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Greener Pastures: Images of Arcadia in the Collection of the Hudson River Museum Greener Pastures shows the arcadian ideal of an unchanging countryside inhabited by shepherds and farmers uncorrupted by civilization, a vision of the ancient Greeks that is still a powerful connection in Western art and literature. The pastoral landscape was also celebrated in Hudson River School paintings and in magazines, prints, and literature at the turn of the century. This exhibition is drawn from the museum’s permanent collection, the exhibition includes more than 30 nineteenth-century works in oil, watercolor, photography, bronze, ceramics, wood, and textiles. |
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Bakelite in Yonkers: Pioneering the Age of Plastics
Bakelite in Yonkers: Pioneering the Age of Plastics is organized by Reindert Groot for the Amsterdam Bakelite® Collection, and Hugh Karraker in partnership with the Hudson River Museum. This exhibition and its programs were made possible, in part, by Glenn L. Beall, Caroline Boyle-Turner, Bud and Fran Johns, Werner H. Kramarsky, James MacDonald, and Steven Naifeh. Additional support was provided by the Bakelite is a registered trade name of Hexion Specialty Chemicals, Inc., Columbus, Ohio. |
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Jacob Lawrence: Prints, 1963-2000 A Comprehensive Survey Showcasing Jacob Lawrence’s entire oeuvre of printmaking, this exhibition highlights one creative aspect of one of the greatest African American artists of the twentieth century. The exhibition includes more than 70 brilliantly-colored individual prints, including the complete Legend of John Brown series, Eight Studies for the Book of Genesis, and prints based on the paintings from the Life of Toussaint L’Ouverture series. One of the key themes of the exhibition is struggle. As Lawrence himself noted: “I am dealing with struggle throughout my work, I think struggle is a beautiful thing. I think it has made our country what it is, starting with the American Revolution. I would like to think of the struggle in my work as not being just a black symbol, but a symbol of man’s capacity to endure and triumph.” Jacob Lawrence: Prints, 1963-2000 A Comprehensive Survey is presented courtesy of DC Moore Gallery, New York |
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 William Mason Brown Avon (New Jersey), April 1858 Oil on canvas; 35 x 28 in. Collection of the Hudson River Museum Gift of Irwin Goldenberg, 2008 Photograph by John Maggiotto |
Collecting for a New Millennium:
Recent Acquisitions 2000-2010 · Landscape Art & the Hudson River - Middle Level Main Gallery, February 6 – June 6, 2010 · Glenview & Yonkers - Middle Level Gallery I, February 6 – May 16, 2010 The museum celebrates the first decade of this new millennium with a major two-part exhibition of collections acquired since the year 2000. Its dual themes are inspired by connections between museum’s collecting mission and its unique setting along the Hudson, embracing the Trevor home, Glenview. Paintings, sculpture, decorative arts, textiles and historical objects illuminate the long narrative of a river and the people living beside it. In the Middle Level Main Gallery, the museum’s focus on the river ranges from nineteenth-century paintings by James Bard, William Trost Richards and William Mason Brown to prints and postcards of the Hudson River to works by recent photographers Harry Wilkes and Guy Gillette. In Middle Level Gallery Gallery 1 (on view throguh May 16th, 2010) Glenview and the Trevor family are shown as the hub for the museum’s cultural history research and collecting. Objects on view include gifts from the Trevor family, Victorian clothing, and photographs of Yonkers people and places. Overall, the exhibition provides a rare opportunity to see over 100 recent acquisitions—many seldom on view—weave a web of enlightening stories. Collecting for a New Millennium: Recent Acquisitions 2000-2010 is organized by the Hudson River Museum. |
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The year 2009 marks the 400th anniversary of Henry Hudson’s voyage up the Hudson River. This major exhibition and its accompanying publication will explore New York’s Dutch roots and the differing ways Dutch-influenced culture has been interpreted throughout New York’s long history. From legends and celebration to scholarly critique and analysis, New Yorkers’ understanding of their unique heritage has changed over the years and contributed to the distinctive culture that is New York today.
The exhibition will explore five key moments of Dutch influence: 1609, when the Half Moon entered New York harbor; 1709, during a period when Dutch culture continued to thrive under English rule; 1809, when Washington Irving’s popular stories began to romanticize Dutch heritage; 1909, when the Hudson-Fulton Celebration attempted to create a common Dutch past for a rapidly growing nation; and 2009, at a moment when the very concept of historical “celebration” is increasingly debated. These stories will be illustrated through a rich array of paintings, prints, photographs, furniture, decorative arts, maps and ephemera from the Museum and other collections. Major lenders include the National Gallery of Art, the Smithsonian American Art Museum, the Brooklyn Museum, the New-York Historical Society, and Yale University Art Gallery.
