Artwork

Art in New York City, Part 2

by Janice Driesbach, Chief Curator

As with other members of our curatorial department, I regularly visit galleries and museums, attend artist talks, and meet with collectors, both as part of my job and pursuing my personal interests. In that regard, I spent several days in New York City in October to see some of the many exciting exhibitions on view at galleries and museums (including ones featuring a number of northeast Ohio artists) and to work on Intersections: Artists Master Line and Space, an exhibition I am organizing that will be on view at the museum in fall 2016. If you missed Part 1 of this post, you can find it here. 

Dana Schutz, Fight in an Elevator 2, 2015, Oil on canvas, 96 x 90 inches

Dana Schutz, Fight in an Elevator 2, 2015, Oil on canvas, 96 x 90 in.

By Saturday morning I realized I had pretty much only made my way through four or five blocks of Chelsea in several visits. So, I took another subway downtown, this time starting at 18th Street, where CIA grad Dana Schutz was exhibiting paintings and drawings in an exhibition titled Elevator Brawls and Basketball Trolls.

Dana Schutz, Lion and Tamer, 2015, Charcoal on paper, 44 x 30 inches

Dana Schutz, Lion and Tamer, 2015, Charcoal on paper, 44 x 30 in.

Wandering on, I perused Wolfgang Tillmans’s expansive installation, and a mini-retrospective for Squeak Carnwath, whose work I admired as a curator in Northern California.

Wolfgang Tillmans, PCR (installation detail), 2015

Wolfgang Tillmans, PCR (installation detail), 2015

 

Squeak Carnwath, Beautiful Ugly, 2008, Oil and alkyd on canvas over panel, 90 x 80 in

Squeak Carnwath, Beautiful Ugly, 2008, Oil and alkyd on canvas over panel, 90 x 80 in.

 

Rachel Rossin, Roses Re-topo, 2015, Oil on canvas, 52 x 37 in.

Rachel Rossin, Roses Re-topo, 2015, Oil on canvas, 52 x 37 in.

I also appreciated an introduction to Rachel Rossin’s work. Her painting exhibition was one of two I encountered this trip that was accompanied by a virtual reality component. Other exhibitions of interest included those featuring Ivan Morley (again new to me) and Louise Fishman, whose painting I have long respected.

 

Louise Fishman, IT IS GOOD TO KNOW CERTAIN THINGS, 2015, oil on linen, 70 x 88 in.

Louise Fishman, IT IS GOOD TO KNOW CERTAIN THINGS, 2015, oil on linen, 70 x 88 in.

From Chelsea, I made my way to Long Island City, encountering adventures with weekend subways running on other tracks or not at all. My impetus was a gallery exhibition featuring the human figure, which proved quite nice, and the sprawling Greater New York installation at MOMA PS1. It was surprising that PS1 included both new and older work, including interesting pieces by Lorna Simpson (an artist whose work is in the Akron Art Museum collection).

Lorna Simpson, on view in Greater New York, through March 7, 2016

Lorna Simpson, on view in Greater New York (MOMA PS1), through March 7, 2016

 

Donald Moffett, on view in Greater New York (MOMA PS1), through March 7, 2016

Donald Moffett, on view in Greater New York (MOMA PS1), through March 7, 2016

 

Lutz Bacher, Donald Moffett, on view in Greater New York (MOMA PS1), through March 7, 2016

Lutz Bacher, on view in Greater New York (MOMA PS1), through March 7, 2016

Another train took us close to the Brooklyn Academy of Music to spend a delightful evening experiencing a new opera/performance, Refuse the Hour, with the libretto by the amazing South African artist William Kentridge, also one of the featured performers.

Sunday mornings can be surprisingly quiet in Manhattan. At least that was my experience walking through Teresita Fernandez’s installation of reflective clouds in Madison Square Park.

Teresita Fernández, Fata Morgana, Madison Square Park public commission, on view through winter of 2016

Teresita Fernández, Fata Morgana, Madison Square Park public commission, on view through winter of 2016

From there I went to see an exhibition of Martin Puryear drawings at the Morgan Library.

