National Art Education Association

Art News &NotesAuthor(s): Burt WassermanSource: Art Education, Vol. 16, No. 7, Student Membership Issue (Oct., 1963), pp. 22-24Published by: National Art Education AssociationStable URL: http://www.jstor.org/stable/3190492 .

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BURT WASSERMAN

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U.S. Art, Way South of the Border

Ninety-one works of art com- prise the United States Exhibition at the seventh Sao Paulo Biennial in Brazil. They will be on view at the Museum of Modern Art in Sao Paulo, along with exhibitions representing some 50 other coun- tries, until the end of the year. Our exhibition was organized by the Walker Art Center of Min- neapolis at the request of the Bi- ennial Committee; the invitation was issued to the Walker Center by the U.S. Information Agency.

The show is divided equally be- tween painting and sculpture. The painting section is entirely devoted to the recent work of Adolph Gottlieb. The sculpture is acutually ten small one-man shows with works by Peter Agos- tini, Chryssa, Lindsey Decker, Lyman Kipp, Robert Mallary, Julius Schmidt, George Segal, George Sugarman, David Wein- rib, and James Wines.

Remarking on the selection of the artists, Martin Friedman, Walker Art Center director, said, "We have concentrated on pre- senting some of the liveliest mani- festations of art in this country. The show honors Gottlieb, a sen- ior figure in the art world. He is one of the handful of initiators of what has become an international painting style and continues to produce impressive and important pictures. The show also introduces ten new sculptors who are estab- lishing their reputations. In no way do these sculptors constitute a formal group or movement. Rather, their art exemplifies some of the most significant and inven- tive aspects of art in the United States today."

The paintings of Gottlieb have wide stylistic range though they always bear his unique stamp. They vary from richly painted, severely defined compositions to

spontaneous explosions of trench- ant color. The 46 sculptures re- veal a spectrum of creative atti- tudes, techniques, and materials.

Segal, Mallary, and Agostini use a variety of materials like plaster, metal scrap, cloth, and plastic to

produce subject matter centered, figurative form. Space and sculp- ture's effect on it are evident in the efforts of Weinrib and Sugar- man. Weinrib's linear construc- tions are composed of brightly colored metal and plastic ele- ments. Sugarman saws, chisels, laminates, and dowels wood- then covers it all with layers of mat or glossy paint; the resultant

organic shapes punctuate space with smooth and rough as well as dense and perforated contrast re-

lationships. Kipp, Wines and Schmidt are geometrically orient- ed while Decker works in reliefs and multi-legged box forms. Sym- bols of communications-letters, newspaper, and advertising signs show up in the reliefs of Chryssa.

All of the sculptors are between 30 and 50 years of age and all with the exception of Chryssa were born in the United States.

Chryssa, though American, was born in Greece. All of the artists have had one or more one-man shows in New York City. Many have had one-man shows in muse- ums. Their work is certainly worth

keeping in mind.

Back Then . . . and Now

In 1951 and 1952, I had occa- sion to spend some 18 months in West Germany. This offered op-

portunities to become familiar with the work of European artists more or less unknown in our

country at the time. I was there- fore delighted to learn that one of my favorites over there, back

then, was to be honored with a

major exhibition at the Institute of Contemporary Art in Boston from the beginning of October

through November 3. The show will present a retrospection of the

paintings of Julius Bissier. His works are outside of any school, although in their small scale for- mat are akin to the work of Klee -their form and content derive from Bissier's deep interest in Oriental art and thought. With their small size, their serenity, and their mysticism they also bring to mind medieval manuscript il- luminations. After the five weeks at the Institute, the exhibition will travel to the Albright-Knox Art Gallery in Buffalo during November- December, the Arts Club of Chicago during Decem-

ber-January, and the Detroit In- stitute of Arts for a February- March showing.

There are 120 paintings in the exhibition. Of these, 83 are from Bissier's own personal collection of favorites; they are rarely ex- hibited and are not for sale. The rest were borrowed from private and museum collections here and abroad.

The show includes tusche (lith- ographic drawing ink) paint- ings, on which Bissier has worked since 1930; three important monotypes from 1948-50 which marked his return to color; ex-

quisite miniatures in egg tempera and watercolor, the style he has been developing since 1956; and recent oils dating from 1960.

ART Education 22

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Since his works from over the years received widespread acclaim at the Venice Biennale in 1960, Bissier's international reputation has grown steadily. The work in the exhibition shows why.

