Exhibition: Vanishing Stories October 15 – December 11, 2011

Public Lecture: November 3, 2011, at 7 p.m.

Workshop: Creating Narrative in the Contemporary Quilt takes place November 4 – 5, 2011

Although formally trained as a printmaker, Mary Buchanan began to explore quilt-making in 1996, intrigued by the process, history and tradition of the medium. She was subsequently awarded a 3 ½-year, grant-funded residency as part of the Dominion Therapy Program at Westminster Canterbury, Richmond, Va., designed to bring studio art experiences to seniors with memory impairments. The lasting impressions of this tenure continue to inform the content of her work.

Buchanan’s embroidered and quilted textiles function as visual metaphors for the disordered relationships of person, place, and time that accompany Alzheimer’s and other forms of dementia. She uses both formal and conceptual elements to investigate these degenerative processes by layering, tearing, stitching, dyeing, cutting and repeating imagery, text, and pattern. Fragmented images of empty buildings, sitting rooms and antiquated objects drift into and out of focus. Within these complex compositions, foreground and background become interchangeable, simultaneously obscuring and revealing information to the viewer, evoking the shifting periods of clarity and disorientation associated with memory loss.

Buchanan received her B.F.A., cum laude, in 1993 from the New York State College of Ceramics at Alfred University. She has exhibited her work in numerous juried and solo exhibitions, most recently at the Zig Zag Gallery, The Plains, Va., and has taught many textile workshops and classes. Buchanan currently resides and works in Richmond, Va., where she is earning a graduate degree in interdisciplinary studies at Virginia Commonwealth University.

The Walter Gropius Master Artists Series is funded through the generosity of the Estate of Roxanna Y. Booth, who wished to assist in the development of an art education program in accordance with the proposals of Walter Gropius, who designed the Museum’s Gropius Addition as well as the Gropius Studios. The Museum is indebted to Roxanna Y. Booth’s son, Alex Booth, for his participation in the concept development of the Gropius Master Artists Workshops.

Master Prints from The Daywood Collection

August 6 - November 27, 2011

Isabelle Gwynn and Robert Daine Gallery

The prints in this exhibition are selected from the remarkable Daywood Collection, assembled from the 1920s through the early 1960s by Arthur S. and Ruth Woods Dayton, lifelong residents of West Virginia.

The Daywood Collection, rich in paintings, drawings, prints, sculpture and glass, was donated to the Huntington Museum of Art in 1967. The print collection contains works by renowned printmakers working mostly in the late 19th and early 20thcenturies, both in the United States and Europe. Often the Daytons collected many prints by the same artist. The collection is rich in works by the American artists Kerr Eby, John Taylor Arms, Childe Hassam, Frank Benson, Levon West, Joseph Pennell and Stow Wengenroth, as well as the British artists Sir Francis Seymour Hayden, James Abbott McNeil Whistler, Sir David Young Cameron, and James McBey. A few examples by important old master artists such as Rembrandt van Rijn, and Jacques Callot are also part of the collection.

The exhibition includes a variety of printmaking techniques, including etching, drypoint, aquatint, and lithography.

This exhibit is generously sponsored by the West Virginia Division of Culture and History, West Virginia Commission on the Arts and the Isabelle Gwynn and Robert Daine Exhibition Endowment.

Master Prints from The Daywood Collection

Opening reception begins at 2 p.m. Sunday, Sept. 18, 2011, with a 30-minute performance by Musical Arts Guild featuring a medley from “Showboat” and other boat-related songs. A gallery walk with exhibit co-curator Gerald W. “Jerry” Sutphin and a reception follow. Admission to the opening reception is free.

This year – 2011 – marks the 200th anniversary of the first steamboat to successfully navigate the Ohio River and eventually travel down the Mississippi (then referred to as western waters) to New Orleans.

