Category: art history

Women Take Center Stage in Museums This Year

As we’re coming out of the pandemic, 2021 appears to be a year dedicated to women in the arts as several museums and art centers in Europe and the United States are hosting programs devoted to female artists, far too long left out of the history books.

Hedda Sterne, Chandelier, 1945, oil on canvas, 38 in. x 32 in. Source: The Hedda Sterne Foundation

When speaking with art historians and scholars, the often-cited reasons that left women behind were: they had no access to education, they were living reclusive lives and did not have as much access to sources of inspiration as men, women painters were not accepted in art shows and museums, they also did not sign their paintings, and finally they were deliberately left out.  

In recent years books were written to correct that, including The Trouble with Women Artists by Laure Adler and Camille Vieville, published in 2019, and Broad Strokes by Bridget Quinn, published in 2017. They provide a wider perspective on the significant achievements and contributions made by women in the arts.

Earlier this year the Rijksmuseum in Amsterdam included for the first time ever works by women artists in the Gallery of Honor, alongside works by 17th century Dutch Golden Age masters such as Rembrandt, Vermeer, and Frans Hals. Paintings by Judith Leyster, Gesina ter Borch, and Rachel Ruysch are now exhibited in the Gallery of Honor as a move by the Museum to highlight women’s contribution to Dutch cultural history.  

Musée du Luxembourg in Paris is hosting the exhibition “Peintres Femmes 1780 – 1830”, which includes seventy paintings by forty female painters, most notably Élisabeth Vigée Le Brun and Adélaïde Labille-Guiard, both members of the famous l’Académie Royale de Peinture et de Sculpture (the precursor of the Louvre Museum), and Marguerite Gérard, the sister-in-law of Jean-Honoré Fragonard. Curated by Martine Lacas, the exhibition can also be explored virtually. 


Élisabeth Vigée Le Brun, Self-Portrait with Straw Hat, 1872, oil on canvas, 38.50 in. x 27.75 in. Source: Wikipedia

Centre Pompidou is hosting the exhibition “Women in Abstraction” featuring one hundred and six artists, and more than five hundred works dating from the 1860s to the 1980s in various disciplines. Included in this exhibition are works by Louise Bourgeois, Barbara Hepworth, Verena Loewensberg, and many others. Centre Pompidou is also hosting an online class through June this year, free of charge, titled Elles font l’art and presenting a different history of modern art, one that focuses on women artists in the 20th and 21st centuries. This class is held in French.   

In New York, of course, there is a long tradition of women being active in the art world going back to Sarah Cole, the sister of Thomas Cole, founder of the Hudson River School of Painting (Luminism); Georgia O’Keeffe (Modernism) – married to photographer Alfred Stieglitz, O’Keeffe enjoyed painting Lake George where she vacationed extensively; and Hedda Sterne (Surrealism), who was married to The New Yorker cartoonist Saul Steinberg – both Sterne and Steinberg were born in Bucharest but met in New York.

In 2019 the exhibition “Hilma af Klint: Paintings for the Future” hosted by Guggenheim attracted more than 600,000 attendees, becoming the museum’s most visited show in its 60-year history, according to Artsy. This year, The Metropolitan Museum of Art is hosting “Alice Neel: People Come First”, a retrospective that positions Neel as a radical painter, champion of social justice. 

Art in the Catskills has consistently featured works by women artists who have maintained studios in the Catskill Mountains including Amy Masters, Ann Lee Fuller, Ellen Wong, Helene Manzo, June Lanigan, Lisbeth Firmin, Molly Rausch, and many others.

 See below Gallery of selected works.  

