Tag Archives: 20th Century

Art

Mid Century Native American Artist Mary Sully At The Met

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(New York, July, 2024)—This summer, The Metropolitan Museum of Art will present the exhibition Mary Sully: Native Modern, opening July 18, 2024. Born Susan Mabel Deloria on the Standing Rock Reservation in South Dakota, Mary Sully (1896–1963) was a little-known, reclusive Yankton Dakota artist who, between the 1920s and 1940s, produced highly distinctive work informed by her Native American and settler ancestry. The exhibition is part of The American Wing at 100, a series of gallery reinstallations and exhibitions marking the wing’s 2024 centennial.

Image: Mary Sully (Dakota, 1896–1963). Alice (detail), ca. 1920s–40s. The Metropolitan Museum of Art, New York, Purchase, Morris K. Jesup Fund and funds from various donors, 2023

The exhibition is made possible by the Barrie A. and Deedee Wigmore Foundation.

“This compelling exhibition celebrates how Mary Sully’s cultural sensibilities influenced her unconventional body of work,” said Max Hollein, The Met’s Marina Kellen French Director and Chief Executive Officer. “Sully translated her life and experiences into a unique graphic language, culminating in an intensely creative perspective from which to consider Indigenous cultures and imagery.”

This first solo exhibition of Sully’s groundbreaking production highlights recent Met acquisitions and loans from the Mary Sully Foundation, works that call into question traditional notions of Native American and modern art.

The Met Fifth Avenue. 82nd Street New York, NY, 10028

Working without patronage, in near obscurity, and largely self-taught, Sully produced approximately 200 intricately designed and vividly colored drawings in colored pencil, graphite, and ink on paper that captured meaningful aspects of her Dakota community mixed with visual elements observed from other Native nations and the aesthetics of urban life. Euro-American celebrities from popular culture, politics, and religion inspired some of her most striking works, which she called “personality prints”—abstract portraits arranged as vertical triptychs.

Panel from Titled Husbands in the USA by Mary Sully (1896–1963), 1927–1945. Colored pencil on paper, 12 7/8  by 18 inches. None of Sully’s pieces are dated, but it is estimated that they were all created between 1927 and 1945. Except as noted, all objects illustrated are in the collection of Philip J. Deloria. via themagazineantiques.com

Featuring 25 rarely seen Sully compositions—primarily her “personality prints”—as well as archival family material and other Native American items from The Met collection, the exhibition offers a fresh and nuanced lens through which to consider American art and life in the early 20th century. 

Sylvia Yount, Lawrence A. Fleischman Curator in Charge of the American Wing, said: “We’re thrilled to present Mary Sully: Native Modern as a special feature of the department’s 100th anniversary in 2024. Born of particular Native and Euro-American cultural entanglements, Sully’s work is highly relevant and resonant for the American Wing, The Met’s historic department of a broadly defined American art by diverse makers, with a deepening concentration of work by women and artists of color.”

Portion of Mary Sully’s The Indian Church (around 1938-45)Collection of Philip J. Deloria

Bottom of Sully’s The Indian Church (c. 1938-45)© Collection of Philip J. Deloria via theartnewspaper.com

About Mary Sully

As a great-granddaughter of the successful 19th-century portraitist Thomas Sully (1783–1872), Susan Deloria expressly adopted the name of her mother, Mary Sully (1858–1916), daughter of Alfred Sully (1820–1879) and the Dakota woman Susan Pehandutawin (dates unknown), an artist in her own right. Deloria grew up in a distinguished family of Dakota leaders. Her sister Ella Cara Deloria (1889–1971), with whom she primarily lived, was a linguistic ethnographer trained by the esteemed Columbia University anthropologist Franz Boas. Her nephew, Vine Deloria, Jr. (1933–2005), was an author, theologian, historian, and activist for Native American rights. And her great-nephew, historian Philip J. Deloria, is the author of Becoming Mary Sully: Toward an American Indian Abstract (University of Washington Press, 2019), the only scholarly investigation of her art and life.

Related Presentation in Art of Native America Installation

In late June, the American Wing unveiled a new rotation of works by Native American artists focusing on intergenerational knowledge and their critical role as knowledge keepers. These include recent acquisitions by contemporary basket makers Jeremy Frey (Passamaquoddy) and Theresa Secord (Penobscot), in addition to painter Rabbett Strickland (Red Cliff Ojibwe).