Martin Puryear: Multiple Dimensions, on view through January 10, 2016

Martin Puryear: Multiple Dimensions, on view through January 10, 2016

I also ventured to the Ukrainian Museum to see an exhibition featuring Ukrainian women of the diaspora that included work by two friends from Troy, Ohio, Aka Pereyma (pictured, recently deceased) and her daughter Christina.

Aka Pereyma, featured in The Ukrainian Diaspora: Women Artists 1908–2015, Through February 14, 2016 at the Ukrainian Museum

Aka Pereyma, featured in The Ukrainian Diaspora: Women Artists 1908–2015, Through February 14, 2016 at the Ukrainian Museum

 

Christina Pereyma, featured in The Ukrainian Diaspora: Women Artists 1908–2015, Through February 14, 2016 at the Ukrainian Museum

Christina Pereyma, featured in The Ukrainian Diaspora: Women Artists 1908–2015, Through February 14, 2016 at the Ukrainian Museum

The Ukrainian Museum proved to be walking distance from the New Museum, where I rushed through a massive Jim Shaw retrospective (1st photo) as I was in transit to what has become my favorite Sunday afternoon activity: visiting galleries that have sprung up and are continuing to populate New York’s Lower East Side. New venues are arriving and others are moving at a pace that defies even my organizational skills, so I rely on maps, updating gallery locations each season. I particularly enjoyed my introduction to bitforms, a gallery whose roster includes artists engaged with technology, many exploring interactive art forms. You can find my subtle selfie in Rafael Lozano-Hemmer’s Dissipate, in which letters from the accompanying text begin moving upward to occupy the space cast by the viewer’s shadow.

Jim Shaw, Labyrinth: I Dreamt I was Taller than Jonathan Borofsky, 2009. Installation; acrylic on muslin canvas stretched over plywood panels, dimensions variable, on view at the New Museum through January 10, 2016.

Jim Shaw, Labyrinth: I Dreamt I was Taller than Jonathan Borofsky, 2009. Installation; acrylic on muslin canvas stretched over plywood panels, dimensions variable, on view at the New Museum through January 10, 2016.

 

Rafael Lozano-Hemmer, (Dissipate) Airborne 6: Thermodynamics of Irreversible Processes, 2015, flat screen, Kinect, computer, custom-made software, 85 in. screen, dimensions variable

Rafael Lozano-Hemmer, (Dissipate) Airborne 6: Thermodynamics of Irreversible Processes, 2015, flat screen, Kinect, computer, custom-made software, 85 in. screen, dimensions variable

Zach Harris was another artist whose work drew my attention as I proceeded through densely-packed streets.

Zach Harris, Linen Last Judgment, 2014-2015, water based paint, ink, linen, wood, 72 x 54 1/2 x 7/8 inches

Zach Harris, Linen Last Judgment, 2014-2015, water based paint, ink, linen, wood, 72 x 54 1/2 x 7/8 in.

 

Karen Kunc, (below) Vastness 2014-15 bookwork: woodcut, letterpress, collagraph 5.25" x 4.25" folded, 5.25" x 37" open

Karen Kunc, (below) Vastness 2014-15 bookwork: woodcut, letterpress, collagraph 5.25  x 4.25 in. folded, 5.25  x 37 in. open

The end of the day on Sunday found me looking at work by two artist friends—printmaker Karen Kunc from Lincoln, Nebraska, who has work on view at Central Booking and Akron artist Tony Mastromatteo, whose mural covers a wall of the restaurant Elan, on East 20th Street.

Anthony Mastromatteo, mural

Anthony Mastromatteo, mural, Elan, East 20th Street, NY

Monday morning found me at John Newman’s studio downtown, talking with the artist and looking at exciting new work he has been creating following his residency in Marfa last summer. He is one of the artists I am featuring in Intersections, so it was key to see his newest sculptures as I am in the process of finalizing my checklist. And John’s comments during our extended conversation provided me with additional insights on the ideas and techniques he is presently pursuing.

view of John Newman's studio by Janice Driesbach (October 2015)

view of John Newman’s studio by Janice Driesbach (October 2015)

 

view of John Newman's studio by Janice Driesbach (October 2015)

view of John Newman’s studio by Janice Driesbach (October 2015)

 

view of John Newman's studio by Janice Driesbach (October 2015)

view of John Newman’s studio by Janice Driesbach (October 2015)

I finished up in time to savor a couple of hours at the Museum of Modern Art, where I spent time in an impressive Picasso sculpture exhibition. I also enjoyed the work in a thematic exhibition from MoMA’s stellar collection that included Robert Rauschenberg’s Canyon, as well as wonderful examples by Jasper Johns, Dan Flavin, Yayoi Kusama and others.