The exhibition is being co-curated by Roger Panetta, Adjunct Curator of History, Hudson River Museum and Visiting Professor of History at Fordham University; Bartholomew F. Bland, Curator of Exhibitions, Hudson River Museum, and Laura L. Vookles, Chief Curator of Collections, Hudson River Museum. Eminent outside scholars will provide expertise and contribute to the accompanying publication, which will have national distribution through Fordham University Press. |
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J.C. Leyendecker:
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Whitfield Lovell. Everything, 2004. Charcoal on wood, found objects, 25 1/2 x 14 1/4 x 13 inches. Courtesy DC Moore
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Whitfield Lovell: All Things In Time September 27, 2008 – May 10, 2009 Whitfield Lovell will be presented at the Hudson River Museum as a large-scale survey exhibition showcasing the work of one of the contemporary art world’s finest interpreters of lost or contested history. Born in the Bronx in 1959, Lovell has become internationally recognized for his large-scale tableaux and room-sized installations that combine evocative found historical objects with exquisitely rendered life-sized charcoal portraits, frequently based on historic photographs. These elements are combined to strikingly picturesque effect and create a dramatic situation or “scene” which is left to the viewer to interpret. Lovell finds the raw materials for his art in tag sales, flea markets, and architectural salvage yards. His work focuses on the lives of African Americans in the United States from the span of Reconstruction through World War II, and his work subtly suggests this period’s intense societal and political changes. Many of the photographs that inspire Lovell’s art are of anonymous individuals, the biographical details of their lives lost to time. The imaginary narratives that Lovell constructs gives them a sense of agency and provides arresting contrasts, which attest to the artist’s great creativity in transforming everyday objects into powerful commentary on society. The exhibition is accompanied by a catalogue. |
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Eating on Arcadia: Hudson River Views on Ceramics October 4, 2008 – April 12, 2009 After the War of 1812, the United States’ renewed trade with England and her citizens’ growing cultural self-consciousness created fertile ground for the importing of scenic Staffordshire ceramics. At the time, Americans were becoming an avid audience for images glorifying the beauties of their nation. From the cities to the wilderness, artists, printmakers and publishers promoted this unique scenery, and premier among these treasures was the Hudson River. Since only the wealthy could afford oil paintings, popular art played a large role in this patriotic consumption. The most elaborate Hudson River prints were from the hand-colored Hudson River Portfolio (1821-25). Recognizing the trendy value of these images, English ceramics companies, such as Enoch Wood & Sons and James and Ralph Clews, began to copy these and other prints onto affordable earthenware ceramics for the American market. Eating on Arcadia will illustrate the middle-class craze for this scenic transferware, which began in the 1820s and continued for much of the Victorian era. Numerous examples of plates, platters, tureens and pitchers featuring views up and down the Hudson River will be juxtaposed with the original prints that inspired them. Through these sets of mass-produced dishes, many an American family sat down to evening dinner with the beauties of the Hudson spread before them. |
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Andrew Stevovich: The Truth About Lola Andrew Stevovich may consider himself an abstract painter more concerned with meticulous composition than narrative, but don’t tell that to the highly figurative characters who appear on his canvases. Because of his classically organized, flat backgrounds of color and simple shapes, his work has frequently been compared to the early Italian Renaissance masters from Giotto to Botticelli. However, this exhibition of more than fifty paintings and drawings will explore another facet of Stevovich’s work: his relationship and inspiration drawn from twentieth-century German Expressionism. Lurking behind his figures’ shifty gazes are nightclubs, neon, card games, and cocktails, all captured with an air of alienated decadence that link Stevovich directly to the tradition of artists like George Grosz and Max Beckman, known for their jaundiced looks at café society. The exhibition and catalogue for Andrew Stevovich: The Truth About Lola have been made possible by Adelson Galleries.
