. political parties

Across

2. Japanese-Canadian artist specialized in printmaking and textiles; gave a gallery talk at the Wellin Museum in September

4. Traveling show under a tent, also a series from Rhona Bitner's 2023 Resound exhibition

7. Planographic printmaking technique that involves drawing on a flat surface and then transferring the image onto paper

8. Traditional Spanish event featuring a matador and a bull

9. A collection of wild animals kept in captivity for exhibition

10. Dürer's famous armored animal

11. Famed Spanish surrealist painter known for his dreamlike works featuring strange object pairings and subconscious imagery

12. Camera-free technique that produces images through light exposure on paper

1. Wildlife

Artificat

Collection

Exhibit

Display

Exotic

Curation

Showcase

Domesticated

Aquarium

Enclosure

Preservation

Installation

Captivity

Sanctuary

Creature

Species

Gallery

Animal

Artist

Keeper

Aviary

Beast

Caged

Photograph by Janelle Rodriguez

Alexa Hatanaka is a contemporary JapaneseCanadian multimedia artist whose work focuses on traditional Japanese paper and printing techniques, adapted to create wearable art, sculpture, and installations. Hatanaka got her start at Ontario College of Art and Design with an emphasis on printmaking. During her time in college she had the opportunity to study abroad in Nanjing, China where she learned traditional woodblock printing techniques. After graduating, she turned towards community engaged art in Nunavut in the Canadian Arctic. When COVID hit, and teaching became an impossibility, Hatanaka turned back to a solo studio practice. Her work Koinobori (eggs in the belly) is featured in the current exhibition Menagerie: Animals in Art from the Wellin Museum. Koinobori, Japanese for “carp streamer,” are usually flown to celebrate Children’s Day. This work reflects Hatanka’s mastery of mixed media sculpture, as the carp consists of linocuts on washi paper and rice bags sewn together. The Collection magazine team sat down with Alexa Hatanaka to learn more about her life and craft.

This interview has been edited for clarity and brevity.

Q: Why printmaking specifically?

A: The advent of printmaking has to do with communication and mass communicating to get information to the public. There's something humble, practical, and democratic about it. I find it interesting in terms of history. Prints are handed down over many generations. Printmaking feels like this embodied way of connecting to a lineage beyond me.

There’s also language for printmaking. You can tell that ink is the right consistency by the sound. In papermaking, you can get feedback by listening to the sound of the water’s viscosity. It’s an embodied knowledge that we're kind of losing touch with as things become more industrialized. I'm really interested in connecting back in time. Everything I'm using is quite historical. The paper has been made in a certain way over a thousand years. It has a very long history of moving across people and geographies.

Q: A lot of methods that you use are traditional with a lengthy history, yet you remain in touch with the now. How do you balance those two?

A: I was interested in making wearable pieces for musicians and dancers to perform in. I wanted to show how incredible the material is. The fact that paper is resilient enough to be worn surprises many people. In the context of climate change, I create clothing that can be worn and then thrown in the river. There's nothing harmful about how it's made or how it could be disposed of, which is the exact opposite of fast fashion. New technology is both compelling and impactful, but it’s crazy to look away from things that have functioned for over a thousand years. There’s a reason why this has worked for us. It's within the capacity of the Earth and we've gotten further away from that. Now look at where it's left us.

Photograph by Janelle Rodriguez

Q: Moving specifically into your practice, you have an idea. Where does it grow from there?

A: I don't really plan my work, but I might have a thought of the form I want to make. I start by beginning to feel out which pieces of paper and scraps I want to integrate. Some of the paper I'm using is actually vintage paper from the mill, called Kashiki Seishu that I have a relationship with. I also save the scraps from previous pieces as I'm cutting them off and integrate them into my next work. The only work I make that's super planned are these pieces that are made of handmade paper at 9 by 9 inches, so it's a grid. They have these lines through them that are tracings between two different places of significance. It's geographically accurate, more just gestures or the use of pathologized words over time. The last time I made one, I traced the use of the word loneliness, its use going up over time. That's the most math I ever do and it hurts my brain, but everything else is very emergent in the process.

Q: Can you speak about the connection between material and body that you mentioned earlier?

