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    Sharing our treasures

    The Burchfield Penney Art Center exhibitions have broad appeal, and have traveled to museums throughout the United States and Europe. We collaborate with these museums in developing new exhibitions, as well as providing access to a host of exhibitions that have already been organized by The Center. Drawing on our extensive collections, we are frequently able to share in-depth explorations that contextualize a variety of artists and movements.

    The Burchfield Penney Art Center is home to the largest collection of Charles E. Burchfield (1983–1967) works and archival materials in the world, proudly serving as an international resource to scholars, curators, students and the public. Beyond Charles E. Burchfield, The Center has curated comprehensive exhibitions on the work of the Roycroft Movement, Paul Sharits, Milton Rogovin and many others. These thought-provoking exhibitions continue to attract visitors from throughout the country and around the globe, and fulfill The Center's mission of supporting and advancing Western New York art.

    For information on available exhibitions and works from the Burchfield Penney's collection, please call 716-878-3549 or email Kathy Gaye Shiroki

     

    Nature Enraptured: Janelle Lynch and Charles Burchfield

    Nature Enraptured: Janelle Lynch and Charles Burchfield is an exhibition that awakens how we might perceive nature by featuring the insightful work of a contemporary artist with important examples of a 20th-century American master’s canon.  Artists who experience the vitality of nature and sense its anthropomorphic qualities often share a symbolic language. In 1917, Charles Burchfield invented Conventions for Abstract Thoughts to signify distressed human emotions that he embedded in his landscape paintings. Influenced by Chinese and Japanese art, he expanded that lexicon with more conventions based on nature that expressed a magical, lively, and constantly changing world, as well as audio-cryptograms that made sounds visible.

    Nine decades later, in 2006, when photographer Janelle Lynch was introduced to Burchfield’s work, she identified with his reverence for nature and anthropomorphic vision. She also saw landscape in metaphoric terms. Her bodies of work are about absence and loss—personal losses, as well as more universal observations that mourn human desecration of the landscape; observe nature’s destructiveness through natural disasters, floods, and storms; and appreciate the resilience of plants regenerating despite adverse conditions. Curated by Burchfield scholar Nancy Weekly, Nature Enraptured will be accompanied by a Radius Books publication.

    For more information on Janelle Lynch: Presence, please see the exhibition page.

    Exhibition Details
    Required space 500 running feet
    Works Up to 25 Photographs by Janelle Lynch and 21 drawings by Charles E. Burchfield (editing allowed).
    Publication  Nature Enraptured: Janelle Lynch & Charles Burchfield, essays by Anthony Bannon and Nancy Weekly 2017
    Booking Period 12 weeks
    Availability Currently open
    Cost $6,000-8,000 plus shipping and insurence

    The artist is available for lectures, programs, and book-signings.

     

    Blistering Vision: Charles E. Burchfield's Sublime American Landscapes

    Charles E. Burchfield painted the scarred, bruised and damaged American landscape of the twentieth century, challenging earlier notions of mankind living in harmony with nature. In Blistering Vision, more than three dozen major Burchfield paintings – supported by sketches, drawings, and notes from Burchfield’s journals, letters and other ephemera – reveal Burchfield’s observances of the effects of industry on the natural environment. It includes works from the Center’s permanent collection as well as works on loan from other institutions and private collections.

    Exhibition Details
    Required space Approximately 650 running feet or 8000 sq. feet
    Works Up to 20 drawings, 50 watercolors (editing allowed)
    Booking Period: 12 weeks
    Availability Late Fall 2016 (limited to 3 venues)
    Cost $75,000, plus shipping and insurance

    Curator is available for lectures and programming.

     

    Burchfield Botanicals

    Between 1908 and 1911, Charles E. Burchfield (1893–1967) created nearly 500 scientifically accurate botanical sketches of the wildflowers and plants he found in the forests and fields around his childhood home in Salem, Ohio. The artist identified and documented these plants, along with the location where each was found. These sketches are an important record of Burchfield’s fascination with the environment from a young age, as well as his scientific approach to capturing nature’s essence. Burchfield Botanicals features masterworks by the artist, paired with these botanical sketches and objects from the Charles E. Burchfield Archives at the Burchfield Penney Art Center. The exhibition showcases an intersection of art and environment dating back to the early part of the twentieth century. Selections from the Buffalo Museum of Science's Marchand Wildflower Collection— scuptural recreations of various plant species—may also be included.

