The relationships we have with our family and friends are fundamental to our development. What lies at the heart of these relationships is usually unspoken--love, admiration, thanks, or even competition or envy. Often, those unexpressed feelings in a relationship act as fertile ground for an artist. With artworks from the Wichita Art Museum, Between You and Me invites viewers to consider the nature of emotional ties and how those ties can be the catalyst for the creative process. Located in the Vollmer Gallery.
Pictured: Julia Margaret Cameron, Carlyle, published 1913. Photogravure, 8 1/2 x 6 1/8 inches. Wichita Art Museum, Gift of Donna R. Bailey and Cornelia R. Yohr in memory of Grace Voss Ripley
Thomas Nast defined the art of the political cartoon.
During his 26-year career at the popular New York journal Harper's Weekly, Nast created more than 3,000 cartoons. Many of his creations--including the Democratic Donkey and the Republican Elephant--are still in use today.
Just in time for election season, this collection of cartoons drawn entirely from WAM's holdings explores the artist’s use of animals to parody 19th-century political culture. A powerful figure in his own day, today Nast is recognized as one of the most important cartoonists and political commentators of all time.
Pictured: Thomas Nast, Our Modern Canute at Long Branch, dated October 11, 1873. Wood engraving, 16 by 24 inches. Wichita Art Museum. Purchased with funds donated by the Derby Refining Company, a Unit of Coastal States Gas Corporation.
American Moderns, 1910–1960: From Georgia O'Keeffe to Norman Rockwell presents 57 artworks from the collection of the Brooklyn Museum in an exploration of the myriad ways in which American artists engaged with modernity.
Ranging widely in subject matter and style, the 53 paintings and four sculptures were produced by leading artists of the period, including Georgia O'Keeffe, Milton Avery, Marsden Hartley, Stuart Davis, Arthur Dove, Rockwell Kent, Joseph Stella, Elie Nadelman, and Norman Rockwell.
Significant works by these and other artists in the exhibition exemplify their unique contributions to modern culture.
Between 1910 and 1960, both American society and art underwent tumultuous and far-reaching transformations. The United States emerged as an international power of economic, industrial, and military might, while also experiencing two world wars and the Great Depression. New technologies fundamentally changed the pace and nature of all aspects of modern life. America’s increasingly diverse and mobile population challenged old social patterns and clamored for the equality and opportunities promised by the American dream. Art witnessed similarly dramatic changes as many artists rejected or reformulated artistic traditions, seeking new ways to make their work relevant in a contemporary context.
American Moderns, 1910–1960: From Georgia O'Keeffe to Norman Rockwell was organized by the Brooklyn Museum.
The Wichita presentation has been generously sponsored by Commerce Bank and the Trust Company of Kansas.
Paula and Barry Downing provided crucial exhibition support. Additional support is also provided by Charles Baker, Louise Beren, Linda and Douglas Brantner, J. Eric Engstrom, Norma Greever, Nancy and Tom Martin, Dr. Christopher A. and Aimee Moeller, and Georgia and Keith Stevens.
All museum exhibitions receive generous sponsorship from the Friends of the Wichita Art Museum Endowment Fund and the City of Wichita.
Pictured at left: Georgia O'Keeffe, 2 Yellow Leaves (Yellow Leaves), 1928. Oil on canvas, 40 x 30 1/8 inches. Brooklyn Museum, Brooklyn, New York. Bequest of Georgia O'Keeffe
When modern photographer Alfred Stieglitz characterized his work, he once wrote: "What is important to me is to hold the moment... to put down something so completely that when you look at what you've put down, you will relive the original experience."
This point captures the driving mission for so many modern artists. Beginning in the late 19th century, artists turned away from the dominating art academies and traditions they considered rigid and stale.
Rather than continue with subjects and styles centuries old, progressive artist yearned to reflect their own time and to better express their experience. New forms of artistic expression--impressionism, cubism, futurism, as examples--went hand in hand with the moderns' pioneering vision for new art to reflect a new time.
The Wichita Art Museum holds a distinguished collection of American modernism. In conjunction with the touring exhibition of treasured gems of American modern art from the Brooklyn Museum, a selection of WAM's prized works on paper from this important moment in art history will be on view through the fall. The exhibition features glowing examples by Arthur Dove, Stuart Davis, Charles Demuth, John Marin, Maurice Prendergast, Alfred Stieglitz, and many others.
In turning away from confining artistic protocols and regulations, artists pressed for freedom of expression and innovation. As the American art critic Charles Caffin bemoaned in 1900, "a great deal of American painting is characterized by irreproachable table manners rather than salient expression, by a desire to be amiable rather than convincing." Moderns were renegades who championed self-expression, ignored the rules, and crafted their own, freshly original art. What appeared as radical at the time is now revered for boldness of vision and the depth of expression. This fall, the Wichita Art Museum galleries will sing with exquisite American drawings, watercolors, and prints from this dynamic moment of change in 1890 to 1950.
