Tag: Exploring Manhattan Block by Block

Montclair Art Museum 3 South Mountain Avenue Montclair, NJ 07042

Montclair Art Museum

3 South Mountain Avenue

Montclair, NJ   07042

Phone: (973) 746-5555/Membership: (973) 259-5147

http://www.montclairartmuseum.org

https://www.montclairartmuseum.org

Open Wednesday-Sunday 12:00pm-5:00pm/Monday & Tuesday Closed

Admission: Non-Member Adults $12.00/Seniors (65+) and Students with ID $10.00/Members and Children under 12 Free

My review on TripAdvisor:

The front of the Montclair Art Museum at 3 South Mountain Avenue in the early Fall

I have made many trips to the Montclair Art Museum over the years and have always found it to be a very interesting and engaging museum. The curators mount fascinating exhibitions sometimes from the permanent collection and sometimes from traveling shows.

The statue in front of the entrance of the museum

The galleries are smaller and more compact so the exhibitions are not over-whelming like in the bigger museums. You can see each exhibition in about forty-five minutes to an hour and you will still see a lot. There are also smaller exhibition spaces which specialize in one artist and you might see about a dozen pieces.

There are two exhibitions going on currently in the museum. One is “Constructing Identity in American”, which is a permanent collection show of more than 80 paintings, sculptures and works on paper that will address a variety of characteristics that contribute to one’s sense of self, including civic, cultural, artistic, religious, professional and sociopolitical identities, sense of place and personal space and non-conformity. This exhibition goes far beyond portraits to explore other aspects of sense of self (Museum pamphlet).

Montclair Art Museum II

“Constructing Identity in America” exhibit

Native American Galleries

The other exhibition is called “Undaunted Spirit: Art of Native North America” which focuses on the Native American culture from Prehistoric times to the modern era. It , seems that by the end of the Civil War the Victorians were collecting art and objects of the Native Americans fearing that their cultural was disappearing. There is a lot of focus on pottery, both modern and pre-colonial, clothing construction, jewelry making with turquoise and silver and basket-making which was all the rage at the turn of last century. I like the modern aspects of the art as they are ushering a new era of artists of the southwest and giving them a voice. Take time to look at the detail work of the show.

Montclair Art Museum III.jpg

“Undaunted Spirit: Art of Native North America” exhibit

Montclair Art Museum Mission Statement:

(This is from the Montclair Art Museum website)

Mission Statement: The Montclair Art Museum, together with its Vance Wall Art Education Center, engages our diverse community through distinctive exhibitions, educational programs and collection of American and Native American Art. Our mission is to inspire and engage people of all ages in their experience with art, including the rich inter-cultural and global connections throughout American history and the  continuing relevance of art to contemporary life.

Vision, Values and Diversity Statement:

After 100 years of service, MAM is recognized as the leading American art museum and community art school in Northern New Jersey. As a organization, we value: artistic inspiration, diversity of voices, individual and group creativity and the importance of all arts to a civil, inclusive and forward-thinking society.

We respect and welcome individual differences and strive to maintain an environment that fosters productivity, creativity and individual satisfaction by celebrating the diversity of race, gender, nationality, age, religion, sexual orientation and physical abilities.

During our second century, we will invigorate our collections and curatorial presentations; expand our educational services audience; support artists, their work and connections; pursue productive institutional partnerships and embrace new media and technology. We will also secure MAM’s financial stability and preserve its facilities and other assets in a prudent and sustainable way.

A notable community institution with an international reputation, the Montclair Art Museum (MAM) is still located in the same-though now thrice expanded-building in which it opened in 1914. Situated amid a beautiful tree-lined residential area of Montclair New Jersey, just 12 miles west of New York City, the Museum is esteemed for its holdings of American and Native American Art, its exhibitions, its family and public programs and its art school. It welcomes more than 65,000 visitors annually.

The entrance of the Montclair Museum

The History of the Museum:

(from the museum website)

The Museum was a pioneer: one of the country’s first museums primarily engaged in collecting American Art (including the work of contemporary non academic artists) and among the first dedicated to the study and creation of a significant Native American art collection. This pioneering spirit still reverberates in the  Museum’s pursuit and presentation of high-quality art that characterize and celebrates American’s diversity, including the recent launch of its Contemporary Art Program, in 2010, providing MAM an opportunity to showcase dynamic contemporary work and expand the Museum’s contemporary art holdings. A main showcase dynamic contemporary work and expand the Museum’s Contemporary holdings.