    For more information on Burchfield Botanicals, please see the exhibition page.

    Exhibition Details
    Required Space Approximately 205 running feet
    Works Up to 50 works; with up to an additional 17 objects
    Catalogue 50–page, soft cover, perfect-bound book with an essay by exhibition curator Tullis Johnson
    Booking Period 12 weeks
    Cost $20,000, plus shipping and insurance

    Curators are available for lectures, programming and book signings.

     

    Charles Burchfield: In His Own Words

    From the age of seventeen until the end of his life, American watercolor painter Charles E. Burchfield wrote in journals that chronicled his artistic and intellectual development. These journals reveal much about his unique vision, love of nature and gift for writing. Throughout his career, Burchfield’s moods, ideas and personal critiques were recorded on thousands of scraps of paper and studies for paintings.

    Most of the objects selected for this exhibition were created between the years 1918 and 1945, a period bookended by the two World Wars. Notes that Burchfield wrote to himself are also included.

    “You are completely dead – devoid of any emotional attitude toward nature / Wake up – be bold, make bold caricatures & conventionalizations.”

    For more information on Charles Burchfield: In His Own Words, please see the exhibition page.

    Exhibition Details
    Required space 120 running feet - expandable to 180 running feet
    Works Up to 22 works
    Booking Period 12 weeks
    Cost $15,000, plus shipping and insurance
    Availability Currently open (limited to 3 venues)

    Curator is available for lectures and programming.

     

    Charles E. Burchfield: Oh My Heavens

    Charles E. Burchfield (1893–1967) had a deep reverence for the natural world—its sunbursts, haloed moons, eclipses and constellations. Theoughout his life, Burchfield recorded the mysteries and infinite unknowns of the heavens with spiritual devotion and awe. As early as 1915, Burchfield made observational sketches of the night sky. This focus intensified in celestial drawings and paintings that documented the liminal points of our days and marked the unique characteristics of the seasons. Oh My Heavens features paintings and drawings from the Burchfield Penney Art Center Charles E. Burchfield Collection and Archives, conveying the artist’s interpretations and representations of the skies and stars above.

    For more information on Charles E. Burchfield: Oh My Heavens, please see the exhibition page.

    Exhibition Details
    Required Space Approximately 205 running feet
    Works Up to 60 works
    Catalogue 44-page, soft-cover, perfect-bound book with essay by exhibition curators Tullis Johnson, Alana Ryder and Kevin Williams, PhD
    Booking Period 12 weeks
    Cost $20,000, plus shipping and insurance

    Curators are available for lectures and programming.

     

    The Likeness of Being:  Portraits by Philip Burke

    Philip Burke is an American illustrator who by the age of 15 was doodling and beginning to draw. As he puts it, “When I was a teen, I wanted to be a rock star, but I couldn’t play any instruments and I was too shy to sing. So, I put my dream into painting and drawing rock stars.”  Burke relocated to New York City, where he soon started drawing illustrations for the Village Voice and other publications. By 1982 he had transitioned from pen and ink to oil paints and working on a large scale. Burke became a featured artist at Rolling Stone (1989-96) and his work appeared in such publications as TimeNewsweek, the New YorkerGQSports Illustrated, the New York Times, and Slate.  Philip Burke is best known for portraits of musicians and politicians with its features warped and exaggerated and its surface saturated with intense expressionist color to suggest complex psychological states.  

    Exhibition Details

    Required Space Approximately 350 linear Feet, adjustable for venue
    Works Up to 65 paintings
    Catalogue The Likeness of Being:  Portraits by Philip Burke, color, 86 pages
    Resources Labels and other didactic materials
    Booking Period Currently open
    Cost $30,000 plus shipping and insurance

    Curators are available for lectures, programming and book signings.

     

    Charles E. Burchfield: A Resounding Roar

    The sounds of nature, industry and humanity would inspire Burchfield throughout his career. Early works depict the sound of crickets as they chirp away in the bushes around his childhood home. The resounding roar of a passing train, or the delicate call of a bobolink could be the imputes for a series of works lasting decades. Later works are inspired by his favorite composers Ludwig van Beethoven and Jean Sibelius. Charles E. Burchfield: Resounding Roar presents the artists love and appreciation of different sounds and the works he made in response to them.

