Author: Natalie Espinosa

Day of Art: Hamptons

THURSDAY, JULY 27, 2017
10 AM-5 PM
$225 AFA MEMBERS
$275 NON-MEMBERS

PURCHASE TICKETS

Join Pauline Willis, director of the AFA, at our annual summer event in the Hamptons. This art-filled day features celebrated private collections, lunch, and studio visits.

Highlights include:

Private Tour of Light | Waves by Clifford Ross at the Parrish Art Museum
We will start our day of art at the Parrish Art Museum for a special tour of Light | Waves, a mixed media installation by artist Clifford Ross that uses new photographic techniques to simulate and enhance the force and rhythm of nature. This work is part of the museum’s “Platform” series that invites a single artist to consider the entire museum as a site, thus transcending disciplinary boundaries and encouraging new ways to experience art.

Private Tour at the home of Louise and Leonard Riggio
Our day continues at the home of Louise and Leonard Riggio, Founder and Chairman of Barnes & Noble. Since we first visited in 2014, the couple has acquired several new outdoor sculptures, including Lay of the Land (2016), a commissioned work by Maya Lin; the impressive De Maria Garden and Pavilion, housing a series of Walter De Maria works; and Richard Serra’s Grief and Reason (for Walter), created in honor of De Maria upon his death in 2013. The work indoors rotates between genres of the late 1960s and 70s, such as Minimalism, Pop, Conceptual Art, and Arte Povera with works by the likes of Ed Ruscha, Roy Lichtenstein, and Andy Warhol.

Prix-Fixe Lunch at Bobby Van’s Steakhouse
We still stop for lunch at the original Bobby Van’s Steakhouse, first opened  in the summer of 1969, where he tended bar and played piano. The restaurant quickly became famous with local musicians, writers, poets, and artists.

Farewell Cocktails & Private Tour at the Home of Barbara and Richard Lane
To end this wonderful day of art, we invite you to the home of Barbara and Rick Lanea longstanding AFA Trusteefor cocktails and a private tour of their outstanding collection. With an emphasis on international contemporary photography, their home features work by artists such as Vik Muniz, Cindy Sherman, Adam McEwen and Barbara Kruger to name a few.

Please note: We will meet at the Parrish Art Museum and will carpool between locations. Participants will be responsible for their own transportation; parking is available at each location. Addresses will be provided upon reservation. Business casual attire recommended.

* Ticket price includes lunch. All but $50 is tax deductible. Space is limited.

For questions, please contact events@amfedarts.org / 212.988.7700 x 209.

“Women Artists in Paris, 1850-1900.” A Conversation with Laurence Madeline and Bridget Alsdorf

September 7, 2017
6-8 pm
The Cultural Services of The French Embassy
972 5th Avenue, NYC
Free. RSVP Required

RSVP

In this conversation organized on occasion of the exhibition Women Artists in Paris, 1850-1900, Laurence Madeline, the exhibition’s curator, and Bridget Alsdorf, professor and catalogue contributor, will discuss the work and status of women artists in nineteenth-century Paris and the relationship between that historical moment and contemporary developments.

During the second half of the nineteenth century, as a hub of opportunity and inspiration, Paris welcomed artists into dynamic circles of creative and intellectual dialogue and innovation. However, the persistence of restricting gender norms made it difficult for women to be recognized as creators and pioneers in their own right. Drawn from prominent collections across the United States and abroad, Women Artists in Paris, 1850-1900 features more than 80 paintings by 37 artists who helped to fuel the first avant-garde movements and challenged the conservative discourse of the acceptable expressions of femininity.

The accompanying catalogue edited by the American Federation of Arts in conjunction with Yale University Press will be available for sale at the event, courtesy of Albertine.

Laurence Madeline is the former Chief Curator of the fine arts division of the Musées d’art et d’histoire (MAH), Geneva. In addition, she has served as Director of the Musée Léon Dierx, Saint-Denis de La Réunion; curator at the Musée d’Orsay, Paris; and curator at the Musée Picasso, Paris.