This first steamboat, named “New Orleans” was owned by Robert Fulton and Robert Livingston and constructed by Nicholas Roosevelt, whose family joined him as the first steamboat passengers on inland rivers. This important journey changed the course of American history, for it was not only a daring adventure, but it opened up the continent for further exploration, and led to thousands of steamboats being built and operating on the rivers in America.

Photographs and steamboat ephemera portraying the different types of steamboats which plied the Ohio River from Pittsburgh to Cincinnati for the past two hundred years, selected from the extensive collection of river/steamboat historian and co-curator of the exhibit Gerald W. “Jerry” Sutphin, will be the focus. Paintings, drawings and decorative arts either depicting steamboats, or associated with use on steamboats, from the collection of the Huntington Museum of Art, and other public and private collections will also be on view. The River Institute at Hanover College, Hanover, Indiana, is spearheading this year of celebrations.

Mary H. and J. Churchill Hodges Present On Inland Waters: Steamboats on the Ohio River 1811-2011, which received generous additional support from the West Virginia Humanities Council; West Virginia Division of Culture and History; West Virginia Commission on the Arts; the Isabelle Gwynn and Robert Daine Exhibition Endowment; North Gate Business Park; Huntington District Waterways Association; Neal F. Harper; In Memory of Mr. and Mrs. John P. Boylin; In Memory of Thomas C. Bullington; In Memory of Frank Eugene Duba, Ph.D. 1967-2010; In Memory of Howard and Arthinia Ellis; In Memory of John E. Jenkins, Jr.; In Memory of Mr. and Mrs. Jack Glick; In Memory of Miriam Greenstein; In Memory of Edward H. Lafferre; In Memory of Sallie Mossman Manassah; In Memory of Mary M. Maphet; In Memory of Wilhelmina Moore: Struggles Going Upstream; In Memory of Byron and Ruth Walling; and In Memory of Mrs. Harry (Betty) Wolfe, Jr.

Opening reception takes place from 2 to 4 p.m. July 17, 2011, with D.Y. Begay, whose work is featured in the exhibit, giving The Dr. Lawrence B. & Shirley Gang Memorial Lecture.

Thanks to the generosity of Ohio University alumnus and museum namesake Edwin L. Kennedy, Ohio University possesses a unique and culturally significant collection of southwest Native American art.

This collection, known as the Edwin L. and Ruth E. Kennedy Southwest Native American Collection, includes nearly 700 textiles and more than 2,400 jewelry items of predominantly Navajo, Hopi, and Zuni origin. HMA’s Senior Curator Jenine Culligan will work with the Kennedy Museum’s Curator Petra Kralickova and other staff to select 40 weavings and approximately 45 jewelry pieces to bring to Huntington for display. The collection includes both historic and contemporary weaving and jewelry pieces.

Navajo weaving has a rich history encompassing more than 500 years. The Kennedy collection spans the three major periods of Navajo weaving from Classic and Late Classic wearing blankets, 1650-1865, through the Transitional period, 1865-1895, with some stunning Germantown pieces, to the Contemporary, 1895-1990. One of the most unique features of the Kennedy Museum’s collection is the largest single collection of Navajo sand painting textiles in existence. The collection includes the sand painting designs used in six traditional ceremonial healing practices: the Beautyway, Waterway, Bead Chant, Great Star Chant, Hailway, and Coyoteway.

Collection sharing allows museums with rich and expansive collections in one field, to bring artworks out of the vault for travel to wider audience. Exchanges have been planned between HMA and the University of Kentucky Art Museum, The Kennedy Museum, and the Jule Collins Smith Museum of Fine Art at Auburn University.

This exhibit is sponsored by the West Virginia Division of Culture and History, West Virginia Commission on the Arts, and the Isabelle Gwynn and Robert Daine Exhibition Endowment.

Virginia Van Zandt Great Hall

Exhibition: August 27 – October 23, 2011

Public Lecture: September 8, 2011, at 7 p.m.