A main feature of the MAM program is to explore the interplay between historical and contemporary art to our understanding of the larger historical context in which art is created, presenting work that is being challenging and accessible. A key component of the Contemporary Art Program is it New Direction exhibition series of solo artists, established in 2011. Artists featured in the series include Marina Zurch, Saya Woolfalk, Spencer Finch and Sanford Biggers. Most recently in Spring 2015, MAM presented its largest and most ambitious exhibition of contemporary art to date, “Come as You Are: Art of the 1990’s”.

From its founding, the Montclair Art Museum has maintained a vital presence in its surrounding community. The Museum’s collection began with gifts from prominent Montclair residents that included both American and Native American art, laying the foundation for the Museum’s holdings. MAM’s Inness Gallery is one of the only galleries in the world dedicated to the work of America’s greatest landscape painter, who spent the last nine years of his life in Montclair, from 1885 onward and who drew inspiration from the local landscape. Other well-known artists followed in his footsteps, cementing Montclair’s reputation as an intellectual center and artist’s colony, a reputation its retains to this day.

Mam’s collection has grown to over 12,000 works. The American collection, which started with a gift of 36 paintings from William T. Evan’s, comprises paintings, prints, drawings, photographs and sculpture dating from the 18th century to the present and features excellent works by Benjamin West, Asher B. Durand, John Singer Sargent, Edward Hooper, Georgia O’Keeffe, Andy Warhol and Roy Lichtenstein as well as younger and emerging artists such as Louise Lawler, Chakaia Booker, Whitfield Lovell and Willie Cole.

The museum’s superb holdings of traditional and contemporary American Indian art and artifacts, New Jersey’s largest, represent the cultural achievements in weaving, pottery, wood carving, jewelry and textiles of indigenous Americans. The collection was begun by Annie Valentine Rand and carried on by her philanthropic daughter Florence Rand Lang, one of the Museum’s founders and continues to grow with philanthropic daughter Florence Rand Lang, one of the Museum’s founders and continues to grow with commissioned works, gifts and purchases that celebrate the vitality and modernity of traditional forms and beliefs. Among the contemporary American Indian artists represented are Tony Abeyta, Dan Namingha, Jaune Quick-to-see Smith, Allan Houser , Bently Spang and Marie Watt.

Equally important for its community presence and its reputation are the Museum’s public and family programs and art school, serving everyone from toddlers to senior citizens. Collaborations with numerous cultural and community partners bring artists, performers and scholars to the Museum on a regular basis. Guests have included Holland Cotter, John Elderfield, Bill T. Jones, Jeff Koons, Faith Ringgold, Winfred Rembert, Kiki Smith, Philip Pearlstein, Shirin Neshat and Lorna Simpson. More than 10,000 K-12 students from 190 school districts visit the Museum every year. Free Family Days, a Family Lab, MAM Park Bench, Home School Days and Birthday Art Parties allow families to experience art in variety of different ways. As the New Jersey affiliate of the Scholastic Art & Writing Awards, MAM opens opportunities to creative teenagers to gain national recognition for their work. The Museum also provides programs for seniors and special needs individuals-such as the hearing impaired and people with Alzheimer’s as well as training for teachers in the arts.

MAM’s art school, now the Yard School of Art, has been an integral part of the Museum’s life nearly from the beginning. It was founded in 1924 just 10 years after the Museum itself and has operated continuously since then offering courses year-round to kids, teens, adults and seniors. Courses cross a broad range of the artistic spectrum, including drawing, painting, collage, pastel, printing making and illustration. In 2011, the school launched two new areas: a Ceramics Studio and a Digital Media Lab.

In 2014, MAM celebrated its Centennial with a yearlong program of activities, which included a Birthday Party on January 15, exactly 100 years from the day of its founding that attracted thousands of visitors. In honor of the Centennial the Museum also commissioned internationally renowned artist Spencer Finch to create a site-specific installation that has transformed the Museum’s facade, making it a more inviting point of entry.

The first institution in New Jersey designed as a museum and one of the first in the nation to be accredited by the American Association of Museums, the Montclair Art Museum as it marks its Centennial, continues to seek novel ways, through its exhibitions, educational programs and outreach efforts to inspire and inform its growing and ever more diverse audiences.

(This information on the history of the Montclair Art Museum was taken from their website and I give the Museum full credit for the history of the Montclair Art Museum).

