Art Out & About

Jackson Pollock’s Galaxy (left) has been removed from view and will soon be at the Kunstmuseum Basel (Basel, Switzerland) for the exhibition The Figurative Pollock (October 2, 2016 through January 22, 2017). The exhibition presents a representative survey of the evolution of Pollock's figurative art from the mid-1930s to the 1950s in altogether around one hundred paintings and works on paper.

In the meantime, watch for new and exciting works from Joslyn’s collection and from temporary loans in the Contemporary Galleries.

What's pictured: (left) Jackson Pollock (American, 1912–1956), Galaxy, 1947, oil and aluminum paint on canvas, Gift of Peggy Guggenheim, 1949.164; (below) William Merritt Chase (American, 1849–1916), Sunlight and Shadow, 1884, oil on canvas, Gift of the Friends of Art, 1932.4
William Merrit Chase's Sunlight and Shadow (below) is on view at Phillips Collection in Washington, D.C., in William Merritt Chase: A Modern Master. The exhibition, which marks the centennial of Chase’s death, explores his role as both an outspoken champion of American art and an active participant in the international art scene in Europe. Portraying a couple at afternoon tea in the garden of a home in Zandvoort, Holland, Sunlight and Shadow is one of Chase’s earliest forays into plein-air painting. Light cascades through a canopy of trees, casting dazzling patterns across the couple — Chase's friend, the painter Robert Blum, and a young woman reclining in a hammock — captured in what appears to be a fraught conversation. On view in Washington, D.C., through September, the exhibition will then travel to the Museum of Fine Arts, Boston, from October 2016 to January 2017, before its final venue at the Ca’Pesaro Galleria Internazionale d’Art Moderna in Venice from February to May 2017.

New Acquisitions Now on View

Joslyn Art Museum has acquired a monumental new work by internationally renowned fiber artist Sheila Hicks for its permanent collection of contemporary art. The work, titled Mandan Shrine (2016; pictured left), consists of “ponytails” or “cords,” a recurring element in Hicks’s work that she creates by bundling long strands of linen and then tightly binding them at intervals with brightly colored threads.

The work is on view now at Joslyn as part of Sheila Hicks: Material Voices (through September 4); Hicks conceived Mandan Shrine specifically for the exhibition. While reflecting on her Nebraska heritage, she became interested in the work of Swiss artist Karl Bodmer. Joslyn’s collection includes nearly 400 watercolors and drawings by Bodmer, who journeyed up the Missouri River between 1832 and 1834 to portray the landscapes of the high plains and its native inhabitants. The nearly ten-foot-tall wall hanging Mandan Shrine shares its title with a Bodmer watercolor depicting a ceremonial structure related to Mandan beliefs about the afterlife.

Special thanks to the Joslyn Art Group for making this acquisition possible: Rae and Bill Dyer (lead gift), Henry Davis, Diny and Jim Landen, Joe Moglia, Connie Ryan, Stacy and Bruce Simon, Martha and David Slosburg, and Annette and Paul Smith.

At the Joslyn Art Museum Association Gala preview of the exhibition on Friday, June 3, a raise-the-paddle auction raised funds for the purchase of a second work by Hicks — Emerging with Grace (2016; pictured right). Also on view now in the Material Voices exhibition, Emerging with Grace is an example of Hicks’s miniature weavings she calls minimes. Using a loom she constructed in the late-1950s, Hicks turns to the minimes to reflect on her rich life experiences and world travels. With its wandering lines and inclusion of a shell — a non-fiber material — Emerging with Grace exemplifies the experimental nature of the intimate minimes. Hicks created this weaving, along with several others, in the months leading up to the opening of Material Voices, and has explained that she was reflecting on the colors of the Nebraska landscape.

What's pictured: (above left) Mandan Shrine, 2016, linen, cotton, synthetic fibers, 118 1/2 x 53 1/2 in., Museum purchase with funds from the Joslyn Art Group, 2016.11 (Photo: Colin Conces); (above right) Emerging with Grace, 2016, linen, cotton, silk, shell, 7 7/8 x 11 in., Museum purchase with funds from the Joslyn Art Museum Association Gala 2016, 2016.12 (Photo: Cristobal Zanartu); both © Sheila Hicks

The Maximilian Journals

Between 1832-34, the explorer and naturalist Prince Alexander Philipp Maximilian of Wied-Neuwied, Germany, embarked on a voyage into the furthest reaches of the American Interior. Accompanied by the Swiss artist Karl Bodmer, Maximilian set forth from St. Louis in April 1833 on a 2,500 mile journey by steamship and keelboat up the Missouri River, traveling as far as Fort McKenzie, Montana. Wintering at the Mandan village near Fort Clark, they returned downriver the following spring, having spent over a year amongst the tribes of the Upper Missouri. The watercolors that Bodmer produced on this journey remain one of the most perceptive and compelling visual accounts of the West ever created. Meanwhile, his patron Maximilian was equally hard at work on a journal documenting his scientific and anthropologic observations. Few historical chronicles are as informative and eloquent, describing the topography, Native peoples, natural history, and the burgeoning fur trade of the High Plains. Today, Maximilian’s journals are a centerpiece of the Joslyn collection, accompanied by his collection of over 350 watercolors and drawings by Karl Bodmer. 

Joslyn Art Museum recently announced the milestone publication of the third and final volume of the English translation of The North American Journals of Prince Maximilian of Wied, one of the most important documents of the nineteenth-century American West. Volumes 1 and 2 were published in 2008 and 2010 respectively. In 2008, Volume 1 was named the "Outstanding Nonfiction Book" of the year by National Cowboy and Western Heritage Museum. In the fall of 2011, Volume 1 received the Western History Association’s Dwight L. Smith Award, a biennial award recognizing outstanding bibliographic or research work. Earlier in 2011, Volumes 1 and 2 were reviewed by Stuart Ferguson of The Wall Street Journal, who called the works a "magnificent chronicle."

The North American Journals of Prince Maximilian of Wied — Volume 1: May 1832–April 1833;
Volume 2: April–September 1833; and Volume 3: September 1833–August 1834 are available in Joslyn Art Museum’s Hitchcock Museum Shop for $85 per volume. The Journals are edited by Stephen S. Witte and Marsha V. Gallagher. Volumes 1 and 2 are translated by William J. Orr, Paul Schach, and Dieter Karch with forewords by John Wilson. Volume 3 is translated by Dieter Karch with a foreword by Joslyn’s Executive Director and CEO Jack Becker.

Support for the Maximilian Journals Project has come from many sources. Robert Daugherty funded the completion of the translation in 2003. The Bodmer Society, Charles W. Durham, and Marlene and J. Joe Ricketts made timely contributions to support initial editing and production costs. Dorothy and Stanley M. Truhlsen, Arader Galleries, Ann and Steve Berzin, Judy and Terry Haney, Susan and Michael Lebens, Pinnacle Bank, and Phyllis and Del Toebben provided additional support. Joslyn was awarded a grant from the National Endowment for the Humanities, and the University of Oklahoma Press received funding from the National Historical Publications and Records Commission. Ultimately, however, it has been the extremely generous gifts of Howard L. and Rhonda A. Hawks and The Hawks Foundation that have made this important publication possible.