Workshop: A Sixty Year Path in the Clay World takes place September 9-11, 2011

One of the nation’s foremost contemporary ceramic artists, Val Cushing creates functional pottery as well as sculptural ceramic vessels using forms, colors and textures inspired by nature. Unlike many of his peers in the ceramics community, Cushing has not rejected function in favor of purely sculptural concerns, deliberately choosing instead to work within the limitations imposed by such conventional formats as bowls, pitchers, and storage jars. Heavily influential as an artist and educator, Cushing’s techniques and philosophies continue to inform and shape the contemporary ceramics movement. Many of the matte and satin glazes used today are based on his original formulas.

Born in Rochester, N.Y., in 1931, Val Cushing received a B.F.A. in 1952 and an M.F.A. in 1956 from the New York State College of Ceramics at Alfred University. After 41 years of teaching pottery and technical courses concerning clays, glazes and related subjects, he retired from Alfred in 1997 and was designated “professor emeritus”. Cushing was a founding member and former president of the National Council on Education for the Ceramic Arts, as well as a Fellow of the American Craft Council.

Over the course of his impressive career, he received a National Endowment for the Arts fellowship, a Fulbright grant for teaching and research, and has given more than 250 lectures, workshops and demonstrations around the world. Cushing’s pottery has been featured in more than 300 exhibitions and numerous one-person shows, and he is represented in many prestigious public and private collections.

The Walter Gropius Master Artists Series is funded through the generosity of the Estate of Roxanna Y. Booth, who wished to assist in the development of an art education program in accordance with the proposals of Walter Gropius, who designed the Museum’s Gropius Addition as well as the Gropius Studios. The Museum is indebted to Roxanna Y. Booth’s son, Alex Booth, for his participation in the concept development of the Gropius Master Artists Workshops.

Switzer Gallery

Exhibition: August 20 – October 16, 2011

Public Lecture: September 15, 2011, at 7 p.m.

Workshop: Conjuring Beauty takes place September 16 – 18, 2011

Considered a founder of the Pattern and Decoration movement of the early 1970s, Robert Kushner is arguably the most significant decorative artist working today. His large-scale, ornate, floral paintings are harmonic interplays of abstraction and representation – complex compositions layered with masterfully depicted flowering plants and organic material. The artist uses repetition and symmetry to structure his work, employing bold geometric forms, grids and patterns to balance the spontaneity of his expressive, often calligraphic brushwork. Metallic leaf is often applied using traditional Japanese and European gilding methods.

Kushner’s paintings synthesize a wide variety of Eastern and Western source materials and techniques to form a rich, multilayered, highly finished work, reflective of Kushner’s pursuit of the “fully-resolved” art object.

As an undergraduate, Kushner studied under famed art historian and critic Amy Goldin, whose expertise in the history of decoration proved significant to Kushner. During these formative years, Kushner became intrigued by works of art and design in which pattern was key: “carpets, textiles, and Islamic decoration – works that were extremely complex and required time and attention to decode”. Acting as his “intellectual guide”, Goldin persuaded the young artist to relocate to New York City in 1972. There he discovered many other young artists embracing a similar aesthetic response to the austerity of Minimalism. At this point, Kushner was making experimental decorative collages – refreshingly handmade and spontaneous – and costumed performance art while he worked as a textile conservator and collector of Oriental carpets.

Kushner embarked on a pivotal trip to the Middle East in 1974. He visited centuries-old mosques, tombs, and gardens in Turkey, Iran, and Afghanistan, and viewed firsthand “the incredible works of genius which existed in almost any Muslim city”. There Kushner experienced an artistic epiphany and his attitude changed dramatically: “I was making decoration because you weren’t supposed to,” he said. Upon seeing these ancient structures covered with ornate mosaics, Kushner said he became aware of how intelligent and uplifting decoration can be. He rejected the idea that originality was the main ingredient of good art, vowing instead to work within tradition, using forms which have been used throughout history. A subsequent trip to Japan in 1985 marked the beginning of his long-standing involvement with East-Asian source material and surfaces including antique scrolls, screens and sliding doors.