BOOK RELEASE: The Zadock Pratt Museum Coloring Book

The Zadock Pratt Museum has just released a coloring book for adults, essentially a collection of historical quilts accompanied by text and drawings that provide a unique perspective of the region’s settlement history. Inspired by the 2018 exhibition titled “Undercover Stories,” the book was funded by The A. Lindsay and Olive B. O’Connor Foundation and The Nicholas J. Juried Family Foundation. The exhibition, the brainchild of Carolyn Bennett, the Museum’s Executive Director, included thirteen quilts, all of which are also included in the book along with an additional thirteen from the Museum’s historical textile collection. All text and drawings are by Suzanne M. Walsh, who curated the 2018 exhibition. The Iroquois Indian Museum in Howes Cave assisted with fact checking. The book is endorsed by Dr. Michelle Delaney, Assistant Director for History and Culture at the Smithsonian National Museum of the American Indian, among other notable endorsements. 

After the 2018 exhibition closed, there was a spontaneous desire to keep the quilt stories alive, which is how the coloring book idea came about in 2020. The preservation work to keep the quilts intact is a tedious process that requires re-folding in acid free paper every three to six months. Volunteers at the Museum help keep the tradition alive. There is a vibrant community of quilters in the area that met regularly before the pandemic. They often helped at the Museum with the preservation efforts.  

Quilting has been described by scholars as “the art of necessity.” When textiles were scarce, women patched old blankets, coverlets, and table runners with cloth they had available and ready to use. European settlers brought this practice to the New World, and it flourished here and took on a new life. A utilitarian activity at first, quilting did eventually become an American folk art. American Folk Art Museum in New York City has an impressive textile collection, and has begun the New York Quilt Project to locate, document, preserve, and create an archive for New York State quilts. Dr. Jacqueline M. Atkins, a curator who worked at the Folk Art Museum, wrote the introduction for the The Zadock Pratt Museum Coloring Book, and shared “the thrill of the hunt, as one is never sure just what new and exciting quilts, patterns, and designs will turn up in addition to renewing acquaintances with many old favorites.”     

As part of her research, Walsh was able to date the quilts and also found fascinating details about their making. During the Civil War, the region stopped using cotton from the South and that is when imported cotton was largely introduced to the Catskill Mountains. After studying the quilts, Walsh felt inspired to draw them in a way that best reflects their personality. “The art dictated itself,” she explains. She followed the thread and each quilt led to a different approach and style whether whimsical, serious, or as a cartoon. For each quilt Walsh had to make the decision whether to use pen or ink, or what other approach the style might have required. They are all different and carry fascinating stories.


© Zadock Pratt Museum

For instance, the Lost Ships quilt cover was made in 1893 by Frankie Drum, a thirteen-year-old girl who learned the art of quilting from her grandmother. Quilting was a required skill for girls in the Catskills around that time. The project took two years to complete and includes 8,460 individual little pieces of fabric. If you look closely, you will see a horseman depicted in one of the patterns, suggesting Frankie’s love for horses.

© Zadock Pratt Museum

The Crazy Quilt bedcover resembles a Surrealist painting by Marc Chagall, who incidentally had a studio in the Catskills in the 1940s. The “crazy quilt” pattern reached the height of its popularity in the 1890s, the Gilded Age in America, when the industry provided an immense variety of fabric choices in color, prints, and textures. Dr. Atkins, a quilt expert, explains that American women’s fascination with the crazy quilt was inspired by the Japanese kimono which was introduced to the American public at the Centennial International Exhibition of 1876 in Philadelphia. 

© Zadock Pratt Museum

Another popular pattern throughout the 1800s was the octagon. The Octagon quilt included in the book is made of 352 individual octagonal pieces in different colors and patterns. As Walsh explains, the octagon has held a spiritual significance for centuries signifying “the infinity of eternal rebirth.” The octagonal shaped houses also gained in popularity around the same time, and there is still one in existence not too far from the Pratt Museum.

