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Tri-State Arts Association Biennial Exhibition 2018

September 15 - October 21, 2018

​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 www.tristatearts.webs.com.

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. www.hermanleonard.com

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.

Join us for a tasting tour of the C. Fred Edwards Conservatory and a look at this exhibit on August 28, 2018, at 7 p.m. This 4th Tuesday Tour program includes a presentation by Dr. Mike Beck, HMA’s Conservatory Director, and a walk through the conservatory. This is a Macy’s Free Tuesday event.

The invention of the printing press spawned an amazing revolution in the dissemination of knowledge. With the advent of movable type, the ability to spread newly discovered information to a wide audience in the form of printed materials had a marked effect on nearly every aspect of human culture, from religion to politics, literature, and economic theory.

As the influence of the Enlightenment took hold in western cultures, its emphasis on direct observation of the natural world prompted a major shift in the study of botany, a scientific realm that had largely been consigned to herbalists and physicians. Travel to the amazing realms of the New World introduced a growing demand to see and experience the rich and exotic natural features of foreign lands.

By the 17th century, a thriving body of richly illustrated botanical literature had appeared. Books such as Basil Besler’s Hortus Eystettensis, published in 1613, were important not only for their contributions to the advancement of a system of botanical classification, but the clarity and beauty of their illustrations made them works of art that were prized by collectors.

Artists used a variety of printmaking techniques to create these images, beginning with woodcuts in the earliest works and later using etchings and lithography as those processes were perfected. Many of the illustrations were hand-colored, giving them a sumptuous look that made their subjects come to life. The advancement of printing techniques and an enthusiastic culture of exploration and scientific discovery led to a “golden age” of illustrated botanical literature, an era that would extend into the mid-19th century, when the invention of photography created a new means of documenting the natural world.

The Huntington Museum of Art has a rich collection of natural history prints in its holdings, including many that were donated by longtime patron Dr. Marion Korstanje. For this exhibition, a number of the works were chosen to illustrate features of the museum’s C. Fred Edwards Conservatory and nature trails, including prints that depict orchids, banana plants and butterflies.

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.

Among the most ubiquitous tools that have been at the side of human beings for thousands of years has been the walking cane. Although it can manifest itself as a mundane stick of wood or a simple machine-formed metal tube that serves as a practical aid to mobility, often it has been embellished to convey a measure of decorative flair to its owner.

Whether carved, inlaid, painted or adorned with precious metals, animal skins or ivory, the cane can be an exotic palette that transforms a humble tool into an object of beauty and luxury. It can have hidden compartments for precious objects, practical additions such as umbrellas, tape measures and medical instruments, stowage for weapons such as firearms or swords, and containers for storing the stuff of worldly pleasures such as tobacco and alcoholic beverages. It can feature graphic symbols of professions and trades, sport the likenesses of politicians and royalty, or tout membership in clubs or fraternal organizations.

The likenesses of animals have long been a favorite embellishment, with snakes, dogs, birds, and lions among the most popular. Created by accomplished artists as well as leisure-time carvers, canes have served as a record of human creativity for generations. The Huntington Museum of Art has a collection of more than 100 canes that runs the gamut from finely appointed works with gold and silver embellishments to rustic examples that reflect local folk traditions. Many of them were donated to the museum by Winifred Burkhardt, whose husband, Dr. Edwin M. Burkhardt, had acquired them over a period of many years.

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.

The scenic beauty of western Virginia lured many artists to the area to paint and sketch during the 19th century. Several spots were especially attractive, including Hawk’s Nest along the New River and Harper’s Ferry in the northern portion of the region.

The lack of transportation routes through the state’s rugged western interior limited most visits to established thoroughfares such as the James River and Kanawha Turnpike, which followed alongside some of the state’s major rivers such as the New, Gauley and Kanawha before it arrived at its western terminus along the Ohio River.

One artist who visited the state to paint and sketch was Augustus Kollner, a German immigrant who had settled in Philadelphia in the 1840s. He traveled widely in the eastern United States to create scenic views of America for publication in Europe. Among his travels was a trip through what is now West Virginia in 1845, resulting in many drawings and watercolors that feature the area’s natural attractions. The Huntington Museum of Art recently acquired 11 of these works for its collection. They will be on view in the Bridge Gallery from May 12 through June 17, 2018, and will be joined by another of Kollner’s works from the same visit, a painting titled Ohio River Above Wheeling that was purchased by the museum in 1986.

This exhibit is presented by Garth’s Auctioneers & Appraisers.

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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