Pablo Picasso, Head of a Woman, 1929-30

Pablo Picasso, Head of a Woman, 1929-30

 

Pablo Picasso, Bust of a Woman, 1930-32

Pablo Picasso, Bust of a Woman, 1930-32

 

Robert Rauschenberg, Canyon, 1959, Oil, pencil, paper, metal, photograph, fabric, wood, canvas, buttons, mirror, taxidermied eagle, cardboard, pillow, paint tube and other materials

Robert Rauschenberg, Canyon, 1959, Oil, pencil, paper, metal, photograph, fabric, wood, canvas, buttons, mirror, taxidermied eagle, cardboard, pillow, paint tube and other materials

Art in New York City, Part 1

by Janice Driesbach, Chief Curator

Given the Akron Art Museum’s commitment to modern and contemporary art, featuring the work of artists from our region and working internationally in our collections and exhibitions, taking advantage of opportunities to see artwork firsthand (so important) nearby and beyond is an important activity for me.  As with other members of our curatorial department, I regularly visit galleries and museums, attend artist talks, and meet with collectors, both as part of my job and pursuing my personal interests. In that regard, I spent several days in New York City in October to see some of the many exciting exhibitions on view at galleries and museums (including ones featuring a number of northeast Ohio artists) and to work on Intersections: Artists Master Line and Space, an exhibition I am organizing that will be on view at the museum in fall 2016.

My trip began with immersion in current New York geometric abstraction in the Stanley Whitney exhibition at the Studio Museum in Harlem featuring luminous oil paintings and watercolors.

Stanley Whitney, Dance the Orange

Stanley Whitney, Dance the Orange

Then I made a trip down to Chelsea. First stop: UA Professor Matt Kolodziej’s excellent installation at The Painting Center. [Read the exhibition catalog to Matthew Kolodziej: Lost on a Straight Line, which includes an interview with Janice Driesbach.]

Matthew Kolodziej, Lost on a Straight Line

Matthew Kolodziej, Lost on a Straight Line

I enjoyed encounters with works by artists from the Beauty Reigns exhibition the museum hosted earlier this year, Paul Henry Ramirez exhibiting beautiful individual paintings at Ryan Lee and Nancy Lorenz having an opening at Morgan Lehman.

Paul Henry Ramirez, Eccentric Stimuli 10

Paul Henry Ramirez, Eccentric Stimuli 10

Nancy’s many works, all from this year,  are responses to drawings she made of each element in the periodic table when she had a Guggenheim Fellowship some time ago. Gallerist Sally Morgan shared that the installation of work in many media was arranged by type of elements, e.g., halogens and metalloids. Platinum is pictured below.

Nancy Lorenz, Platinum

Nancy Lorenz, Platinum

 

Nancy Lorenz Elements opening at Morgan Lehman Gallery

Nancy Lorenz Elements opening at Morgan Lehman Gallery

Numerous Thursday evening gallery receptions included one for Sheila Hicks, an amazing textile artist who studied with Joseph Albers long ago and, inspired by him, spent significant time as a young artist in Peru and Mexico, areas of the world that personally fascinate me.

Sheila Hicks, Hangzou Sunday, 2015

Sheila Hicks, Hangzou Sunday, 2015

 

Sheila Hicks, 2015

Sheila Hicks, 2015

On Friday morning I set out to visit galleries, armed with a list ordered by address that I have been compiling for some time. I continue to update the list based on previous experience, postcard and digital announcements that I receive, art magazine advertisements, internet and blog reviews and recommendations from friends and colleagues.

I decided to focus around 57th Street this morning, starting with another exhibition of work by Sheila Hicks, this time small textiles, on East 60th Street.