Credits and Related Content

Mary Sully: Native Modern is curated by Patricia Marroquin Norby (P’urhépecha), Associate Curator of Native American Art, and Sylvia Yount, Lawrence A. Fleischman Curator in Charge of the American Wing.

The exhibition is conceived in partnership with the Mary Sully Foundation and the Minneapolis Institute of Art.

Featured image– Mary Sully, “Good Friday” From Philip J. Deloria, “Becoming Mary Sully; Toward an American Indian abstract” (Seattle, University of Washington Press: 2019) ISBN 978-0-295-74504-6. Courtesy University of Washington Press.

Art

MODERNISM ADORED: 20th Century Art A New Online Exhibition Now Open

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“Art cannot be modern. Art is primordially eternal.” Egon Schiele 

New York City, New York, April 2024. Our friends at Helicline Fine Art proudly announces the opening of its new online exhibition, Modernism Adored: 20th Century Art, a celebration of the revolutionary artistic movements that defined the 20th century. The exhibition runs through June 30 and features a curated selection of paintings, drawings and sculptures from important to rediscovered artists, Modernism Adored explores essential movements that shaped the artistic landscape during the 20th century from ashcan, cubism, art deco, Vorticism, WPA, abstraction, abstract expressionism, caricature and outsider art. It brings together a diverse range of artwork that reflects the spirit of innovation and creativity that defined these pivotal periods in art history. As we are a NYC based gallery, the history of New York inspires us to include art that glorifies our great city.

“We are thrilled to present Modernism Adored: 20th Century Art. This is stuff in our hearts and we are honored to share it with collectors and curators throughout America and worldwide,” said Helicline proprietors Keith Sherman and Roy Goldberg. They continued, “This exhibition is our “eye,” it exemplifies the enduring impact of modernism in art and provides a unique opportunity to witness the evolution of artistic expression over the course of the 20th century.” 

Highlights of Modernism Adored: 20th Century Art include three early Stuart Davis drawings, Vorticist linocuts by Sybil Andrews and Lill Tschudi, Maurice Guiraud-Riviere’s breathtaking “La Comete” silvered bronze, several works by Al Hirschfeld, abstracts by Florence Henri and O. Louis Guglielmi, a Charles Demuth drawing of bathers, an early Daniel Celentano oil, a precisionist industrial scene by Simon Wachtel, and much more. 

Artists in the exhibition include: Sybil Andrews, Maurice Becker, A. Aubrey Bodine, Jo Cain, Staats Cotsworth, Daniel Celentano, Robert Cronbach, James Daugherty, Stuart Davis, Charles Demuth, Donald Deskey, George Pearse Ennis, William Gropper, O. Louis Guglielmi, Harold Haydon, Florence Henri, Al Hirschfeld, Mervyn Jules, Max Kalish, William Kienbusch, Georgina Klitgaard, Henry Koerner, Leon Kroll, Vladimir Lebedev, Carlos Lopez, James McCracken, Alfred Mira, Irene Rice Periera, Antonio Petruccelli, Arthur Rosenman Ross, Hilla Rebay, Maurice Guiraud-Riviere, Joseph Solman, Lill Tschudi, Gerrit Van Sinclair, Samuel Wachtel, Katherine Wiggins, John Winters and Purvis Young. 
Florence Henri (1893 – 1982)Composition18 ½ x 12 ½ inchesGouache on paper Monogrammed F.H. and dated 1926 lower rightGeorge Pearse Ennis (1884 – 1936)Forging a Gun Tube #146 x 37 inches, 1918 Signed lower right
There is great debate about what modern art is.
Numerous descriptions abound. It is a series of genres from the mid-19th century to the present that challenged the Western standards of fine art and embraced new forms of expression. It is often seen as beginning with realism, which rejected the traditional subjects of art and focused on common people. 

Others say modernism was a movement in the arts in the first half of the 20th Century that rejected traditional values and techniques and emphasized the importance of individual experience. A broader perspective, which we at Helicline embrace, modernism was a break with the past and the concurrent search for new forms of expression. It is in fact, constant reinvention, and it’s significant because it fundamentally asks us to change our perspectives as time passes.  

