Paper + People is a blog about the Smith College Museum of Art’s collection of over 18,000 prints, drawings, and photographs. Here you will find a diverse array of posts written by museum staff, students, scholars, and other paper enthusiasts about anything pertaining to the collection.
Any works you see featured here are available to view by appointment.
Friday, August 17, 2012
Guest blogger Kendyll Gross was a 2012 participant in the Summer Institute in Art Museum Studies at Smith College. She also served as the 2012 Brown SIAMS Fellow, which offers one SIAMS student a four-week internship in the Cunningham Center for the Study of Prints, Drawings, and Photographs.
When I was accepted into the Summer Institute in Art Museum Studies (SIAMS)program, I could wrap my mind around the weekly readings and writing assignments, the extensive traveling, and the career exploration days we would be doing. However, I could not fully grasp the concept of putting on an exhibition in only six weeks, something that usually takes years of planning and work. It was not until I set foot in the museum’s Nixon gallery for the first time that the imminence of our exhibition seemed so real. It was exciting to see the objects that we could include in our show, but it was also overwhelming knowing how much work we had to do in so little time.
Our class of fifteen was divided into three groups of five: Curatorial, Education, and Design and Public Presentation. After choosing thirty-three pieces, Curatorial was then faced with the challenge of weaving together these diverse objects into a single theme. How would we tie together a twentieth-century W. Eugene Smith photograph with an eighteenth-century French snuff box? The Master ZBM print, Pandora’s Box or An Allegory of Les Sciences qui Éclairent l'esprit de l'homme (The Sciences that Illuminate the Human Spirit),was a great inspiration for our theme. The myth of Pandora’s Box has popularized the notion of the box as an object of curiosity as it conceals its contents from the viewer. We wanted our exhibition to challenge the idea of what a box was by evoking a dialogue between objects from diverse cultures and time periods in a respectful manner. Just like Pandora, we wanted our audience to be fascinated by our boxes and to question them - to truly think outside the [box].
With our theme and object checklist established, it was time for Design and Public Presentation and Education to make the gallery come alive. Design and Public Presentation were responsible for the overall design of the show and the marketing materials, choosing a color scheme that would complement the objects, organizing the layout of the gallery, and installing the art. As a member of the Education team, I worked closely with fellow classmates to create the didactic materials for outside the [box].We did not want the labels to dominate the viewer’s experience, so we mixed a few extensive labels of varying lengths with short “tombstones” labels. We also refrained from using words and concepts that appeared too academic. An alcove within the gallery serves as a place for families to reflect upon what they see in the exhibition. It also gives them the chance to tack sticky notes on the museum’s wall while reading an adorable story about a bunny with a grand imagination. While the introductory wall text sets the tone of the exhibition, the kids’ pamphlet and audio tour serve as guides to help the audience interact with the show.
It was an honor to work with such an enthusiastic and bright group as a part of the SIAMS class of 2012. Together, we constructed an entire exhibition from scratch in six weeks, utilizing each other and our resourceful SCMA mentors for guidance and support. We truly hope that the Northampton community will enjoy our show as much as we enjoyed creating it.
Outside the [Box]is on view in the Nixon gallery until September 30, 2012. Read more about the exhibition here.
Tuesday, August 14, 2012
Did you know...?
The Cunningham Center for the Study of Prints, Drawings, and Photographs is an incredible resource for groups and individuals interested in viewing works on paper in an intimate environment. Housed within the Smith College Museum of Art, the Cunningham Center allows visitors to experience direct, close encounters with prints, drawings, and photographs. Our collectionincludes over 16,000 works on paper dating anywhere from the 15th century to the present, and the number is constantly growing as we acquire new works! Visiting the Museum is just seeing the tip of the iceberg; prints, drawings, and photographs comprise over 70% of the Smith College Museum of Art’s collection.
This blog is our virtual tool with which we can share highlights from our collection of works on paper, as well as behind-the-scenes experiences of those who work in or visit the Cunningham Center. The best way to access our extraordinary collection is, however, to come visit us in person! We strongly encourage allvisitors – individuals or groups; art enthusiasts; families; students, scholars, and classes of any level or discipline.