    On March 23, 1920 Charles E. Burchfield wrote:
    What undiscovered music there is in our world – yesterday in the shop – the harsh ear-splitting scream of iron against emery, with an undertone of mystical human exertion – Sunday the call of crows in the vast empty March air… the roar of waterfalls punctuated by the short sharp chop of axes on wood – at evening, the huge black valley with its white river & moon sliver… from afar comes the clang of a country church.

     Exhibition Details

    Required Space Approximately 205 linear ft.
    Works Up to 40 (paintings, drawings, and archival objects)
    Catalogue Catalogue with vinyl record
    Resources Labels and other didactic materials
    Booking Period 12 weeks
    Availability Currently open
    Cost $20,000 plus shipping and insurance

    Curators are available for lectures, programming and book signings.

     

     Alexander Levy: Art Deco Painting in America

    A painter, illustrator, printmaker and designer, Alexander Levy (1881–1948) studied at the Cincinnati Art Academy with Frank Duveneck, followed by studies in at the New York School of Fine and Applied Art under the respected painters, educators and art philosophers William Merritt Chase and Robert Henri. He was one of the few American painters who worked in the Art Deco fashion, additionally drawing upon Art Nouveau, Mannerism and the picturesque elements of The Ashcan School. Above all, the Levy paintings are suffused with a love of life with subjects ranging from portraits, landscapes and scenes typical to American cities in the first half of the twentieth century.

    For more information on Alexander Levy: Art Deco Painting in America, please see the exhibition page.

    Exhibition Details
    Required Space 300 running feet
    Works Up to 60 paintings
    Catalogue 198 page soft cover book with essays by exhibition co-curators Scott Propeack and Albert Michaels PhD, William Gerdts PHD, Jack Foran and Bruce Fisher.
    Booking Period 12 weeks
    Cost $25,000, plus shipping and insurance

    Curators are available for lectures and programming.

     

    Life Streams Alberto Rey: Cuban-American Artist

    Alberto Rey’s work, when considered as a survey of his career up to this point, is one of identity, place and the concerns of environment; creates a harmonic totality of life.  In early works, Rey takes on the experience of dislocation brought about through the immigration experience of Cuban Americans.  His paintings explore two cultures coming together – integrated lives of a multitude of Americans of Cuban descent – while being open enough to be a shared being understanding by all who trace their lives to other places.  

    Alberto Rey was born in Agramonte, Cuba and grew up in Barnesboro, Pennsylvania, where his family
    settled after briefly living in Mexico City and Miami.  Today, Rey is a Professor of Painting at SUNY, Fredonia. 


    Exhibition Details
    Required Space Approximately140-200 linear feet
    Works up to 25 paintings
    Catalogue Life Streams:  Alberto Rey Cuban and American Art, 2014.
    Booking Period 12-16 weeks
    Cost $15,000, plus shipping and insurance

    Curator and artist are available for lectures and programming.

     

    Biological Regionalism: Alberto Rey

    As our cultures become more homogenized by mass media and consumerism, the one element that remains unique to a region is nature. Although people try to manipulate it to fit their needs,the landscape and it's biological inhabitants characterize a region. It's an omnipresent influence that affects a region’s people and culture. As generations become continually disconnected from a lifestyle that relies on the landscape for survival, the knowledge and understanding of our natural environment is eroding. Biological Regionalism is a series of paintings which identify the landscape and the species of fish that are distinctive to a particular region, explores how human actions have altered the landscape, and examines what is being done today to correct past wrongs.

    For more information on, Biological Regionalism: Alberto Rey please see the exhibition page.

    Exhibition Details
    Required Space Approximately 90–260 running feet
    Works Up to 5 paintings and 5 sculptures—expandable to 20 paintings, 2 videos and archival materials
    Catalogue Contributors Lynette M.F. Bosch, Mark Denaci, Jorge Gracia, Isabel Alvarez Borland, John Orlock, Sandra Firmin, and Benjamin Hickey
    Book Life Streams: Alberto Rey’s Cuban and American Art (2014) edited by Lynette M. F. Bosch and Mark Denaci, 285 pages published by SUNY Press
    Booking Period 12–16 weeks
    Cost $15,000, plus shipping and insurance

    Curator and artist are available for lectures and programming.

     

    Burchfield: Solitude

    “I find it wholesome to be alone the greater part of the time. To be in company, even with the best, is soon wearisome and dissipating. I love to be alone. I never found the companion that was so companionable as solitude.” From Burchfield’s journals.