“The strangeness will wear off and I think we will discover the deeper meaning in modern art.”  Jackson Pollock
Daniel Ralph Celantano (1902-1980)Long Beach8 x 10 inchesOil on artist boardSigned lower leftTitled in pencil, versoHarold Haydon (1909 – 1994)History of the US Postal Service21 x 25 inchesoil on canvas, c. 1938

Why Modern Art Continues To Influence Contemporary Artists

The 20th century distinguished itself from the previous century with a new form of industrial revolution- one tied much more intimately to an advancing technology that propelled society into a state of speed and frenzy. Not just the streamlining of railway trains and automobiles or the advancements in transcontinental travel brought on by first lighter than airships, then seaplanes and jet airliners- the motion of advancement and relocation had a seminal effect on culture and thought. The skyscraper and new vertical constructions created its own influence and metamorphosis: hundreds of families could now be housed in a singular structure adding a homogeneity and imposing bold linear designs and influences. Two world wars and a multitude of others pushed existentialism into the minds of many academics and thus filtered into other areas of discipline such as literature, music and design. The development of the transistor created miniaturization and gadgetry that became an essential component to living spaces and personal effects. Television became a manifestation of any imaginable visual image and transfixed society into another state of readiness- a state ready for instant and dense media served quickly and directly. All of these things (and more) gave rise to new forms of art- most often recognized by the general public in modern abstract paintings. The ‘sense’ of all the above was captured by artists using new ways of communicating through their work: immediacy (action painting) and abstraction were more aligned with the zeitgeist then earlier classical forms of artwork.

Untitled abstract 11 Jarrod Barker 2024

The 21st century has seen many parallel and analogous developments. Though we are ‘only 24 years’ into this latest age, the concept of quick advancement and speed is in full effect. From the maturation of the digital age (the internet) and digital communication (email) to rapidly advancing personal communication (smartphones) and powerful and inexpensive computers to today’s exhilarating advancements in AI (artificial intelligence) and robotics. These ‘re-mapped’ and repeated driving forces from the last century continue and their effects most readily recognized are still key components of contemporary ‘neo-modern’ artwork.

MORE ABOUT HELICLINE FINE ART:
Helicline Fine Art, founded in 2008 by Roy Goldberg and Keith Sherman, specializes in American and European modernism. The gallery’s core offerings are works from the WPA period. Additionally, Helicline offers American scene, social realism, mural studies, industrial landscapes, regionalism, abstracts, and other artwork. Located in a private space in midtown Manhattan, Helicline is open by appointment. The artworks on the site represent a sampling of available works. Helicline’s offerings are also available on artsy.net and 1stDibs.com.
Caption for image at the top of this article: Simon Wachtel (1900 – 1965)Factory Yards N. 336 x 24 inchesOil on canvas, c.1930s Signed lower right
Art

Genius Works Of Calder On Display At Gray Gallery

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For each of them Calder establishes a general fated course of movement, then abandons them to it: time, sun, heat and wind will determine each individual dance… Each of its twists and turns is an inspiration of the moment… It is a little hot-jazz tune, unique and ephemeral, like the sky, like the morning.

-Jean-Paul Sartre, 1947

[NEW YORK -April, 2024] — GRAY is pleased to announce Calder, an exhibition of sculptures by Alexander Calder from the 1950s and 60s. The decades at mid-twentieth century were especially significant for the artist, whose objective to create space and movement at ever more immersive scales is expressed by the range of work in the exhibition. From the intimate interplay of color seen at a small scale in Contrepoids jaune, c. 1953 to the monumental statement in black and white of Clouds over Mountains, 1962, one experiences the breadth of Calder’s invention in color, volume, form, gesture, and motion. 

Calder is the twelfth exhibition at GRAY to include works by the artist, whose 1966 solo show at Richard Gray Gallery was installed at the gallery’s very first location in Chicago. The exhibition opens at GRAY New York (1018 Madison Avenue) on April 18 and will be on view through June 21, 2024. 

Clouds over Mountains.

At the center of the exhibition is the large-scale sculpture Clouds over Mountains, which combines a series of angular black silhouettes with four curved white forms that hover above. Celebrated in the year it was made by leading critics such as John Canaday and Donald Judd, Clouds over Mountains is a seminal work, representing a milestone in Calder’s development of expansive standing mobiles.