A: It's healthy to be in tune with your body and the ways we've gone away from it is quite unhealthy. Mental health symptoms are viewed as things like, “That's a problem I want to get away from, it's not really helping me to have anxiety, or, it's not really helping me to be depressed," but those feelings are signals from your body that something’s off. Maybe in your biology, or maybe there's something in your life that's not quite aligned, or maybe it's that we're being smothered with needing to be productive all the time. There's a lot stacked against us. Having an attunement to your body is important and art is a way to keep in touch with that.

Q: I'm wondering about this relationship between your art and your mental health. Do you find that your art is a space to work out and alleviate your mental health, or does your art make you more anxious/elicit these feelings more?

A: I'd say for the most part, I find it healthy and it feeds me. And it's just something that I've always done. I can't imagine not making things. At the same time, it's different to make things as your livelihood. There's certain things, like, I was just at the Armory art week in New York. I've been staying there for the past few months. I love meeting people, I love chitchatting, but it's also depleting. I can only do it to a degree, but it's also part of my job, frankly. Networking seems like such an icky word, but I think it can be done genuinely when you're trying to find people that you really align with. It's physically tiring. It's such a balance. But rest in itself is a form of productivity because you're giving your body what it needs.

Photograph by Janelle Rodriguez

Q: You briefly mentioned your personal history already, particularly growing up in such an artistic family.But I'm wondering if you could talk about the deeper connection to your culture and your lineage that you've talked about before.

A: During the beginning of COVID, I went to my storage unit and rediscovered things that I just put in there over the process of six years. Some of that was my old artwork. I also reconnected with objects that were handed down to me. Many of these things were from my grandmother who passed in 2015. She had these little paper dolls that she gave me. I had totally forgotten about them. The dolls were something I played with and just admired when I was really little. I also took Japanese dancing as a kid up until I was 12. The thing I loved most about that was when we did the communal folk dances, where everyone participated. It was a kind of ritual to be dressed by elders. The experience was very formative.

We want to thank Alexa Hatanaka for visiting Hamilton College and taking the time to talk to us about her artistic career and life experiences.

Photograph by Janelle Rodriguez

The Wellin Museum of Art is tucked away in rural Clinton, a village located in the heart of Upstate New York. Despite the modest size of many Upstate towns, the region boasts a vibrant and dynamic artistic community. From stunning carvings to intimate photographs, local artists continue to leave their mark, enriching the cultural landscape of the Mohawk Valley with their talent and creativity.

The Wellin Museum takes pride in showcasing a wide range of artworks from artists both past and present who call the greater Mohawk Valley region home. Whether displayed in current exhibitions or carefully preserved in the museum’s Archive Hall, selections from the museum's collection capture the spirit of the local community and highlight its deep connection to creativity. The museum's ability to spotlight local talent is made possible by the generosity of alumni, donors, and passionate community members who believe in the importance of supporting local art. Coming from a plethora of different backgrounds, interests, and motivations, each of these artists has something slightly different to display—but one thing is universally apparent: their commitment to creating meaningful art to contribute to their community.

Calista M. Sherman (1832-1852) of Verona, New York, created this exquisite cut-paper artwork using a technique reminiscent of traditional paper snowflake making. The delicate scene, featuring birds and squirrels amidst plants and a tree with gently swaying branches, is a testament to Sherman's skill and attention to detail. Submitted to the Oneida County Fair on September 18, 1850, Sherman participated in a longstanding tradition among female artists and artisans of the 19th century, who often used fairs to showcase their work, gain recognition, and contribute to their communities. Sherman won a dip pen as a prize.

Calista M. Sherman, Scherenschnitte, 1846

While Sherman's signature and hometown are carefully inscribed at the base of the tree, a closer examination reveals another name inscribed on the back of the piece: Phebe S. Tompkins (18321846) of Madison, New York. Further research suggests that this artwork may have been created as a memorial to Tompkins, who, like Sherman, passed away at a young age. Sherman died at the young age of 20, while Tompkins passed away at 14. This artwork is not merely a quaint woodland scene but a sentimental tribute to a life cut short, highlighting the poignant bond between two young women.

Silvia Saunders, one of four children born to former Hamilton College Professor of Chemistry, A.P. Saunders, grew up surrounded by an atmosphere of intellectual curiosity and a passion for nature. Her father, famously known as the "Father of the Modern Peony," dedicated his life to botany, cultivating a love for all things natural in his children. Silvia, like her father, developed an affinity for capturing the beauty of the natural world, though she chose photography as her medium of expression. Her journey as an artist, however, was far from straightforward, shaped as much by the turbulence of history as by her family’s legacy.