Sheila Hicks, Sivad Needle, 2015

Sheila Hicks, Sivad Needle, 2015

On way to the galleries clustered around Fifth Avenue I spied a wonderful El Anatsui in the lobby at the Bloomberg headquarters.

El Anatsui, Bloomberg Building, New York City

El Anatsui, Bloomberg Building, New York City

Intrigued by the beautiful work by the artist the Akron Art Museum has so prominently featured, I stepped in to view the composition more closely, discovering an impressive Ursula van Rydingsvard sculpture nearby.

Ursula van Rydingsvard, Bloomberg Building, New York City

Ursula van Rydingsvard, Bloomberg Building, New York City

Highlights on/near 57th Street included Lee Friedlander photographs alongside drawings by French painter Pierre Bonnard. I couldn’t help recalling that a critic had compared the complicated compositions in Friedlander’s Factory Landscape photographs in the Akron Art Museum collection to Jackson Pollock paintings.

Lee Friedlander, Arizona, 1999

Lee Friedlander, Arizona, 1999

That analogy seemed even more apt for the Arizona and Utah landscapes that were featured.

Andrew Masullo’s colorful paintings a few blocks away also captured my attention . . .

Andrew Massulo, 6052, 2014-15

Andrew Massulo, 6052, 2014-15

 

Andrew Massulo Recent Paintings, Tibor de Nagy Gallery through December 5, 2015

Andrew Massulo Recent Paintings, Tibor de Nagy Gallery through December 5, 2015

Rineke Dijkstra‘s three-channel video was as beautiful as the poses assumed by young students at the St. Petersburg Gymnastics School astonished.

Rineke Dijkstra, The Gymschool, St. Petersburg, 2014

Rineke Dijkstra, The Gymschool, St. Petersburg, 2014

After lunch, I made my way back to Chelsea, where I saw a two-channel video in Trevor Paglan’s exhibition addressing surveillance. The video is at once very beautiful and disturbing, a balance that I find intriguing.

Trevor Paglen, 2015

Trevor Paglen, 2015

I had meetings at two galleries regarding Intersections. Both were productive. and afterward I explored other exhibitions as time permitted. Among the highlights was work by Beatriz Milhazes (another artist in the Beauty Reigns exhibition), early Anne Truitt drawings and Ron Nagle ceramics.

Beatriz Milhazes, Maracujola, 2015

Beatriz Milhazes, Maracujola, 2015

 

Check back next week for Part 2 of Janice Driesbach’s New York trip.

 

 

Inscribed Books at the Akron Art Museum

by Stefanie Hilles, Education Assistant

Imagine this. You visit the Akron Art Museum and fall in love under the “roof cloud” (the museum’s 327 foot long steel cantilever that joins the old 1899 post office building with the new 2007 Coop Himmelb(l)au structure). No, not with some beautiful stranger you exchange eye contact with across the museum’s lobby (although that would be pretty exciting too). Instead, you fall in love with a beautiful artwork. Maybe you’re a fan of American Impressionism and succumb to the charms of Abel G. Warshawsky’s pure color technique in The Seine at Andelys showing in the McDowell Galleries (and also installed as a reproduction at the International Institute in North Hill as part of the Inside|Out project). Perhaps you prefer your artists a bit more surrealistically inclined and become entranced by Art Green’s Delicate Situation in the Haslinger Galleries. Or possibly, landscape photography is more to your liking and you discover Robert Glenn Ketchum’s CVNRA #866 (from the Federal Lands Series), on view in the Arnstein Galleries as part of Proof: Photographs from the Collection.

Abel G. Warshawsky (Sharon, Pennsylvania, 1883 - 1962, Monterey, California) The Seine at Andelys, 1923 Oil on canvas 32 in. x 39 1/4 in. Collection of the Akron Art Museum. Gift of Miss Malvyn Wachner in memory of her brother, Charles B. Wachner.

Abel G. Warshawsky, The Seine at Andelys, 1923. Oil on canvas. 32 in. x 39 1/4 in. Collection of the Akron Art Museum. Gift of Miss Malvyn Wachner in memory of her brother, Charles B. Wachner.