Bridget Alsdorf is an Associate Professor at Princeton University specializing in European art of the nineteenth and early twentieth centuries. She is the author of Fellow Men: Fantin-Latour and the Problem of the Group in Nineteenth-Century French Painting (2012).

Women Artists in Paris, 1850–1900 is organized by the American Federation of Arts and curated by independent curator Laurence Madeline.

The exhibition is generously supported by the National Endowment for the Arts. Additional funding is provided by the JFM Foundation, Elizabeth K. Belfer, the Florence Gould Foundation, Monique Schoen Warshaw, the Barbro Osher Pro Suecia Foundation, the Swiss Arts Council Pro Helvetia, Clare McKeon, Steph and Jody La Nasa, Victoria Ershova Triplett, the American-Scandinavian Foundation, and the Finlandia Foundation.

  

We thank The Cultural Services of The French Embassy in the U.S. for their support of this event.

Buddha, Shiva, Dragon: Masterworks from the Rockefeller Collection at Asia Society (working title)

Available from 2020 through 2021

PRELIMINARY ITINERARY

First venue: March 19 – June 14, 2020
Second venue: July 23 – October 18, 2020
Third venue: December 3, 2020 – February 28, 2021
Fourth venue: April 1 – June 27, 2021

Buddha, Shiva, Dragon: Masterworks from the Rockefeller Collection at Asia Society will present sixty-seven masterpieces collected by John D. Rockefeller 3rd and his wife, illuminating the cultures and history of Asia. This important collection underscores art’s capacity to encourage cross-cultural dialogue and influence economic and public policy. The selection of sculptures, bronzes, and ceramics ranges from the late sixth century BCE to the early nineteenth century CE, and originates from Cambodia, China, India, Japan, Nepal, Sri Lanka, Thailand, Tibet, and Vietnam. Highlights include a spectacular Gupta-period Buddha and a Chola-period bronze Parvati from India; an extraordinary bronze gui (food vessel) from China’s Zhou dynasty; a rare seventeenth-century jar by the great Japanese potter Nonomura Ninsei; and an eighth-century bronze Maitreya Buddha from Thailand.

John D. Rockefeller 3rd (1906–1978) and his wife Blanchette Hooker Rockefeller (1909–1992) believed that by building a collection of the highest quality and sharing it with the public, they could educate Americans about the importance and diversity of Asian art, as a means to elevate their understanding of Asian cultures and create bridges to future economic and sociopolitical dialogue and engagement. Sherman E. Lee (1918–2008), an important art museum director and scholar of Asian art, worked with the Rockefellers as an advisor to their collection, and his influence will be addressed throughout this exhibition. The Rockefeller collection was bequeathed to Asia Society in New York City following the death of John D. Rockefeller 3rd in 1978.

Rockefeller played an instrumental role in fostering cultural understanding and cooperation between Asia and America after the Second World War. Early on he was influenced by the collection of Chinese and Japanese art amassed by his parents, John D. Rockefeller, Jr. and Abby Aldrich Rockefeller, and his interest in Asian art was tied directly to his increasing involvement in international politics, particularly relations between Asia and the West. In 1951 he joined the peace mission to Japan led by John Foster Dulles, and two years later he established the Council on Economic and Cultural Affairs, which necessitated frequent travels throughout the region.

A selection of Japanese works reflects the Rockefellers’ working relationship with their art advisor Sherman Lee set against the backdrop of postwar Japan, when political and economic circumstances led to the sale of many privately owned works and provided an unprecedented opportunity for American collectors. Similarly, the superb ceramics and sculptures in the exhibition bring to light the impact of Chinese civil strife and economic distress on the international art market during the late nineteenth and first half of the twentieth centuries, as well as the rise of interest in South Asian, Southeast Asian, and Himalayan art.

