National Gallery Of Art | Audio

March 2013 - Scott Allan, associate curator of paintings, J. Paul Getty Museum. 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 - Cordula Grewe, associate professor of art history, Columbia University. 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 - Tim Barringer, Paul Mellon Professor of the History of Art and director of graduate studies, Yale University. 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 - Diane Waggoner, associate curator, department of photographs, National Gallery of Art, Jason Rosenfeld, distinguished chair and professor of art history, Marymount Manhattan College, Scott Allan, associate curator of paintings, J. Paul Getty Museum, Linda S. Ferber, vice president and senior art historian, New-York Historical Society, Cordula Grewe, associate professor of art history, Columbia University. 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 - Michael Hatt, professor of the history of art, University of Warwick. 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 - Elizabeth Helsinger, John Matthews Manly Distinguished Service Professor, departments of English, art history, and visual arts, University of Chicago. 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 - Morna O'Neill, assistant professor of 18th- and 19th-century European art, Wake Forest University. 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 - Andrea Wolk Rager, assistant professor of art history, Case Western Reserve University. 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 - Tim Barringer, Paul Mellon Professor of the History of Art and director of graduate studies, Yale University; Jason Rosenfeld, distinguished chair and professor of art history, Marymount Manhattan College; and Diane Waggoner, associate curator, department of photographs, National Gallery of Art. In this podcast recorded on February 17, 2013, at the National Gallery of Art, Tim Barringer, Jason Rosenfeld, and Diane Waggoner celebrate the opening of the exhibition Pre-Raphaelites: Victorian Art and Design, 1848–1900, the first major survey of Pre-Raphaelite art to be shown in the United States. The Pre-Raphaelites were a group of young artists who sought to overturn established traditions of painting and made art that looked to the past for inspiration, but also engaged directly with the bustling modern world of Victorian Britain. The exhibition features some 130 paintings, sculptures, photography, works on paper, and decorative art objects that reflect the ideals of Britain's first modern art move

March 2013 - Robert and Jane Meyerhoff, collectors, in conversation with Irving Blum, collector and co-founder of the Ferus Gallery, Los Angeles. To celebrate the exhibition opening of The Robert and Jane Meyerhoff Collection: 1945-1995 at the National Gallery of Art on March 31, 1996, the Meyerhoffs joined Irving Blum to discuss the history and practice of their collecting. On view through July 21, 1996, the exhibition presented 194 works, almost their entire collection of post-World War II art. The Meyerhoffs' acquisitions have been based wholly on their belief in the quality of individual works and not on any preconceived theory or plan. If they were passionate about an artist, they collected his or her work in depth. Their private residence has a room dedicated to each of the following artists: Jasper Johns, Ellsworth Kelly, Roy Lichtenstein, Robert Rauschenberg, and Frank Stella. The collection is both a tribute to the extraordinarily high level of accomplishment by these artists and to the Meyerhoffs'

February 2013 - Charles Ritchie, associate curator of modern prints and drawings, National Gallery of Art While Ellsworth Kelly is best known for crafting pristine, monochrome shapes, he has periodically employed chance as a strategy in composing works. The series of 23 paper-pulp works featured in the exhibition Ellsworth Kelly: Colored Paper Images, on view at the National Gallery of Art from December 16, 2012, through December 1, 2013, is a dramatic example of this approach. Wet colored paper pulps were pressed into freshly made sheets of paper, resulting in color bleeds that eroded the precision of his designs. In this lecture recorded on February 10, 2013, Charles Ritchie investigates factors contributing to the success of this project—from Kelly's improvisation on earlier motifs to print publisher Ken Tyler's study of pigmentation in order to create strongly colored, lightfast paper pulps. Ritchie also discusses the expertise of veteran papermakers John and Kathleen Koller, who developed the paper for t

February 2013 - Richard Shiff, Effie Marie Cain Regents Chair in Art and professor of history of art, University of Texas at Austin. The exhibition Willem de Kooning: Paintings, on view at the National Gallery of Art from May 8 to September 5, 1994, was presented in honor of the artist's 90th birthday. The exhibition included 76 paintings that spanned de Kooning's career from the 1930s to the mid-1980s. In this lecture recorded on May 29, 1994, catalogue author Richard Shiff highlights four aspects of the artist's career. First, Shiff explores de Kooning's involvement with change: he thought of himself as always evolving, and his work could not be classified under a single style. Second, Shiff describes the physicality of de Kooning's work: the artist became involved with materials of real substance and engaged his body with these materials by pushing, pulling, and physically manipulating them. Third, Shiff shares how to look at and think about de Kooning's figures and representations, which initially might n

February 2013 - Gwendolyn H. Everett, assistant professor, department of art, Howard University Gwendolyn H. Everett, scholar and author of the award-winning children's book Li'L Sis and Uncle Willie: A Story Based on the Life and Paintings of William H. Johnson, provides an overview of William Henry Johnson's (1901-1970) career as part of the Five African American Artists lecture series recorded on August 3, 2003. Everett traces Johnson's determination to become an artist, despite a humble upbringing in South Carolina, to his years at a segregated elementary school where art was not part of the formal curriculum. In 1918, during the first Great Migration, Johnson moved to New York to pursue artistic training unavailable in the South. While living in Harlem and working several jobs to support himself, he was accepted into the prestigious National Academy of Design. Noted watercolorist Charles Webster Hawthorne provided critical mentorship at the academy, hired Johnson to work at the Cape Cod School of Art, an