 

 

 

Neue Galerie New York                                      1048 Fifth Avenue                                               New York, NY 10028

Neue Galerie New York 1048 Fifth Avenue New York, NY 10028

Neue Galerie New York

1048 Fifth Avenue

New York, NY  10028

(212) 628-6200

neuegalerie.org

@neugalerieny

Open: Sunday 11:00am-5:00pm/Monday 11:00am-6:00pm/ Tuesday and Wednesday Closed/Thursday-Saturday 11:00am-6:00pm

Café and Shops have various hours. Please check the website for these.

Fee: General $22.00/Seniors (65 and Older) $16.00/Students and Educators $12.00/Children under 12 are not admitted and Children under 16 years old must be accompanied by an adult. The museum is open on First Fridays from 6:00pm-9:00pm. Please visit the website for more information.

My review on TripAdvisor:

https://www.tripadvisor.com/Attraction_Review-g60763-d258699-Reviews-Neue_Galerie-New_York_City_New_York.html?m=19905

 

I visited the Neue Galerie for the first time after passing the building on the way to the Metropolitan Museum of Art. This interesting little gallery space has some interesting pieces to see and many decorative objects in the cases.

The gallery space for special exhibitions on the third floor was closed when I visited and being an educator, I got a half price discount off the educator rate was a nice deal.

It was a thrill to finally see the famous Gustav Klimt painting of the “Woman in Gold” that had been such a controversial piece during the Nazi occupation in Germany. It’s beautiful detail work was very innovative then. After all the fighting over the painting it is nice to see that the family sold it to the museum to share it with the world. The gallery where the painting hangs has more works by Gustav Klimt and you can see the extent of his work along the walls of the gallery.

Neue Gallery II

The ‘Woman in Gold’

The side galleries are full of all sorts of objects of art for the home such as chairs, silverware, dishware, clocks and decorative objects. There was a lot of items that still are contemporary in their fashion. The back gallery on the second floor is full of paintings by various German artists.

neue Gallery IV.jpg

The Decorative Objects Gallery

The whole museum you can see in about an hour when the special galleries are closed. There is also Cafe Sabarsky on the main floor, a Viennese cafe the serves German food like sausages, salads and pastries. The restaurant is a little over-priced for what it is.

 

History of the Neue Galerie New York:

Neue Galerie New York is a museum devoted to early twentieth-century German and Austrian art and design. Located in a landmark mansion built in 1914 by the architectural firm of Carrere & Hastings, the museum offers a diverse program of exhibitions, lectures, films, concerts and other events. The second floor galleries are dedicated to a rotating selection of fine and decorative art from Vienna circa 1900, including work by fine artists Gustav Klimt, Egon Schiele and Oskar Kokoschka and decorative artists Josef Hoffmann, Koloman Moser and Adolf Loos. The third-floor galleries present German fine and decorative art of early twentieth century, including work by Max Beckmann, Ernest Ludwig Kirchner, Paul Klee and Marcel Breuer. The third floor is also the site for special exhibitions that focus on key individuals and movements, articulating a more complete vision of twentieth-century German and Austrian art (Neue Galerie New York History).

The Gustav Klimt Gallery

Neue Gallery III

 

Neue Galerie New York was conceived by two men who enjoyed a close friendship over a period of nearly thirty years: art dealer and museum exhibition organizer Sege Sabarsky and businessman, philanthropist and art collector Ronald S. Lauder. Sabarsky and Lauder shared a passionate commitment to Modern German and Austrian art and dreamed of opening a museum to showcase the finest examples of this work. After Sabarsky died in 1996, Lauder carried on the vision of creating Neue Galerie New York as a tribute to his friend (Neue Galerie New York History).

The German art collection represents various movements of the early twentieth century: the Blaue Reiter and its circle (Vasily Kandinsky, Paul Klee, August Macke, Franz Marc, Gabriele Munter) the Brucke (Erich Heckel, Ernest Ludwig Kirchner, Hermann Max Pechstein, Karl Schmidt-Rottluff), the Bauhaus (Lyonel Feininger, Paul Klee, Laszio Moholy-Nagy, Oskar Schlemmer), the Neue Schlichkeit (Otto Dix, George Grosz, Christian Schad) as well as applied arts from the German Werkbund (Peter Behrens) and the Bauhaus (Marianne Brandt, Marcel Breuer, Ludwig Mies van der Rohe, Wilheim Wagenfeld) (Neue Galerie New York History).

Cafe Sabarsky located in a spectacular wood-paneled room on the ground floor has become a favorite spot for New Yorkers. Operated by acclaimed chef Kurt Gutenbrunner, it evokes the great fin-de-siecle cafes of Vienna. The Book Store fills the former library of the mansion and specializes in publications on fine art and architecture from Germany and Austria. The Design Store features objects based on original works by Marianne Brandt, Josef Hoffman, Adolf Loos and other major designers of the era (Neue Galerie New York).