The exhibition will be accompanied by a catalogue. |
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Space Is the Place
The title — Space Is the Place — derives from a 1974 movie about an influential jazz-fusion band, whose leader, Sun Ra, spoke of making music sublime enough to elevate humanity beyond Earth, transcending reality. Much like the cosmic themes of Sun Ra, the exhibition reaches out to realms beyond our planet. While the theme of outer space unites all the work, the subject lends itself to an exploration of the technological, environmental, and sociopolitical forces affecting life on earth. Some artists reflect back to the giddy days of the space race, recalling the Russian space sites as relics or ruins, while others imbue the first American moon walk with a sense of nostalgia and desire for a bygone era. Some examples: Polish-born artist Aleksandra Mir’s video, First Woman on the Moon (1999), performed on a beach in the Netherlands thirty years after the first moon walk, uses the fantastical context of space exploration to comment on the continuing problem of gender inequality; The new work of Laurie Anderson, NASA’s first artist-in-residence, emphasizes imagination. “When you hang out at NASA,” Anderson observes, “you realize that a lot of research has to do with beauty, starting with Einstein, who rejected certain theories because they violated his aesthetic sense.” Organized by iCI (Independent Curators International), New York, the exhibition is curated by Alex Baker, curator of contemporary art at the Pennsylvania Academy of the Fine Arts, Philadelphia, and Toby Kamps, senior curator at the Contemporary Arts Center, Cincinnati. An illustrated catalog, co-published by iCI and the Contemporary Arts Center, Cincinnati, accompanies the exhibition. The exhibition Space Is the Place is organized and circulated by iCI (Independent Curators International), New York. The guest curators are Alex Baker and Toby Kamps. The exhibition, tour, and catalogue are made possible, in part, by a grant from the Horace W. Goldsmith Foundation, with additional support from the iCI Exhibition Partners. |
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Anna Richards Brewster, Organized by Dr. Judith Maxwell in collaboration with Susan Brewster McClatchy for the Fresno Metropolitan Museum of Art and Science, Fresno California, this innovative and comprehensive exhibition encompasses Anna Richards Brewster’s (1870 – 1952) works in oil, watercolor, gouache, and pen designs for book-illustration. It brings together paintings and prints from private and public collections to resurrect the reputation of an artist who was one of the best-known American woman artists at the turn of the century, and who at the age of 20, won the prestigious Dodge Prize at the National Academy of Design for the best picture by a woman artist in 1890. Anna Richards Brewster, American Impressionist, seeks to demonstrate Brewster’s historical context and her role as a successful artist at the beginning of the twentieth century, a time when women were just starting to break into the professional and academic spheres of the art world. It spans her 45 most productive years and includes more than 50 plein-air scenes, portraits and still-lifes, as well as some charming illustrations she did for a book written by her mother A New Alice in Old Wonderland, published by Lippincott in 1896. Also on view are examples of her revealing and thoughtful letters to her friend Annie Ware Winsor Allen, written from her teenage years through the early years of her marriage. The show is an examination of the struggles and triumphs of an American woman’s career in art in the late nineteenth and early twentieth centuries. Anna Richards Brewster’s remarkable life and artistic career were spent striving to express the inexpressible through the visual arts. Brewster herself recognized this inherent paradox of art-making in a letter discussing the difficulty of painting nature: “The more terribly, piercingly beautiful she looks, the more baffling and inscrutable she is. It is great pain to see the grace of her every last gesture, and know that one cannot possibly even tell of it.” As Guest Curator Judith Maxwell describes in the opening of her catalogue essay Life in Art, Brewster is an artist who sought to capture the truth of nature and its divine and diverse beauty. Anna Richards Brewster was born into a prominent New England family, the daughter of well-known landscape and marine painter William Trost Richards and the poet and writer Anna Matlack Richards. The Richards family traveled extensively in the Northeast of the United States, and further a-field in England, France, and Ireland. These journeys provided the subject-matter for William and Anna’s landscape and cityscape paintings and taught Anna to work from her day-to-day experiences. Unlike her father, who was devoted to natural truth (i.e. realism), Anna was interested in the possibilities of human artifice and worked in varying styles, at times influenced by J.M.W. Turner, Childe Hassam and other contemporary artists working in the style of Impressionism, at other moments influenced by the paintings of Rembrandt or Edward Hopper. Anna’s artistic productions provide a fascinating view into her life. This is reflected in works showing a variety of locales once frequented by the artist: New York, where Anna traveled to in 1889 to find new mentors (John LaFarge and William Merrit Chase); Clovelly, England, where Anna went to pursue an independent artistic career; London, where Anna went to escape the isolation and quiet of Clovelly; and various other places such as Algeria, Greece, Spain, and Italy, seen with her husband William Tenney Brewster during his sabbaticals from teaching. The show is designed to shed light on the reasons for Brewster’s current obscurity as well as on the art market at the turn of the 20th Century. She started painting at the age of 14, had a studio in England for nine years, and exhibited and sold both in Europe and in America. She continued to paint prolifically after her marriage to Barnard College English professor William Tenney Brewster in 1905, making oil sketches during their sabbatical travels around the world. To understand this phenomenon better, the exhibition is organized by style, from the Barbizon-influenced romanticism of her fantasy A Knight Errant, through the impressionist, loaded brush style of many of her landscapes and portraits like Devout Reading, Clovelly, to the harshly lit realism of her Hopperesque Steam Table. About the Fresno Metropolitan Museum: |
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Red Grooms: In the Studio was made possible, in part, through the support of the Westchester County Executive and the Westchester County Board of Legislators.