Three in a Row on West 53rd Down the street from the Mu-

seum of Modern Art and the Museum of Contemporary Crafts, at number 49 West 53rd, one may now visit the new Museum of Early American Folk Arts in New York City. The new estab- lishment was formally inaugu- rated with a loan exhibition of considerable stature from private collections on the 26th of last month. While the new museum now occupies an entire floor of what was once a town house, the Museum's trustees have high hopes for expansion-for the eventual building up of a com- prehensive reference center for American folk art including rele- vant material on the countries which, through immigration, in- fluenced American development. A nominal admission charge of 25 cents to non-members of the museum helps defray operating costs and releases donated funds for the acquisition of works of art and reference material.

A First Rate Show

Speaking of the Museum of Modern Art prompts us to advise all who can get there not to miss the Museum's vividly stunning paintings by Hans Hofmann, be- ing exhibited this month and through November. The show presents rewardingly rich can- vases by an artist recognized wide- ly as the most influential and dynamic teacher of painters in our time. Most of the work dates from 1945 and shows Hofmann at his resplendent, recent creative best.

To Show Your Creative Work 26th Annual North Carolina

Artists' Exhibition (All media) December 5-31. Entries due No- vember 12. Write for prospectus

and entry forms to: 26th Annual N. C. Artists' Exhibition, North Carolina Museum of Art, Raleigh, N. C. (Open only to residents of North Carolina)

45th Annual Exhibition of the Society of American Graphic Art- ists (Graphics) November 11-30. Write promptly (to make closing date, not yet announced at time of this writing) to: Mr. David Kraus, Secretary, Society of American Graphic Artists, Inc., 1083 Fifth Ave., New York 28, N. Y. (Open to residents of all states)

American Jewelry Today, No- vember 1-30. Write to: Director, Everhart Museum, Scranton 10, Pa. (Open to jewelry craftsmen of all states)

Out of England Currently, the National Gallery

in Washington is offering visitors the rich painterly vision of Joseph M. W. Turner in an important exhibition of 80 works. The pic- tures, by England's greatest ro- mantic painter, are infrequently loaned outside the homeland. Selected by Mr. Edward Croft- Murray, Keeper of Prints and Drawings of the British Museum, they come from the "Turner Be- quest," left to the British nation by the artist, with one exception, which is from the Vaughan Be- quest to the Museum. An illus- trated catalogue with a foreword by Mr. Croft-Murray is available.

After closing at the National Gallery the exhibition will travel to the Museum of Fine Arts of Houston (November 1-30); The De Young Memorial Museum in San Francisco (December 14- January 15, 1964); The Cleve- land Museum of Art (January 28-March 1) ; The William Rock- hill Nelson Gallery of Art, Kan- sas City, Missouri (March 15- April 15); and the Brooklyn Mu- seum (May 1-31). The show is sponsored by the British Ambas- sador, the Right Honourable Sir David Ormsby Gore, K.C.M.G.

Among the works are rare and

extraordinary examples of Turn- er's early, middle, and late periods. They richly demonstrate, especially in the early and late periods, aspects of the artist's oeuvre not especially well known here.

Several sketches from a jour- ney to France and Switzerland show that as early as 1802 Turner was pushing beyond the boun- daries of what had been done be- fore. These watercolors from his first trip to the Continent demon- strate the immediate and deep im- pact made by the change of scene. The stylistic innovations which grew out of this experience shocked the English art viewing public. When his masterpiece "Calais Pier" was exhibited in London in 1803, it drew strong reactions like, "Nothing but in- congruity and confusion. The sea looks like soap and chalk, and smoke. The sky is a heap of marble and mountains." He was accused of using anything- stones, sticks, even his own hand -to achieve the visual qualities he desired. Apparently the critics, bound by devotion to their own preconceived stereotypes of what art was supposed to be (what it had been) and who knew so much, could not accept forms that refused to be merely prosaic representations of external reali- ties.

Also exhibited are many other spontaneous watercolors from Turner's journeys around the English countryside, to Italy, France, Germany, and Switzer- land. All of them illustrate his unfailing ability to adapt his style to new surroundings.