 

 

Grey Art Gallery New York University (NYU)                          18 Cooper Square                                                                                  New York, NY 10003

Grey Art Gallery New York University (NYU) 18 Cooper Square New York, NY 10003

Grey Art Gallery, New York University

18 Cooper Square

New York, NY  10003

(212) 998-6780

https://greyartgallery.nyu.edu

My review on TripAdvisor:

https://www.tripadvisor.com/Attraction_Review-g60763-d136958-Reviews-Grey_Art_Gallery_NYU-New_York_City_New_York.html?m=19905

The front of the Grey Art Gallery at NYU

I am finding more and more that the university art galleries are mounting very interesting and clever exhibitions and some as edgy as their large museum counterparts. I recently attended the ‘Art After Stonewall’ exhibition which is created as a two part exhibition with the Leslie-Lohman Museum of Gay and Lesbian Art to showcase the post Stonewall riots to the beginning of the AIDS crisis.

Grey Gallery III

“Art After Stonewall” exhibition

The exhibition was an interesting mix of pictures, video, graphic paintings and posters and documentary work combined to show the mood of the times. Some of the most impressive works came from clips of documentaries on Andy Warhol’s ‘Factory Movies’, and the documentaries on ‘Tongues Untied’ and ‘Paris is Burning’ about the gay crisis about men of color and the racism that they faced even within the Gay Community.

Grey Gallery IV.jpg

The East Village Art Community from the 1980’s “Art After Stonewall”

Some of the photos of then fringe neighborhoods are funny to see as they have been gentrified beyond what anyone could have thought thirty years ago from the early 1980’s. The East Village of back then and of today are world’s apart.

The College did a good job mounting the show and telling the story that is both humorous and sad at the same time. Also, the Grey Gallery is small so you can get through the exhibition in about an hour.

Grey Gallery II.jpg

The Grey Gallery exhibition “Art After Stonewall” This is a Keith Haring poster.

The most recent exhibition that I visited “Mudd Club 1978-1983: The Stephen Mass Papers” and the people who had visited the club at that time.

(from the museum website)

MUDD CLUB 1978-1983

THE STEPHEN MASS PAPERS

February 3 – March 9, 2024

Broadway Windows and Project Space

The Broadway Windows of the “The Mudd Club” exhibition in the NYU Broadway building.

In collaboration with NYU Fales Library and Special Collections, 80WSE Gallery presents an exhibition featuring materials from The Stephen Mass Papers, focusing on the legendary Mudd Club venue in New York City (1978-1983) through photographs and extensive notes. Located at the street-level Broadway Windows gallery and Project Space, the exhibition materializes the file structures of the archive and select visual documents contained within the collection. 

The Broadway Windows of “The Mudd Club”.

The archival extracts provide rare insight into an important epicenter of downtown art, music, fashion, and culture at a transitional point in New York City and American life marked by rapid urban gentrification and the dawn of The Reagan Era. Within this atmosphere, post-punk musicians, independent designers, contemporary artists, and celebrities coalesced to animate the Mudd Club ‘cabaret’.

The Broadway windows of the “The Mudd Club”.

Acquired by Fales in 2019, the Stephen Mass Papers spans 16.75 Linear Feet in 24 manuscript boxes, 3 half manuscript boxes, 2 small flat boxes, 2 oversize flat boxes, 1 media box, 1 oversize folder in shared housing, and 1 sound reel in shared housing, including 33.92 Megabytes in 167 computer files, 1 sound tape reels , 1 videocassettes (u-matic), 10 audiocassettes, and 6 film reels.

The Broadway Windows of the “Mudd Club”.

“Stephen Mass is an entrepreneur who co-founded the Mudd Club located at 77 White Street in downtown New York City in 1978 along with art curator Diego Cortez and Anya Phillips. The venue became a focal point of the downtown music, art, and cultural scene in the late 20th century, showcasing the intersections of popular and avant-garde performance culture, gender and sexuality, celebrity culture, music, visual art, fashion, film, and nightlife. 

The opening sign from the Grey Gallery on the NYU Campus.

The Stephen Mass Papers (inclusive dates 1940-2019, bulk dates 1978-2009) documents the founding and operation of the Mudd Club in New York City, Mass’s other entrepreneurial ventures in New York, and his nightclubs and restaurants in Berlin, as well as his personal life and family history. Consisting of both paper and electronic formats, the collection includes extensive notebooks and notes containing the planning and working notes for Mass’s various endeavors, financial and legal documents, promotional materials for events (such as posters, flyers, and newsletters), ephemera (differentiated from promotional material, as promotional material Mass collected from other clubs or organizations), press coverage, and photographic materials such as prints, negatives, and slides.” 