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Red Grooms: In the Studio & Return of Red Grooms’ Bookstore
and a New Exhibition that Traces His Creative Path One of America’s major artists with a truly popular following, Red Grooms is returning to the Hudson River Museum thirty years after his creation of The Bookstore – a gem in the Museum’s permanent collection that has become an artistic emblem of Westchester County. The worlds that inspire Grooms stretch from silent movies to dance halls to America’s urban canyons and first colonies. Red Grooms grew up in Nashville and began his career as an actor. His sense of theater is integral to the multimedia experience he creates in sculpture, paintings, and films. Now a quintessential New York artist, Grooms shows the city’s people and their neighborhoods with both wit and acute comment. His commentary has endeared The Bookstore to thousands since its installation at the Hudson River Museum in 1979. True to the larger-than-life environmental sculptures that brought Pop Artist Grooms attention around the globe, The Bookstore deftly joins two favorite haunts for New York City book lovers—the lively and oldest secondhand bookshop in New York City, the Isaac Mendoza As the museum embarked on plans to construct a new lobby, shifting visitor flow throughout the building, plans were considered to relocate the piece to a new dedicated gallery. Grooms approved the major conservation efforts and changes to the work that included altering the position of the two entrances to fit the new gallery space, the creation of a new central island, which incorporated the original vinyl patrons, and the design for a new painted floor to replace the red wall-to-wall carpeting adapted from the original space. The conservation work was executed by Tom Burckhardt, who oversaw the re-installation. Grooms has had scores of exhibitions over his career but In the Studio is the first to explore not only his triumphs, such as his most famous work Ruckus Manhattan, but also Grooms’ path to creativity. Grooms brings vision to visible reality with a happy combination of meticulous planning and preliminary studies in the form of miniature paper, clay and wood models, or maquettes. Among the models appearing the show In the Studio that have never been seen before are a miniature ticker tape parade featuring Mayor LaGaurdia; Peacable Kingdom; a large-scale model of dozens of different animals decorating a giant “tree of life;” Snake Charmer, part of a design for a proposed circus series; a model for the Iowa State Fair, featuring the famed “butter cow” and Flamenco Dancers, Grooms’ latest work that is now evolving into a design for a huge sculpture only to be imagined. Ranging from a few inches to nearly eight feet, the models are made quickly, the artist’s fingerprints still on them, others finished pieces. The most elaborate illuminate, play music, and move. The exhibitions will be accompanied by a catalogue.
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Collaboration: Mary Cassatt and Me, 1976 Fabric, acrylic, paper on paper 30 x 22” |
Pattern and Decoration:
This first comprehensive survey of the Pattern and Decoration Movement (P&D), it explores the work of 11 artists prominent within the movement in the 1970s — Cynthia Carlson, Brad Davis, Valerie Jaudon, Jane Kaufman, Joyce Kozloff, Robert Kushner, Kim MacConnel, Tony Robbin, Miriam Schapiro, Ned Smyth, and Robert Zakanitch. The exhibition was organized by the Hudson River Museum and guest curator Dr. Anne Swartz, and will be accompanied by an illustrated catalogue showing the scope, history, and legacy of the movement and includes essays by Arthur Danto, Temma Balducci and John Perreault. See the NY Times Slide Show of Pattern and Decoration
This exhibition has been made possible, in part, by a gift from The catalogue for Pattern & Decoration: An Ideal Vision in American Art, 1975-1985 was made possible, in part, by a grant from Furthermore: a program of the J.M. Kaplan Fund. Additional support was provided by Marieluise Hessel , Virginia Galtney and Mary Ross Taylor, and Meredith and David Brown. |
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 ©1997 David Macaulay |
Building Books: The Art of David Macaulay June 16, 2007 – September 2, 2007
The Hudson River Museum presents Building Books: The Art of David Macaulay, an exhibition of the world-famous author and illustrator’s original drawings, paintings, and studies on view from June 16, 2007 through September 2, 2007. Macaulay uses art to communicate complex concepts in a fun and accessible manner. His imaginative and often humorous illustrations are sure to inspire and delight the whole family. Macaulay’s most popular book to date,
The Way Things Work, is an entertaining and whimsical illustrated guide to the inner workings of machines. In more than a dozen additional books, he has displayed the construction of intricate architectural structures, examined a centuries-old sailing vessel from past and present perspectives, and taken readers on journeys into his unique imagination. Building Books explores both Macaulay’s work and his artistic process. |
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 Will Cotton. Candy Curls, 2005 Oil on Linen, 34 x 34 inches |
I WANT Candy: The Sweet Stuff in American Art June 16, 2007 – September 2, 2007 Twentieth-century mass marketing of sweets turned American artists' attention to the candy that is the sweet stuff of this fun-filled exhibition. I WANT Candy examines ideas about the "forbidden fruit of the American psyche. On our sweet tableau: The Still Life of Tradition," "The Cavity of Consumerism," and "Candy as Canvas." The exhibition is organized by the Hudson River Museum. Fifty-five works by forty-two contemporary artists are featured in the exhibtion and include: I WANT Candy: The Sweet Stuff in American Art has been made possible by a gift from |
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Contemporary Photography and the Garden - Deceits and Fantasies February 1 - May 13, 2007 Occupying a restive position between wilderness and civilization, gardens are a locus of man’s attempt to tame nature. Since the mid-1980s many photographers have created bodies of work that examine the diverse forms and rich metaphorical associations of gardens. Contemporary Photography and the Garden brings together the work of sixteen American and European artists.