As Turner grew older he con- centrated increasingly on color and light patterns. Superb color sketches in the exhibition from Turner's last trip to Venice, in 1840, demonstrate this. In speak- ing of them, Mr. Croft-Murray has said, "more than ever it is a question of depriving objects of their actual outlines and of in- dicating their shapes by the re-

October 1963 23

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flections upon them." Turner was an inspiration for Delacroix and Gericault and later for Monet and Pissarro. Certainly he was as sig- nificant an influence upon the art that followed him as Cezanne was to be at the end of the 19th and start of the 20th centuries.

Sharing the Wealth From friends who visited

France this past summer I hear that there has been much talk in Paris of the bequest to French museums by Madame Dufy, who died in 1962, of 200 works by her husband, the late Raoul Dufy. According to the terms of the will, 30 paintings were left to

flections upon them." Turner was an inspiration for Delacroix and Gericault and later for Monet and Pissarro. Certainly he was as sig- nificant an influence upon the art that followed him as Cezanne was to be at the end of the 19th and start of the 20th centuries.

Sharing the Wealth From friends who visited

France this past summer I hear that there has been much talk in Paris of the bequest to French museums by Madame Dufy, who died in 1962, of 200 works by her husband, the late Raoul Dufy. According to the terms of the will, 30 paintings were left to

John Hay Fellowships A total of eighty-five John Hay

Fellowships in the humanities will be awarded to public senior high school teachers for 1964-65.

Dr. Charles R. Keller, director of the John Hay Program, points out that teachers from thirty-six states and the District of Colum- bia are eligible to apply for these Fellowships. The Fellowships will amount to more than $750,000.

Teachers granted John Hay Fellowships will receive stipends equal to their salaries during the fellowship year. In addition, the John Hay Fellows Program pays the travel expenses for the Fellow and his primary dependents, his tuition, and a health fee. John Hay Fellows will study in the humanities at one of the following universities: California, Chicago, Columbia, Harvard, Northwest- ern, and Yale.

Fellows are selected from schools and school systems inter- ested in making the best possible use of the time and talents of

John Hay Fellowships A total of eighty-five John Hay

Fellowships in the humanities will be awarded to public senior high school teachers for 1964-65.

Dr. Charles R. Keller, director of the John Hay Program, points out that teachers from thirty-six states and the District of Colum- bia are eligible to apply for these Fellowships. The Fellowships will amount to more than $750,000.

Teachers granted John Hay Fellowships will receive stipends equal to their salaries during the fellowship year. In addition, the John Hay Fellows Program pays the travel expenses for the Fellow and his primary dependents, his tuition, and a health fee. John Hay Fellows will study in the humanities at one of the following universities: California, Chicago, Columbia, Harvard, Northwest- ern, and Yale.

Fellows are selected from schools and school systems inter- ested in making the best possible use of the time and talents of

the museum of Le Havre, the art- ist's birthplace; 25 to the museum of Nice, where Dufy often stayed; and 20 to the Musee d'Art Mod- erne. Each museum also received a number of watercolors, draw- ings, ceramics, and tapestries. The Musee d'Art Moderne made its selections with a view to illus- trating the artist's development while Le Havre gave preference to marine scenes, and Nice to Dufy's later work. Forgive me, but that is Nice work, if you can get it.

Dr. Burt Wasserman is an as- sociate professor of art at Glassboro S t a t e College, Glassboro, New Jersey.

the museum of Le Havre, the art- ist's birthplace; 25 to the museum of Nice, where Dufy often stayed; and 20 to the Musee d'Art Mod- erne. Each museum also received a number of watercolors, draw- ings, ceramics, and tapestries. The Musee d'Art Moderne made its selections with a view to illus- trating the artist's development while Le Havre gave preference to marine scenes, and Nice to Dufy's later work. Forgive me, but that is Nice work, if you can get it.

Dr. Burt Wasserman is an as- sociate professor of art at Glassboro S t a t e College, Glassboro, New Jersey.

good teachers and in developing practices designed to break educa- tional lock steps. The John Hay Fellows Program provides experi- ences which enable teachers to

grow as human beings and there-

by to bring increased wisdom and enthusiasm to their classes and their schools.

Candidates should have at least five years of high school teaching experience, and should be not more than fifty-five years of age. Languages, literature, history, music, and the fine arts are usual-

ly included in the humanities, and teachers in these subjects are in- vited to apply. In addition, appli- cations from teachers in other

disciplines who wish to study in the humanities are accepted.

