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This exhibit will be in the spotlight during the 4th Tuesday Tour on January 22, 2019, at 7 p.m. This is a Macy’s Free Tuesday event.

By the latter part of the 19th century, travel to the realms of Egypt and the Holy Land became a popular adventure for European and American tourists. Once reserved for only the very wealthy, improvements in transportation and well-established commercial tours made the trek affordable for even middle-class travelers.

A thriving industry in descriptive guidebooks by publishers such as Baedeker and Cook spelled out the information needed to maneuver through the region and experience the most historic and awe-inspiring sites. While the improved technology of photography allowed many travelers to document these journeys with their personal cameras or to purchase inexpensive souvenir prints from the many photography studios in the region, a number of visitors took the opportunity to paint and sketch the historic sites in the same manner that artists had done in earlier times.

Through a generous gift of Drs. Joseph and Omayma Touma, the Huntington Museum of Art has a collection of 20 watercolor sketches that depict a number of points of interest along the popular tourist routes in the Near East, including areas of Egypt, Palestine, Lebanon and Syria. These sketches include views of monuments and historic structures as well as scenes of local residents in the countryside. Though the artist is unknown, the visual record left behind provides a fascinating record of a land that captivated the collective imagination of determined tourists more than a century ago.

Presented with support from The Isabelle Gwynn and Robert Daine Exhibition Endowment.

This program is presented with financial assistance from the West Virginia Department of Arts, Culture and History, and the National Endowment for the Arts, with approval from the West Virginia Commission on the Arts.

Builder Levy: Appalachia USA

October 13 - January 6, 2019

Opening reception for this exhibit takes place on October 14 from 2 to 4 p.m. and will include a presentation by Builder Levy. Admission is free.

Appalachia USA is a unique documentary project by the New York-based photographer Builder Levy (b. 1942) that explores life and labor in coal mining communities in Kentucky and West Virginia during the span of 40 years.

Levy’s arresting black-and-white photographs connect us to the very heart of coal mining. He traces the indelible legacy of the coal industry on the lives and landscapes that define the region from scenes shot deep underground where miners toil at their difficult and often perilous work to the tops of mountains where explosives and heavy machinery extract coal and irrevocably alter the shape of the land.

Levy began this work in 1968 and continued documenting the region for more than 40 years. Previously, as a student in the 1960s, Levy had photographed civil rights marches and demonstrations — many of his shots were published in the journal Freedomways. He undertook the Appalachian project as a continuation of his commitment to civil rights and his interest in documenting the social landscape of America. In doing so, he hoped to dispel popular “hillbilly” stereotypes by presenting his subjects in a way that emphasizes their humanity and personality.

Appalachia USA attends to the turbulent politics of economics and labor that have revolved around coal mining in America as Levy documents the picket lines of striking miners and demonstrations by their families as they organize their communities to improve their standard of life, often in confrontation with powerful interests. Levy also challenges our preconceptions of Appalachian culture by bringing to our attention the racial diversity in the region’s communities and in the coalfields.

Presented with support from The Isabelle Gwynn and Robert Daine Exhibition Endowment.

Thanks to the John and Mable Ringling Museum of Art for their assistance in developing educational content.

This program is presented with financial assistance from the West Virginia Department of Arts, Culture and History, and the National Endowment for the Arts, with approval from the West Virginia Commission on the Arts.

Strong Currents: Artists at the Water’s Edge

September 8 - December 2, 2018

Earth is called “the water planet” for a good reason, since nearly 71 percent of its surface is covered with the aqueous substance. It is essential to life on the planet and its many manifestations have influenced and molded human civilization in countless ways.

The bodies of water that make up the planet – from small streams to rivers, lakes and oceans have naturally drawn the attention of artists, writers and philosophers throughout the centuries. Herman Melville, in his classic novel Moby Dick, said that “meditation and water are wedded forever,” a sentiment that reflects the central place of water as motif and metaphor in religion, poetry and art.

For artists, waterways can be places of calm or sources of terror and uncertainty. From the pleasant flow of Charles Daubigny’s river scenes in rural France to Joseph Rusling Meeker’s Morning on the Ohio River, the stream serves as an inviting place to float through the countryside or rest peacefully on its banks. When storms or fearsome tides enter the picture as in Harvey Prusheck’s Flood in the Ohio Valley or in William Ritschel’s Shores of Monterey, California, the mood shifts to potential disaster and terror.

The river can be a place of work, as in the painting View of Mill at Wolf Creek Near Muskingum River, attributed to Sala Bosworth, or Jesse Reed’s aquatint River Tipple. Travel has long been linked to flowing waterways, seen in the craft that meander down the Ohio River in the painting Ensign Foundry and East Huntington and Vernon Howell’s painted relief carving Steam Boat.

Water and religion are often tied closely together, as illustrated in Paul Justice’s photograph titled Creek Baptism. The rugged wind and waves of the ocean present a challenge to affluent sportsmen, who steer through the choppy seas in James Buttersworth’s Yacht Race. These works, along with additional selections from HMA’s permanent collection, combine to illustrate the universal artistic appeal of Earth’s flowing waters.

