Wyeth Wonderland
Photographer Joséphine Douet Envisions Andrew Wyeth’s World
February 25 – May 14, 2017

Joséphine Douet. Rubber Ivy, 2015. Giclée print on Hahnemulle Photogragh paper 320 gr,
18 ½ x 28 inches. Courtesy of the artist
Andrew Wyeth. Grindstone, 1981. Watercolor on paper, 20 ½ x 29 ¼ inches Courtesy of Frank E. Fowler. © 2017 Andrew Wyeth / Artists Rights Society (ARS), New York

French photographer Joséphine Douet is inspired by the same Chadds Ford, Pennsylvania landscapes and people that inspired American painter Andrew Wyeth (1917-2009).

   Joséphine Douet. Frozen Hill, 2015. Courtesy of the artist
  Andrew Wyeth. Untitled (Helga Looking from Afar), 1979.
Courtesy Adelson Galleries  and Frank E. Fowler, ©2017 Pacific Sun Trading Company

Wyeth Wonderland, an exhibition of Douet’s photographs of the rural region that Wyeth made his oeuvre, is augmented with his watercolors, on loan from Adelson Galleries. For this exhibition, Douet has selected twelve of the painter's drawings and watercolors to pair with photographs in the Wyeth Wonderland series. Some of these comparisons are direct, as in a portrait of the same sitter, years later. With others, she was drawn to an aesthetic synergy she felt when looking at Wyeth’s and her images together. Douet first undertook the Wyeth Wonderland project as a commission from the Museo Thyssen-Bornemisza, which was organizing a retrospective of the work of Andrew Wyeth and his son Jamie in 2016. Douet’s admiration for Wyeth dated back to her childhood, so she was eager to travel across an ocean to immerse herself in Wyeth’s hometown, which she found in harmony with her own place of origin, Normandy, and where she would source much of his material.

Taking a journey through Chadds Ford, a photographer in a painter’s footsteps, Douet felt the place unchanged since Wyeth worked there. She spoke to some of the people who had known Wyeth, as she sought the secret of his sensibility: “I have constructed close and profound relations with the people of Chadds Ford and also with Andrew Wyeth’s former models, sharing amazing moments with Helga, his secret muse for fifteen years.” Viewing Wyeth’s scenes through her camera’s lens gave Douet insight into Wyeth and helped her find a new touch for her own photograpy.


Red Grooms and the Civil War

The Civil War, America’s story, is told by Red Grooms,
who for 50 years has brought city and country life to sculpture and canvas.


Lincoln on the Hudson by
Red Grooms

through May 14, 2017

Red Grooms. Lincoln on the Hudson, 2016. Sculpto-pictorama

Red Grooms fills the galleries of the Hudson River Museum with Lincoln on the Hudson, a larger-than-life, walk-through scene of the historic appearance of President-elect Lincoln in Westchester County’s village of Peekskill on the banks of the Hudson. Grooms is famed for creating environments in which colorful sculptures of people navigate scenes filled with details that make us smile and want to walk through a Grooms’ world. The artist, famous for his immersive environments, created a Lincoln work at the Museum that fills 775 square feet of gallery space and stands 17 feet high — a world constructed from foam core, canvas, and bright paint. Lincoln stands at the back of the train that crossed the country from midwest to east to take him to his 1861 inauguration and is greeted by cheering villagers, mounted soldiers (the Civil War is about to begin), a drummer boy, and a brass band. He thanks New Yorkers for their kind greeting and says, . . . I will say in a single sentence, in regard to the difficulties that lie before me and our beloved country, that if I can only be as generously and unanimously sustained as the demonstrations I have witnessed indicate I shall be, I shall not fail. . . A happy moment in time, it is underscored with concern that Lincoln expresses. Grooms crowns Lincoln with a very tall high hat, branding him the country’s leader and its hope.


Lincoln on the Hudson was organized by the Hudson River Museum.




Red Grooms: The Blue and The Gray

through May 7, 2017

Red Grooms. General Grant, 2010                                                                   Stonewall Jackson Two Weeks Before His Death at Chancellorsville, 1996

Forty-six paintings record, unforgettably, four years of history. Red Grooms has been painting the Civil War for over 20 years. Growing up in the South, close to the battlefields of the epic struggle, he turned to its battles and key players to paint large and small-scale works for the exhibition The Blue and The Gray. In oil and graphite, on sliced logs and wood, he records the faces of steely-eyed generals, femme fatale spies, crusading abolitionists, and teenaged African American soldiers. Each year Grooms adds another face and another perspective to The Blue and The Gray. In 2016 using paper much like the cloth squares of a quilt, Grooms has assembled a monumental drawing of Sojourner Truth, a female Black activist who joins a panalopy that includes General George Custer, standing tall and with the attitude for which he is famous, and Grooms’ tryptych of Robert E. Lee that shows the embattled general growing grimmer as the flag behind him changes from Confederate red to Union blue.

The Blue and The Gray
is based on an exhibition organized by the Tennessee State Museum.


See Objects in the Exhibition




Who Fought to Save the Union

through April 30, 2017

Winslow Homer. The Army of the Potomac — Sharp-shooter on Picket Duty. Harper’s Weekly, November 15, 1862

Images and objects that show the art and culture of the nation and New York at the time of the Civil War are drawn from the Museum’s collection personalize this conflict and augment Red Grooms’ Civil War exhibitions. Themes include a soldier’s call to arms, Lincoln as president and martyr, and the long memory of the war’s veterans. The exhibition includes wood engravings of Winslow Homer, the artist/reporter who documented the war for Harper’s Weekly, one of the new American political magazines reporting news from the frontlines.


Tom Burckhardt: FULL STOP

through February 12, 2017

Tom Burckhardt: FULL STOP, 2005-2006

Tom Burckhardt has created a 3-D immersive environment filled with the materials of a modern painter toiling in romantic obscurity. FULL STOP is a full-scale replica of a mythical artist’s studio made of cardboard, wood, glue, and flat black paint. The installation, 10 feet high by 18 feet wide is filled with art historical references, such as Jackson Pollock’s shoes and Jasper Johns’s Savarin coffee can that here holds paintbrushes. The viewer who enters the walk-through studio observes the tools for art making and art books that provide inspiration, but sees no product.  In the center of the studio stands an empty canvas. Burckhardt said, “I wanted to capture the situation when an artist has run out of ideas and is blocked…”, or, comes FULL STOP.  Burckhardt, himself, is the foil for the “block.” His studio appears grounded somewhere between the 1940s and 60s, a time when painting moved from Abstract Expressionism to  Pop Art, and then on to the conclusion that it was obsolete, an idea embodied by the empty canvas at the center of the installation. This narrative of nullity comes up against Burckhardt’s own energy. He wanted a lively cartoon quality and  chose a brown palette — “Rather than painting it in full color, I like the cartoon quality of black and tan, so you can really see that it’s cardboard.”
          Tom Burckhardt’s many installations include his restoration of The Bookstore, a Pop Art masterpiece by Red Grooms, and a permanent installation at the Hudson River Museum.


 "One of our favorite reasons to get out of the house this month...Eschewing the zany light shows and edgy imagery of so many contemporary installations, Tom Burckhardt: FULL STOP asks a host of pressing questions regarding art and the role of the artist."    — Westchester Magazine


Tom Burkhardt: FULL STOP is curated by Michael Goodson, Director of Exhibitions, Columbus College of Art & Design in collaboration with the artist.


See Objects in the Exhibition