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On May 15, 1936, Harry Sternberg’s six-month tenure as a Guggenheim fellow began. He applied with the intention of producing etching and lithographic work, which he completed throughout his subsequent travels throughout Eastern Pennsylvania. His subjects of choice for the project were a rotating cast of men from the coal and steel industries, whose working…
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When I first became enthralled by rather than interested in art (history) and specifically painting as a teenager, I remember how, in the modernist chapter of the textbook my parents gave me, I first saw a reproduction of a Francis Bacon painting, one of the Pope Innocent X ones, and being totally mind-blown that an…
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The acceptance of self-discovery and the cultivation of individual identity as an end of art and even a prerequisite of worthwhile and serious art-making has been nearly absolute in modern and contemporary times, where art is a field of study. This understanding is, however, somewhat in crisis because it reflects the values and principles of…
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John Joseph Enneking. Sheep by a Pond (Grew’s Woods, Hyde Park, MA), 1890. Oil on canvas. Collection of the Cahoon Museum of American Art. John J. Enneking was the subject of the first exhibition I curated at a non-academic museum. Pinpointed—thanks to an otherwise inconsequential sketch of Claude Monet’s first wife, Madame Camille Doncieux Monet—as…
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Posters are the surrender. And I say this because many people of excellent taste and sensibility primarily decorate their walls with them (or similar printed materials. Sometimes bearing nominal personal significance—as maybe tour posters acquired in-person at a concert, or depicting the special-to-us teams or events or concepts which constitute our thought-lives—these posters can also…
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