National Gallery Of Art | Audio

July 2013 - Tim Scholl, professor of Russian and comparative literature, Oberlin College, and docent, department of theatre research, Helsinki University. This symposium and panel discussion recorded on June 1, 2013 at the National Gallery of Art honored the exhibit Diaghilev and the Ballets Russes, 1909–1929: When Art Danced with Music, on view from May 12 to September 2, 2013. Adapted from the exhibition conceived by and first shown at the Victoria and Albert Museum in 2010, the presentation in Washington draws upon that rich survey, including some 80 works from the Victoria and Albert's renowned collection of dance artifacts, and adds about 50 objects generously offered by more than 20 lenders, private and public. The Ballets Russes combined Russian and Western traditions with a healthy dose of modernism, thrilling and shocking audiences with its powerful fusion of choreography, music, and design. In this fourth lecture, Tim Scholl, professor of Russian and comparative literature at Oberlin College and do

July 2013 - Kerry James Marshall in conversation with James Meyer, associate curator of modern art, National Gallery of Art. Kerry James Marshall has exhibited widely in both the United States and abroad and is the recipient of a MacArthur Fellowship, among other honors. His work often explores the experiences of African Americans and narratives of American history that have historically excluded black people. Drawing upon the artist's prodigious knowledge of art history and African diasporic culture, his paintings combine figurative and abstract styles and multiple allusions. In Marshall's art, the past is never truly past: history exerts a constant, often unconscious pressure on the living. In this program recorded on June 26, 2013, Marshall discusses the works and themes of his exhibition In the Tower: Kerry James Marshall, on view at the Gallery from June 28 to December 7, 2013.

June 2013 - Sarah Kennel, associate curator, department of photographs, National Gallery of Art, and Jane Pritchard, curator of dance, Victoria and Albert Museum. The Ballets Russes was the most innovative dance company of the 20th century. Founded by Russian impresario Serge Diaghilev (1872–1929) in Paris in 1909, the company propelled the performing arts to new heights through groundbreaking collaborations between artists, composers, choreographers, dancers, and fashion designers. The National Gallery of Art’s exhibition, Diaghilev and the Ballets Russes, 1909–1929: When Art Danced with Music, on view from May 12 to September 02, 2013, showcases more than 150 original costumes, set designs, paintings, sculptures, prints and drawings, photographs, posters, and incorporates film clips in a theatrical multimedia installation. The exhibition was adapted from one conceived by and first shown at the Victoria and Albert Museum in 2010. The Gallery’s Sarah Kennel provides an overview of the exhibition, followed by

June 2013 - Alison Hilton, Wright Family Professor of Art History, Georgetown University. This symposium and panel discussion recorded on June 1, 2013 at the National Gallery of Art honored the exhibit Diaghilev and the Ballets Russes, 1909–1929: When Art Danced with Music, on view from May 12 to September 2, 2013. Adapted from the exhibition conceived by and first shown at the Victoria and Albert Museum in 2010, the presentation in Washington draws upon that rich survey, including some 80 works from the Victoria and Albert's renowned collection of dance artifacts, and adds about 50 objects generously offered by more than 20 lenders, private and public. The Ballets Russes combined Russian and Western traditions with a healthy dose of modernism, thrilling and shocking audiences with its powerful fusion of choreography, music, and design. In this third lecture, Alison Hilton, Wright Family Professor of Art History at Georgetown University, discusses modernism and its connection to the Ballet Russes.

June 2013 - Sjeng Scheijen, postdoctoral researcher, Veni Laureate, Leiden University. This symposium and panel discussion recorded on June 1, 2013 at the National Gallery of Art honored the exhibit Diaghilev and the Ballets Russes, 1909–1929: When Art Danced with Music, on view from May 12 to September 2, 2013. Adapted from the exhibition conceived by and first shown at the Victoria and Albert Museum in 2010, the presentation in Washington draws upon that rich survey, including some 80 works from the Victoria and Albert's renowned collection of dance artifacts, and adds about 50 objects generously offered by more than 20 lenders, private and public. The Ballets Russes combined Russian and Western traditions with a healthy dose of modernism, thrilling and shocking audiences with its powerful fusion of choreography, music, and design. Sarah Kennel, associate curator in the department of photographs at the National Gallery of Art, provides a welcome and introduces the first speaker, Sjeng Scheijen, a postdoctor

June 2013 - Anna Winestein, executive director, Ballets Russes Cultural Partnership. This symposium and panel discussion recorded on June 1, 2013 at the National Gallery of Art honored the exhibit Diaghilev and the Ballets Russes, 1909–1929: When Art Danced with Music, on view from May 12 to September 2, 2013. Adapted from the exhibition conceived by and first shown at the Victoria and Albert Museum in 2010, the presentation in Washington draws upon that rich survey, including some 80 works from the Victoria and Albert's renowned collection of dance artifacts, and adds about 50 objects generously offered by more than 20 lenders, private and public. The Ballets Russes combined Russian and Western traditions with a healthy dose of modernism, thrilling and shocking audiences with its powerful fusion of choreography, music, and design. Sarah Kennel, associate curator in the department of photographs at the National Gallery of Art, provides a welcome and introduces the first speaker, Sjeng Scheijen, a postdoctoral

June 2013 - Sean Scully, artist. In this podcast recorded on March 8, 2007, at the National Gallery of Art as part of the Elson Lecture Series, Sean Scully, an artist of international acclaim, discusses his work in the modern tradition of abstraction. Imbuing his paintings, drawings, prints, and photographs with the poetic potential of geometry, light, and color, Scully has created nuanced blocks of color for more than 30 years that evoke distinct, personal moods, from exuberant to somber, all within a disciplined abstract vocabulary. He has also enriched understanding of the art of our time through his many important writings.