Ranging from depictions of gardens as tranquil havens to places of tension where exquisite beauty seems to coexist uneasily with inexorable forces of nature, these photographs present the artists’ varied responses to the physical structure, atmosphere, and symbolism of the garden. Sixty-seven works depicting gardens in Japan, Indonesia, India, France, Great Britain, Brazil, Mexico, and the United States evidence an astonishing diversity of design and scale. Photographs by Sally Apfelbaum, Linda Hackett, Sally Gall, Geoffrey James, Len Jenshel, Erica Lennard, and Jack Pierson comprise one group of works exploring the lyrical beauty and luxuriant atmosphere garden. Another group of artists, including Lynn Geesaman, Jean Rault, Gregory Crewdson, and Marc Quinn, play against the notion of a garden as an idyllic site for the pursuit of pleasure. Daniel Boudinet and Fischli and Weiss emphasize the garden as a work of art in its own right.
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This exhibition is organized by the American Federation of Arts, and is made possible, in part, by a grant from the A.R. Brooks Trust. Additional support is provided by the Founders Circle of the AFA. |
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Eliot Porter: Trees, a Photography Portfolio, 1958-1975 One of the most renowned nature photographers of the 20th century, Eliot Porter (1901-1990) was a pioneer in the use of color for fine-art color photography. Ten photographs by Porter from Trees, a portfolio of his prints dating from 1958-1975, are on view. Beside color, Porter’s landscape photography is set apart by detail of the landscape. Rather than focus on scenic panoramas, Porter put himself and his camera right in the undergrowth to reveal the wonder in a narrow slice of nature. In fact, the scenes in the Trees portfolio show many of Porter’s photographs that are vertical formats of nature, rather than the more typical panorama view. |
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Sylvia Sleigh: Invitation to a Voyage September 30, 2006 - May 6, 2007 Painter Sylvia Sleigh’s monumental work Invitation to a Voyage: the Hudson River at Fishkill, 1979-99, composed of 14 separate canvases, each 8 x 5 feet, is a panorama of the Hudson River peopled with art world figures and individuals significant to Sleigh’s life. Set along the scenic banks of the Hudson River, the work alludes to similar scenes of pastoral gatherings by the eighteenth-century painter Jean Antoine Watteau. This work was first inspired by a train trip to Sleigh took to Albany, where she was struck by the beauty of the Hudson and Bannerman’s Castle on Pollopel Island in the middle of the river. The exhibition will be accompanied by a display of photographs, drawings and preliminary oil sketches that trace Sleigh’s inspiration over the 20 years it took her to complete the series of canvasses. |
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Neil Welliver: Chosen Terrain September 30, 2006 - January 7,2007 Featuring over 35 paintings and prints from the artist’s gallery and select museums, the exhibition is a memorial celebration of this 20 th century master of landscape and monumental modernist painting. |
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Guy Gillette: Photographs September 30, 2006 - January 7, 2007 Since the late 1940s, Guy Gillette’s photographs have captured major international news events as well as quieter moments reflective of the nation’s culture. In this first solo show of his work are artistic and political figures that include Audrey Hepburn, Diane Keaton, Carl Sandburg, Lillian Gish, Richard Burton, Eli Wallach, Mahalia Jackson, and President Eisenhower. His photographic essays on the Korean War, the construction of Lincoln Center and the Civil Rights Movement, which appeared frequently in Life, Time, Fortune and other publications, will also be shown. A long-time resident of Yonkers, Gillette was included in the Museum of Modern Art’s landmark The Family of Man exhibition, curated by Edward Steichen in 1955. |
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Got Cow? Cattle In American Art, 1820-2000 Got Cow? an exhibition of paintings, sculpture and photographs from museums across the U.S., slated from June 24 to September 10, 2006, takes both a lighthearted and serious approach to the animal that has been a favorite subject of artists. Got Cow? explores the cow’s appearances in traditional landscapes and mythology and then as a subject for artists such as Andy Warhol and Roy Lichtenstein, who were intrigued by the cow’s form, pattern, and use as a symbol of traditionalism in contemporary art. |
