Now everyone is an insider!
In order to provide an open forum for ALL of the museum’s collection and activities, the Paper + People blog is being renamed SCMA Insider. With its expanded focus, SCMA Insider will act as a go-to place for sharing information on the diverse collections and many voices and visions that shape SCMA.
If you want to contribute to the blog, please contact the Brown Post-Baccalaureate Curatorial Fellow, Shanice Bailey, at firstname.lastname@example.org.
Thursday, September 5, 2013
Guest blogger Emma Casey is a Smith College student, class of 2015, majoring in Spanish. She is the 2011-2013 STRIDE Scholar in the Cunningham Center for Prints, Drawings, and Photographs.
In my research for the current exhibition Summer of Love: Psychedelic Posters from the SCMA Collection,I came across an interesting undertone motivating counterculturists in 1960s America: tribe culture. The disaffection of these typically white, affluent youth was evident in hostility towards organization, industrial-era technology, and the monotonous suburban lives of their parents’ generation. They tended to embody their rebellion by means of an imagined traditional Native American tribe society. They started communes and adopted a tribal identity that was in a sense falsely honorary and misleading. The 1960s communes glorified Native American life and negated their long history of societal discrimination and racism.
Native imagery was also adopted into the art world, and is used in several posters in the collection, promoting human be-ins and rock concerts. These elements are explicitly represented in Rick Griffin’s 1967 poster PowWow: A Gathering of the Tribes(pictured above), advertising the ‘Human Be-In’ held in Golden Gate Park, San Francisco on January 14th, 1967, which attracted over 20,000 attendees. This event fused literary figures (Allen Ginsberg), advocates of consciousness-expanding drugs (Timothy Leary), and popular musicians with the general public to take a stand against recently implemented drug legislation and discontent with US involvement in the Vietnam War. The scale of organization required of this event showed a shared commitment to consciousness both at a personal and larger, political level. I’m not sure how well the Native American man riding the horse illustrates this goal of reclaiming America for the collective good, as it excludes the population it’s portraying.
The graphic posters are eye-catching, and encourage an impressive level of spiritual collectivism, but I think that the images’ socio-historical implications should be kept in mind.
Want to learn more about Summer of Love before it closes on September 15th? Come to SCMA's Second Friday event tomorrow to hear a Gallery talk by Steve Waksman, Associate Professor of Music and American Studies at Smith College and dedicated scholar of rock and pop.
Thursday, August 29, 2013
In the spring of 1890, Impressionist colleagues and close friends Edgar Degas and Mary Cassatt viewed an incredibly influential exhibition of Japanese prints together at the École Nationale des Beaux-Arts in Paris. About thirty-five years earlier, when Japan opened its borders after over 200 years of cultural isolation, European collectors and artists alike became fascinated by what they viewed as the novelty of Japanese art. This famous 1890 exhibition of 725 Japanese prints owned by prominent French collectors both confirmed and enhanced interest in Japanese prints among the public, including Degas and Cassatt.
Mary Cassatt was so inspired by this exhibition that she not only purchased prints by Hiroshige, Hokusai, and Utamaro for her own collection, but she also produced a series of ten prints in 1891 which she claimed were “done with the intention of attempting an imitation of Japanese methods.” Although very different from Japanese woodblock printing, Cassatt attempted to obtain similar effects of line and color with intaglio (incised metal plate) techniques – drypoint, etching, and aquatint. While the drypoint accounts for the very fine lines in the faces and hair of her figures, Cassatt successfully uses aquatint to create large flat areas of color which are aesthetically similar to those of Japanese woodblock prints. A fellow Impressionist, Camille Pissarro, wrote of Cassatt’s 1891 prints: “the result is admirable, as beautiful as Japanese work.”
Much like the Japanese ukiyo-e(floating world) prints which depict women’s daily activities, Cassatt’s 1891 aquatints take intimate moments in modern French women’s lives as their subject. Cassatt’s women bathe themselves, arrange their hair at the mirror, care for their children, chat over a cup of tea, write letters, ride the tram, and try on new dresses. This last subject is depicted in The Fitting, the fifth print in the series of ten. A woman stands in a new, elegant white dress and gazes down upon a seamstress, who wears a simpler, dark brown dress. Here, the Japanese influence can be seen in the emphasis on flat forms, bold outlines, and patterns throughout the print — particularly in the carpet, wallpaper, and women’s dresses. The dynamic, asymmetrical composition of the figures in The Fittingcan also be seen in numerous prints by Utamaro (one example above). Utamaro often presents figures in both seated and standing postures to create a pleasing diagonal arrangement, which Cassatt successfully employs here. However, while women in Japanese ukiyo-eprints are depicted with generic facial features, Cassatt’s women in the 1891 aquatint series are individualized. They are not imagined scenes of the women’s private lives, but ones which Cassatt witnessed firsthand.