Born in Pasadena, Calif., in 1949, Kushner received a B.A. in visual arts with honors from the University of California at San Diego in 1971. He currently resides and works as a full-time studio artist in New York, N.Y. Kushner’s cross-cultural investigations have taken him around the world, exhibiting nationally and internationally at countless venues, such as the Kunsthallen Brandts, Odense, Denmark; Yoshiaki Inoue Gallery, Osaka, Japan; and the Wistariahurst Museum, Holyoke, Mass. Kushner’s work is also represented in numerous private and public collections including: The Metropolitan Museum of Art, New York, N.Y.; The Corcoran Gallery of Art, Washington, D.C.; Philadelphia Museum of Art, Philadelphia, Penn.; and the Galleria degli Ufizzi, Florence, Italy. Kushner is represented by DC Moore Gallery in New York City.

The Walter Gropius Master Artists Series is funded through the generosity of the Estate of Roxanna Y. Booth, who wished to assist in the development of an art education program in accordance with the proposals of Walter Gropius, who designed the Museum’s Gropius Addition as well as the Gropius Studios. The Museum is indebted to Roxanna Y. Booth’s son, Alex Booth, for his participation in the concept development of the Gropius Master Artists Workshops.

Beautiful Obsolescence

May 28 - August 28, 2011

In her book titled Evocative Objects: things we think with, writer and psychologist Sherry Turkle contends that “We think with the objects we love; we love the objects we think with.” Everyone uses objects. They can be useful or aesthetic, utilitarian, or a vain indulgence. Objects play a large role in our day-to-day lives. Sometimes we become emotionally attached to them, but often they become so familiar that we rarely contemplate our relationship with them unless they are lost to us. In today’s consumer-driven society the majority of the objects we treasure, and with which we surround ourselves, are not made to last a lifetime.

The objects in this exhibition all come from the Museum’s permanent collection. Some were carried and used every day while some were precious, uniquely crafted, and rarely touched except on special occasions. All had an important purpose at one time, however, each has, for a variety of reasons, become unfashionable, or been replaced by a new invention. Often these objects became synonymous with a person’s identity and status: a time period, or a fashion trend. Unlike today’s “stuff” most of these objects were made by hand, became cherished items, and were passed down the family tree as heirlooms, or keepsakes of precious memories.

Highlights of the exhibition include walking sticks, match safes, tea caddies, oil and kerosene lamps, sugar chests, mourning jewelry, chocolate pots, vinaigrettes, samplers, home spun cloth, rag and hooked rugs, and glass specialty items such as salt cellars, cup plates, celery vases, and spooners.

This exhibit is sponsored by the West Virginia Division of Culture and History, West Virginia Commission on the Arts and the Isabelle Gwynn and Robert Daine Exhibition Endowment.

CALDER

June 4 - August 7, 2011

Switzer Gallery

This exhibition will feature works by Alexander Calder (1898-1976) from the University of Kentucky Art Museum and the Huntington Museum of Art.

Featuring approximately 16 works, Calder will be explored through his mobiles, lithographs and large-scale “tapestry.” The University of Kentucky Art Museum is graciously lending 12 lithographs from the Our Unfinished Revolutionportfolio, 1975, and a mobile titled The Star, executed in 1960. HMA will add the mobile from their collection titledRed G from 1963, a lithograph titled Pyramids, 1971, and a large-scale fiber wall hanging from 1975. Alexander Calder was known for his “larger-than-life personality” and is still one of the most beloved American artists of the 20th century. His small and large-scale works are instantly recognizable, accessible to multiple generations, and full of bright color and lyrical shapes. He was a master artist in both two and three dimensions, known for his prints, wire work and jewelry as well as his “mobiles” and “stabiles.” The Huntington Museum of Art is pleased to collaborate once again with the University of Kentucky Art Museum.

This exhibit is sponsored by the West Virginia Division of Culture and History, West Virginia Commission on the Arts and the Isabelle Gwynn and Robert Daine Exhibition Endowment.