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 James Welling. Lampman Farm from Agricultural Works, 2001. C-Print, 20 x 24 inches. Collection of the artist. |
Agricultural Works Photographs by James Welling and Music by Will Welling A collaboration of photographs by James Welling that merge the nature, culture and industry of the Hudson Valley with Will Welling’s original music that captures the farm’s biological rhythms in fiddle tunes. On view from June 24 - September 10, 2006 |
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 Dick Van Dyke Show |
Westchester: The American Suburb January 28 - May 28, 2006 Most people have a mental picture of an idealized suburb: green lawns, white picket fences and ranch houses. The majority of Americans now live in the suburbs, but the definition of the suburbs keeps changing. From the romantic enclaves of the 19th century to the Edge Cities of the 21st, Westchester County’s long and varied history makes it one of America’s classic suburbs—one whose dynamism contributes directly to current debates over the character and meaning of suburban life. Westchester: The American Suburb challenges the prevalent notion of a dull, homogeneous, sterile environment and offers a more nuanced definition by identifying key issues that place suburbs at the intersection of American values and aspirations. This exhibition was made possible, in part, through the support of the Office of the Westchester County Executive, the Westchester County Board of Legislators, and a grant from the Graham Foundation for Advanced Studies in the Fine Arts. |
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 Jessica Burstein, Epsode 276: "Begin Shooting Scene Two," Original NBC Airdate: May 15, 2002 |
Law & Order: Crime Scenes October 1 – December 31, 2005 Presenting more than 30 images of “crime scenes” from the hit NBC TV series, Law & Order, that were captured by the show’s official photographer, Jessica Burstein. These stunningly realistic works are linked to the long artistic tradition of trompe l’oeil — to fool the eye. The photographs will be displayed alongside actual Law & Order props, including crime scene objects, marked scripts, and special-effect and imitation body parts. The exhibition includes a memorial to actor Jerry Orbach, the show’s star detective Lennie Briscoe, who died last year. This exhibition was organized by George Eastman House, International Museum of Photography and Film. |
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 George Hurrell David Soul, c.1982 Silver gelatin print Courtesy of the Pancho Barnes Trust Estate Archive |
Hurrell’s Men October 1 – December 31, 2005 The work of George Hurrell (1904-1992) has become synonymous with the unblemished and stylized perfection of the Hollywood portrait. From his early success as chief photographer for MGM Studios in the 1930s, to his nostalgic resurgence at the end of his career, Hurrell’s photographs defined the genre for over six decades and continue to exert their influence today. Focusing on more than 50 of his portraits of classic movie stars, Hurrell’s Men exude an unmistakable masculine energy balanced by the perfection of their glamorous exteriors. The actors seen through his lens have come to typify the visual assumptions that speak of the Hollywood system or conjure the spell of “star quality.” |
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Collection of The Hudson River Museum |
Silver Screen Silents: Film Stills Photographs of scenes shot on California film sets before 1920, from the Hudson River Museum collection, will be on view from October 1 through December 31, 2005. The films, some produced by the famous American Mutoscope and Biograph Company, feature silent era stars Ivan Christie, Walter Coyle, Joseph McDermott and Marie Malatesta. |
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 John Hill, after William Guy Wall View Near Fishkill, #18 of The Hudson River Portfolio |
Greener Pastures: Images of Arcadia in the Collection of the Hudson River Museum June 4, 2005 – January 1, 2006 Greener Pastures shows the arcadian ideal of an unchanging countryside inhabited by shepherds and farmers uncorrupted by civilization, a vision of the ancient Greeks that is still a powerful connection in Western art and literature. The pastoral landscape was also celebrated in Hudson River School paintings and in magazines, prints, and literature at the turn of the century. This exhibition is drawn from the museum’s permanent collection, the exhibition includes more than 30 nineteenth-century works in oil, watercolor, photography, bronze, ceramics, wood, and textiles.