Pictured: Childe Hassam, The Cove, 1912. Watercolor and gouache on ivory wove watercolor paper, 14 x 20 inches. Wichita Art Museum, John W. and Mildred L. Graves Collection
In 2013, Oxford Dictionaries named selfie the Word of the Year.
The use of the word increased 17,000% from January to December 2013. It was not only the use of the word that saw a dramatic jump, selfie images took over our computer and cell phone screens. Estimates suggest that over 18 million selfies are uploaded every week.
It seems like everyone who is anyone has posted a selfie somewhere on the internet: Pope Francis, astrophysicist Neil deGrasse Tyson, and political leaders--including British Prime Minister David Cameron and U.S. President Barack Obama.
While the culture of social media created the word, selfie, this type of imagery is not new. It is simply the most recent version of a much older artistic standard—the self-portrait. This form of expression, which can be traced back to ancient Greece, has quietly persisted throughout the history of art, only to emerge in our time as the most common type of digital image.
Why is the self-portrait so important to us today? This fall, WAM invites visitors to explore the relevance of this digital trend and its long artistic history with 20 self-portraits from the permanent collection probing the different forms of the selfie. Museum-goers will then be asked to take and contribute their own self-portrait--now popularly known as a selfie--at a user-friendly station in the Living Room. All the smiles and poses will be uploaded and displayed in digital frames in River Lobby.
Pictured: Peggy (Pegasus) Martin Nichols, Untitled (Self Portrait), about 1910–1925. Oil on board, 9 3/8 x 8 x 3/16 inches. Wichita Art Museum, Gift of Houston Martin
Every work of art has a story to tell.
When John Steuart Curry was growing up in on his family farm near Dunavant, Kansas, he would often wander into the high fields of corn. "I remember," he wrote, "wandering through them and being over-powered by the fear of being lost in their green confines."
At 35 years of age, Curry returned to those fields to capture in his work the same sense of drama he felt, "beneath our windblown Kansas skies." For Curry, Kansas Cornfield represented the story of his youth on a Kansas farm.
When Curry's Kansas Cornfield entered WAM's permanent collection, a new chapter in its tale was written and a new story began. The work was the first painting collected by the Wichita Art Museum. As the foundational work of art for the new museum, the painting came to symbolize WAM's commitment to both the highest caliber American art and to Kansas audiences.
Today, Kansas Cornfield has become a part of many visitors' personal stories. Brett Zongker, an Associated Press journalist based in Washington D.C., recently featured the painting on his popular Twitter feed. As a self-described "son of Kansas," the painting represents home to Zongker.
Museums, by their very nature, are repositories of incredible stories. The Wichita Art Museum has introduced its visitors to the best American artwork and has been a part of thousands of engaging stories. In celebration of the museum's upcoming 80th anniversary in 2015, Storytelling, a reinstallation of the permanent collection, celebrates the histories, mysteries, and anecdotes that make the Wichita Art Museum collection unlike any other.
Each and every one of WAM's objects has a story to tell. What influenced its creation? Who is pictured? How did the work come to Wichita? Storytelling invites visitors to take another look at familiar favorites from the collection as well as important works that have been off view for many years. We hope that the artworks inspire a meaningful encounter with the past, one that is relevant to everyone's personal story today.
Pictured: John Steuart Curry, Kansas Cornfield, 1933. Oil on canvas, 60 3/8 x 38 3/8 inches. Wichita Art Museum, Roland P. Murdock Collection
The term salon style derives from the exhibition of the French Royal Academy of Painting and Sculpture, which began in 1667 in Paris. In order to display work by all the Academy's students, the paintings were hung as close as possible from floor to ceiling. In the nineteenth century, this salon-style hanging became increasingly popular across Europe and in the United States. WAM's Carlene and Lee Banks Rotunda Gallery has been transformed into an American salon featuring remarkable 19th-century paintings from the museum's permanent collection.
Pictured: Thomas Moran, The Waterfall, 1857. Oil on canvas, 25 1/2 x 40 1/2 inches. Wichita Art Museum, Gift of the Robert M. Beren and Joan S. Beren Foundation
The Wichita Art Museum holds the largest collection of Steuben glass outside the Corning Museum of Glass, the museum in the city of the former Steuben Glass Works. An impressive selection of the Dr. Robert S. Burnstein collection is now on display in the F. Price Cossman Memorial Trust Gallery.
Pictured: Steuben Glass, A division of Corning Glass Works (Kiki Smith, designer), Tattoo Vase, 2007. Engraved lead glass, 16 1/4 x 8 1/2 inches, Wichita Art Museum. Museum Purchase, F. Price Cossman Memorial Trust, Intrust Bank, Trustee