Isabelle Gwynn and Robert Daine Gallery

Woodcut, the oldest technique used in printmaking, belongs to the family of prints known as relief prints. To make relief prints, the artist draws on a flat block of wood, then cuts or gouges away the area around the drawing, so that the lines and forms that are to be inked and printed remain raised. Only low pressure is required to make a print (unlike intaglio and planographic printing), and this can be done in three ways: stamping, rubbing, or under a weighted press.

Woodblocks appeared in China during the 5thcentury, Japan during the 8th century, and in Europe during the 15th century. Once the techniques of engraving and etching were discovered, processes which allowed the artist to include greater detail, woodcuts became largely passé for many years. Toward the end of the 18th century, a metal engraver, Thomas Bewick, recognized the potential of wood engraving and brought it again to the forefront of artistic possibilities. He also developed the use of white line technique. The Japanese also developed the Ukiyo-e technique of color woodblock printing in 1765 which was a great influence on artists and printmakers all over the world, especially European and American artists working in the mid-to-late 19th century.

This exhibition will feature approximately 70 prints from the Museum’s permanent collection, presenting a wide range of woodblock techniques and styles. Highlights include an early 17th century woodblock print by Flemish artist Christoffel Jegher, executed after a painting by Peter Paul Rubens, a series of Japanese Ukiyo-e prints by Utagawa Kunisada, woodcuts by Winslow Homer for Harper’s Weekly Magazine executed during the Civil War, wood engravings by Asa Cheffetz and Thomas Nason, a white line print by Blanche Lazzell, a portfolio of five wood engravings by Fritz Eichenberg commissioned for a special edition of Grimmelhausen’s The Adventures of Simplicissimus, and large scale woodcuts by John Buck and Louisa Chase, among many others.

This exhibit is generously sponsored by the West Virginia Division of Culture and History, West Virginia Commission on the Arts and the Isabelle Gwynn and Robert Daine Exhibition Endowment.

Michelle Holzapfel, “Quercus,” 1998. Red oak burl, 15 ½” x 12” x 11”. Collection of the Mint Museum of Craft + Design, Charlotte, North Carolina. Gift of Jane and Arthur Mason, 2006.88 Courtesy of the Mint Museum of Craft + Design, Charlotte, North Carolina. Tour Management by Smith Kramer Fine Art Services, Kansas City, Missouri.

This exhibit was organized by the Mint Museum of Craft + Design, Charlotte, North Carolina.

Opening reception takes place from 1 to 4 p.m. April 10 with wood-turning and wood-carving demonstrations, and children’s activities. HMA tree identification trail tour with Dave Lavender takes place at 3 p.m. April 17.

Turned-wood objects embody a provocative combination of the natural and the manmade. The dialogue between an artist and the wood on the lathe is a balancing act between precise control and the forces of chance, a collaboration of hand, machine, mind, and matter. Indeed, the allure of a turned-wood piece resonates from the intersection of the material’s inherent beauty and the turner’s mastery of technique, concept, and form.

The field of woodturning has matured rapidly over the past two decades and has achieved an exciting level of quality, artistic expression, and technical innovation. Turning Wood Into Art showcases 65 objects from the Mint Museum of Craft + Design’s, Jane and Arthur Mason Collection, one of the world’s foremost collections of contemporary wood sculpture.

Turning Wood into Artis divided into five thematic areas related to the medium of wood: Material Aesthetics, Process and Image, Storytelling, Design, and Tree Life. Works by 40 artists from around the world will be showcased, including Stephen Hogbin, Po Shun Leong, and Hans Weissflög. The collection encompasses the work of influential artists in the field such as James Prestini, Bob Stocksdale, Rude Osolnik, Edward Moulthrop, and Mel Lindquist, as well as the next generation of turners to emerge, such as David Ellsworth and Mark Lindquist. Together, they have played a strong role in shaping the international field of woodturning.