Like the start of any epic love affair, you are captivated. You have to know more. So, you head in to the museum’s Martha Stecher Reed Library to do some research. The librarian hands you your desired books and you dive right in. Much to your delight, the books are autographed.  The Akron Art Museum is full of surprises.

Inscribed copy of Abel G. Warshawsky: Master-Painter, Humanist

Inscribed copy of Abel G. Warshawsky: Master-Painter, Humanist

Abel G. Warshawsky: Master-Painter, Humanist by Louis Gay Balsam came into the library’s collection in 1959 at the bequest of Mrs. Minna Wachner, whose generous gifts to the museum also include two oil paintings: Le Pont de la Cité, Martigues by Warsharsky and Landscape by William John Edmondson. The book, which is mostly dedicated to fifty black and white lithographs reproducing the artist’s work, was published by the Carmel Valley Art Gallery that, while no longer in existence, was once near to the artist’s Monterey, California home where he lived after his return from Paris in 1939. Dedicated to Billie Wachner, “Who is a dear sweet and wonderful friend [sic],” Abel signed with his nickname, Buck, as well as the longer A.G. Warshawsky.

Art Green, Delicate Situation,  1968

Art Green, Delicate Situation, 1968. Oil on canvas. 69 in. x 45 in. Collection of the Akron Art Museum. Gift of William and Deborah Struve.

Autographed copy of Art Green: Tell Tale Signs accompanied an exhibition of the same name at the Corbett vs. Dempsey Gallery in Chicago, held from December 9th 2011 through January 21st 2012.

Autographed copy of Art Green: Tell Tale Signs accompanied an exhibition of the same name at the Corbett vs. Dempsey Gallery in Chicago, held from December 9th 2011 through January 21st 2012.

Art Green: Tell Tale Signs accompanied an exhibition of the same name at the Corbett vs. Dempsey Gallery in Chicago, held from December 9th 2011 through January 21st 2012. While the exhibition focused on work created years after Delicate Situation, the interview at the beginning of the text explains some of Green’s recurring  images, namely, the ice-cream cone and the flame that are found in Delicate Situation. Green states, “The image of the ice cream cone interested me because it is so idealized, not because of any specific symbolism. I like opposition and the flame offers that here” (p. 5). Another autograph can be found in Art Green, published by the CUE Art Foundation in 2009 to accompany the first solo exhibition of the artist’s work in New York since 1981. This exhibition was curated by Jim Nutt, who, along with Green, was a member of the Chicago artist group, “The Hairy Who,” that consisted of five recent graduates from the Art Institute of Chicago known for their grotesque subject matter and carefully finished style.

Robert Glenn Ketchum, CVNRA #866, from the Federal Lands series, 1988 Cibachrome print 24 in. x 30 in. Collection of the Akron Art Museum. Purchased with funds from Kathleen and Gordon Ewers.

Robert Glenn Ketchum, CVNRA #866, from the Federal Lands series, 1988. Cibachrome print. 24 in. x 30 in. Collection of the Akron Art Museum. Purchased with funds from Kathleen and Gordon Ewers.

In 1986, the Akron Art Museum commissioned Robert Glenn Ketchum to photograph the Cuyahoga Valley National Recreation Area (CVNRA). Many of these images, taken over the course of several years and throughout different seasons, were later published in Overlooked in America: Photographs by Robert Glenn Ketchum. Compared to the understated signatures contributed by Warshawsky and Green, Robert Glenn Ketchum’s autograph takes on an almost landscape-like quality, with sweeping, flowing organic lines. Ketchum’s book uses the CVNRA as an example of national parks in general, exploring how man and nature interact and how the government manages its federal lands. The CVNRA series can be read in conjunction with another museum commission. In 1979, Lee Friedlander (whose work is also included in Proof) was contracted to photograph the industrial landscape around the Akron/Cleveland area, popularly known as the rust belt. In comparison to Friedlander’s bleak emphasis on desolate factories and the urban landscape, Ketchum’s landscape photographs demonstrate the natural beauty of the Akron area.

autographed copy of Overlooked in America: Photographs by Robert Glenn Ketchum

autographed copy of Overlooked in America: Photographs by Robert Glenn Ketchum

What is it about an autograph that seems to impart some extra knowledge about a person? Sometimes it’s what the person says in an inscription, as in the case of Abel G. Warshaswsky, that gives some insight into the artist’s life. Other times, it’s the style of the handwriting. Whatever the case, it’s an interesting and delightful surprise to discover these autographed works because you seem to get just a bit more information about the artist, something more human than what is captured in the descriptions and analysis of their work.