From 2013 until 2020 Walsh had been tour guide, exhibition designer, curator, and archivist at the Zadock Pratt Museum. Undergraduate work in the arts and post-graduate work in early childhood education, including American Montessori certification, became her background credits for the many years in the professional theatre world that followed, working both on stage and behind the scenes in costuming, scene building, playwriting and children’s puppet theatre production. Walsh’s life-long love for fabrics, their history and women’s fashion has coalesced in her serendipitous collaboration with all the people who had an impact on the Pratt Museum’s Historical Quilting Designs Coloring Book. She sums up her experience in one attitude-altering sentence: “Every single one of these wonderful quilts really deserves a history book unto itself.” Walsh is currently working as an independent artist, author and art history consultant.

The book is available at the following retailers: Blooms & Fabrics in Margaretville; Roxbury General in Roxbury; Carrot Barn–Schoharie Valley Farms in Schoharie; The Conglomerate in Middleburgh; Catskill Mountain Country Store in Windham; Windham Pharmacy in Windham; Taconic Orchards in Hudson; Mahalo Gift Shop in Catskill; Plaid Palette in Cherry Valley; The Iroquois Indian Museum in Howes Cave; The Jefferson Historical Society in Jefferson; The Gilboa Museum and Nicholas J. Juried History Center in Gilboa; What The Soap & Company in Prattsville; Young’s Ace Hardware in Prattsville; Prattsville Diner, and the Zadock Pratt Museum.

The book can be ordered by phone at (518) 299-3395, email at prattmuseum@hotmail.com, or mail at Pratt Museum, PO Box 333, Prattsville, NY 12468. To learn more, visit zadockprattmuseum.org.

Featured Destination: The Hyde Collection

The Hyde Collection Art Museum in Glens Falls, Warren County, includes a wide array of artworks and antiques – paintings, sculptures, pottery, books and furniture – spanning from the early Renaissance to modern and contemporary era. The collection was established by Charlotte Pruyn Hyde and her husband Louis Fiske Hyde, who acquired art from the Renaissance to the 19th century. Later on, the collection expanded to include 20th century modern and contemporary works.

The Hyde Collection
The Hyde Collection Art Museum. Source: Facebook

Housed in the Hydes’ 1912 American Renaissance mansion, the collection includes works by Italian Renaissance masters Domenico Tintoretto, Raphael, and Sandro Botticelli; Spanish Renaissance painter, sculptor and architect El Greco; Baroque painters Peter Paul Rubens and Rembrandt van Rijn; French Neo-Classical painter Ingres; French Impressionists Edgar Degas and Pierre-Auguste Renoir; Post-Impressionist painters like Paul Cézanne and Vincent Van Gogh, as well as modern painters such as Henri Matisse and Pablo Picasso. American masters including Winslow Homer are also represented in the collection. In addition to its permanent holdings, the museum hosts temporary exhibitions and other educational programs.

Because of its growing collection, in the 1980s the Museum expanded with a large Education Wing, comprised of three galleries, an auditorium, an art studio as well a storage and visitor amenities area, complementing the adjacent historic Hyde House.

In 2015 we interviewed Erin Coe, then executive director at The Hyde Collection – Coe is currently director of the Palmer Museum of Art at Penn State. In 2013, while at The Hyde Collection, Coe organized the acclaimed O’Keeffe and Lake George exhibition in association with the Georgia O’Keeffe Museum in Santa Fe, New Mexico, which brought together 58 paintings from public and private collections, created between 1918 and 1934, when O’Keeffe summered at Lake George in the company of Alfred Stieglitz and his family. In fact, Coe co-authored the book Modern Nature: Georgia O’Keeffe and Lake George, which presented groundbreaking scholarship that shed new light on O’Keeffe’s work.