After starting her career as a commercial photographer in New York City, Saunders, like many Americans, faced an unexpected setback after the stock market crash of 1929. The financial collapse thrust the country into the Great Depression, forcing Saunders to make a difficult decision. She returned to her hometown of Clinton, New York, seeking refuge in familiar surroundings as she waited out the economic storm. This return marked a pivotal moment in her life as an artist, giving her the space and time to reconnect with the landscapes of her youth.

During this period, she traveled locally with her 5x7 Eastman camera and tripod to capture “countryside impressions” of Upstate New York’s nature and aging architecture. But Saunders's photographic work went beyond landscapes. Rooted in family tradition, she turned her lens to local county fairs, which had long been a staple of her upbringing. Her mother, Dr. Louise Brownell Saunders, had shown Scottish terriers at the Oneida County Fair as early as 1910. This tradition of engaging with local fairs connected the Saunders family to their community in a tangible way, and Silvia carried it forward through her art.

The County Fairs series became an intimate social record of local people and their animals during the Great Depression. While many of the fairs she photographed remain unidentified, it is likely they took place in and around the Clinton area on privately owned land. Due to the recession, local governments could no longer subsidize the Oneida County Fairgrounds in Rome after 1928, forcing many fairs to adapt and take place on a smaller scale. Saunders’s photographs, therefore, serve not only as artistic expressions but also as historical documents that capture the resilience of local communities during one of the most challenging times in American history. Today, Silvia Saunders is remembered as a photographer working to capture the spirit of Upstate New York during an era of profound change.

Silvia Saunders, Untitled, 1930–1954

Holstien [sic] and Proud Owner by C. Lavern Kelley embodies the heart of upstate New York’s agricultural life, capturing the essence of rural America. Kelley, a lifelong farmer from Laurens, near Oneonta, crafted his wood carvings as a tribute to the farmers, animals, and machinery that defined his world. His work is a testament to the culture and community that shaped his life, particularly the agricultural heritage of the 1940s and '50s. While Kelley had been carving since his youth, it wasn’t until the 1980s—when he was in his late fifties—that his wood sculptures began to be recognized for their artistic value. Much to his surprise, the public’s admiration for his work grew, and Hamilton College’s Emerson Gallery (the predecessor to the Wellin Museum of Art) became one of the first institutions to showcase his creations in 1989.

Kelley’s carvings, with their folk art character, evoke a strong sense of nostalgia for mid-century American farm life. His ability to capture the grit and simplicity of rural scenes resonates with those who understand the labor and traditions of farm communities. These works are now considered a modern incarnation of the American Regionalist style, a realist art movement lasting from 1925 to 1945 that depicted small-town and rural America, often reflecting the lives and stories of the working class. Kelley’s pieces, while created much later than the heyday of the Regionalist movement, carry the same spirit, grounding his art in the real-world experiences of a rapidly changing rural landscape.

Kelley’s story is one of discovery, proving that the ability to create meaningful art doesn’t require formal training or a professional background. Instead, his work was born out of a genuine connection to his life on the farm—a life lived through his hands, both in carving and in farm labor. Strong-willed and deeply rooted in his community, Kelley didn’t view himself as an artist, but as a preserver of memories and an advocate for independent thought. His carvings preserve the daily rhythms and routines of agricultural life, and his green, emblematic John Deere cap—featured in Holstien [sic] and Proud Owner—speaks to his passion for the machinery that changed farming forever.

Though Kelley appreciated technological advances, especially the shift away from horse-powered labor in the 1940s, he remained a firm believer in the power of manual labor. “That’s what your hands was put there for,” he would say, underscoring his belief in the value of hard work, both in whittling and on the farm. His art is a reminder that creativity can stem from quiet, everyday life, and it’s this grounded authenticity that continues to draw people to his work.

Henry DiSpirito's Squirrel is a prime example of his naturalistic stone carving, influenced by his life in Upstate New York. Born in Castelforte, Italy, DiSpirito apprenticed as a stonemason and later emigrated to Utica in 1921. His experience working on a farm in Central New York immersed him in the local landscapes and animals that became the heart of his art. Though originally a hobby, Dispirito's practice of creating three-dimensional work grew out of his involvement in a 1942 Works Progress Administration (WPA) project.