BOOKING

For more information, contact Curator Richard P. Townsend at 212.988.7700 ext. 225 or rtownsend@amfedarts.org.

CREDIT

This exhibition is co-organized by the American Federation of Arts and Asia Society Museum.

Women Artists in Paris, 1850-1900

Authors: Laurence Madeline
With Bridget Alsdorf, Richard Kendall, Jane R. Becker, Vibeke Waallann Hansen, and Joëlle Bolloch
Publishers: American Federation of Arts & Yale University Press (2017)
Dimensions: 9 1/2 x 11 in.
Format: Softcover, 288 pp
ISBN: 978-1-885-444-45-5
Price: $40
(Available September 2017)

In the second half of the nineteenth century, Paris attracted an international gathering of women artists, drawn to the French capital by its academies and museums, studios and salons. Featuring thirty-seven women from eleven different countries, this sumptuously illustrated book explores the strength of these artists’ creative achievements, through paintings by acclaimed Impressionists such as Mary Cassatt and Berthe Morisot, and exceptional lesser-known artists such as Anna Ancher, Marie Bashkirtseff, Paula Modersohn-Becker, Hanna Pauli, and Lilla Cabot Perry. It examines their work against the sociopolitical background of the period, when women were mostly barred from formal artistic education but skillfully navigated the city’s network of private studio schools, salons, and galleries. Essays consider the powerfully influential work of women Impressionists, representations of the female artist in portraiture, the unique experiences of Nordic women artists, and the significant presence of women artists throughout the history of the Paris Salon. By addressing the long-undervalued contributions of women to the art of the later nineteenth century, Women Artists in Paris pays tribute to pioneers who not only created remarkable paintings but also generated momentum toward a more egalitarian art world.

Read more about the exhibition Women Artists in Paris, 1850-1900.

Private Tour of “Independent Visions: Helene Schjerfbeck and Her Contemporaries from The Collection of Ateneum, Finnish National Gallery”

JUNE 14, 2017
6:00–7:00 PM
THE AMERICAN-SCANDINAVIAN FOUNDATION
SCANDINAVIA HOUSE
58 PARK AVE., NYC

FREE FOR AFA MEMBERS
$15 FOR NON-MEMBERS

TICKETS

Private tour of Independent Visions: Helene Schjerfbeck and Her Contemporaries, from the Collection of Ateneum, Finnish National Gallery, an exhibition that presents fifty-five works by four celebrated Finnish female artists: Helene Schjerfbeck, Sigrid Schauman, Ellen Thesleff, and Elga Sesemann. Sharing the experience of traveling and studying in France and Italy while maintaining strong attachments to their home country of Finland, these artists that remain relatively unknown to American audiences, reveal the excitement and turbulence of late 19th and early 20th centuries.

This tour will offer a preview of the work of two artists, Helene Schjerfbeck and Ellen Thesleff, also included in the AFA’s upcoming exhibition, Women Artists in Paris, 1850-1900, that begins its national tour at the Denver Museum of Art on October 22, 2017.

Private Tour of “John Lockwood Kipling Arts & Crafts in the Punjab and London” Led by Susan Weber

September 25, 2017
6–7 pm
Bard Graduate Center
18 West 86TH Street, NYC
Free for AFA Members
$10 for Non-Members

Join us on this private tour of John Lockwood Kipling Arts & Crafts in the Punjab and London with Susan Weber, co-curator of the exhibition and director of the Bard Graduate Center. This is the first major exhibition to examine the work of John Lockwood Kipling (1837-1911)—designer, architectural sculptor, curator, educator, illustrator, and journalist—whose role in the nineteenth‐century Arts and Crafts revival in British India is little known. Featuring nearly 300 objects from metalwork and furniture to paintings and relief sculpture, the show reveals this charismatic Victorian designer’s expertise, promotion of traditional Indian arts and crafts, and lasting impact on his son Rudyard, author of The Jungle Book.