 The Grey Gallery exhibition of the “Mudd Club 1978-1983: The Stephen Mass Papers”.

—Fales Library and Special Collections

The Fales Library & Special Collections comprises 350,000 volumes of book and print items, over 11,000 linear feet of archive and manuscript materials, and about 90,000 audiovisual elements.

In 2024, the Grey Gallery moved to its new home at 18 Cooper Square and has a whole new contemporary look to it.

The history of the Grey Gallery on the NYU Campus.

Works from the permanent collection at the new “Grey Gallery” at 18 Cooper Square.

The front of the gallery for the “Americans in Paris” exhibition

I was invited to a new exhibition open to students at NYU “American’s in Paris”, an exhibition of American artists who had been living and creating their art in the City of Lights after WWII until the 1960’s.

The sign for the “American in Paris” exhibition.

The entrance to the new Grey Galleries.

The back Galleries for the “Americans in Paris” exhibition.

The works of the artist “Kimber Smith” in the “American in Paris” exhibition.

The exhibition “American’s in Paris” with artist Joan Mitchell’s work.

The exhibition “American’s in Paris” work by artist Ed Clark.

The works of artist Henry Cousin’s in the exhibition “American’s in Paris”.

The galleries of the Grey Art Galleries

Peter Saul’s “Man in Electric Chair”

“Man in Electric Chair”

The Jazz band entertaining us at the opening of the “Americans in Paris” exhibition.

As an Alumnus of NYU, I now come for the exhibitions and just enjoy myself. I came in for the newest exhibition.

The exhibition in 2024 was “Make Way for Berthe Weill”: Art Dealer of the Parisian Avant-Garde

The main sign from the exhibition

(from the Grey Gallery website)

Make Way for Berthe Weill: Art Dealer of the Parisian Avant-Garde surveys the groundbreaking career of the first woman modern art dealer. Berthe Weill (1865–1951) championed many fledgling masters of modern art early on—such as Pablo Picasso, Henri Matisse, and Amedeo Modigliani—as well as numerous others who did not achieve wide acclaim. Yet her role in early 20th century modernism has been omitted from most historical accounts.

The exhibition will feature some 110 paintings, drawings, prints, and sculpture—many of which were shown at her gallery during the first four decades of the 20th century. Examining Weill’s contributions to the history of modernism as a gallerist, a passionate advocate of contemporary art, and a Jewish woman, it brings to light the remarkable achievements of a singular figure who overcame sexism, antisemitism, and economic struggles in her quest to promote emerging artists (From the NYU-Grey Gallery website).

The timeline of her career

The gallery that night

The art featured were artists promoted by the art dealer

The artwork by female artist Emilie Charmy

The work by artist Mark Chagall

One of my favorite pieces in the show by Mark Chagall

The Mission of the Grey Art Gallery:

The Grey  Art Gallery is New York University’s fine arts museum, located on historic Washington Square Park in New York City’s Greenwich Village. As a university art museum, the Grey Art Gallery functions to collect, preserve, study, document, interpret and exhibit the evidence of human culture. While these goals are common to all museums, the Grey distinguishes itself by emphasizing art’s historical, cultural and social contexts, with experimentation and interpretation as integral parts of the programmatic planning. Thus, in addition to being a place to view the objects of material culture, the Gallery serves as a museum-laboratory in which a broader view of an object’s environment enriches our understanding of its contribution to civilization (NYU Grey Gallery History)

The History of the Grey Art Gallery at New York University:

The Grey Art Gallery is located within New York University’s Silver Center-the site of NYU’s  original home, the legendary University Building (1835-1892). Winslow homer, Daniel Huntington, Samuel Colt, George Innes and Henry James all lived and worked there, as did Professor F.B.Morse, who established the first academic fine arts department in America on the site now occupied by the Grey Art Gallery.

Demolished in 1892, the original building was replaced by the Main Building (renamed the Silver Center in 2002). Here was located, from 1927 to 1942, A. E. Gallatin’s Museum of Living Art, NYU’s first art museum and the first institution in this country to exhibit work by Picasso, Leger, Miro, Mondrian, Arp and members of the American Abstract Artists group. Gallatin aspired to create a forum for intellectual exchange, a place where artists would congregate to acquaint themselves with the latest developments in contemporary art. In 1975, with a generous gift from Mrs. Abby Weed Grey, the Museum’s original space was renovated, office and a collection storage facility were added and the doors were reopened as the Grey Art Gallery (Museum history).