C. Lavern Kelley, Holstien [sic] and Proud Owner, 1987

Encouraged by Munson-Williams-Proctor Arts Institute faculty member Richard Davis, DiSpirito began to explore stone carving professionally, employing a direct carving method without sketches or models. His process involved finding local stone and creating lifelike sculptures inspired by the natural world around him. Squirrel, with its smooth, organic curves, highlights DiSpirito's skill in balancing realism with abstraction.

Rooted in the Upstate New York region, DiSpirito’s work reflects his profound connection to the area’s landscapes and creatures. His sculptures, including Squirrel, honor the local environment while showcasing his talent and craftsmanship. As part of the Wellin Museum’s collection, DiSpirito’s art reminds us of the rich artistic contributions of local artists tied to the region’s culture and history.

Henry DiSpirito, Squirrel, 1960–1965

Diane Schenandoah is a Faithkeeper of the Oneida Nation, Wolf Clan of the Six Nations Haudenosaunee Confederacy. Born on the aboriginal homelands of the Oneida Nation in Central New York, she is an alumna of Syracuse University’s College of Visual and Performing Arts and a graduate from the Institute of American Indian Arts in Santa Fe, NM. A sculptor for almost 40 years, Schenandoah’s work is grounded in her culture and traditional Haudenosaunee teachings. She specializes in carving stone, clay, wood, antler, and bronze.1

Diane Schenandoah, People of the Hills, late 20th century

Shenandoah’s People of the Hills is a ceramic sculpture of an Indigenous figure adorned with a headdress. The headdress includes the Haudenosaunee symbol—a design often seen on the Iroquois Confederacy flag—signifying the unity of the five nations that comprise the Haudenosaunee. Through this singular figure, Shenandoah’s work embodies the spirit of unity and resilience central to Haudenosaunee identity.

Because the Wellin’s collection includes a wide range of art and artifacts—from ancient objects to global contemporary art—we are extremely fortunate to have works on display that pay homage to the life and works of local Central New Yorkers who have devoted their lives to their artistic practices. The commitment to creating meaningful art is evident across the board. Whether it's a piece that reflects on the natural beauty of the surrounding landscapes or one that explores personal identity, each artwork tells a story that resonates beyond the gallery walls. These artists aren't just producing art—they are contributing to a broader conversation about the world around them, inviting us all to reflect, engage, and connect.

The Wellin, through its exhibitions and collections, has become a hub for fostering these connections. By celebrating the work of local artists, the museum not only preserves the region's artistic legacy but also ensures that future generations of artists have a platform to share their voices. In this way, the Wellin is more than just a museum; it is a vital part of the community's cultural ecosystem, championing creativity and ensuring that art remains a vibrant force in the Mohawk Valley for years to come.

1 Obomsawin, Liz. “Talking Stick Arts Newsletter.” American Indian Artists, Inc. AMERINDA, amerinda.org/newsletter/5-3/diane.html. Accessed 15 Nov. 2024.

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Félix Bracquemond. Les hirondelles (Swallows in Flight), c.1882. Etching and drypoint, 16 1/2 × 12 7/8 in. (41.9 × 32.7 cm). Ruth and Elmer Wellin Museum of Art at Hamilton College, Clinton, NY. Gift of the Carnegie Corporation. Image courtesy of the Ruth and Elmer Wellin Museum of Art at Hamilton College, Clinton, NY. Photo by John Bentham.

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Tom Wesselmann. Shiny Nude, from the "Rubber Stamp Portfolio", 1977. Rubber stamp, 8 × 8 in. (20.3 × 20.3 cm). Ruth and Elmer Wellin Museum of Art at Hamilton College, Clinton, NY. Gift of Martina Hamilton, P1995. © The Estate of Tom Wesselmann / Artists Rights Society (ARS), New York. Image courtesy of the Ruth and Elmer Wellin Museum of Art at Hamilton College, Clinton, NY.

Mel Ramos. Manet’s Olympia, 1974. Collotype on wove paper. 20 × 26 ½ in. (50.8 × 67.31 cm). University of Michigan Museum of Art, Gift of Dr. Reuven Bar-Levav, 1991/2.102.1.

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University of California, Berkeley. English: Judith Butler (2013). 16 Mar. 2012.

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Yvan Dalain. Provoke the bull and wait for the shock, Spain, from the series "La Corrida" (The Bullfight), c.1962. Ferrotyped gelatin silver print, 8 in. × 11 9/16 in. (20.3 × 29.4 cm). Ruth and Elmer Wellin Museum of Art at Hamilton College, Clinton, NY. Gift of Thomas J. Wilson and Jill M. Garling, P2016. © Estate of Yvan Dalain. Image courtesy of the Ruth and Elmer Wellin Museum of Art at Hamilton College, Clinton, NY.