    The exhibition explores Burchfield’s creation of images to portray solitude as influenced by the writings of Henry David Thoreau. In Thoreau, he undoubtedly recognized an empathetic spirit for Burchfield, too, cherished solitude throughout his life: his journals were filled with memories of solo excursions in the woods, childhood memories of time alone, and of the solitary experience of creating his masterworks.

    For more information on Burchfield Solitude, please see exhibition page.

    Exhibition Details
    Required space Approximately 90 linear feet
    Works Up to 32-38 drawings (editing allowed); 1 watercolor painting
    Booking Period 12 weeks
    Availability Currently open (limited to 3 venues)
    Cost: $8000, plus shipping and insurance

    Curator is available for lectures and programming.

     

    World in a Jar: War & Trauma

    Robert Hirsch’s installation World in a Jar: War & Trauma is a collection of eight hundred black-&-white photographs, each “sealed safely away” in its own glass jar with a black lid and displayed in a serpentine pattern upon a fifty-foot arch-shaped pedestal. The photographs are an enormous array made largely from portions of appropriated historical images that have been re-energized to bring forward a litany of horrors from the wars and traumas of the past three centuries.

    For more information on World in a Jar: War & Trauma, please see the exhibition page.

    Exhibition Details
    Required space 800 square feet
    Works Up to 850 jars and 6 large format photographs
    Booking Period 12-16 weeks
    Availability Currently open

    Artist is available for lectures and programming.

     

    Charles E. Burchfield: Weather Event

    Weather Event focuses on Charles E. Burchfield’s depictions of the weather south of Lake Erie, where the artist lived for most of his life. Individual weather events are examined through both an artistic and scientific lens. Burchfield's representations of weather, wind, skies and sounds are unique historical records of the environment near Lake Erie. In 1915, Burchfield made a series of sketches that show the changing weather and position of the sun over the course of several hours, which he called all-day sketches. Decades later, a 1950 journal entry recounts "The Day the Sun Disappeared over Western New York." In these unique instances and others the visitor experiences the landscape through Burchfield's eyes. Working with climatologist and SUNY Buffalo State professor Stephen Vermette, Ph.D., we present the dramatic and complex natural phenomenon chronicled in more than 50 years of Burchfield's writings, drawings and paintings.

    For more information on Charles E. Burchfield: Weather Event, please see the exhibition page.

    Exhibition Details
    Required space Approximately 205 linear feet
    Works Up to 46 (additions and editing possible)
    Catalog paperback with essays by Tullis Johnson and Stephen Vermette, PhD.
    Archival Material: 22 objects
    Resources labels, digital gallery guide and other didactic material
    Booking period [available after 2019]

    Curator is available for lectures and programming.

     

    James Vullo: Deconstructing Urbania

    Although artist James Vullo (1914-1999) created works in varied styles – ashcan realism, abstract cubism and landscape minimalism – at different periods in his life, his focus was always on the environment with which he was most familiar: the city and its surroundings. In his early work he depicted the darker realities of early 20th century Western New York with its growing industrial base. By mid-career, his work evolved from representations of isolated urbanism to panes of color – a visual celebration of the geometry and beauty of the architecture in the region. And his style would change dramatically again when, in his later years, he stripped away intense cubic color constructions to settle into monochromatic landscapes. Throughout his life he depicted his changing aesthetic view of a changing world – and then as now, his unique altered landscapes give audiences a sense of his perspective.

    For more information on James Vullo: Deconstructing Urbania, please see the exhibition page.

    Exhibition Details
    Required space Approximately 600 linear feet
    Works Up to 55 (additions and editing possible) including up to 25 artist-made kites
    Catalog paperback with essay by Valerie Ann Leads
    Archival Material 50 sketches and related articles
    Resources labels and other didactic material
    Booking period: 12 weeks
    Availability Currently open 

    Curator is available for lectures and programming.

     

    McCallum Tarry: Intersections

    "In an extraordinarily diverse and challenging body of work, Bradley McCallum and Jacqueline Tarry focus on place, face, and narrative. Racism and other injustices are the mediating and complicating factors, often startling, always politically as well as aesthetically motivated in subtle and unexpected ways." -Lucy R. Lippard, Writer, Activist and Curator

    Bradley McCallum and Jacqueline Tarry’s art connects with community. That is its core value. Their subjects are race, identity, and injustice. As a bi-racial couple, their work is political, historic and contemporary.