Presented with support from The Isabelle Gwynn and Robert Daine Exhibition Endowment.

This program is presented with financial assistance from the West Virginia Department of Arts, Culture, and History, and the National Endowment for the Arts, with approval from the West Virginia Commission on the Arts.

​The Opening Reception for the Tri-State Arts Association Biennial Exhibition 2018 takes place on Sunday, September 16, 2018, from 2 to 4 p.m. For more information about this exhibit, please visit

Barbara Takenaga’s paintings enrich the languages of abstraction by combining aspects of Japanese printmaking and Tantric painting, as well as modernist developments such as Op Art. Her meticulously obsessive paintings of vortex patterns, pinwheels, and cosmic particles set in kaleidoscopic motion are based on intricate mathematical systems, and evoke grand visions of night skies in which meteor showers, gaseous explosions and other sorts of astronomical phenomena are happening. Images float or rotate before our eyes. Colors pop and dazzle. Trajectories intersect, overlap, spiral, and reverberate. At once conceptual and emphatically ornamental, Takenaga’s work invites us on playful metaphysical journeys that are enchanting and magical. Takenaga earned BFA (1972) and MFA (1978) degrees from the University of Colorado, Boulder. Her paintings have been exhibited at the Pennsylvania Academy of the Fine Arts, Philadelphia; Mass MoCA, North Adams, Massachusetts; Museum of Contemporary Art, Denver, Colorado; and the National Academy Museum, New York. Her work was highlighted in the MIT Press publication, Psychedelic: Optical and Visionary Art Since the 1960s (2010), and is held in many public and corporate collections throughout the United States. Takenaga is the Mary A. and William Wirt Warren Professor of Art at Williams College, Williamstown, Massachusetts. She is represented by DC Moore Gallery, New York, N.Y.

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. The Museum is indebted to Roxanna Y. Booth’s son, the late Alex Booth, Jr., for his participation in the concept development of the Gropius Master Artists Workshops.

Emil Carlsen’s Quiet Harmonies

August 11 - November 4, 2018

Opening reception for this exhibit takes place on September 9, 2018, from 2 to 4 p.m. Jody Lamb of Ohio University will speak. Admission is free.

Danish-American painter Emil Carlsen (1853-1932), well-known to Huntington Museum of Art patrons through his three canvases in the HMA collection, will be the focus of a traveling exhibition that showcases his work as a landscape painter. While Carlsen has received much acclaim for his still-life paintings, he was also an accomplished landscape painter who was lauded by critics and collectors during his lifetime.

His lush, painterly and deeply satisfying paintings took the influences of impressionism and tonalism a step further in the direction of serenity and quiet sensory beauty. He was also a gifted teacher who influenced generations of artists through his insightful instruction and thoughtful philosophy.

He maintained close friendships with many of the leading American painters of his day, including John Twachtman and J. Alden Weir, and won numerous awards for his works at prestigious venues such as the St. Louis Exposition in 1904 and the Sesquicentennial Exposition in Philadelphia in 1926.

The exhibition is organized by the Yellowstone Art Museum in Billings, Montana, and will be drawn in part from two private collections that include works by Carlsen that are not well known to aficionados of American painting. Additional works are included from museum collections, including that of the Huntington Museum of Art, with both The Heavens Are Telling and The Surf, Rocks and Water among the selections. Both HMA works are part of The Daywood Collection, and were acquired by Arthur Dayton during Carlsen’s lifetime. Mr. Dayton held Carlsen in the highest esteem, and was an admirer of both his landscapes and his religious subjects.

The exhibition is supported in part by grants from the scan | design foundation, Seattle, Washington; the American-Scandinavian Foundation, New York; and numerous private sponsors.

Presented with support from The Isabelle Gwynn and Robert Daine Exhibition Endowment.

Additional support from Adam Booth, In Memory of Jean Kaplan Dunn; Robyn and Derek Chapman, In Memory of Carole Rison; Dr. and Mrs. Peter Chirico, In Memory of Dr. and Mrs. William R. Finnegan; Mrs. Dolores Cook, In Memory of Willis Cook; David and Roberta Gang, In Memory of Shirley Gang; Mr. and Mrs. Ben McGinnis, In Honor of Deborah McGinnis; Janina Michael, In Memory of Mark Lenning; and Ora Muth, In Honor of Mary H. Hodges.

This program is presented with financial assistance from the West Virginia Division of Culture and History, and the National Endowment for the Arts, with approval from the West Virginia Commission on the Arts.

Photo by Herman Leonard © Herman Leonard Photography, LLC. Herman Leonard, American, 1923-2010, Fats Navarro, Royal Roost, New York City, 1948. Silver gelatin print. Photo courtesy of The Kennedy Museum of Art, Ohio University.

Please join us on Tuesday, June 19, 2018, at 7 p.m. for the free opening reception for this exhibit presented by Marshall University’s College of Arts and Media. The evening will include jazz performances by MU students in the exhibit gallery.

When it came time to choose a college, Herman Leonard (1923-2010) knew that he wanted to pursue his deep-rooted passion for photography, so he traveled from his hometown of Scranton, Pennsylvania, to Athens, Ohio, with a camera in his hand.