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Dmitri Baltermants. Four Cavalrymen, World War II, 19411945; printed 2003. Gelatin silver Estate print, 16 × 19 15/16 in. (40.6 × 50.7 cm). Ruth and Elmer Wellin Museum of Art at Hamilton College, Clinton, NY. Gift of Thomas J. Wilson and Jill M. Garling, P2016. © Serge Plantureux. Image courtesy of the Ruth and Elmer Wellin Museum of Art at Hamilton College, Clinton, NY.

Alfred Eisenstaedt. Abyssinian soldiers on horseback with flags, second Italo-Abyssinian War, Ethiopia, c.1935. Gelatin silver print, 4 1/2 × 9 in. (11.4 × 22.9 cm). Ruth and Elmer Wellin Museum of Art at Hamilton College, Clinton, NY. Gift of Thomas J. Wilson and Jill M. Garling, P2016. © Time Warner, Inc. Image courtesy of the Ruth and Elmer Wellin Museum of Art at Hamilton College, Clinton, NY.

René Burri. Farmer collecting hay in his fields between Marktheidenfeld and Aschaffenburg, Germany, 1961. Gelatin silver print, 10 1/4 × 6 3/4 in. (26 × 17.1 cm). Ruth and Elmer Wellin Museum of Art at Hamilton College, Clinton, NY. Gift of Thomas J. Wilson and Jill M. Garling, P2016. © René Burri / Magnum Photos. Image courtesy of the Ruth and Elmer Wellin Museum of Art at Hamilton College, Clinton, NY.

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George Rodger. Dr. Albert Schweitzer at Lambaréné, Gabon, 1951. Gelatin silver print, 9 7/8 × 11 5/8 in. (25.1 × 29.5 cm). Ruth and Elmer Wellin Museum of Art at Hamilton College, Clinton, NY. Gift of Thomas J. Wilson and Jill M. Garling, P2016. © Estate of George Rodger / Magnum Photos. Image courtesy of the Ruth and Elmer Wellin Museum of Art at Hamilton College, Clinton, NY.

Frank Horvat. Miss Dodo of Hamburg hugging poodle, Crazy Horse Saloon, from the series "StripTease". Gelatin silver print, 9 3/4 × 6 1/2 in. (24.8 × 16.5 cm). Ruth and Elmer Wellin Museum of Art at Hamilton College, Clinton, NY. Gift of Thomas J. Wilson and Jill M. Garling, P2016. © Estate of Frank Horvat. Image courtesy of the Ruth and Elmer Wellin Museum of Art at Hamilton College, Clinton, NY.

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Karen Hampton. Gerrit Smith, from the series "Abolitionists", 2015. Dye-sublimation print on polyester twill over archival inkjet print on silk organza, with hand-stitching, 24 3/4 × 17 3/4 in. (62.9 × 45.1 cm). Ruth and Elmer Wellin Museum of Art at Hamilton College, Clinton, NY. Purchase, William G. Roehrick '34 Art Acquisition and Preservation Fund. © Karen Hampton. Image courtesy of the Ruth and Elmer Wellin Museum of Art at Hamilton College, Clinton, NY. Photo by Dave Revette.

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Frank Horvat. Miss Dodo of Hamburg hugging poodle, Crazy Horse Saloon, from the series "Strip-Tease". Gelatin silver print, 9 3/4 × 6 1/2 in. (24.8 × 16.5 cm). Ruth and Elmer Wellin Museum of Art at Hamilton College, Clinton, NY. Gift of Thomas J. Wilson and Jill M. Garling, P2016. © Estate of Frank Horvat. Image courtesy of the Ruth and Elmer Wellin Museum of Art at Hamilton College, Clinton, NY.

James Penney. Light on the Wall, Root Hall, 1977. Oil on canvas, 60 1/4 × 44 in. (153 × 111.8 cm). Ruth and Elmer Wellin Museum of Art at Hamilton College, Clinton, NY. Gift of Mrs. Rachel B. Penney. © Estate of James Penney. Image courtesy of the Ruth and Elmer Wellin Museum of Art at Hamilton College, Clinton, NY.