Exhibitions organized by the Grey Art Gallery encompass aspects of all the visual arts: painting, sculpture, drawing and printmaking, photography, architecture and decorative arts, video, film and performance. In addition to originating its own exhibitions, some of which travel throughout the United States and abroad, the Gallery hosts traveling exhibitions. Award-winning scholarly publications, distributed worldwide are published by the Grey Art Gallery. In conjunction with its exhibitions, the Grey also sponsors public programs including lectures, symposia, panel discussions and films (Museum history).

The new Gallery is at 18 Cooper Square.

(This was taken from the Museum’s website).

Enjoying a evening at the Grey Gallery

The new exhibition in the spring of 2025 was ‘Anonymous was a Woman’ , an execution on the ‘Anonymous was a Woman’s and the great programs effects on mid-Career female artists in the Unit.

The information sign in the front gallery

The entrance of the gallery the night of the exhibition

The entrance to the Grey Art Museum

This was the sign inside for the exhibition

The inside gallery at the start of the show showcasing the collection on display

The main gallery at Grey Gallery

These were the pieces from the show that I found most impressive:

One of the more unusual paintings from the exhibition ‘Monalisa’ by artist Ida Applebroog

The sign for ‘Monalisa’ by Artist Ida Applebroog

The sculpture ‘Rom’s Delhi’ by artist Judy Pfaff

The sign for ‘Rom’s Delhi’

The painting ‘Svati: Now and Then’ by Artist Chita Ganesh

The sign for ‘Svanti: Now and Then’

The sculpture ‘Untitled #1242’ by Artist Petah Coyne

The sign for the sculpture

The sculpture ‘Bones 2000’ by Artist Polly Apfelbaum

The sign for the sculpture

The painting ‘Flamethrower’ by Artist Carrie Moyer

The sign for the painting

The crowd at the end of the evening at the

‘Opening Night’

This unusual sculpture in the middle of the room

Astor Court at the end of the evening at the Grey gallery

I recently attended the ‘Irrititja Kuwaiti Tjungu‘ exhibition on Aboriginal art. It was a very interesting look at Native Art from Australia. This exhibition opened in February of 2026 and the artists were in attendance to talk about their works.

https://greyartmuseum.nyu.edu/exhibition/irrititja-kuwarri-tjungu-contemporary-aboriginal-painting-from-the-australia-desertjanuary-20-2026-april-11-2026/

(from the NYU/Grey Gallery website):

Irriṯitja Kuwarri Tjungu celebrates fifty years of Papunya Tula Artists. It features nearly 120 paintings, including some of the most iconic works of Indigenous Australian art. Rather than being arranged chronologically, the paintings are displayed according to Indigenous principles of genealogy, place, and ancestral travels. In doing so, the show reveals the deep, ongoing relationship between Aboriginal artists, the places they paint, and Tjukurrpa, which exists in a constant state of past and present together—or, in Pintupi, irrititja kuwarri tjungu.

The exhibition also recognizes the long association between Papunya Tula Artists and New York University forged by Professor Emeritus of Anthropology Fred Myers. Since 1973 Myers has served as one of the movement’s most prominent international advocates. His continued involvement with the community brought the exhibition Icons of the Desert to the Grey Art Museum in 2009. While that exhibition showcased early works from Papunya, Irrititja Kuwarri Tjungu honors and extends the legacy of the company’s founding artists.

The promotion sign for the exhibition

The art exhibition in the main gallery

Some of the works in the main gallery

(from the NYU/Grey Gallery website):

Fifty years ago, a painting movement emerged at Papunya in Aus­tralia’s Central Desert. It arose with such force and convic­tion that one could be forgiven for thinking it had existed forever, as though etched from the earth by the slow pas­sage of time. In fact, formed in the aftermath of colonization, the enduring art movement is as much a product of recent his­torical circumstances as the ancient traditions on which it draws.

Now widely recognized in global contemporary art, painting at Papunya began in 1971 when a small group of Aboriginal men in the community started to represent once-secret ancestral designs of ceremony and ritual, using acrylic paint on scraps of cardboard, linoleum, and Masonite. Their seemingly abstract paintings revealed living ancestral connections known as Tjukurrpa (Dreaming), which fueled powerful artistic experiments with color, line, and space. The following year, in an act of unprecedented corporate sovereignty, the artists formed Papunya Tula Artists Pty Ltd., the first Aboriginal-owned arts enterprise in Australia. The company’s economic success has allowed generations of men and women artists to stay on their ancestral lands, and continues to provide vital opportunities for local community development.