Albert Bierstadt
Albert Bierstadt, Yosemite Valley (1865), oil on canvas, 21 3/4 x 30 in. Source: The Hyde Collection

Painters affiliated with the Hudson River School of Painting, founded by Thomas Cole in 1825 and considered the first authentic American art movement, had painted at Lake George, including Thomas Cole, Asher B. Durand, John F. Kensett, Sanford Gifford, and others. The Hyde Collection’s most significant Hudson River School painting in its permanent collection is a painting by Albert Bierstadt, who did not paint at Lake George, however. His Yosemite Valley oil on canvas, painted in 1865, is on display at The Hyde Collection in the Downstairs Guest Room. Because of his interest in the West, Bierstadt is often grouped with the Rocky Mountain School as well. In the 1850s, he studied in Düsseldorf, under the influence of the prestigious Düsseldorf Academy, characterized by detailed, plein air paintings in muted colors. Düsseldorf School exercised influence over the Hudson River School.

In the summer of 2015, The Hyde Collection hosted the exhibition The Late Drawings of Andy Warhol: 1973 – 1987, organized in partnership with The Andy Warhol Museum in Pittsburg. Drawing was critical to Warhol’s development as an artist from his early years as an art student to the last few days of his life in 1987. The show included fifty large drawings from the artist’s late period. It was a prolific time in Warhol’s life, when the artist used as inspiration celebrities, flowers, and ads, as seen in his most iconic works. Some of these drawings were shown for the first time at The Hyde Collection. The show drew visitors from all over the world and across the United States.

Currently on view is a modern art exhibition dedicated to Pablo Picasso, Georges Braque and Fernand Léger, which explores exclusively the three artists’ work as printmakers. Organized by Contemporary and Modern Print Exhibitions, the show includes Picasso’s print series Suite des Saltimbanques (1904-1905) and Le Cocu Magnifique (1968), Braque’s L’Ordre des Oiseaux (1962), and Léger’s Les Illuminations (1950). The exhibition will remain on view through January 5, 2020.

The museum is open Tuesday through Saturday from 10 a.m. to 5 p.m., and Sunday from 12 noon to 5 p.m.

For more information about The Hyde Collection, and current hours of operation, visit http://www.hydecollection.org/.

161 Warren Street, Glens Falls, NY 12801

(518) 792-1761

“How Art Is Made” Reviewed in A Time and A Place Magazine

“David creates a seamless rapport with each artist, drawing out their individual personalities with meticulously researched questions. Her interviewing style is so natural and unobtrusive that the reader feels like “a fly on the wall” privy to the authentic, unrehearsed lives of the artists. They divulge their thought processes, creative developments, media, materials and muses, but David evokes them into sharing a glimpse of their souls.”

A Time and A Place Dec. 2019

CLICK TO READ THE MAGAZINE ONLINE

Catskill Tri-County Historical Views

Look for Catskill Tri-County Historical Views’ latest issue (June 2019) to read about Art in the Catskills and other cultural projects as well as the history of the region.

Learn about “How Art Is Made: In The Catskills,” reviewed by Leslie T. Sharpe, “Picturing America: Thomas Cole and the Birth of American Art,” reviewed by Elizabeth B. Jacks, “Mohonk and the Smileys: A National Historic Landmark and the Family That Created It,” reviewed by Chris Pryslopski, and other topics of interest.

You may find the magazine at Roxbury General Store, Delaware County Historical Association, Thomas Cole National Historic Site, and other places.

Zadock Pratt: The Man, The Town & The Nation

Zaadock Pratt Museum in Prattsville, NY (Greene County) will open for the season Saturday, May 25 with Zadock Pratt: The Man, The Town & The Nation, an exhibit whose focus is on Zadock Pratt, the private individual.

Zadock Pratt Museum

The exhibit includes 19th century oil paintings and maps, as well as 20th century artworks in oil and pastel, exhibit text and photographic panels, and a hand-out explaining Pratt’s contributions on local, national and artistic levels. Pratt’s story will be told primarily through paintings by Frederick Spencer, Amos Hamlin, and several unsigned artworks. Other paintings, drawings and/or photographs include a Matthew Brady and canvases by several local artists. All artwork is from the Pratt Museum collections. The story of Pratt Rock Park, one of the nation’s earliest 19th century pleasure parks, in the style of Downing, Vaux and others, will also be featured.