He chose to attend Ohio University because “it was the only university at the time that could offer me a degree in photography.” Though his studies were interrupted by his service in the Army during World War II, he returned to complete his degree in 1947. Following his graduation, he set off for Ottawa, Canada, where he became an apprentice to famed photographer Yousuf Karsh.

He would find his niche, however, once he moved to New York City in 1948. It was here that he began to visit the smoky jazz clubs that were located on Broadway and in Harlem. “My parents loved classical music and all my childhood experiences had been traditional. Then when I heard jazz, it was a whole new thing, like eating candy for the first time.”

He began to create publicity photographs for the clubs in exchange for free admission, and soon began to rub shoulders with some of the all-time greats of the genre, including Louis Armstrong, Dizzy Gillespie, Charlie Parker, and Billie Holliday. His work started to appear in leading jazz magazines such as Downbeat, as well as on the covers of record albums by many of the performers.

His jazz concentration was interrupted briefly by his work as Marlon Brando’s personal photographer in 1956, but he soon returned to his musical imagery in New York and later in the clubs of Paris, where many of the musical greats performed. His work is a catalog of an era, when jazz reigned supreme in both America and Europe. His unique ability to capture the electric atmosphere of the performances and the engaging personalities of the musicians is unparalleled.

This collection of black and white photographs was a gift from Leonard to his alma mater, Ohio University, where they now reside at the school’s Kennedy Museum of Art.

Opening reception sponsored by Marshall University College of Arts and Media.

This program is presented with financial assistance from Jazz at Lincoln Center Department of Education.

Presented with support from The Isabelle Gwynn and Robert Daine Exhibition Endowment.

This program is presented with financial assistance from the West Virginia Division of Culture and History, and the National Endowment for the Arts, with approval from the West Virginia Commission on the Arts.

Studio Selections

May 22 - June 17, 2018

Opening reception takes place on May 22, 2018, at 6 p.m.

Studio Selections is an exhibition celebrating the accomplishments of people who have participated in HMA’s studio program during the year. Classes in watercolor, painting, photography, clay and drawing are very popular at the Museum. Be sure to come and enjoy this exhibit and see what goes on in HMA’s studio program.

Studio Selections

Opening reception and awards ceremony to take place on April 21 at 2 p.m.

Portfolio is an exhibit of work created by middle school and high school students from the Tri-State. This exhibit celebrates the hard work accomplished by teachers and students. Each middle school teacher selects four works of art from their classes and each high school teacher selects six—what a challenging task for the teachers! Typically, HMA exhibits about 200 works in the Portfolio exhibit.

This year’s judge from the Marshall University College of Arts and Media is Daniel Dean. He will view all entries and identify the award winners, distributing a total of $500 to selected students.

Portfolio 2018 is funded by Marshall University’s College of Arts and Media.

Marshall University College of Arts & Media Presents Portfolio  2018

Presented In Memory of Audra Rowsey Campbell

Opening reception for this exhibit takes place on June 2 from 2 to 4 p.m. with a presentation by Professor Eric Lassiter. Admission is free.

Join us for the showing of the documentary film titled “What Was Ours” on June 26 at 7 p.m. Admission is free. This documentary aired on “Independent Lens.” Thanks to West Virginia Public Broadcasting for assistance with this project.

The campus of Davis & Elkins College in Elkins, West Virginia, holds a treasure house of eclectic objects in its Stirrup Gallery. From spinning wheels and firearms to ancient Roman coins and Wedgwood pottery, the Gallery invites visitors to “experience 3,500 years of history up close.”

The true heart of the Gallery is represented in The Darby Collection, which includes glassware, firearms and powder horns, metalware and a rich assemblage of Native American objects. The artifacts were collected by Hosea M. Darby (1866-1942), a Preston County, West Virginia, native who later set up a successful practice as an architect and builder in Elkins. An obsessive collector, Darby eventually accumulated more than 10,000 objects, which he displayed at his home in a space known as “Darby’s Prehistoric and Early Pioneer Art Museum.” Following his death, both the collection and his home were bequeathed to Davis & Elkins to be used for the education of both students at the college and the general public. Although the journey to a finished museum on campus took decades, the collection is now on view in a dedicated space inside the college’s Myles Center for the Arts.

The Huntington Museum of Art is grateful for the opportunity to show a selection of Native American objects from The Darby Collection. One of the strengths of the collection is its array of pottery, most of which was obtained by Hosea Darby in the early years of the 20th century. It ranges from Mississippian-period objects from southeast and central North America to a large collection of decorated vessels from the cultures of the American Southwest. In addition to pottery and stone artifacts, the exhibition will feature finely woven baskets from western North America as well as selections of beaded clothing and accessories.

This exhibit is presented in Memory of Audra Rowsey Campbell.

Presented with support from The Isabelle Gwynn and Robert Daine Exhibition Endowment.

This program is presented with financial assistance from the West Virginia Division of Culture and History, and the National Endowment for the Arts, with approval from the West Virginia Commission on the Arts.

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