Immerse Yourself in Beauty Reigns

by Gina Thomas McGee, Associate Educator

How do you experience an art exhibition? You look, of course. You enter the galleries and spend time taking in the colors, textures, and lines of the works in front of you. Maybe you even read the label. During the Beauty Reigns exhibition, the museum invites you to take your experience a step further, and we’ve come up with some tools to help you do just that.

Beauty Reigns Gallery Guide Designed by Micah Kraus

Beauty Reigns Gallery Guide Designed by Micah Kraus

First, you can pick up a copy of the gallery guide as you stroll through the exhibition. This guide (a work of art in itself!) will let you in on the mysteries of the artistic process. The sketchbook-like booklet was created by local designer, artist, and educator Micah Kraus. He was inspired by the artwork in the exhibition and the aesthetic of Field Notes notebooks. The guide looks like an artist’s sketchbook and it can become one, as there are blank pages in the back dedicated to your personal sketches and doodles.

Beauty Reigns Gallery Guide Designed by Micah Kraus

Beauty Reigns Gallery Guide Designed by Micah Kraus

Beauty Reigns Gallery Guide Designed by Micah Kraus

Beauty Reigns Gallery Guide Designed by Micah Kraus

As you finish looking at the exhibition and reading your gallery guide, you’ll be directed to a studio that has been constructed just outside of the gallery doors, in what we call the “video box”. Here, you’ll find a wealth of materials that will allow you to try out the techniques and processes you saw on display in the galleries. Continuing the theme of working with local artists, the studio includes an instructional film with original music and animation by Akron Art Museum staff member Gabe Schray, whose talents go far beyond his work in the museum’s External Affairs department.

Jerry and Patsy Shaw Video Box Beauty Reigns video created by Gabe Schray. Photo by Chris Rutan Photography

Jerry and Patsy Shaw Video Box. Beauty Reigns video created by Gabe Schray. Photo by Chris Rutan Photography

Finally, you can take a walk through an artwork. Literally. The museum commissioned local artist Jessica Lofthus to create a large-scale interactive artwork for the lobby inspired by Beauty Reigns. The piece is a walkable labyrinth that takes cues from the patterns, textures, and shapes found in the exhibition. Walking the labyrinth will add another dimension to your museum experience as you physically wind through the curves and turns of Lofthus’ design.

Akron Carpet Labyrinth designed and assembled by Jessica Lofthus with materials provided by Shaw Contract Group

Akron Carpet Labyrinth designed and assembled by Jessica Lofthus with materials provided by Shaw Contract Group

Akron Carpet Labyrinth designed and assembled by Jessica Lofthus with materials provided by Shaw Contract Group, photo by Chris Rutan Photography

Akron Carpet Labyrinth designed and assembled by Jessica Lofthus with materials provided by Shaw Contract Group, photo by Chris Rutan Photography

So, visit the museum. Look. Make. Create. Feel. Take in the exhibition with all of your senses. It promises to be a Beauty-full experience.

2014 Highlights

By Mark Masuoka, Executive Director and CEO

2014 has been a year in which we sought to connect the energy that drives great art to that which drives our great city: the energy of ideas. In every exhibition, program, event, and conversation, we strove to stimulate ideas and encouraged everyone to look at what they already do in a new light, and to recognize the ways in which we all Live Creative. What follows is a brief recounting of what we did to Live Creative, to reach out to our community and to initiate a new civic presence that will revitalize the cultural health and wellness of Akron. Thank you for being a part of the Akron Art Museum in 2014; join us for all that we will do in 2015.

Jamie Burmeister’s Message Matters began a yearlong love affair with Akron. The project’s blinking lights were switched on in the east stairwell of the art museum’s 1899 building on February 14, 2014, sending out the Morse code message LUV U to the community.