“Zadock Pratt has been a folk hero in his home state of New York for almost 200 years. Most know him as the Greene County tanner, but he is so much more than that. Statesman, entrepreneur, innovator, philanthropist, and private citizen, Pratt is one of the most interesting early American figures that time has forgotten. This exhibit focuses on Pratt, the private individual; the founder of Prattsville, one of America’s earliest planned communities; and national leader, pointing the way to such revered American institutions as the Washington Monument, Smithsonian Institution, and Transcontinental Railroad. It’s about time that Zadock Pratt take his place alongside others in his lifetime whose biographies we know like the back of our hand,” says Carolyn Bennett, the museum’s executive director and curator of this exhibit.

Zadock Pratt Museum is located in Pratt’s 19th century Greek Revival home, 14540 Main Street, Prattsville, NY. The museum opened to the public in 1959. This year marks its sixtieth anniversary. Its collections and programs are dedicated to Pratt’s interests and long-lasting influence in the area. Learn more at zadockprattmuseum.org.

SPONSORED CONTENT

Chagall in High Falls – The Virginia Project

The Virginia Project

Famed Surrealist painter Marc Chagall, known for works such as I and the Village (1911), Paris through the Window (1913), and Green Violinist (1923), lived and worked in High Falls between 1946 and 1948, producing a significant number of works. At that time, Chagall was accompanied by his lover Virginia Haggard, an artist in her own right, her young daughter from a previous marriage, Jean McNeil, as well as their newly born son David.

Chagall spent six years in New York between 1942 and 1948, a productive time when he painted, but also designed costumes for the American Ballet Theatre and The Metropolitan Opera, murals for the Lincoln Center, and stained-glass windows for the United Nations headquarters.

In 1946 he moved to High Falls where he spent the next two years. Local author Tina Barry created a collaborative called The Virginia Project, pairing poems with visual works by 14 women artists to shed light and reignite interest in that time in Chagall’s life in the United States. Of particular interest to her were Virginia and her daughter Jean.

The show opens today, October 27 at 5 pm at Wired Gallery in High Falls, and will remain on view through November 25.

Read full article in Chronogram.

Books We Love: Peggy Guggenheim, The Shock of the Modern by Francine Prose

Peggy Guggenheim: The Shock of the Modern (2015)

By Francine Prose, Yale University Press, 211 pp.

 

Best-selling author Francine Prose, known for nonfiction titles like Anne Frank: The Book, The Life, The Afterlife, and Reading Like a Writer, wrote a heartfelt biography of Peggy Guggenheim, influential art collector, and early promoter of Modernism in America. Well-ahead of her time, Peggy developed a taste for the avant-garde and unconventional that followed her throughout the entire life. She altered the course of art history in an unprecedented manner by meticulously pursuing new styles and supporting emerging artists.

Born in New York City in August 1898 to a wealthy family, Peggy Guggenheim developed an interest in art at an early age. Her father, Benjamin Guggenheim, perished on the Titanic in 1912, leaving Peggy with a comfortable inheritance. Her mother Florette Seligman, who came from a prominent banking family, also left Peggy with a considerable inheritance, allowing for a sophisticated, privileged lifestyle.

“A Guggenheim, or a Strauss, or a Seligman was expected to be meticulously well mannered and to avoid anything that might be considered ostentatious or vulgar,” explains Francine Prose in her biography of Peggy Guggenheim (p. 37).

As a child, Peggy traveled frequently to Europe with her mother Florette where they stayed at stylish hotels, and learned about art, French history, British literature, and German opera, explains Prose.

In 1920 Peggy moved back to Europe, “in a frenzy to see great art.” “She knew where every important painting was located and insisted on seeing them all” (p. 60).

From 1922 to 1928 Peggy was married to Laurence Vail, a French-born American playwright, novelist, and painter who belonged to the Dada movement. Peggy’s life, relates Prose, had “periods of intense travel interrupted by interludes during which she established and oversaw large bohemian households in Paris, in London, and in rural beauty spots in England and France” (p. 17).