These were some of my favorite pieces of art from the exhibition:

One of the pieces I admired in the exhibit

‘The Men’s Dreaming at Iloilo’

I thought this colorful work was interesting

The work ‘Lupuinga’

I loved the powerful colors of this painting

The ‘Karilywarra’ work is very colorful

This painting I thought would be interesting in textiles

The painting ‘Travels of Kutungu from Papunnga to Muruntji’

Some of the works at the back of the gallery

Some of the works in the second gallery

American Folk Art Museum 2 Lincoln Square (Columbus Avenue between 65th and 66th Streets) New York, NY 10023

American Folk Art Museum

2 Lincoln Square (Columbus Avenue between 65th and 66th Streets)

New York, NY 10023

(212) 595-9533

https://folkartmuseum.org

Open: Sunday 11:30am-6:00pm/Monday & Tuesday Closed/Wednesday-Friday 11:30am-6:00pm

Admission: Free

My review on TripAdvisor:

https://www.tripadvisor.com/Attraction_Review-g60763-d266582-Reviews-American_Folk_Art_Museum-New_York_City_New_York.html?m=19905

I recently visited the American Folk Art Museum in New York City for the “Made in New York City” exhibition and it is a very interesting and engaging museum. The artwork for the museum was a combination of painting, sculpture, pottery and metal work created at different periods of the City’s history. It really showed the extent of manufacturing in New York City and the craftsmanship that was once here.

The entrance to the museum

I recently visited the American Folk Art Museum in New York City for the “Nation”exhibition and it is a very interesting and engaging museum.

The main gallery of the museum with early American art

The main gallery with one of the revolving shows

The artwork for the museum was a combination of painting, sculpture, pottery and metal work created at different periods of the City’s and the Country’s history.

Some of the permanent works were made in the Tri-state area. It really showed the extent of manufacturing in New York City and the craftsmanship that was once here.

The ‘Folk Nation’: Crafting Patriotism in the United States’ exhibition

https://folkartmuseum.org/exhibitions/folk-nation

(from the Museum website)

Patriotism in the United States draws from the American Folk Art Museum’s rich collections to explore links between vernacular art and the construction of an American sense of self. Introducing visitors to the concept of “folk” as a category developed in conjunction with the art and antiques markets, this exhibition positions works as multilayered in their meanings, imbued with cultural significance by not only their creators, but also their collectors and subsequent owners. Americans have long preserved objects as a way of telling stories about themselves. Beginning after the Revolutionary War and gathering momentum in the late nineteenth and early twentieth centuries, people turned to early American things to construct a national history and sense of collective identity—an impulse often driven by lingering insecurity about the young nation’s perceived cultural provinciality compared to Europe (Folk Art Museum.com).

One of the painting’s that stood out to me was more contemporary approach to the Statue of Liberty, entitled ‘Miss Liberty reaches out to the persecuted’. A different approach to folk art.

The painting ‘Miss Liberty reaches out to the persecuted’ by Reverend Benjamin Franklin Perkins

The description of the painting

Some of the interesting things you will see are the paintings by artists in both Colonial New York and from the Hudson River School of prominent New Yorkers through its first 200 years of history. You will see how the styles of art have changed over the years.

Also there is a lot of metal work in the ways of signs and rods for the front of doors and for the roofs. The woodwork carvings that once graced the front doors of merchants all over the City is now a lost art. Here you could see the works of German and Russian carvers and the craftsmanship that was put into every piece. It was interesting too to see the racial themes and stereotypes that were used in the art.

Several revolving shows were being featured on a recent trip to the museum such as ‘Nation’ and ‘Self Made’, themed shows for the 250th Anniversary of the Country.

The show ‘Self Made’ A century of inventing artists’

https://folkartmuseum.org/exhibitions/self-made

(From the museum website)

Self-Made: A Century of Inventing Artists takes a critical look at the historical definition of the “self-taught artist” in the United States from the early twentieth century to today. The exhibition examines how artists without academic training have depicted, conceptualized, and identified themselves on their own terms. In doing so, it aims at challenging reductive, long-standing narratives that have cast these artmakers as amateurs or isolated geniuses working out of time, without lineage, influence, or artistic networks (Folk Art Museum.com).