    For more information on McCallum Tarry: Intersections, please see the exhibition page. The artists are available for lectures and other programming.

    Exhibition Details
    Required space Approximately 1,800 linear feet
    Works Over 125, including paintings and video installations (additions and editing possible)
    Catalog In development, with essays planned by Janet Dees, Eva Diaz, Lucy Lippard, Courtney Martin and Scott Propeack
    Resources: labels and other didactic material
    Booking period: 12 weeks
    Availability Currenty Open
    Cost $25,000 plus shipping and insurence

    Artists are available for lectures and programming.

     

    Spain: Rock, Roll, Rumbles, Rebels, & Revolution

    Spain: Rock, Roll, Rumbles, Rebels & Revolution is an in-depth career retrospective of the graphic works, iconic characters, and recurring motifs of Manuel “Spain” Rodriguez, the Buffalo-born comic book artist who, in the late 1960s, was a close colleague of and frequent

    collaborator with the first generation of underground “comix” artists, both on the Lower East of NYC and in San Francisco (R. Crumb, Kim Deitch, Art Spiegelman, S. Clay Wilson, Bill Griffith, Vaughn Bode, et al.) Spain Rodriguez—along with and as much as any of his contemporaries—profoundly influenced the graphic and compositional style, thematic content and political sensibilities of two subsequent generations of graphic literature creators.

    For more information on Spain: Rock, Roll, Rumbles, Rebels, & Revolution, please see the exhibition page.

    Exhibition Details
    Required Space Approximately 300 linear feet
    Works Up to 75 objects (additions and editing possible)
    Catalogue 90 page soft cover illustrated publication with essays by exhibition co-curators Edmund Cardoni and Don Metz.
    Video 10-min documentary by filmmaker and investigative journalist, Susan Stern
    Resources Labels and other didactic material
    Booking Period 12 weeks
    Availabliity Currently open
    Cost $10,000, plus shipping and insurance

    Curators are available for lectures and programming.

     

    Charles Cary Rumsey: Small Bronzes

    Myths, memorials and the vitality of life are illustrated in small bronze sculptures and studies by Charles Cary Rumsey (1879-1922).  The Buffalo-born artist studied in Paris, where he developed an appreciation for the Beaux-Arts style of depicting animals and figures in bronze.  His special love of horses, which deepened while playing polo and creating equine portraits, can be seen in his ability to articulate anatomy in motion.  He sculpted the female figure in modes of sensuality, motherhood, and elegiac reverie, while his male figures reflected classical mythology and memorial lyricism.  Small-scaled bronze works from the collection illustrate a range of Rumsey’s work over his short career, cut short by an automobile accident.  The exhibition also includes a memorial portrait bust by Rumsey’s assistant, Edmondo Quattrocchi (1889-1966), which was recently donated to the museum.

    For more information on Charles Cary Rumsey: Small Bronzes, please see the exhibition page.

    Exhibition Details
    Required space Approximately 100 square feet
    Works Up to 12-18 sculptures
    Catalog Several Rumsey publications available
    Resources labels and other didactic material
    Booking period 12 weeks
    Availability Currently open 

    Curators are available for lectures and programming.

     

    Caustic Ink:  The Political Cartoons of Tom Toles

    Tom Toles knows the power of a good symbol. And he has known it for a long time. Even back at Hamburg High School in the late 1960s, the teenage Toles organized a group of students who wore black every Monday to protest the election of Richard Nixon.   These days, and for decades now, Toles has made his living in the symbols business – as a political cartoonist for the Washington Post since 2002, and for 20 years before that, at The Buffalo News. His cartooning career began at the Buffalo Courier-Express when chief editor Douglas Turner saw a glimmer of something in the bright young illustrator’s work that he thought might translate into cartooning brilliance.   In the end, what truly distinguishes Tom Toles is not his spare drawing style, not his skewed humor, not the mini-Toles in the corner, not his politics, and not even his choice of subject matter.  It is something larger: a sensibility driven more by language and ideas than by the urge for a quick visual laugh.  And, most of all, what sets him apart is a searching, reform-minded intelligence all too rare not only in cartooning, but in all of journalism.

    Exhibition Details
    Required space Approximately 600 linear feet
    Works Up to 65 (editing possible)
    Catalog  68 pp.
    Archival Material 22 objects
    Resources labels and other didactic material
    Booking period 12 weeks
    Availability Currently open

    Curators are available for lectures and programming.