After her failed marriage with Vail, Peggy engaged in notorious affairs with playwright Samuel Beckett, sculptor Constantin Brancusi, and Surrealist painter Max Ernst, whom she married in 1941 – the marriage would end in divorce five years later.

Peggy’s uncle Solomon Guggenheim, who also was an avid collector of modern art, might have been an inspiration to Peggy: Solomon and his mistress, artist and art advisor Baroness Hilla von Rebay opened The Museum of Non-Objective Painting in New York in 1937 to display Solomon’s growing collection which included works by Kandinsky, Chagall, Picasso, and many others. As the collection kept growing, the effort eventually led to the opening of Guggenheim Museum in 1959 at its current location on Fifth Avenue in a building designed by famous architect Frank Lloyd Wright.

While in Europe, Peggy opened Guggenheim Jeune gallery in London in 1938, an unfortunate time, as WWII was about to break out the following year. Peggy had traveled to Paris the year before to secure art for the opening show. She had hoped to open the gallery with an exhibition dedicated to Constantin Brancusi, but the Romanian sculptor was out of town at the time, and Peggy turned her attention to Jean Cocteau. Guggenheim Jeune opened in January 1938 with a show dedicated to Cocteau – the gallery would close in August 1939 due to the war outbreak. In fact, Peggy had plans to open an art museum in London in the fall of 1939, when the war broke, and she had to return to New York.

In June 1941 Peggy and her family sailed from Marseille to New York, bringing with them Peggy’s significant collection of modern art which included 150 works by artists such as Kandinsky, Klee, Mondrian, Braque, Miro, Dali, Magritte, Giacometti, Brancusi, and Max Ernst, works that could have not safely remained in Europe. At first, Peggy had hoped that the Louvre Museum in Paris might have sheltered some of the works, but the museum directors considered the art “too modern to merit saving,” as Prose relates.

Back in New York, Peggy opened Art of This Century gallery, which shortly became the city’s cultural center. The gallery functioned from 1942 to 1947, when Peggy returned to Europe. Alexander Calder, Georgia O’Keefe, and Jackson Pollock frequented the space which was at once “a cultural landmark and a tourist attraction” (p. 137). Peggy helped launch Pollock’s career at Art of this Century – the artist showed four times at the gallery during its existence, and drew the attention of art critics such as Robert Coates at the New Yorker, and Clement Greenberg at The Nation.

In 1943 the gallery hosted the first exhibition of collages in the United States. Also, “among the most remarkable aspects of Art of This Century,” writes Prose, “was the unusual amount of attention paid to women artists” (p. 140). She goes on to say: “equally striking is how few of these women – Frida Kahlo, Louise Bourgeois, and Leonora Carrington – went on to develop careers and reputations remotely approaching those of their male contemporaries” (p. 141).

In addition to promoting emergent artists, as Prose relates, the gallery “was used as a background for fashion shoots in Vogue and Glamour, and was the subject of a photo feature in the New York Times Magazine” (p. 138).

In 1946, when Peggy was 48 years old, she published her memoir Out of This Century, which Prose calls “a remarkable document.” “It is hard to think of an important visual artist from the first half of the twentieth century who does not appear in its pages, in the company of an impressive number of celebrated novelists, memoirists, and poets” (p. 11). Several pages are dedicated to Peggy’s “battle to acquire Brancusi’s Bird in Space.”

In 1947 Peggy returned to Europe, and bought Palazzo Vernier dei Leoni in Venice. Her collection was swiftly included in the 24th Venice Biennale in 1948, one of the most prestigious art shows in the world. Afterwards, the collection traveled to Florence, Milan, Amsterdam, Brussels, and Zurich, before returning to Venice in 1951, and being permanently housed at Palazzo Vernier dei Leoni. Among luminaries spending time with Peggy while in Venice, Prose mentions Surrealist painter Marc Chagall, Beat poet Allen Ginsberg, and experimental composer John Cage.