The sixty artists featured here largely worked outside conventional art-school, gallery, museum, and peer-exchange systems. Their practices are rooted in diverse sites of learning, from professional expertise to community-based traditions. Drawn primarily from the American Folk Art Museum’s collection, this selection of artworks brings together outstanding examples of paintings, sculptures, photographs, videos, and artists’ notebooks by key national and international figures—many of them recent or rarely seen acquisitions (Folk Art Museum.com).

The exhibition is organized around three methods of artistic “self-making” and self-fashioning: self-portraits, alter egos, and autobiographies. Each gallery unfolds chronologically, providing grounding for the artists’ intentions. The works function as primary documents: firsthand accounts of the self, authored by the self. Akin to diaries or other personal statements, they call for close attention, asking viewers to “look at me, in this way, that I have chosen.” By centering the makers’ perspectives and aesthetic choices, Self-Made shifts the focus away from the viewer’s role in completing the creative act and places it squarely on the artist’s agency (Folk Art Museum.com).

Some of the paintings that stood out seemed to be self-portraits.

The painting ‘Untitled’

The painting ‘Untitled’

The museum takes different approaches to the way art is portrayed.

Another program that the museum does well is they have afternoon Jazz Wednesdays and Free Concerts on Friday nights.

There are family programs, walking tours, curator talks and lectures as part of the museum programming so there is something for everyone.

The American Folk Art Mission:

(From the Museum website)

Since 1961, the American Folk Art Museum has been shaping the understanding of art by the self-taught through its exhibitions, publications and educational programs. As a center of scholarship and by showcasing the creativity of individuals whose singular talents have been refined through experience rather than formal artistic training, the museum considers the historical, social and artistic context of American culture. Its collection includes more than seven thousand artworks dating from the eighteenth century to the present, from compelling portraits and dazzling quilts to powerful works by living self-taught artists in a variety of mediums (Museum bio).

Self-Taught art, past and present, tells empowering stories of everyday life. The field of American folk art was first defined at the turn of the twentieth century by collectors, professional artists, critics, dealers and curators whose search for an authentic American Art seemed to be finally answered in works that presented a nuanced  of national identity, faith, progress, ingenuity, community and individuality. Under the umbrella of “folk art” expanded to also include artists working in the present. For the last twenty years, the term self-taught has more regularly come to address these artists, whose inspiration emerges from unsuspected paths and unconventional places, giving voice to individuals who may be situated outside the social mainstream. Those individuals have been active participants in the shaping of American visual culture, influencing generations  of artists and establishing lively artistic traditions (Museum History).

American Folk Art Museum History:

(From the Museum website)

The museum of Early American Folk Arts as it was known initially held its first exhibition in a rented space on 49 West 53rd Street in 1961. The museum’s collection was launched in 1962 with the gift of a gate in the form of an American flag, celebrating the nation’s centennial. The gift reflected the museum’s early focus on eighteenth and nineteenth century vernacular arts from the northeast America.

In 1966, after receiving a permanent charter, the museum expanded its name and mission. As the Museum of American Folk Arts, it looked beyond the traditional definitions of American folk art. Its exhibitions and collection began to reflect “every aspect of the folk arts in America-north, south, east and west.” Founding curator Herbert W. Hemphill Jr. “expanded the notion of folk art beyond traditional, utilitarian and communal expressions.” Under his direction, the museum began to champion idiosyncratic and individualistic artwork from the fields of traditional and contemporary folk art. In doing so, the museum ushered in a new era in the field of twentieth-century folk art (Museum History).

The 1990’s brought new focus to the diversity and multiculturalism of American Folk Art. Offering a more inclusive vision. the museum began to present African American and Latino artworks in their exhibitions and permanent collections. Director Gerard C. Wertikin announced American folk art’s common heritage as “promoting an appreciation of diversity in a way that does not foster ethnic chauvinism or racial division.” (Museum History).

The museum further established  its broadened outlook with the 1998 formation of the Contemporary  Center, a division of the museum devoted to the work of 20th and 21st century self-taught artists as well as non-American artworks in the tradition of European art brut. In 2001, the museum opened the Henry Darger Center to house 24 self-taught artist’s works as well as a collection of his books, tracings, drawing and source materials (Museum History).

The gift shop

In 2001, the museum chose its current name, American Folk Art Museum. Recognizing that American Fold Art could be fully understood in an international context, the word American functions as an indication of the museum’s location, emphasis and principal patronage rather than as a limitation on  the kind of art it collects, interprets or presents. The museum’s current programming reflects this shift in focus. Past exhibits have included folk arts of Latin America, England, Norway, among other countries and continents (Museum history).

Don’t miss this amazing little museum on the Upper West Side of Manhattan.