     

    Surrounded: Sampling Burchfield’s Wallpaper

    From November 1921 to August 1929, Charles Burchfield worked at the M. H. Birge & Sons Company, eventually becoming one of their best wallpaper designers.  His designs were so highly regarded that they printed his name in the selvage.  He based many of his early designs on watercolors he had produced in Salem, Ohio.  Later designs were either company determined variations on traditional themes, or imaginative designs based on his special view of nature.  The exhibition will highlight works from the collection including color variations of wallpapers produced with rollers, original painted designs for wallpapers and coordinating fabrics known as cretonnes, as well as panels from the complex, block-printed scenic wallpaper, Country Life and the Hunt (c. 1922-1924) that had been removed from its original installation in a home in New England, donated by Gail and John Greenberger in 1999, and restored by paper conservator Patricia D. Hamm, with assistance of Eileen Saracino, James D. Hamm, and Tracy Dulniak.

    Exhibition Details
    Required space Approximately 205 linear feet
    Works Up to 25 (editing and additions possible)
    Catalog 68 pp.
    Resources labels and other didactic material
    Booking period 12 weeks
    Availability Currently open
    Cost $8,000 plus shipping and insurance

    Curators are available for lectures and programming.

     

    Roycroft Books and Roycroft Objects

    “One machine can do the work of fifty ordinary men. No machine can do the work of one extraordinary man.” Elbert Hubbard (1856-1915), founder of the Roycroft Movement

    The Roycroft Movement in East Aurora, New York, led by Elbert Hubbard (1856–1915), emerged as a reaction to America’s Industrial Revolution. Adopting British Arts & Crafts ideal, the Roycrofters sought to re-establish an appreciation for handcraftsmanship and

    advance to a simpler, understated, anti-Victorian aesthetic, becoming renowned for finely-made furniture, ceramics and everyday objects, as well as books and prints. Roycroft Objects includes desktop and everyday items furniture and various other decorative, yet functional, works, including vases, bowls and other ceramics. Roycroft Books features a selection of prints and publications from the Burchfield Penney Art Center collection of more than 1,400 publications. Both exhibitions are developed from the Burchfield Penney’s Roycroft Collection, the largest public collection of Roycroft objects.

    Exhibition Details
    Required Space Approximately 1,500 square feet
    Works Up to 40 objects (editing and additions possible)
    Catalogue Several Roycroft publications available
    Resources Labels and didactic material
    Booking Period 12 weeks
    Cost $10,000, plus shipping and insurance

    Curators are available for lectures and programming.

     

    Milton Rogovin Exploring Neruda

    Milton Rogovin: Exploring Neruda is the result of a collaboration between internationally celebrated social documentary photographer Milton Rogovin and Chilean poet Pablo Nueruda. Rogovin traveled to Chile in 1967 and explored the life and country of the Nobel Prize winning poet. The lyrical series of black and white photographs Rogovin created is paired with the poetry of Neruda in the publication Windows That Open Inward.

    Exhibition Details
    Required Space Approximately 160 linear feet
    Works Up to 225 black and white photographs
    Catalogue Windows That Open Inward and general publications are available, including English and Spanish language brochures.
    Resources Labels and didactic material
    Booking Period 12 weeks
    Cost $5,000, plus shipping and insurance

    Curators are available for lectures and programming.

     

     

    Paul Sharits: Declarative Mode

    Declarative Mode is a pure color work “abstract” in form but “narrative” in content. This is a “non-structural” film, even while it contains much “flicker.” One cannot predict the scene by scene fabric; nor is there an overall unifying principle. The film attempts to be like life, full of unexpected twists and turns. It is an homage to Jefferson’s anti-slavery section of the Declaration of Independence (which was voted down by the first congress) and it is my declaration of independence from the tyranny of preconception, of working from an overall structure of structural logic This new chronicle form, or “abstract narrative” prefigures a long work in progress –Passare-which will be a book of temporal color with each chapter being about 30 minutes long. In 1976, Paul Sharits received a Bicentennial Film grant, awarded jointly by the National Endowment for the Arts and the New York State Council on the Arts. With it, he created Declarative Mode, a film that celebrates the spirit and dynamism of Jefferson’s adamant declaration of human liberty for all races in pure rhythms.