The catalogue accompanying the exhibition will be available for purchase after the tour. Attendees will receive a 10% discount off the list price.

John Lockwood Kipling Arts & Crafts in the Punjab and London is curated by Susan Weber, Director, Bard Graduate Center, and Julius Bryant, Keeper of Word & Image, Victoria and Albert Museum, London.

Jeff Koons to be Guest Speaker at American Federation of Arts’ 2017 Spring Luncheon

(New York, April 11, 2017)—The American Federation of Arts (AFA) is delighted to announce that its annual Spring Luncheon will take place on May 17, 2017 at the JW Marriott Essex House in New York City. This year’s guest speaker will be world-renowned artist Jeff Koons, who will be in conversation with Scott Rothkopf, Deputy Director for Programs and Nancy and Steve Crown Family Chief Curator at the Whitney Museum of American Art.

“We are extremely happy to have Jeff Koons at our Spring Luncheon. He is undoubtedly one of the most important, influential and rebellious artists in the postwar generation,” stated Pauline Willis, Director of the American Federation of Arts.

Jeff Koons is an American artist celebrated for his work with banal objects and subjects from popular culture. He is widely known for his sculptures Rabbit and Balloon Dog, as well as monumental floral works such as Puppy and Split Rocker. Since his first solo exhibition in 1980, Koons’s work has been shown in important museums and galleries throughout the world. In 2014, his work was the subject of Jeff Koons: A Retrospective, a major exhibition organized by the Whitney Museum of American Art and curated by Scott Rothkopf, which traveled to the Centre Pompidou in Paris and the Guggenheim Bilbao. Koons lives and works in New York City.

This year marks the sixth anniversary of the Spring Luncheon. Past speakers include: Anne Pasternak, director of the Brooklyn Museum (2016); Will Cotton, artist (2015); Reed Krakoff, fashion designer (2014); Charles Renfro, partner of Diller Scofidio + Renfro (2013); Adam Gopnik, writer and essayist (2012); and Angela Westwater, co-founder of Sperone Westwater Gallery (2011).

The Luncheon will be chaired by AFA President, Clare E. McKeon, along with co-chairs Elizabeth Belfer, Stephanie Borynack Clark, Charlotte Eyerman, Ashleigh Fernandez, Lee White Galvis, Merril Mahan, Jennifer New, Capera Ryan, and Jennifer Wright. This event is one of two main fundraisers that help the AFA bring inspiring and thought-provoking art to communities across the nation. Proceeds from the Spring Luncheon directly support curatorial research and exhibition development for future AFA projects.

TICKETS
$350 Individual Ticket ▪ $600 Supporter Ticket ▪ $3,500 Sponsor Table ▪ $6,000 Patron Table. Click here for tickets or contact us at 212.988.7700 x 209 or events@amfedarts.org.

SUPPORT
The 2017 AFA Spring Luncheon is sponsored by


Additional support provided by


Special thanks to
Matthew Robbins Design, Stella Giovanni, and David Zwirner Gallery
ABOUT THE AMERICAN FEDERATION OF ARTS
The American Federation of Arts is the leader in traveling exhibitions internationally. A nonprofit organization founded in 1909, the AFA is dedicated to enriching the public’s experience and understanding of the visual arts.

Press Contact: Natalie Espinosa, nespinosa@amfedarts.org
or 212.988.7700 x 205.

2017 Spring Luncheon – Jeff Koons, Guest Speaker

May 17, 2017
12:00 PM Reception
12:30 PM Lunch
JW Marriott Essex House
160 Central Park South, NYC

TICKETS

Jeff Koons will be in conversation with Scott Rothkopf, Deputy Director for Programs and Nancy and Steve Crown Family Chief Curator at the Whitney Museum of American Art and curator of the 2014 exhibition Jeff Koons: A Retrospective.