La Wilson, Retrospective

La Wilson, Retrospective, 2004–2006, assemblage, 34.875 x 46.25 x 9.125 in

La Wilson: Objects Transformed  was the backdrop for the artist’s 90th birthday and a mini retrospective that assembled works from the art museum’s collection and from private collections throughout Northeast Ohio.  The works in the exhibition spanned her fifty-plus year career and brought together her family, friends and fans to celebrate her art and her life.

Tony Feher’s Buoy brought renewed attention to the museum’s world-class architecture and begged the question, What the heck is that red thing hanging from the museum’s roof?

Édouard Boubat, Lella, Bretagne, 1948,

Édouard Boubat, Lella, Bretagne, 1948, 1948 silver gelatin print, 13.375 x 9.625 in., Exhibited in Invitation to Stare: Photographic Portraits, Feb. 1 – June 1, 2014

Invitation to Stare was also an invitation to share the museum’s renowned photography collection.  The exhibition highlighted recent acquisitions and the museum’s long-standing commitment to photo portraiture that deserved a long hard look.

Installation view, Butch Anthony: Vita Post Mortem, Akron Art Museum 2014

Installation view, Butch Anthony: Vita Post Mortum, Akron Art Museum 2014

Butch Anthony: Vita Post Mortum featured the unconventional mixed media works that revealed the inner life of an unlikely art star.

Community Conversations: Connecting: Arts and Community, May 2014, Akron Art Museum

Community Conversations: Connecting: Arts and Community, May 2014, Akron Art Museum

Community Conversations became the art museum’s rallying cry and provided an opportunity for the art museum to seek public opinion. The conversations also allowed us to explore the nontraditional role of community facilitator and social organizer in an effort to better understand what is uniquely Akron.

Installation view, Diana al-Hadid, Nolli's Orders, steel, polymer gypsum, wood, foam, and paint, 156 x 264 x 228 in., Courtesy of the artist and Marianne Boesky Gallery, New York, ©Diana al-Hadid, photo: Joe Levack

Installation view, Diana al-Hadid, Nolli’s Orders, steel, polymer gypsum, wood, foam, and paint, 156 x 264 x 228 in., Courtesy of the artist and Marianne Boesky Gallery, New York, ©Diana al-Hadid, photo: Joe Levack

Diana Al-Hadid: Nolli’s Orders created a new focal point for visitors as they entered the museum’s Sandra L. and Dennis B. Haslinger Family Foundation Galleries. The room-sized sculpture proposed a new form and function for the gallery and offered a memorable art experience.

Cover images the 2014 issues of VIEW magazine

Cover images the 2014 issues of VIEW magazine

VIEW Magazine underwent a cover-to-cover overhaul, aesthetically revitalizing its look, feel and flow through its new design that connects the art museum’s online and digital experience with its seasonal print publication.

Installation view, Trenton Doyle Hancock: Skin and Bones, 20 Years of Drawing, photo: Joe Levack; Trenton Doyle Hancock installing Skin and Bones, photo: Akron Art Museum

Installation view, Trenton Doyle Hancock: Skin and Bones, 20 Years of Drawing, photo: Joe Levack; Trenton Doyle Hancock installing Skin and Bones, photo: Akron Art Museum

Trenton Doyle Hancock: Twenty Years of Drawings exhibition began with a two-week installation process that handed over the museum to Trenton to continue his creative process by re-contextualizing his work by drawing, writing and painting directly on the walls of the art museum.

Live Creative began as a way to brand the art museum’s education program and quickly grew into the art museum’s current mantra. We are not just asking people to be creative, but to find ways every day to live creative. It’s more than just a catchy tagline; it is a way of life. #LiveCreative

Inside|Out Akron installed a high quality reproduction of Raphael Gleitsmann's Winter Evening, c.1932 in downtown Akron, near the spot featured in the point of view in the painting.

Inside|Out Akron installed a high quality reproduction of Raphael Gleitsmann’s Winter Evening, c.1932 in downtown Akron, near the spot featured in the point of view in the painting.