    For more information on Paul Sharits: Declarative Mode, please visit the exhibition page.

    Exhibition Details
    Required space Approximately 400 linear feet
    Works Up to 18 framed and one two-channel Digital video installation
    Catalog Trade-paperback with essays by Don Metz, Andrew Nicholls, PhD., and David Carson, PhD.
    Archival Material 22 objects
    Resources labels and didactic material
    Booking period 12 weeks
    Availability Currently open

    Curators are available for lectures and programming.

     

    Marilyn: The Douglas Kirkland Photoshoot

    In Los Angeles on the evening November 17, 1961,Douglas Kirkland photographed Marilyn Monroe. Kirkland was a novice photographer working for Look Magazine. The photographer photographed Marilyn Monroe he asked all of the assistants to leave so that the photographer and his model could work alone. This set the stage for an interpersonal play that makes this work unique. An intimate engagement transpired and from the interaction some of the most memorable photographs of the American icon and beloved heroine.

    From early in his life Douglas Kirkland aspired to be photographer. He joined Life Magazine during the golden age of 60’s/70’s photojournalism. Among his assignments were essays on Greece, Lebanon and Japan as well as fashion and celebrity work.  Through the years, Kirkland has worked on the sets of over 100 motion pictures. Among them, Butch Cassidy and the Sundance Kid, 2001 A Space Odyssey, Out of Africa, Titanic, and Moulin Rouge.

    For more information on Marilyn: The Douglas Kirkland Photoshoot, please visit the exhibition page.

    Exhibition Details
    Required Space Approximately 250 linear feet
    Works Up to 56 photographs (editing possible)
    Catalogue An Evening/1961 with Marilyn, Douglas Kirkland, Glitterati, 2012
    Resources Labels and other didactic material
    Booking Period 12 weeks
    Cost $15,000 plus shipping and insurance 

    Curators and artist are available for lectures and programming.

     

    Phillip Stearns:  A Chandelier for One of Many Possible Ends

    The Chandelier for One of Many Possible Ends is composed of groupings of 92 individual light elements, each representing the electrons in a Uranium atom. The detection of radiation causes flickering in the lights of the chandelier. Thus, the greater the flickering, the greater the amount of radioactivity in the environment.  Stearns work quietly, subtly, engages the memory of nuclear catastrophe, while maintaining a haunting, even contemplative, environment.

    For more information on Phillip Stearns:  A Chandelier for One of Many Possible Ends, please see exhibition page.

    Exhibition Details
    Required Space Approximately 1,600 square feet
    Works Up to Sculptural installation
    Booking Period 12 weeks
    Cost $12,000 plus insurance, includes artist installing installation

    Artist is available for lectures and programming.

     

    Steina:  Borealis

    Steina takes stunningly beautiful yet turbulent clips of nature in her native Iceland, enlarges them, then turns them on end, literally and figuratively, so that they may be experienced as living abstractions on a scale equal to that of the human body. Composer, Performer, engineer, and artist, Steina created a body of work over the past three decades that expanded the boundaries of video technology, electronic imaging, and new media art in unprecedented ways. 

    For more information on Steina: Borealis, A Projected Video Environment, please see the exhibition page.

    Exhibition Details
    Required Space 1,100 square ft.
    Works 4 video projections on translucent screens
    Catalogue on-line
    Cost $15,000, plus shipping and insurance
    Booking Period 12-16 weeks

    Curator is available for lectures and programming.

     

     Object as Energy Point:  Andrew Deutsch

     Object as Energy Point is the culmination of collecting, experimenting, and creating assemblages using found objects from train tracks, antique stores, and abandon lots. Every object in the exhibition is a loudspeaker a transducer, or a metaphor for a speaker. It incorporates ceramic glazed elements as metaphors for "klangfarben" and their arrangement as "klangfarbenmelodie”, a musical technique that involves splitting a musical line among several instruments rather than a single instrument to add color and texture to the melodic line.  Over the past 20 years the installation has grown to include over 100 objects, including a six foot tall pyramid of speakers. The result is a visual electronic landscape, generated by and inter-modulated with sound.

    For more information on Object as Energy Point:  Andrew Deutsch, please see the exhibition page.

    Exhibition Details
    Required space approximately 45x30 running feet
    Works speaker, video, ceramics, variable objects
    Booking Period 12 weeks
    Availability currently open

    Artist is available for lectures and programming.