The exhibition also features two important mobiles: Horizontal Red Moon Gong, 1957 and The Two Yellows, 1962. Both hanging mobiles, the works are key examples of Calder’s ability to find harmonic balance in an orchestra of counterweighted elements created in painted sheet metal, and brass in the case of the former work.

The exhibition takes place in GRAY’s New York gallery on the Upper East Side, the entrance of which is framed by a terrazzo sidewalk designed by Calder in 1970. The sidewalk, a cunning pattern of arcs and rectangles, was commissioned by three galleries then located on the block–including Calder’s long-time gallery Perls Galleries–and stretches from 1014-1018 Madison Avenue.

Calder at GRAY reactivates the physical location of the gallery. From the dynamic sculptures installed within the gallery to the geometric forms fixed in terrazzo outside, Calder’s eye for kinetic potential endures.

ABOUT ALEXANDER CALDER

Alexander Calder (b. 1898, Lawnton, Pennsylvania–d. 1976, New York City), whose illustrious career spanned much of the twentieth century, is the most acclaimed and influential sculptor of our time. Born in a family of celebrated, though more classically trained artists, Calder utilized his innovative genius to profoundly change the course of modern art. He began in the 1920s by developing a new method of sculpting: by bending and twisting wire, he essentially “drew” three-dimensional figures in space. He is renowned for the invention of the mobile, whose suspended, abstract elements move and balance in changing harmony. From the 1950s onward, Calder increasingly devoted himself to making outdoor sculpture on a grand scale from bolted steel plate. Today, these stately titans grace public plazas in cities throughout the world. 

Calder’s 1966 inaugural solo presentation at GRAY was the first of a number of exhibitions to feature the artist across the decades, including Sculpture Works on Paper, 1974; Contemporary Masters, 1987; Forty Years, 2003; Fun House, 2013; GRAY at 60, 2023; and most recently Calder, 2024.

Featured image: Alexander Calder, The Two Yellows, 1962.
© 2024 Calder Foundation, New York / Artists Rights Society (ARS), New Yor

Culture

The Godlike Power Of Money

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God-like powers? The United States Federal Reserve essentially drives the entire world economy. image: imagesci.com

    God-like powers? The United States Federal Reserve essentially drives the entire world economy.

Money runs the world’s economy. It determines who rules nations, and it rules lives.

These are the three most significant properties attributed to the power of money, in addition to its basic function as a medium of exchange. But we can attribute several less significant properties, although similarly important, to the power of money.  They include:

1. Money separates people of the same nation into classes, divisions and groups.

2. The pursuit of money and wealth can turn man against man, son against father, family against family and nation against nation.

3. Money’s devaluation of natural values makes Nature the object of buying and selling.

4. The ability of man to perform labor by placing a price on his head allows one man, or group of men, to enslave another individual or group of individuals.

5. The ability of money to corrupt tends to change man’s personality from social being to self-oriented individual.

6. The power of money drives people to produce services in order to pursue everyday life. This inflicts stress upon people, leading to a spiritual breakdown manifested in acts of crime and mental illnesses.

Bitcoin- electronic currency invented in the 21st century- poised to revolutionize what money is and can be? It's value in US dollars has tripled in one year. CP
Bitcoin- electronic currency invented in the 21st century- poised to revolutionize what money is and can be? It’s value in US dollars in 2013 tripled in one year. CP

Amazingly enough, not many people in modern society are aware of the source of the power or money, including businessmen such as bankers, money market brokers and financiers, who consider themselves money experts.

Perhaps one of the reasons the origin of money’s power is one of the least discussed subjects among academics is the non-existence of prehistoric written records. The second reason is historians’ failure to unveil when and how currency converted from an ordinary medium of exchange into the dominant value of society by expanding its usage to include rendered labor compensation. Also, when and what societal changes elevated the abstract value of currency into an absolute ruling power over humans, including all natural values and treasuries of the Earth.

The blank page left by the theory of early civilization about the invention and rise of money invited independent thinkers to develop their own theories.

The records indicate that this enigma is hidden in the formation of the first state and government. Reforms enacted almost 4,000 years ago led to the breakup of the original communion society, creating conditions that enabled different classes of people to pursue independent ways of life.