The showing in Huntington is part of a two-and-a-half year national tour developed and managed by Smith Kramer Fine Art Services, an exhibition tour development company in Kansas City, Missouri. A beautiful, fully illustrated catalogue accompanies the exhibition, and will be available in the Museum Shop.

This exhibit is generously sponsored by Anonymous; The Herald-Dispatch; The following members of the West Virginia Forestry Association: W.M. Cramer Lumber Company, The Jim C. Hamer Company, Laurel Creek Hardwoods, Inc., & Columbia West Virginia Corp.; John and Tully Kellner; In Memory of Antonio J. TriaTirona; In Memory of Mr. and Mrs. Charles O. Sullivan; In Memory of Mary Etta Hight; In Memory of Marietta (Casey) Ball; In Memory of June Hopson Templeton; In Memory of J. Prichard Hicks; In Memory of Jesse Fox Perry; In Memory of Mr. James A. Tweel; In Memory of John L. Thomas, Sr.; In Memory of Charles H. Tucker; In Memory of Mary Eliner Morgan; In Memory of Lavelle T. Jones; West Virginia Division of Culture and History; West Virginia Commission on the Arts; and the Isabelle Gwynn and Robert Daine Exhibition Endowment.

This exhibit features five works by Sook Jin Jo, including Chairs (2010); two large wall relief panels—Untitled (2004) andStreets of India (2009); a video titled Crossroads (2008); and a site-specific installation titled Outside In.

Jo provided this description of her site-specific installtion: “Outside In will be an exploration of connecting the space between the inside Switzer Gallery and the outside courtyard space beyond the wall in between by intertwining wood scraps, branches, and industrial refuse in random shapes and positions. During the process, we will also explore the relationship between art and architecture, construction and deconstruction, nature and man-made, structural stability and mystical energy.”

The Walter Gropius Master Artist Series is funded through the generosity of the Estate of Roxanna Y. Booth, who wished to assist in the development of an art education program in accordance with the proposals of Walter Gropius, who designed the Museum’s Gropius Addition, as well as the Gropius Studios.

Walter Gropius Master Artist Series Presents: Sook Jin Jo

Classes & Workshops Exhibit

May 24 - May 29, 2011

Reception takes place from 5:30 to 7:30 p.m. Tuesday, May 24.

Evening hours and on weekends, eager artists fill the HMA studios, honing their art- making skills and enjoying the camaraderie of fellow artists. Some of the classes that take place throughout the year are pottery, watercolor, figure drawing, photography, pastels, and Photoshop. Be sure to enjoy this exhibit of work by HMA’s studio artists.

Classes & Workshops Exhibit

Portfolio 2011

April 16 - May 15, 2011

Reception and Awards Ceremony will take place at 2 p.m. Saturday, April 16, 2011.

Portfolio is an exciting exhibition that celebrates the work of middle school and high school art students from the Tri-State region. High school teachers submit only eight works from all of their students. Middle school teachers submit only four works. From more than 100 entries, awards are determined by a guest judge and then distributed to each winner. This year’s judge is Marshall University professor of photography Danny Kaufmann. Images of the 12 winning pieces are posted on HMA’s website.

Portfolio 2011is generously supported by Marshall University’s College of Fine Arts.

Portfolio 2011

The Figure

March 5 - May 1, 2011

Isabelle Gwynn and Robert Daine Gallery

This exhibition will highlight works on paper from the permanent collection created by artists who use the human figure as the primary or secondary subject in their work.

The human figure has been portrayed and explored by artists throughout the history of art. This exhibit will span works from five centuries, beginning with depictions by 17th century old master printmakers such as Albrecht Durer, Hendrik Goltzius and Rembrandt van Rijn up through contemporary takes on the subject by Philip Pearlstein, Mel Ramos, Robert Longo, Keith Haring, and Leslie Dill.

Included will be original drawings by Jean François Millet, Pablo Picasso, George Bellows, Peggy Bacon, Thomas Hart Benton, and Wade Schuman; watercolors by Winslow Homer, and Marie Laurencin; and prints by George Catlin, Thomas Rowlandson, Honore Daumier, James Abbott McNeil Whistler, Marc Chagall, Kathe Kollwitz, Henri Matisse, John Sloan, and many others.