In 1969 Guggenheim Museum in New York showed a large part of Peggy’s collection, which remains one of the most important in the world. To learn more about Peggy Guggenheim Collection, visit https://www.guggenheim.org/artwork/site/peggy-guggenheim-collection.

Artists on Art Tour at Olana

Olana, home of 19th century landscape painter Frederic Edwin Church in Hudson, is hosting Artist on Art Tour, a series of guided tours through Olana under the tutelage of contemporary artists working in various disciplines. Artistic storytelling is a compelling part of Olana’s ongoing narrative. Participating artists offer a unique lens with which to “read” Olana, and experiment and invent with “poetic license” as they explore through their own artistic practice Church’s home and studio as well as this season’s exhibition.

Olana Estate. Contributed Photo.

This Friday, October 6 at 4:30 pm musician Carrie Bradley tours Olana, calling attention to the transitionary and the “in betweens,” with an element of live music inside Olana. Bradley combines text; music of which there is record that the Church family enjoyed by composers they hosted at Olana; and her own original songs to invoke specifically the evenings of music the Churches hosted at Olana and to refer in general to the sensual spirit of music and sound at the house. Bradley speculates that, “The house during those events became a place where the felt power of music resonated within a container for so much powerful visual art and artifact, and also was during those times, for a stolen moment, a public place when it was usually his private sanctuary. In a similar way, the songs seek to capture the interplay between the public and the private that I feel in the views from the upper reaches of the house—an intimate and personal seat from which to view the awe-inspiring reach of the river and the sky.”

Carrie Bradley is a fiction and creative nonfiction writer as well as a guitarist, violinist, and vocalist. She was a founding member of the alternative folk band Ed’s Redeeming Qualities, has played with the Breeders since 1989, has since had her own bands 100 Watt Smile and the Great Auk, and has performed and/or recorded with Tanya Donelly, Jonathan Richman, John Wesley Harding, Love & Rockets, the Red House Painters, the Buckets, and many others. She lives, gardens, cavorts, and mulls deep in the Catskill Mountains.

Carrie Bradley. Photo Credit: Dave Rubin.

This program expands on the ideas found on site in Teresita Fernandez’s installation “OVERLOOK: Teresita Fernández Confronts Frederic Church at Olana” throughout Olana State Historic Site (May 13 – November 1). The Olana Partnership’s Director of Education, Amy Hufnagel, describes the public program this way: “Artists and cultural workers can teach us about Olana in ways we might not have even imagined; they are, in so many ways, logical “guides” to understanding and unpacking Olana to the contemporary era. The Olana Partnership wants to expand the narrative of Olana, and to express a multiplicity of stories here. Teresita Fernandez’s installation and the exhibition – paired with local artist tours – allows for a whole new set of conversations to emerge.” This innovative tour program privileges the voices of contemporary women artists and cultural workers whose own creative pursuits often find voice in the sphere of the “overlooked.” In specific, Olana’s team works to elevating the voices of these contemporary women artists with the end goal to expand and enlarge the interpretation at Olana.

Olana is the greatest masterpiece of Frederic Edwin Church (1826-1900), the preeminent American artist of the mid-19th century. Church had a sustained interest in the Americas, resulting from his trips to Ecuador, Colombia, Mexico, and the Caribbean. In his own artwork depicting these landscapes and in the objects he collected throughout his life, Church’s passion for Latin America remains evident today. Church designed Olana as a holistic environment integrating his advanced ideas about art, architecture, landscape design, and environmental conservation. Olana’s 250-acre artist-designed landscape with a Persian-inspired house at its summit embraces unrivaled 360-degree views of the Hudson River Valley and beyond. Today Olana State Historic Site welcomes more than 170,000 visitors annually.

To learn more about Artist on Art Tour event, visit http://www.olana.org/calendar/.