From above... 2. The pursuit of money and wealth can turn man against man, son against father, family against family and nation against nation.
From above…
2. The pursuit of money and wealth can turn man against man, son against father, family against family and nation against nation.

Regulating all natural values and treasuries, including human labor, through money, one individual was able to declare himself the king, and establish absolute ruling power over society by entrapping people within guarded wall.

This historic event advanced the abstract value of money from the ordinary medium of exchange to an absolute ruling power unparalleled in the real world. Some ancient spiritual leaders expressed a serious concern about the prudence of the proposed reforms.  They warned that the enactment of these reforms would void the God-given dominant role of natural values within society at the expense of the abstract value of money. This would subsequently interrupt the relationship between man and nature, and change the original role of man upon the Earth from the guardian of nature to the biggest annihilator of nature.

But the followers of the philosophical doctrine of man’s uniqueness compared to other species dismissed such warnings. Promoting man’s spiritual virtue of freedom to make his own norms and laws instead of following the law of nature, they were delighted by the proposed reforms.

Ever since, the corruption, exploitation of one man over another and class warfare became the norms of the New World Order leadership.

The comparatively recent freedom movements that led to the French and Bolshevik revolutions failed to liberate people from the chains of money’s absolute power. Despite that, the idea of freedom lives on in people’s minds, inspiring liberators to wonder why the formation of a communist state failed to succeed.

The liberators failed to realize that the institution of state and government is the foundation that, by providing the conditions for money currency to function, imposes absolute ruling power over society. This means that the institution of state and government is not a suitable foundation for the establishment of a free, classless society.

Is the only way to liberate society from the absolute power of money a return to the system of farming communities and declaring abolition of money currency, which would ultimately lead to dismantling the institutions of state and government?

However, taking into account that man is biologically a mortal relative entity incapable of resisting temptation offered by the absolute power of money, the prospect for the abolition of money is not practically realistic. For the Silo, Michael Vladimirovich Trisho.

Featured image: imagesci.com

Michael Vladimirovich Trisho is the author of “How Did Humanity Become Enslaved to Money?”  Born in Panchevo, currently part of Serbia, Trisho’s tendency to inquire about the mysteries of the world using reason and logic were evident at an early age. All his life, he wondered how humankind became entrapped by money and why people believe a money-based society is best. After immigrating to the United States, he continued to examine early history in search of answers about the monetary system and its relation to the institution of state. Examining archeological fossils and excavations focused only on a narrow part of early human experience and did not reveal important events that played a critical role in society’s development. Michael created his own reconstruction of events, the product of which is his debut novel.

Supplemental- How does the U.S. Federal Reserve drive the world economy? http://www.cnbc.com/id/100430256

The 20th Century spread of Bolshevik power-  http://schools.cbe.ab.ca/b628/social/russia/post_revolution_history.html

Culture

It’s A New Era Of Smaller House Living

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With an increasing demand for housing in the UK and strict planning restrictions, developers are attempting to fit as much “house real estate” as possible within smaller and smaller areas.

This means that most new builds are half the size of the homes being constructed at the start of the 20th century.

Despite this eye-opening reality, there are plenty of people who are happy to sacrifice space for location – especially moving closer to the capital.

We’ve looked at this trend, determined the main pros and cons of smaller house living and even looked around the world for extreme examples of homes which push the limits of square footage. Want to weigh up the pros and cons of small house living? This graphic from our friends at storageworld.co.uk provides a great start point for your research.

Read on to find out whether you’re cut out to thrive in this new era of space-efficient living. For the Silo, Georgia Davies.

Supplemental- The Story Behind Toronto’s Little House

Culture

Victura: beloved sailboat taught JFK about life, family, leadership and winning

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Victura and the Kennedy's

 

James W. Graham’s new book — Victura: the Kennedys, a Sailboat, and the Sea –offers new insights into the dynamics and magic of the Kennedy family and their intense relationship with sailing and the sea. Many families sail together, but the foot sloop purchased in 1932 shortly s move to Hyannis Port, stands apart.

Throughout their brief lives, Joe Jr., Jack and Bobby spent long hours on Victura, competing in countless races every summer. They were joined by their younger brother Teddy when he grew old enough. Joe Jr. and Jack ranked among the best collegiate sailors in New England, driven by their father Joseph P. Kennedy who insisted that winning was essential. Among their sisters, Eunice emerged as a gifted sailor and fierce competitor, the equal of any of her brothers.