EVENT LEADERSHIP

CHAIR
Clare E. McKeon

CO-CHAIRS
Elizabeth Belfer
Stephanie Borynack Clark
Charlotte Eyerman
Ashleigh Fernandez
Lee White Galvis
Merrill Mahan
Jennifer New
Capera Ryan
Jennifer Wright

BENEFIT COMMITTEE
Anne Altchek
Ruth Appelhof
Betsy & Robert Barbanell
Bromley Caldari Architects
Michele & Martin Cohen
Yasaman Djunic
Alexandra Doan Drucker
Agnes Gund
Anthony Hirschel
Bonnie Kagan
Ann & Gilbert H. Kinney
Raya Keis Knight
Steph R. La Nasa
Barbara & Richard S. Lane
Raymond J. Learsy
Margot Linton
NancyJane & Jeffrey M. Loewy
Linda Macklowe
Charlene Marsh
Betsy Pitts
Katie Adams Schaeffer
Betsy Pinover Schiff
Sotheby’s
Ellen Taubman
Victoria Triplett
Monique Warshaw
Sandra Warshawsky
Pamala Wright
David Zwirner Gallery
List in formation as of 05.12.17

SUPPORT

Spring Luncheon Sponsored By


Additional Support Provided By
Christie’s

Special Thanks
Matthew Robbins Design
Stella Giovanni
David Zwirner Gallery


 

For information contact us at events@amfedarts.org or 212.988.7700 x 209.

“Women Artists in Paris 1850–1900” To Begin National Tour at Denver Art Museum

New York, NY (March 16, 2017): The groundbreaking exhibition Women Artists in Paris 1850–1900 broadly surveys a key chapter in art history in which an international group of female artists overcame gender-based restrictions to make remarkable creative strides. Featuring more than eighty paintings by thirty-seven artists from thirteen countries, drawn from prominent collections across the United States and abroad, this exhibition presents renowned artists such as Berthe Morisot (French), Mary Cassatt (American), and Rosa Bonheur (French) alongside lesser-known yet equally important peers including Anna Ancher (Danish), Lilla Cabot Perry (American), and Paula Modersohn-Becker (German). Women Artists in Paris 1850-1900 is curated by Laurence Madeline and organized by the American Federation of Arts. It will be presented at the Denver Art Museum, Colorado (October 22, 2017–January 14, 2018), the Speed Art Museum, Louisville, Kentucky (February 17–May 13, 2018), and the Clark Art Institute, Williamstown, Massachusetts (June 9–September 3, 2018).

Pauline Willis, director of the American Federation of Arts, notes: “We are very proud to showcase the works of these pioneering women who overcame immense obstacles to advance their art. The timeliness of this exhibition is inescapable, as women today continue to face barriers in the arts and beyond.”

During the mid-nineteenth century, Paris was the epicenter of the art world, luring artists from around the globe to its academies, museums, salons, and galleries. Scores of women artists traveled to the French capital to develop their art and further their careers, yet despite the city’s cosmopolitan character, gender norms remained strikingly conservative. Only later in the century did French women gain such fundamental rights as receiving a secondary education (1879), opening a bank account (1881), and obtaining legal guardianship of their children (1907). Furthermore, women were not allowed to attend the École des Beaux-Arts—the country’s most important art academy—until 1897. Barred from this prestigious institution, and largely unable to participate in the Salon system, women pursued alternative venues by attending private academies, exhibiting independently, and forming their own organizations, such as the influential Union des Femmes Peintres et Sculpteurs in 1881.

Moral and social stigmas also hindered women’s full participation in the period’s artistic circles. Taboos against females being seen in public without a chaperone limited their access to certain spaces and narrowed the range of subjects they could represent. History painting, the foremost genre of the Academy, relied on accurate depictions of nude or draped figures, but as most women artists had scant opportunities to study from nude models, many instead gravitated toward avant-garde movements. Such work often emphasized genre scenes, the models for which could be found in the domestic sphere.