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American Impressions: An Arcadian Vision Paintings from the Akron Art Museum June 4 - Sept 5, 2005 Featuring 35 paintings from the collection of the Akron Art Museum, this exhibition examines American art at the end of the nineteenth century when many American artists retreated from the realities of the early modern era - with its burgeoning industry and crowded cities- and envisioned instead an American Eden. They often employed European impressionistic techniques to convey pastoral beauty, rather than embracing the bustle and pollution of their industrializing nation. They painted tranquil landscapes and dreamy portraits of women, aiming to fulfill the widely held belief that art should delight the senses and elevate the spirit. Among the artists featured are; Ralph Blakelock, William Merritt Chase, Thomas Wilmer Dewing, Frederick Frieseke, Childe Hassam, William Morris Hunt, George Innes, Willard Metcalf, Elihu Vedder and Julian Weir. An exhibition organized by The Trust for Museum Exhibitions, Washington, D.C. |
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 John Morton |
The Diaries of Emily Trevor: A Sound Installation for Glenview by John Morton June 11 – September 11, 2005 Played Saturdays and Sundays 12:30; 1:30; 2:30; 3:30 and 4:30 Artist-in-residence John Morton composed The Diaries of Emily Trevor, an original sound composition, that melds two works housed in Glenview, the museum's Victorian home — a vintage music box and the diaries of Emily Trevor, who once lived in Glenview. The project, which uses an historical object to create a contemporary work of art, received support from the New York State Council on the Arts, a State Agency, through the Sites Re-Seen initiative of the Museum Program. |
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 Susan Leopold, Bannerman's Castle, Pollopel Island, 2000 Digital print 12 x 18 inches |
Susan Leopold: Castles and Untold Stories June 11 – September 5, 2005 Susan Leopold designed her work for the Hudson River Museum to explore Bannerman Castle, a romantic ruin on Pollopel Island in the Hudson River. Her panoramic photo-construction plays with perspective, the poetry of decay, and the bizarre history of this dramatic edifice. |
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 Lotus Pagoda Library Lamp, c. 1900-1910 Shade: Tiffany Studios, New York Base: Rookwood Pottery Company, Cincinnati, Ohio Leaded glass, glazed earthenware; 35x26 inches |
Tiffany by Design Tiffany by Design, at the Hudson River Museum, on view from January 29 through May 15, explores the design, construction and fabrication of Tiffany lamps made between 1900 and 1925. Approximately 50 Tiffany lamps and lamp parts, and one leaded-glass window from the collection of the Neustadt Museum of Tiffany Art will be displayed as well as black-and-white photomurals that show Tiffany producing art ware in his studio. |
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 Cappy Thompson Arriving at the Isle of Nuptial Bliss 1997, 21" x 11.5" x 11.5" vitreous enamels reverse-painted on blown glass |
Cappy Thompson: Glass Vessels for a Dream Voyage Known for her distinctive narrative designs incorporating myth, fairy tales, and her personal dreamscape, Cappy Thompson has been using the vessel form to dramatic effect for nearly 15 years. Glass Vessels for a Dream Voyage includes nearly two dozen vessels that feature many of the animal motifs that run through Thompson's work and shows how her vessels have been strongly influenced by medieval imagery from many sources, including Hindu, Pagan, Judaic, Buddhist, Islamic and Christian cultures. The vessel provides the perfect canvas on which she can depict her dreams, their circular shape representing the fluidity of dream narratives that have no clear beginning and ending. |
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 Anthony Pessler Drift, 2001 Oil on linen; 38 x 38 |
Birdspace: A Post Audubon Artists Aviary October 9 - January 9, 2005
Curated by David Rubin, CAC New Orleans. Toured under the auspices of Pamela Auchincloss/Arts Management. |
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 John James Audubon (1785-1851) Trumpeter Swan Birds of America, 1827-1838. First edition, London. Engraving and aquatint with watercolor Plates 11-435 engraved by Rober Havell, Jr. (1783-1878), London. 39 1/2 x 26 1/2 in. |
Audubon's Birds of America Shape, Texture, Plumage, Color October 9 - January 9, 2005 Twenty-two prints by America's best-known ornithologist-artist John James Audubon (1785-1851), from his groundbreaking Birds of America, show his artistry producing accurate illustrations of birds in their habitats. |
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 Paul Manship (1885-1966) Diana, 1925 Bronze, cast by Alexis Rudier, Paris Gift of the City of Yonkers, 48.17.1 |
Konti & Manship in Yonkers Showing to October 7, 2004 The Museum's collection includes prime examples by two of the most important sculptors ever to work in Yonkers: Isidore Konti (1862-1938) and Paul Manship (1885-1966). This summer, these works are the focus of an exhibition in the Upper Main and Voter Galleries, which will highlight The Brook (1901) by Konti and Diana and Actaeon (1925) by Manship. In the early 20th century, Konti, a Hungarian who grew up and studied in Austria, was a highly skilled practitioner of the waning Beaux-Arts tradition. Though Manship, a herald of Art Deco Modernism, is better remembered, both artists achieved international renown in their day, when their statues adorned the lavishly landscaped gardens of Samuel Untermyer's Greystone estate.
Konti lived in Yonkers from 1906 until his death, even moving his studio here from New York City in 1914. In 1908, the sculptor, busy with several commissions, hired Manship as an assistant. Though Manship left Konti's studio in fall 1909 after winning a Rhinehart Scholarship (Prix de Rome) to the American Academy in Rome, the two men had formed a close professional and personal friendship that lasted many years. Commissions from Samuel Untermyer tied Manship to Yonkers intermittently, but Konti remained in Yonkers for the rest of his life. The venerable sculptor became a key member of the local cultural scene, co-founding the Yonkers Art Association, serving as commissioner of the new Yonkers Museum of Science and Arts (now The Hudson River Museum), and producing four local commissions for public statuary. The exhibit will conclude with plaster models and photographs of some of these works, as well as Konti's tabletop bronze The Harvest, a recent purchase. |
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Shaped by the Wind: Kites Kiteflying appeals to our aural, visual and tactile senses, and kite-making is a rich medium for artistic expression. The kite makers in Shaped by the Wind share artistic originality, an understanding of the principals of flight, engineering, and kiteflying skills recognized worldwide. Among the many influences on their work, these kite artists cite specific painters and sculptors; cultural traditions; historical kites; ocean sailing; space exploration; performance art; animation and costume design; and book illustrations. |
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 Susan Jennings • River (excerpt), 2003 DVD, 60 min. Collection of the artist |
Imaging the River Celebrates the Hudson River as an inspiration for artists in the 19th, 20th and 21st centuries. The works in the exhibition reflect the dramatic transformation in the way we view the river historically, culturally and aesthetically, documenting our on-going relationship with the Hudson.