JFK Sailing Victura

Tracking their story beginning in 1932 when Jack was 15 and continuing today in an identical family boat of the same name, readers will learn to admire the Kennedys for what Victura taught them about life, family, leadership, determination, winning, and dealing with tragedies.

Celebrating the sailboat’s deep influence on Jack, Bobby, Ethel, Ted, Eunice and other Kennedys, it offers a new way of experiencing their intimate sibling relationships and growth as an extended family. Kennedys credit young Jack’s sailing with helping him survive the sinking of his PT boat in the Pacific. Life magazine photos of Jack and Jackie on Victura’s bow helped define the winning Kennedy brand in the 1950s. Jack doodled sketches of Victura in Oval Office meetings, and his love of seafaring probably played a role in his decision to put a man on the moon, an enterprise he referred to as “space-faring.”

The notion of "Space-fairing" developed by JFK came about as a result of his sailing experiences and love for adventure. CP
The notion of “Space-fairing” developed by JFK came about as a result of his sailing experiences and love for adventure. CP

When the Kennedy siblings married, sailing connected them with their children and nephews and nieces. Sailing was an everyday event, even in dangerous weather and in the darkness of night.  The sport influenced how they celebrated and observed happy events, managed grief, and grew close to one another.

Ted loved Victura as much as any of them. In the years following the untimely deaths of his three older brothers, Ted sailed with his children and the children of his lost brothers as crew. He also sailed past the shoals of personal shortcomings and an ebbing career to become known as the “Lion of the Senate,” helping fulfill patriarch Joe Sr.’s desire that his children pursue careers in public service rather than in business.

Rich with colorful and intimate anecdotes, the book features author interviews with family members, including children of Ted, Robert and Ethel Kennedy.  Victura is a story of redemption, strong family bonds, character, sport, tragedy, the power of metaphor and the influence of a little boat on the lives of great men and women.

In Victura, James W. Graham charts the progress of America’s signature twentieth century family dynasty, in a narrative both stunningly original and deeply gripping. This true tale of one small sailboat is an invaluable contribution to our understanding of the impressive story of the Kennedys. For the Silo, Jim and Lynda O’Connor, and Paul Krupin.

Victura
The Kennedys, a Sailboat, and the Sea
James W. Graham

ForeEdge, an imprint of the University Press of New England
$29.95 cloth 978-1-61168-411-7
$22.99 ebook 978-1-61168-599-2
Official publication date: April 1, 2014
280 pp., 28 illus., 6 x 9″

For more information visit

About the Author

James W. Graham, a communications and public affairs professional for a major-brand retailer, was a senior adviser to former Illinois Governor Jim Edgar and the Illinois House of Representatives. He races and cruises his sailboat Venturous out of Wilmette Harbor, north of Chicago.

What People Are Saying

“This wonderfully-written book takes a well-worn subject — the Kennedys — and gives it as fresh a gust as the sailors on the sturdy, little Victura themselves must have felt a thousand times off the Nantucket shore. In going to sea on board the Victura, Joe, Jack, Bobby and Teddy Kennedy entered their metaphor of quest, braced themselves for the unknown, and left their country, in the end, with an imperishable poignancy in its heart.”

— Richard D. Mahoney, author, Sons and Brothers

“The Kennedys saw the world and nature as a magical place, full of mystery and adventure. They especially enjoyed challenges and the freedom of activities like sailing, skiing, river running, climbing and just being outside. Two thirds of the surface of planet earth is liquid: the sea is vital to life — a huge source of both pleasure and fear — and a great teacher. Victura, a small wooden sailboat, became
the center of adventure, companionship and love for this remarkable family. Author Graham knows the sea, sailing and the Kennedys. Sail on Victura, to new horizons.”

— Jim Whittaker, first American to summit Mt. Everest, former CEO of REI, author of Life on the Edge: Memoirs of Everest and Beyond.

“Victura is more than Graham recounting the sailing experiences of the Kennedys. In this well-researched but warmly written book, Graham sometimes goes several pages describing an election, or a Kennedy family intrigue, and then gracefully brings the
story back to the sea, showing how, in best and worst of times, the family pulled together around sailing.”

— Rich Evans, book review, SAILING magazine, March 2014

JFK Sea Quote