This exhibit is sponsored by the West Virginia Division of Culture and History, West Virginia Commission on the Arts and the Isabelle Gwynn and Robert Daine Exhibition Endowment.

The Figure

Elaine Blue: The Performance

December 18 - April 10, 2011

Poetry reading of works by Elaine Blue, read by Carolyn Thomas, actress, writer, and director, on Sunday, February 6, 2011, at 2 p.m.

Bridge Gallery

On a recent studio visit, Elaine Blue working on a new painting depicting the earthquake in Haiti. Surrounding her were stacks of paintings, a few dealing with large-scale catastrophic events that affect all of our lives and create collective memories such as 9/11 and Katrina. Others depict social concerns such as child abuse and neglect, poverty, and homelessness. Elaine Blue knows these social problems and how they affect individual lives all too well. She draws on a diverse background which includes being a director of a local housing authority, and a child-care agency, an elementary school teacher, and working with the homeless. Many of her paintings are much more lighthearted. Pain, laughter, sorrow, joy and reflection are words that easily describe the intense emotions portrayed in her work.

More than anything, Elaine Blue, Clarksburg native and Huntington resident, is an observer of life. She takes her observations, personal experiences, and private thoughts and uses them to create unique, expressive works of art. This has gone on since childhood. She uses her talents as therapy, and feels they are a gift from God. Blue states that “my goal as an artist is to connect with the viewer at a level where they can be part of the creative process.” Blue is also a well known poet, playwright, public speaker and founder and former director/producer of the Huntington Theatrical Ensemble. Her artwork has been exhibited in various states and shared in Africa.

This exhibition is generously sponsored by Macy’s, Marshall University Division of Multicultural Affairs, Carolyn Bagby, West Virginia Division of Culture and History, and West Virginia Commission on the Arts.

Elaine Blue: The Performance

Workshop: February 11- 13, 2011

Public presentation: Thursday, February 10, 2011
Virginia Van Zandt Great Hall

Virginia Van Zandt Great Hall
Alleghany Meadows is a studio potter in Carbondale, Colorado, where he maintains an active studio, co-owns Harvey/Meadows Gallery, Artstream Nomadic Gallery and Studio for Arts and Works.

He received his M.F.A. from Alfred University, apprenticed with Takashi Nakazato, Karatsu, Japan, received a Watson Foundation Fellowship for field study of potters in Nepal, and was an artist in residence at Anderson Ranch Arts Center.

Alleghany has presented lectures and workshops nationally and internationally, including at Penland, Anderson Ranch, Haystack, Arrowmont, and Good Hope, Jamaica. He exhibits nationally.

The Daywood Collection

December 11 - March 6, 2011

Daywood Gallery

Between the years 1916 and 1965, Philippi, West Virginia, natives Arthur Spencer (1887-1948) and Ruth Woods Dayton (1894-1978) carefully selected a superb collection of American and European paintings, sculpture and decorative arts. They bought what they liked and what they could afford. They purchased works from art galleries, auctions, prestigious exhibitions such as the Carnegie International, and purchased works directly from the studios of artists whom they admired – both in the United States and abroad.

They were well read on the history of art, especially 19th and 20th century American artists, sharing a penchant for landscapes. The strength of their collection lies in academically trained artists working in the various schools of realism and American impressionism. They also had a penchant for small bronzes, especially by women artists working in the late 19th and early 20th centuries.

Arthur Dayton died suddenly in 1948. After much renovation, Ruth Dayton decided to turn a ramshackle building on the property adjacent to their home in Lewisburg, West Virginia, into a museum. She called it The Daywood Gallery, combining Arthur’s surname (Dayton) and her maiden name (Woods), and enjoyed sharing their works with the public. The collection continued to grow through purchases and donations, and the museum was in operation from 1951 into 1966. The following year The Daywood Collection was donated to the Huntington Museum of Art.