Inside | Out brought Raphael Gleitsmann’s painting Winter Evening out of the art museum’s McDowell gallery and into the community.  Perfectly installed in downtown Akron at the site of its inspiration, the painting brings to light what Akron was in 1932 and what it can be in the future. #InsideOutAkron will bring more art from the art museum collection into Akron neighborhoods in 2015.

Take a Journey to the Past with Inside|Out

Inside | Out Akron Logo

By Roza Maille, Inside|Out Project Coordinator

Picture this: You’re walking down the street and then suddenly…whoa!  Is that the painting I saw at the Akron Art Museum last week?  How did it get out here?

Don’t worry.  It’s not the real painting, but a reproduction so realistic it’ll make you do a double take.  That is just one of the ways the Akron Art Museum will engage the community with its new public project, Inside|Out.

Raphael Gleitsmann, Winter Evening, c1932

Raphael Gleitsmann, Winter Evening, c. 1932, Oil on fiberboard, 39 x 44 in., Collection of the Akron Art Museum, Gift of Joseph M. Erdelac. Photo courtesy of the Akron Art Museum.

We are so excited about this project that we decided to give the city a preview of what’s to come!  We have installed a framed reproduction of Raphael Gleitsmann’s painting “Winter Evening” at an outside location across from the historic Akron Civic Theatre. It will be on view from December through February, accompanying other great downtown winter events such as First Night and ice skating at Lock 3. We would love to see the residents of Akron interact with the art, so we are encouraging visitors to take pictures in front of the new installation and post them on social media using the hashtag #insideoutakron.

Photo of the reproduction of Raphael Gleitsmann's painting "Winter Evening" taken after it was installed in downtown Akron.

Photo taken just after the installation on Dec. 1

“Winter Evening” is a great piece of Akron history! Gleitsmann lived in Akron for most of his life and painted this lively scene of downtown Akron in the early 1930s. It’s hard to tell from the seemingly bustling atmosphere but it was painted during the Great Depression when 60% of Akron residents were unemployed.

The image is positioned so the viewer can get a modern-day perspective from the artist’s vantage point.  Some of the buildings depicted in the painting are still standing today, most notably the city’s first skyscraper, now called the FirstMerit Tower.

The FirstMerit tower, circa 1950s.

Photo from summitmemory.org – created by Howard Studios (Cleveland, Ohio), 1950s

But wait, there’s more!  Inside|Out is a two-year project, funded by the John S. and James L. Knight Foundation, and is set to officially launch in the spring of 2015.  The Akron Art Museum will embark on this community outreach project by taking 30 high-quality reproductions of artwork from the museum’s collection and placing them in the streets and parks of the city of Akron and surrounding areas.

Knight Foundation Logo

About ten framed images will be placed in each of the six individual communities that are being targeted for next year. There are two, three-month installations set for each year: three communities for spring/summer and three different communities for summer/fall.  For the second year of the project, we will extend our reach by adding ten more images and two more communities, installing 40 reproductions in eight communities, total.

The images will often be clustered within bicycling or walking distance, to enable residents to discover art in unexpected places. The communities in which they are placed will be encouraged to take ownership of the art in their neighborhoods by creating activities and events around these temporary exhibitions.  All of the art displayed in the streets will be on view at the museum so residents will be able to visit the “real” artwork.

Are you interested in learning more about Inside|Out?  Please attend the community meeting at the Akron Art Museum on Thursday, December 4, 2014 at 5:30 p.m.  The meeting is free and open to the public.  Museum admission is FREE every Thursday.  Please email the project coordinator, Roza Maille at rmaille@akronartmuseum.org if you plan on attending.

Farewell Buoy

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By Mark Masuoka, Executive Director and CEO

In many ways, the de-installation of Tony Feher’s Buoy is a sign of things to come, not what has been accomplished.  Over the past four months, the Akron Art Museum has offered the public the opportunity to re-envision the architecture of the art museum and to re-contextualize our urban surroundings.  Tony Feher’s Buoy had become part of the public conscientiousness and spurred conversation about contemporary art, even for those who did not identify it as art, but an unexpected anomaly hanging from the art museum.  Buoy has become etched in our memory and will soon become part of the urban folklore of Akron.  Farewell Buoy.