February 2013 - Gwendolyn H. Everett, lecturer, National Gallery of Art. As part of the Artist in Residence lecture series, Gwendolyn H. Everett focused on Henry Ossawa Tanner's (1859-1937) visits to the Holy Land, and how this travel affected the later religious paintings for which he achieved international recognition. In this podcast recorded on August 9, 1987, Everett explains the formative influence of Tanner's upbringing in an educated, religious family in post-Civil War Philadelphia. Tanner's father was a minister and, later, a bishop in the African Methodist Episcopal Church, and his mother administered a Methodist school. Tanner enrolled in the Pennsylvania Academy of Fine Arts as the only African American student in 1879, graduating in 1885. His professor, the artist Thomas Eakins, encouraged a progressive method of study from live models instead of plaster casts, which profoundly affected Tanner. after 1891 Tanner resided primarily in France; by 1895 his paintings were mostly of biblical themes, an

February 2013 - Tania Bruguera, artist; Tom Finkelpearl, executive director, Queens Museum of Art; and Mierle Laderman Ukeles, artist. Socially cooperative art is a field not well understood by many, indeed even in the art world. Why is it art? Where does art end and social action begin? Who is the author of a cooperative project? In this lecture recorded on February 3, 2013, at the National Gallery of Art, Tom Finkelpearl celebrates his latest publication, What We Made: Conversations on Art and Social Cooperation, by providing an overview of socially cooperative art—where it comes from, what its artistic roots are, and why it can be considered valuable. Tania Bruguera and Mierle Laderman Ukeles, two of the most important artists working in America today in this field, then describe their work, focusing on a single project. Bruguera, Finkelpearl, and Ukeles take a careful look at how art can intersect with life and how artists are reimagining this intersection in the new avant-garde of participatory, activist

February 2013 - David C. Driskell, artist, curator, and professor of art, University of Maryland, College Park . On January 11, 1990, the National Gallery of Art announced an initiative to address the underrepresentation of minorities—particularly African Americans, Hispanic Americans, and Native Americans—in the museum profession. In response, David Driskell presented a lecture at the Gallery on February 11, 1990, on multi-cultural representation in art museum collections and exhibitions and among staff and visitors. Unresolved issues in our cultural history raise questions about why the arts have been divided along racial lines—if, as Driskell observes, all art emanates from the salient desire to express the inner urges of the human spirit. This quality we all possess is colorless, classless, and uncluttered by feelings of racial superiority. The insistence on dividing art in the United States along racial lines demonstrates a response different in both thought and action than that seen in older cultures an

February 2013 - Alison Luchs, curator of early European sculpture, National Gallery of Art Michelangelo created the statue now known as David-Apollo around 1530 to please the tyrannical governor of Florence, Baccio Valori. The double name of this unfinished work, which is on loan to the National Gallery of Art from the Museo Nazionale del Bargello in Florence, reflects contradictory evidence—both visual and documentary—concerning the subject. The graceful figure, its surface still veiled in chisel marks, embodies ambiguities and conflicts in Michelangelo's own life. This lecture, recorded on January 27, 2013, at the National Gallery of Art, explores the mysteries surrounding the statue, the significance of its unfinished condition, and responses to it from later artists. The loan of David-Apollo opened the nationwide celebration 2013―The Year of Italian Culture.The sculpture is on view from December 13, 2012, to March 2, 2013.

January 2013 - Harry Cooper, curator and head, department of modern art, National Gallery of Art, with original slides courtesy of the Roy Lichtenstein Foundation © Estate of Roy Lichtenstein. On November 11, 1995, Roy Lichtenstein was in Japan to receive the Kyoto Prize from the Inamori Foundation. In accepting the award, he delivered a lecture on the evolution of his work since his Pop breakthrough of 1961. Thanks to the generosity of the artist's estate and foundation, Harry Cooper, the National Gallery of Art's curator of modern art, presented this lecture at the Gallery, with the original slides, on January 9, 2013—in honor of Roy Lichtenstein: A Retrospective, the first major exhibition of the artist's work since his death in 1997. The exhibition was on view at the Gallery from October 14, 2012, to January 13, 2013.

January 2013 - Charles W. Haxthausen, Robert Sterling Clark Professor of Art History, Williams College. "My work," the German photo artist Candida Höfer has said, "is about making images of spaces." Yet both she and fellow photographer Thomas Struth are equally interested in the dimension of time andthe evidence of layers of history in the spaces they photograph. Although Struth's and Höfer's photographs are inevitably the products of a single exposure, of a unique, fugitive moment, their images manifest a temporal complexity and transparency. Recorded on January 13, 2013, at the National Gallery of Art, the lecture by Professor Haxthausen explores the ways in which these artists' work complicates how we think about the relationship of photography to time.

January 2013 - Ruth Fine, curator of modern prints and drawings, National Gallery of Art, and Calvin Tomkins, author and staff writer, The New Yorker. In this conversation with Ruth Fine recorded on March 17, 1997, Calvin Tomkins shares the history of his relationship with Marcel Duchamp and the process of writing a biography on this enigmatic artist. As a foreign news writer for Newsweek with hardly any knowledge of Duchamp or modern art, Tomkins was assigned to interview him in 1959. The interview was so fascinating that it led to Tomkins' first interest in modern art. After joining The New Yorker as a staff writer in 1960, one of Tomkins' early profiles was on Duchamp; two years later he was asked by the Time Life series to write its book on the artist. Eventually, Tomkins approached Duchamp's widow about the idea of writing a proper biography on the artist. Alexina "Teeny" Duchamp asked why he would want to do that, but granted permission as long as he did not write anything too personal. Tomkins relied o