Cassatt exhibited the ten aquatints alongside a few paintings later that same year at Durand-Ruel in Paris in her first solo exhibition. The exhibition gained much acclaim and secured her reputation as both a key player in the Impressionist group and a pioneer of color printmaking. Today, this 1891 series is thought to be the most impressive of her printmaking career, which included well over 200 prints.
Thursday, August 22, 2013
Guest blogger Maggie Hoot is a Smith College student, class of 2016, with a major in Art History. She is a Student Assistant in the Cunningham Center for the Study of Prints, Drawings, and Photographs.
Eadweard Muybridge. English, 1830 - 1904. Animal Locomotion: Plate 624;1887. Photogravure on paper mounted on paperboard. Gift of the Philadelphia Commercial Museum. Photography by Petegorsky/Gipe. SC 1950:53-624.
In 1872, former California governor, railroad tycoon, and subsequent college founder, Leland Stanford wanted to prove the hotly debated hypothesis that there was a point in a running horse’s gait when all four feet would be off the ground at once. He hired a locally famous British photographer named Eadweard Muybridge to test the hypothesis by photographing his horse, Occident, in motion. At this time, photographic technology was not advanced enough and consequently Muybridge could not capture a definitive image.
Five years later, Muybridge returned to Stanford’s ranch with improved equipment to try again. He was finally able to take a clear series of photos and proved Stanford right. This set of photographs of Stanford’s horse, Sallie Gardner, became an instant sensation and Muybridge’s photographic career reached new heights. Muybridge spent the next seven years touring the US and Europeshowing his photographs and lecturing on both photographic technologies and new research related to animal locomotion. He presented his work on a zoopraxiscope, the first machine capable of large-scale projection, which Muybridge himself invented. Muybridge based his invention on a children’s toy, the zoetrope, a handheld spinning drum that produces the illusion of motion, and used a lantern to project the image onto a screen.
In 1884, Muybridge took a job at the University of Pennsylvania and began a new project based on his work for Stanford, but expanded his subjects well beyond horses. Muybridge photographed “men, women, and children, animals and birds, all actively engaged in walking, galloping, flying, working, playing, fighting, dancing, or other actions incidental to every-day life," (Animal LocomotionProspectus, 1887). He used models, athletes from the university, disabled patients from the local hospital, and animals from the Philadelphia Zoo. Three years later, he published his eleven volume masterpiece Animal Locomotion,which contains 781 plates with 20,000 total photographs. The SCMA has 516 different plates from Animal Locomotionin its collection.
Eadweard Muybridge. English, 1830 - 1904. Animal Locomotion: Plate 365;1887. Photogravure on paper mounted on paperboard. Gift of the Philadelphia Commercial Museum. Photography by Petegorsky/Gipe. SC 1950:53-365.
Eadweard Muybridge. English, 1830 - 1904. Animal Locomotion: Plate 538;1887. Photogravure on paper mounted on paperboard. Gift of the Philadelphia Commercial Museum. Photography by Petegorsky/Gipe. SC 1950:53-538.
Muybridge’s work revolutionized the way scientists studied locomotion and physiology. Previously, scientists were largely limited by what they could observe with their own eyes, especially concerning objects in motion. Before Muybridge took his photographs, there was no way to prove Stanford’s hypothesis. Muybridge’s photographs helped generate new perspectives on the musculature and movements of people and animals.
Though the impact of Muybridge’s work was considered to be primarily scientific, there was a less obvious but equally important impact on the artistic world. Many artists, including Edgar Degas, began copying poses from Muybridge’s photos to ensure accuracy in their own work. Before Muybridge, artists commonly drew horses running with both forelegs extended equally forward and hind legs equally behind, as in the Géricault print pictured below, which looks more like a cat leaping. Though most artists embraced the new technology and the accuracy it afforded, others such as August Rodin thought that it simply widened the gap between art and science. In his view, Muybridge’s work, and photography in general, fell on the side of science because it stopped time unnaturally, while art was the synthesis of more than a single moment.
Théodore Géricault and Eugene Louis Lami. French (Gericault 1791 - 1824, Lami 1800 - 1890). Two Dapple-Gray Horses Being Taken for a Walk;1822. Gift of Frederick H. Schab. Photography by Petegorsky/Gipe. SC 1973:33.
Eadweard Muybridge. English, 1830 - 1904. Animal Locomotion: Plate 719;1887. Photogravure on paper mounted on paperboard. Gift of the Philadelphia Commercial Museum. Photography by Petegorsky/Gipe. SC 1950:53-719.
Muybridge considered himself first and foremost, an artist. This was clearly demonstrated in his habit of adding or subtracting photographs in a series to create more aesthetically pleasing results. Though he buried all the negatives, some collotypes remain today that indicate changes made before the final printing (for examples and more information, please visit the National Museum of American History website: http://americanhistory.si.edu/muybridge/index.htm). Despite his alterations, Muybridge’s work revolutionized the way the world understood the movement of animals and is still an important resource for the study of the body in motion.