The Cunningham Center for the Study of Prints, Drawings, and Photographs is open by appointment Tuesday-Friday from 10 AM – 4 PM, year-round. You are invited schedule a time to view specific prints, drawings, and photographs of your choosing which can be found using our online database(make sure you specify that you are searching the Smith College collection in the drop-down menu). To make an appointment, or for further information, please call 413.585.2764 or e-mail email@example.com. We, the staff of the Cunningham Center, hope you will take this amazing opportunity to discover, explore, and personally engage with our collection!
Thursday, August 9, 2012
Japan and Photography in the 19th-Century
When American Commodore Matthew C. Perry landed in Yokohama, Japan in 1854, the country had been in a state of isolation for over 200 years. Wary of the influences of Western civilizations, the island nation sought to preserve its culture and autonomy by shutting out the rest of the world, beginning in 1635. This era of Japanese history is known as the Edo or Tokugawa Period, when Japan was a feudal society, ruled by daimyo(lords), shoguns(generals), and samurai(aristocratic warriors). In 1868, the Tokugawa shogunate was overthrown and a traditional monarchy was reinstated, beginning the period known as the Meiji Restoration, after the ruling Emperor Meiji. After re-opening its gates to the world, Japan was in a state of rapid modernization and Westernization, which were considered synonymous at times.
Photography, a modern invention, was introduced to Japan in the 1850s. (The first datable photographs taken in Japan were shot in 1854 by daguerreotypist Eliphalet Brown, Jr., who accompanied Commodore Perry on his expedition.) Originally met with widespread hostility and resistance, it was not until the 1860s that photography grew in popularity. The Japanese word for “photograph” is shashin,meaning “reproducing reality” – a translation that is only partially true. There was a significant Western market for tourist photographs of Japan, particularly since no foreigners were previously able to enter the country for hundreds of years. These photographs were often contrived, exoticized images of feudal Japan, sold as both landscapes and studio portraits of “native types.” However realistic or not they actually were, these photographs are fascinating documents of an antiquated, romantic view into a culture that was changing at breakneck speed.
The most well-known and influential photographer in 19th-century Japan was actually not Japanese at all. Felice Beato was an Italian-British photographer who worked in Japan from 1863 until 1884. His photographic albums are unique visual documents of the last years of the country’s feudal period, 1865-68. His work was hugely influential to all subsequent 19th-century Japanese photography, particularly with his albumen prints which were hand-colored by Japanese artists. Many of these artists were formerly employed by coloring woodblocks for the production of ukiyo-eprints; Beato photographed one such painter from his studio (see below). (Click hereto see Amanda Shubert’s discussion of this popular art form, which photography supplanted in popularity in the second half of the 19th-century.) Beato’s work is closely related to the ukiyo-etradition in production and aesthetics; his studio portraits of geisha and tradespeople are quite unlike the picturesque and sentimentalized commercial photographs of his time.
Baron Raimund von Stillfried
Felice Beato’s legacy was carried on by his contemporary competitor, Baron Raimund von Stillfried, an Austrian nobleman. From 1871 until 1885, Stillfried lived and worked in Yokohama, the largest city for exporting photographs, where Beato also had his studio. He was the first European photographer to use Japanese apprentices. Stillfried’s most famous photographic album, Views and Costumes of Japan,includes the last depictions of samurai warriors taken before they were no longer allowed by law to wear their topknot hairstyle or carry swords, symbols of their aristocratic status which was dismantled with demise of the Tokugawa shogunate.
One of Stillfried’s Japanese apprentices was Kusakabe Kimbei, who became a commercial photographer with his own studio in Yokohama. His and Stillfried’s photographs are instilled with a psychological sense of their subjects that is lacking in the work of Beato. While he worked in relative obscurity during his lifetime, Kimbei is now one of the most renowned Japanese photographers of the 19th-century. Pictured below are works by Kimbei which the Smith College Museum of Art acquired recently.