Five new states will participate in the John Hay Fellows Program in 1964-65. They are: Idaho, Iowa, Maine, Montana, and Oklahoma. The other partici- pating states are: Arizona, Cali-

fornia, Colorado, Connecticut, Delaware, Florida, Georgia, Il-

good teachers and in developing practices designed to break educa- tional lock steps. The John Hay Fellows Program provides experi- ences which enable teachers to

grow as human beings and there-

by to bring increased wisdom and enthusiasm to their classes and their schools.

Candidates should have at least five years of high school teaching experience, and should be not more than fifty-five years of age. Languages, literature, history, music, and the fine arts are usual-

ly included in the humanities, and teachers in these subjects are in- vited to apply. In addition, appli- cations from teachers in other

disciplines who wish to study in the humanities are accepted.

Five new states will participate in the John Hay Fellows Program in 1964-65. They are: Idaho, Iowa, Maine, Montana, and Oklahoma. The other partici- pating states are: Arizona, Cali-

fornia, Colorado, Connecticut, Delaware, Florida, Georgia, Il-

linois, Indiana, Kansas, Kentucky, Louisiana, Maryland, Massachu- setts, Missouri, Nebraska, New

Hampshire, New Jersey, New York, Ohio, Oregon, Pennsylvan- ia, Rhode Island, South Dakota, Utah, Vermont, Virginia, Wash-

ington, Wisconsin, and the Dis- trict of Columbia.

Interested teachers should com- municate with Dr. Charles R. Keller, John Hay Fellows Pro-

gram, 9 Rockefeller Plaza, New York 20, New York.

Art Educators in Motion Mr. John Ruddley assumed a

new position as Dean and Head of the Art School, Corcoran School of Art, Washington, D. C.

Dr. Harold Dean Cater, for-

merly consultant for the Cultural Affairs Branch, USOE, appointed Director of Admissions, Professor of History and Consultant to the

President, C. W. Post College, of

Long Island University.

Miss Margaret F. S. Glace, Di- rector-Dean of the Maryland In- stitute, retires following 25 years service to the College of Art. Miss Glace was recently named Direc- tor Emeritus, Chi Chaper of Pi Lambda Theta.

Dr. Harold R. Rice, former President, Moore College of Art, following 17 years service assumed the new post of Dean of the Col-

lege of Design, Architecture and Art at the University of Cincin- nati, September 1. Moore College recently conferred on Dr. Rice the

Honorary Doctor of Humanities

degree.

Roger H. Jones, Art Teacher, Breathitt County High School, Jackson, Kentucky was recently named president - 'elect of the

Kentucky Education Association.

Dr. Donald J. Irving, appoint- ed Dean of Moore College of Art.

Irving was formerly a member of the art staff at the State Univer-

sity College of New York at Oneonta, N. Y.

linois, Indiana, Kansas, Kentucky, Louisiana, Maryland, Massachu- setts, Missouri, Nebraska, New

Hampshire, New Jersey, New York, Ohio, Oregon, Pennsylvan- ia, Rhode Island, South Dakota, Utah, Vermont, Virginia, Wash-

ington, Wisconsin, and the Dis- trict of Columbia.

Interested teachers should com- municate with Dr. Charles R. Keller, John Hay Fellows Pro-

gram, 9 Rockefeller Plaza, New York 20, New York.

Art Educators in Motion Mr. John Ruddley assumed a

new position as Dean and Head of the Art School, Corcoran School of Art, Washington, D. C.

Dr. Harold Dean Cater, for-

merly consultant for the Cultural Affairs Branch, USOE, appointed Director of Admissions, Professor of History and Consultant to the

President, C. W. Post College, of

Long Island University.

Miss Margaret F. S. Glace, Di- rector-Dean of the Maryland In- stitute, retires following 25 years service to the College of Art. Miss Glace was recently named Direc- tor Emeritus, Chi Chaper of Pi Lambda Theta.

Dr. Harold R. Rice, former President, Moore College of Art, following 17 years service assumed the new post of Dean of the Col-

lege of Design, Architecture and Art at the University of Cincin- nati, September 1. Moore College recently conferred on Dr. Rice the

Honorary Doctor of Humanities

degree.

Roger H. Jones, Art Teacher, Breathitt County High School, Jackson, Kentucky was recently named president - 'elect of the

Kentucky Education Association.

Dr. Donald J. Irving, appoint- ed Dean of Moore College of Art.

Irving was formerly a member of the art staff at the State Univer-

sity College of New York at Oneonta, N. Y.

ART Education ART Education 24 24

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