Joel Meyerowitz. Girl with Heart Beauty Mark, 1985. Chromogenic contact print, 14 × 11 in. (35.6 × 27.9 cm). Ruth and Elmer Wellin Museum of Art at Hamilton College, Clinton, NY. Gift of Thomas J. Wilson and Jill M. Garling, P2016. © Joel Meyerowitz. Image courtesy of the Ruth and Elmer Wellin Museum of Art at Hamilton College, Clinton, NY.

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Elliott Erwitt. Salvation Army Couple, Corning, 1976. Gelatin silver print, 19 x 16 in. (48.3 x 40.6 cm). Ruth and Elmer Wellin Museum of Art at Hamilton College, Clinton, NY. Gift of Richard Harris. © Estate of Elliott Erwitt. Image courtesy of the Ruth and Elmer Wellin Museum of Art at Hamilton College, Clinton, NY. Photo by John Bentham.

Helen Frankenthaler. Tiger's Eye, 1985 (published 1987). Aquatint and sugar lift etching, lithograph and screenprint, 19 × 22 1/4 in. (48.3 × 56.5 cm). Ruth and Elmer Wellin Museum of Art at Hamilton College, Clinton, NY. Purchased with funds donated by the Friends of Art. © Helen Frankenthaler Foundation, Inc. / Artists Rights Society (ARS), New York / Tyler Graphics Ltd., Mount Kisco, New York. Image courtesy of the Ruth and Elmer Wellin Museum of Art at Hamilton College, Clinton, NY. Photo by John Bentham.

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Salvador Dalí. El Cid, from the series "Cinq portraits espagnols (Five Spanish Portraits)", 1966, printed c. 1968. Etching, 13 × 10 in. (33 × 25.4 cm). Ruth and Elmer Wellin Museum of Art at Hamilton College, Clinton, NY. Gift of Hugh Jamison, Class of 1941. © Estate of Salvador Dalí / VEGAP, Artists Rights Society, New York. Image courtesy of the Ruth and Elmer Wellin Museum of Art at Hamilton College, Clinton, NY. Photo by John Bentham.

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Calista M. Sherman. Scherenschnitte, c.1846. Cut paper, 6 7/16 × 8 5/8 in. (16.4 × 21.9 cm). Ruth and Elmer Wellin Museum of Art at Hamilton College, Clinton, NY. Bequest of Samuel Hopkins Adams, Class of 1891. Image courtesy of the Ruth and Elmer Wellin Museum of Art at Hamilton College, Clinton, NY. Photo by Matt Hamilton.

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Silvia Saunders. Untitled, from the "County Fairs" series, c.1931-37. Gelatin silver print, 4 11/16 × 6 7/16 in. (11.9 × 16.4 cm). Ruth and Elmer Wellin Museum of Art at Hamilton College, Clinton, NY. Gift of the artist. © Estate of Silvia Saunders. Image courtesy of the Ruth and Elmer Wellin Museum of Art at Hamilton College, Clinton, NY. Photo by John Bentham.

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C. Lavern Kelley. Holstien [sic] and Proud Owner, 1987. White pine with enamel paint and plastic, 12 3/4 × 7 1/4 × 18 in. (32.4 × 18.4 × 45.7 cm). Ruth and Elmer Wellin Museum of Art at Hamilton College, Clinton, NY. Purchased with funds donated by D. Roger Howlett, Class of 1966. © Estate of C. Lavern Kelley. Image courtesy of the Ruth and Elmer Wellin Museum of Art at Hamilton College, Clinton, NY.

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Henry DiSpirito. Squirrel, 1960-65. Carved stone, 10 × 14 × 5 in. (25.4 × 35.6 × 12.7 cm). Ruth and Elmer Wellin Museum of Art at Hamilton College, Clinton, NY. Bequest of Harry D. Yates, Class of 1925. © The Daughters of Henry DiSpirito. Image courtesy of the Ruth and Elmer Wellin Museum of Art at Hamilton College, Clinton, NY. Photo by John Bentham.

Diane Schenandoah. People of the Hills, late 20th century. Ohio clay, 13 1/8 × 5 × 4 in. (33.3 × 12.7 × 10.2 cm). Ruth and Elmer Wellin Museum of Art at Hamilton College, Clinton, NY. Purchased with funds donated by William G. Roehrick, Class of 1934, H1971 in honor of Chief Skenandoah. © Diane Schenandoah. Image courtesy of the Ruth and Elmer Wellin Museum of Art at Hamilton College, Clinton, NY. Photo by John Bentham.