June 2013 - Sarah McPhee, Winship Distinguished Research Professor, Emory University. Costanza Piccolomini was Gianlorenzo Bernini's beloved. His passion for this woman was so strong it inspired the sculptor to preserve her beauty in one of his most captivating portrait busts and to commission a violent crime against her. But until now, little has been known about the woman herself. In this lecture recorded at the National Gallery of Art on March 10, 2013, Sarah McPhee draws from the revelations of her new book, Bernini's Beloved: A Portrait of Costanza Piccolomini, to discuss the nature of Bernini's artistry and the surprising life of this remarkable woman who forged a career as an art collector and dealer in the wake of their tempestuous affair.

May 2013 - Mark Samuels Lasner, senior research fellow, University of Delaware Library, in conversation with Diane Waggoner, associate curator, department of photographs, National Gallery of Art. William Morris (1834-1896) gained fame as a designer, poet, socialist, founder of the arts and crafts movement, and maker of beautiful books at his Kelmscott Press, founded in 1891. In this conversation recorded on May 6, 2013 at the National Gallery of Art, Mark Samuels Lasner and Diane Waggoner explore Morris's lifelong, multifaceted engagement with print—as a reader, author, collector, calligrapher, typographer, printer, and publisher—that culminated with the publication of the great Kelmscott Chaucer just before his death. Samuels Lasner will also discuss his own collecting of the works of Morris and his circle. Selections from the Mark Samuels Lasner Collection, on loan to the University of Delaware Library, are included in two concurrent exhibitions at the National Gallery of Art: Pre-Raphaelites: Victorian Art

May 2013 - Robert Edsel, author and founder and president, Monuments Men Foundation for the Preservation of Art. In August 1943, on the eve of the Allied invasion of Italy, Allied bombs threatened Michelangelo's David and nearly destroyed Leonardo da Vinci's The Last Supper. In this lecture, recorded on May 19, 2013 at the National Gallery of Art, best-selling author of The Monuments Men Robert M. Edsel tells the blockbuster story of the race to save the world's greatest masterpieces. Edsel's new book, Saving Italy: The Race to Rescue a Nation's Treasures from the Nazis, follows Monuments officers as they search for the location of billions of dollars of missing artwork taken from the great museums in Florence and Naples.

May 2013 - Dorothy and Herbert Vogel, collectors, in conversation with Ruth Fine, curator of modern prints and drawings, National Gallery of Art; and Mark Rosenthal, curator of twentieth-century art, National Gallery of Art. New York collectors Herbert and Dorothy Vogel trace the development of their vast art collection in this podcast recorded on June 12, 1994 at the National Gallery of Art in honor of the exhibition From Minimal to Conceptual: Works from The Dorothy and Herbert Vogel Collection. The Vogels began collecting art in the 1960s, a time that saw a new generation of artists respond to the abstract expressionist movement. These artists questioned the entire practice of art making, the nature of the art object, and how art functioned within society. By forming close personal relationships with the artists, a process that the Vogels describe as invaluable, they assembled one of the country's greatest and most extensive collections of conceptual, minimal, and post-minimal art with limited financial me

May 2013 - Tina Barney, artist; Sarah Greenough, senior curator and head of the department of photographs, National Gallery of Art; Sarah Lewis, art historian, author and curator; Clifford Ross, artist; and Robert Storr, dean of the Yale School of Art, chairman of FAPE's Professional Fine Arts Advisors, and consulting curator of modern and contemporary art at the Philadelphia Museum of Art In collaboration with the Foundation for Art and Preservation in Embassies (FAPE), the National Gallery of Art hosted a panel discussion on the role of art in diplomacy on April 30, 2013. The panelists—Sarah Greenough, Sarah Lewis, and Robert Storr—present an overview of FAPE's photography collection in American embassies around the world. Tina Barney discusses her recent gift to FAPE, and Clifford Ross reviews the photographs acquired by FAPE for display at the US Mission to the United Nations in New York as well as recent projects in China.

April 2013 - Linda S. Ferber, vice president and senior art historian, New-York Historical Society. Held in conjunction with the exhibition Pre-Raphaelites: Victorian Art and Design, 1848–1900, this symposium explored Britain's first avant-garde art movement in the context of other international modernisms. The young members of the Pre-Raphaelite Brotherhood (formed in 1848) shook the art world of mid-19th-century Britain by rejecting traditional approaches to painting. Academics and curators consider modern art and craft movements in these lectures recorded on March 8 and 9, 2013. This program was coordinated with and supported by the Department of the History of Art, Yale University.