Women Artists in Paris, 1850–1900 expands our understanding of this rich art historical period and demonstrates the formative role women artists played in the major currents of European Modernism, including Realism, Impressionism, and Symbolism. The forward-thinking women represented in this exhibition not only created powerful paintings but also generated a momentum that has led toward a more egalitarian art world.

EXHIBITION TOUR
Her Paris: Women Artists in the Age of Impressionism, Denver Art Museum, Colorado (October 22, 2017–January 14, 2018)
Women Artists in the Age of Impressionism, Speed Art Museum, Louisville, Kentucky (February 17–May 13, 2018)
Women Artists in Paris, 1850-1900, Clark Art Institute, Williamstown, Massachusetts (June 9–September 3, 2018)

CURATOR
Laurence Madeline is an independent curator and former Chief Curator of the fine arts division of the Musées d’art et d’histoire (MAH), Geneva. She served as Director of the Musée Léon Dierx, Saint-Denis de La Réunion; curator at the Musée d’Orsay, Paris; and, from 2000 to 2006, curator at the Musée Picasso, Paris. Her exhibitions include Courbet: les années suisses (2014, MAH); James Ensor (2009–10, Musée d’Orsay and Museum of Modern Art, New York); Picasso-Manet (2008–9, Musée d’Orsay); and Picasso-Ingres (2004, Musée Picasso and Musée Ingres), among others.

PUBLICATION
Women Artists in Paris, 1850–1900 will be accompanied by a scholarly catalogue, featuring an introductory overview by guest curator Laurence Madeline and contributions by Bridget Alsdorf, Jane R. Becker, Joëlle Bolloch, Vibeke Waallan Hansen, and Richard Kendall. Topics addressed include the influential work of women Impressionists; representations of the female artist in portraiture; the unique experiences of Nordic women artists; and the significant presence women artists occupied in the annual Paris Salon. The book is published by the American Federation of Arts in association with Yale University Press.

EXHIBITION CREDIT
Women Artists in Paris, 1850–1900 is organized by the American Federation of Arts and curated by independent curator Laurence Madeline.

The exhibition is generously supported by the National Endowment for the Arts. Additional funding is provided by the JFM Foundation, the Florence Gould Foundation, the Barbro Osher Pro Suecia Foundation, the Swiss Arts Council Pro Helvetia, Steph and Jody La Nasa, Victoria Ershova Triplett, the American-Scandinavian Foundation, and the Finlandia Foundation.

Support for the accompanying publication provided by Furthermore: a program of the J.M. Kaplan Fund.

ABOUT THE AMERICAN FEDERATION OF ARTS
The American Federation of Arts is the leader in traveling exhibitions internationally. A nonprofit organization founded in 1909, the AFA is dedicated to enriching the public’s experience and understanding of the visual arts.

PRESS CONTACT: Natalie Espinosa, nespinosa@amfedarts.org / (212) 988.7700

AFA Statement about NEA and NEH

The American Federation of Arts affirms the vital role that the National Endowment for the Arts (NEA) plays in making art accessible to people across the nation. For over one hundred years, the American Federation of Arts has endeavored to help museums of all sizes bring art of the highest quality to their communities, and it does so both with the important support of the NEA’s Arts and Artifacts Indemnity Program and grants for upcoming exhibitions.

Museums and cultural organizations inspire and offer a safe space where one can view and understand other cultures and another person’s experience. In addition to significantly contributing to strengthening our social fabric, they also add substantial value to our economy. According to Cultural Times, a study carried out by EY Advisory in 2015, the cultural industries influence income generation, job creation, and export earnings. They also boost the attractiveness of cities and act as a catalyst for urban development. Without the support of the NEA, many museums and arts organizations will suffer greatly, negatively impacting their ability to serve their communities, and thereby weakening our society and our economy.