The Daywood Collection

Switzer Gallery

All four of the artists featured in this exhibition were born, raised, and lived their lives in an area roughly comprising the Red River watershed in Wolfe and Powell counties, Kentucky.

Larry Hackley, Guest-Curator for this exhibit, and longtime, Kentucky-based folk art dealer and collector, wrote in the accompanying catalogue essay: “Red River was assembled to illustrate the connections, influences, styles, sources, and evolutions of the four major sculptors of the Campton School.”

At least 10 carved wooden sculptures by each of the artists are showcased with the focus on multi-figural, narrative tableaus. Scenes from everyday life and stories from the Bible comprise most of the subject matter. Edgar Tolson (1904-1984) was one of the first folk artists from the region to receive national recognition in the late 1960s. A large number of his sculptures explore the theme of “The Fall of Man” and six of his Garden of Eden sculptures are on view.

Carl McKenzie (1905-1998) was aware of Tolson’s carvings, and the notoriety they received, however, works by McKenzie differ in their carving style and surface treatment. One of his favorite subjects was Noah’s Ark.

Earnest Patton (b. 1935), is a cousin of Edgar Tolson, and it was Edgar who taught him basic carving techniques. Although stylistic similarities are evident, Earnest employs a different assembly technique and pulls more of his subject matter from personal memories and family events.

Donny Tolson (b. 1958), youngest son of Edgar Tolson, has witnessed and been more directly influenced by the influx of the outside world into Eastern Kentucky. His carving style is more precise and delicate when compared to the elder Tolson, and includes both religious subject matter and people from history and contemporary popular culture.

This exhibit was organized by, and had its premiere at the Kentucky Folk Art Center in March 2010. It then traveled to the Kentucky Museum of Art and Craft, Louisville, Kentucky, and then to Huntington. A fully illustrated catalogue accompanies the exhibition with works borrowed from both private collections and public institutions, including the Kentucky Folk Art Center, Morehead, Kentucky; Kentucky Museum of Art and Craft, Louisville, Kentucky; UK Healthcare, Lexington, Kentucky; and HMA.

This exhibit is sponsored by the West Virginia Division of Culture and History and the West Virginia Commission on the Arts.

Red River: The Narrative Works of Edgar Tolson, Carl McKenzie, Earnest Patton, and Donny Tolson

Water + Color Works from the Permanent Collection

December 4 - February 20, 2011

Isabelle Gwynn and Robert Daine Gallery

The medium of watercolor has been used by artists in various ways since prehistoric times, and has included everything from cave paintings, illuminated manuscripts, preliminary sketches for oil paintings, and hand-colored engravings. However it wasn’t until the late 18th century that the medium of watercolor was accepted as an independent, mature, painting medium.

The late Georgian and Victorian periods witnessed an international love affair with watercolors, especially in England and France, and especially with the paintings by Joseph Mallord William Turner (1775-1851).

Watercolor painting became popular in the United States in the mid-19th century, and The American Society of Painters in Watercolor (now the American Watercolor Society) was established in 1866. Winslow Homer, who had a natural, innate talent for this difficult media, was one of America’s earliest proponents of the medium. He began using watercolor on a regular basis in 1873 during a summer in Gloucester, Massachusetts.

The impact of these paintings was revolutionary, and soon watercolors were used, often exclusively, by artists throughout the 20th century. This exhibition will present watercolors from the Museum’s Permanent Collection with works by masters of the medium including Winslow Homer, Edward Hopper, and Charles Burchfield, among many others.

This exhibition is generously sponsored by the Isabelle Gwynn and Robert Daine Exhibitions Endowment Fund; John and Patty Anderson In Honor of Margret Anderson; In Honor of Charles J. Clausen; In Honor of James A. and Patricia B. Shope; West Virginia Division of Culture and History and the West Virginia Commission on the Arts.

Water + Color Works from the Permanent Collection