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We are pleased to announce Anne Kraybill as Chief Executive Officer of Art Bridges!

Welcome Anne Kraybill, CEO

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American photographer Edward Steichen was also a painter of rare talent. From 1911 to 1914, he produced a mural for the Park Avenue townhouse of Eugene Meyer and his wife Agnes Ernest Meyer. Rendered in a cool oil palette and dazzling gold leaf, the mural celebrates the couple and their circle of cultural sophisticates. 

The depicted figures include art patron Charles Lang Freer, the soprano Mercedes de Cordoba, the artists Katharine Rhoades and Marion Beckett, and the dancer Isadora Duncan. Steichen bred flowers in the garden of his French country house, and had a precise understanding of botanical forms. 

 was partially inspired by Maurice Maeterlinck’s 1907 book 

, and each of Steichen’s subjects is paired with a flower thought to echo their character. The style of the mural is distinctive, exhibiting costumes and poses that mirror Steichen’s foundational fashion photography, while merging portraiture with aspects of Art Nouveau and Symbolist painting.

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Untitled is part of a small but impactful group of works painted in the late 1960s by the artist, curator, teacher, and activist Howardena Pindell. Departing from the figurative painting that she developed as a student during the mid-1960s, Pindell devised a form of process-based abstraction, where the artist relies on regular and predetermined methods to create abstract images that are not reliant on their own gestures, whether deliberate or spontaneous. Pindell’s method consisted of first creating a stencil or printing screen by attaching together manila folders that she had previously dotted with hundreds of identical holes made with a hole-puncher. Afterward, she would place the stencil over the canvas and slide it across its surface as she sprayed it with different colors, creating a speckled and multi-colored polka-dot pattern. Free from any gestural traces that could be tied back to the artist’s “interiority” or “intention,” the paintings are at once mechanical and spontaneous. In 

, a drizzle of red and pink dots hovers above a blue background. Although completely abstract, the work is reminiscent of the Pointillist landscapes of the late 19th century.

Lake Valley

Lost at Sea

 About

Evergreen

Kay WalkingStick

Peonies

in which he shall be

Celebrating Black Life at the Mattatuck Museum

Brenda P

Italian Day, 1918

Jasper Johns

Alphabets

Persuit (El Que Gane Pierde - He Who Wins Looses)

Elevating Indigenous Voices at the Missoula Art Museum

I Think It Goes Like This (Gold)

Glenn Ligon

Untitled (I Am Somebody)

Howardena Pindell

Untitled

 typifies Japonisme, the Western adaptation of Eastern aesthetics that was popular in the late nineteenth century. Coleman displays his interest in the ornate by borrowing distinctly Japanese designs, such as the depiction of a floating carp on the uchiwa, or bamboo fan. 

Coleman’s inclusion of peach blossoms recalls the traditional Chinese bird-and-flower motif. The rich background of the work evokes Turkish tapestry patterns, and the bulbous shape of the teal vase echoes the forms of ancient Greek and Roman pottery. Coleman’s configuration rests on an Indian patkas, a traditional Sikh head covering. The tenets of the Aesthetic Movement, which emphasized the creation of beautiful objects solely for the sake of aesthetic pleasure, may be appreciated in the painting’s hand-carved frame, which includes decorative elements of the Italian Renaissance. 

 is a tantalizing mixture of cultural references that embodies the cosmopolitanism of the American Gilded Age.

I See Red: Talking to the Ancestors

T.C. Cannon

Grandmother Gestating Father and the Washita River Runs Ribbon-Like

Untitled Film Stills

Portrait of Qusuquzah #5

Self-Portrait (Fright Wig)

Kenyon College  -  Gambier, OH

Installation

Shizu Saldamando

Sandra and Tammy, Hollywood Forever

Good Love

Boxes

Henry Ossawa Tanner

The Thankful Poor

Charles Caryl Coleman  Still Life with Peach Blossoms

Charles Caryl Coleman

Still Life with Peach Blossoms

Interested in major themes, challenges, opportunities and programming examples?

A quintessential example of Smithson’s Nonsite series, the sculptural component of this work mines rugged, naturally occurring materials from geological “sites,” and assembles them in the “nonsite” of a polished museum space. 

This Double Nonsite is distinctive for gathering materials from two locations. Glassy obsidian from Mineral County, Nevada, contrasts porous cinder from California’s Mojave Desert. A framed map conflating the topography of these two locations hangs nearby. These volcanic rocks are prehistoric, and Smithson intentionally manipulates concepts of time by placing them in sleek, modern boxes. 

 embodies many such oppositions, measuring ideas of the past against the present, the organic against the fabricated, the sculptural against the two dimensional, and interior spaces against the outside world. 

“My method operates more in a dualistic frame of reference,” Smithson says, “that gives rise to an infinite number of possibilities.”

Point Sur Lighthouse

An innovative new exhibition at Missoula Art Museum

Cigar

Sunset

Max Weber

Interior with Music

Black Girl on Skateboard Going Where She’s Got to Go to Do What She’s Got to Do and It Might Not Have Anything to Do With You, Ever

Chanteuse

Pitch Blackness / Off Whiteness

Elizabeth Catlett

Homage to My Young Black Sisters

Fundamento de Palo Monte: Silueta Series (Gunpowder Works)

Ana Mendieta

Esculturas Rupestres (Rupestrian Sculptures)

Robert Smithson  Double Nonsite, California and Nevada

Robert Smithson

Double Nonsite, California and Nevada

In Exaltation of Flowers: Clivia, Fuchsia, Hilium, Henryi

, ca. 1910-1913, oil and gold leaf on canvas, 120 x 100 in. Art Bridges.

Edward Jean Steichen  In Exaltation of Flowers

, 1910, oil and gold leaf on canvas, 120 x 55 in. Art Bridges.

In Exaltation of Flowers: Golden Banded Lily, Violets

, ca. 1910-1913, oil and gold leaf on canvas, 120 x 55 in. Art Bridges.

In Exaltation of Flowers: Coleus, The Florence Meyer Poppy

In Exaltation of Flowers: Gloxinia, Delphinium

In Exaltation of Flowers: Petunia, Begonia Rex, The Freer Bronze

, 1913, oil and gold leaf on canvas, 120 x 55 in. Art Bridges.

In Exaltation of Flowers: Petunia, Caladium, Budleya

Edward Steichen In Exaltation of Flowers at Dallas Museum of Art

Dallas Museum of Art  -  Dallas, TX

Edward Steichen In Exaltation of Flowers at James A. Michener Art Museum

Edward Jean Steichen  In Exaltation of Flowers at Orlando Museum of Art

Orlando Museum of Art  -  Orlando, FL

James A. Michener Art Museum  -  Doylestown, PA

James A. Michener Museum of Art  -  Doylestown, PA