April 2013 - Wendy Bellion, associate professor and director of undergraduate studies, University of Delaware. This symposium honored the newly unveiled installation Masterpieces of American Furniture from the Kaufman Collection, 1700–1830, the first major presentation of early American furniture and related decorative arts on permanent public view in the nation's capital. The installation highlights nearly one-hundred examples from the distinguished collection of George M. and Linda H. Kaufman, acquired over the course of five decades and promised to the National Gallery of Art. Academics and curators discuss the fine art of American furniture and decorative arts and its future study in these lectures recorded on March 22 and 23, 2013.

April 2013 - Edward Cooke, chair and Charles F. Montgomery Professor of American Decorative Arts, Yale University. This symposium honored the newly unveiled installation Masterpieces of American Furniture from the Kaufman Collection, 1700–1830, the first major presentation of early American furniture and related decorative arts on permanent public view in the nation's capital. The installation highlights nearly one-hundred examples from the distinguished collection of George M. and Linda H. Kaufman, acquired over the course of five decades and promised to the National Gallery of Art. Academics and curators discuss the fine art of American furniture and decorative arts and its future study in these lectures recorded on March 22 and 23, 2013.

April 2013 - Wendy A. Cooper, Lois F. and Henry S. McNeil Senior Curator of Furniture, Winterthur Museum. This symposium honored the newly unveiled installation Masterpieces of American Furniture from the Kaufman Collection, 1700–1830, the first major presentation of early American furniture and related decorative arts on permanent public view in the nation's capital. The installation highlights nearly one-hundred examples from the distinguished collection of George M. and Linda H. Kaufman, acquired over the course of five decades and promised to the National Gallery of Art. Academics and curators discuss the fine art of American furniture and decorative arts and its future study in these lectures recorded on March 22 and 23, 2013.

April 2013 - Mark Leithauser, senior curator and chief of design, National Gallery of Art. This symposium honored the newly unveiled installation Masterpieces of American Furniture from the Kaufman Collection, 1700–1830, the first major presentation of early American furniture and related decorative arts on permanent public view in the nation's capital. The installation highlights nearly one-hundred examples from the distinguished collection of George M. and Linda H. Kaufman, acquired over the course of five decades and promised to the National Gallery of Art. Academics and curators discuss the fine art of American furniture and decorative arts and its future study in these lectures recorded on March 22 and 23, 2013.

March 2013 - Andrew Robison, A.W. Mellon Senior Curator of Prints and Drawings, National Gallery of Art To celebrate the exhibition opening of Albrecht Dürer: Master Drawings, Watercolors, and Prints from the Albertinaon March 24, 2013, Andrew Robison shares that, while the artist's paintings were prized, his most influential works were executed on paper. Albrecht Dürer (1471–1528) has long been considered the greatest German artist, uniquely combining the status held in Italian art by Michelangelo in the 16th century, by Raphael in the 18th and 19th centuries, and by Leonardo da Vinci in our own day. The finest collection of Dürer's drawings and watercolors is that of the Albertina in Vienna, Austria. One of the largest in the world, it is distinguished by many of the artist's most stunning masterpieces: watercolors such as The Great Piece of Turf, a sublime nature study of the Renaissance; chiaroscuro drawings such as The Praying Hands, surely the most famous drawing in the world; and the amazingly precocio

March 2013 - Diane Waggoner, associate curator, department of photographs, National Gallery of Art, Jason Rosenfeld, distinguished chair and professor of art history, Marymount Manhattan College. Held in conjunction with the exhibition Pre-Raphaelites: Victorian Art and Design, 1848–1900, this symposium explored Britain's first avant-garde art movement in the context of other international modernisms. The young members of the Pre-Raphaelite Brotherhood (formed in 1848) shook the art world of mid-19th-century Britain by rejecting traditional approaches to painting. Academics and curators consider modern art and craft movements in these lectures recorded on March 8 and 9, 2013. This program was coordinated with and supported by the Department of the History of Art, Yale University.

March 2013 - Glenn Ligon, artist, with Molly Donovan and James Meyer, associate curators of modern art, National Gallery of Art. Glenn Ligon’s intertextual works examine cultural and social identity—often through found sources such as literature, Afro-centric coloring books, and photographs—to reveal the ways in which slavery, the civil rights movement, and identity politics inform our understanding of American society. In 2012, the Gallery acquired its first painting by Ligon, Untitled (I Am a Man) (1988). In honor of this acquisition, Ligon presented the 20th annual Elson Lecture on March 14, 2013. Untitled (I Am a Man) is a reinterpretation of the signs carried by 1,300 striking African American sanitation workers in Memphis in 1968 and made famous in Ernest Withers' photographs of the march. Proclaiming "I Am a Man," the signs evoke Ralph Ellison's famous line—"I am an invisible man." Approximating the size of these signs, Ligon’s roughly made painting combines layers of history, meaning, and physical mat