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 William Henry Bartlett, 1809-1854 View of Palisades, Hudson River |
Noted Hudson River Prints in Glenview Galleries Glenview’s second-floor hall gallery will highlight Hudson River prints from mid-nineteenth-century travel books Most are from the highly influential 1840 publication American Scenery that featured text by Nathaniel P. Willis and engravings based on drawings by the English artist William Henry Bartlett. Bartlett, a travel illustrator from the 1830s to1850s, journeyed to every site he depicted, from the Hudson Highlands to the Nile River.
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 Joseph Cornell Hotel de l'Etoil, n.d. Mixed media collage; 17 1/4 x 11 1/8 x 3 7/8" Collection of The HRM |
Joseph Cornell at the Hudson River Museum Joseph Cornell was a pioneer of assemblage and mixed-media constructions of found objects. This year marks the centennial of his birth in Nyack. In celebration, Cornell's works from the museum collection are on view in Glenview. The museum owns two boxes and two collages by Cornell as well as a watercolor and a facsimile drawing by Cornell's younger brother, Robert. |
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Eye Candy: Sculptures by Peter Reginato Museum Courtyard |
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Meditations of Spirit: These paintings of unidentified landscapes, earth, sky and space are literally and metaphorically about conflict, science and spirit. |
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Crafting Utopia: The Art of Shaker Women From the collection of the Hancock Shaker Village in Pittsfield, Massachusetts, Crafting Utopia presents 115 beautifully crafted objects, including wooden ware, household objects, costumes, textiles, furnishings and graphics for Shaker products. |
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The Lost Houses of Yonkers José A. Betancourt |
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Proper Motion "Pictures" an installation by Vargas-Suarez Universal |
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Aerial Muse: The Art of Yvonne Jacquette An exhibition of 36 paintings, drawings, pastels and prints illustrating the development of this nationally acclaimed artist’s landscape paintings and prints from 1975 to the present. |
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Quilts, A Window to the Past September 28th - Jan 5, 2003 |
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America From the Heart: Quilters Remember September 11, 2001 September 28th - Jan 5, 2003 |
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Half Past Autumn: The Art of Gordon Parks June 7th - September 1st, 2002 |
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The Magic of Light February 1 - May 19th, 2002 |
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The Great Migration: Stories from the South to the North (Audio-Visual Presentation - Flash & Shockwave required) February 1 - May 12, 2002 |
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Ellen Kozak Paintings: Reflections on a River October 12 - January 6, 2002 |
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Assembling the Pieces: Collecting in the 90's October 5 - January 13, 2002 |
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Night Moves: Three Dimensional Photographs by Lynn Butler July 12 - September 30, 2001 |
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Dreamscape: Five Animated Sculptures by Gregory Barsamian July 6 - September 9, 2001 |
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A Shot in the Dark September 22 - January 28, 2001 |
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Cast phenolic rods. Courtesy Amsterdam Bakelite® Collection, 
Every day we come into contact with synthetic materials so familiar to us that life without them would be hard to imagine. Bakelite in Yonkers is a dynamic exhibition of more than 300 objects that show the development of Bakelite, a new material vital to an array of twentieth century consumer products — ash trays, toilet seats, door handles, blocks, bracelets, clocks, dinnerware, flashlights, toasters, kitchen mixers, castanets, and toy cars — to name a few! Inventor Leo Baekeland invented Bakelite at Snug Rock, his home in Yonkers between 1905 and 1907. Pioneering and brilliant, he quickly realized the scientific and commercial value of his discovery. First an inexpensive alternative to precious materials such as ivory, this exhibition traces how Bakelite soon reached the height of popularity as a key material in Art Deco objects, and was a favorite material of designers from Norman Bel Geddes and Raymond Loewy to Philippe Starck.
Space Is the Place focuses on contemporary art that looks to space exploration —its infinite potential and its historical successes and failures as seen in the works of an international group of artists during the last fifteen years. This collection of contemporary art — paintings, sculptures, photographs, installations, and sound, and video — highlights the importance of imagination and dreaming in the quest for space travel, that powerful catalyst for artists. Artists in the exhibition:
