Though originally trained in painting, William Wegman is known for his photos and videos featuring dogs in various costumes and poses, and with an array of props. Around the Park stars Wegman’s favorite cast of iconic Weimaraners as they enjoy a fall day in Madison Square Park. The curious figures engage in mundane tasks, from waiting in line for a Shake Shack lunch and making security rounds in a park vehicle, to taking a visit to the park’s Jemmy’s Dog Run.
This exhibition features prints by American Impressionist Childe Hassam. Hassam began to paint in the Impressionist style after he visited Paris between 1887 and 1889. After he returned home, he turned his attention to etching in 1915. By 1917, he also was producing lithographs, eventually creating more than 400 prints in his career. Overall, his graphic works share the same themes as his paintings, but his printmaking offered him new opportunities to experiment with lines and forms.
Highlights of his print work, including etchings and lithographs, will be on view, demonstrating the artist’s fascination with landscapes in the city and countryside, as well as intimate images of solitary figures indoors. Referring to his early start as an engraver in a Boston print shop, Hassam noted in 1927: “I began my career with the graphic arts and I am ending it with my great interest in graphic arts.”
In the beginning of the 20th century, the production of ceramics was dominated by large factories making utilitarian objects like bowls, vases, and plates. While there were some notable exceptions, most experimentation and innovation in clay did not happen until after World War II. Ceramicists such as Peter Voulkos were influenced by Abstract Expressionism, and others, such as Viola Frey and Robert Arneson, made a deliberate choice to work in a style neither traditional nor vessel-oriented, yet were not purely abstract.
While some used this new freedom from function to explore the possibilities of form, shape, and color, others ventured into figuration, narrative subject matter, and manipulation of historical and traditional forms. The objects in this exhibition demonstrate how ceramicists using a diversity of approaches—from playful to political—broke with tradition.
Small Worlds highlights different techniques, styles, and various types of paperweights from the 19th century, the classic period for paperweight manufacture, to present day. This exhibition features works from the classic period by European glass factories like French crystal manufacturers Baccarat, Clichy, and Saint-Louis. Paperweight production all but ceased in late 19th century Europe, but was revived in the mid-20th century in both Europe and the United States. Independent artists experimented with new designs, techniques, and materials. Some of the earliest contemporary paperweights in Small Worlds were created by Charles Kaziun and Dominick Labino, both members of the Studio Glass Movement. Numerous works by Paul Stankard, Rick Ayotte, and Cathy Richardson as well as artworks by seventeen other contemporary paperweight makers are also featured.
Paperweights continue to be a popular art object today, and manufacturers and artists all over the world have enlarged the scope, scale, design and fabrication of this diminutive object. This exhibition not only features a vast collection of historical European paperweights from the FIA’s permanent collection but also a large variety of contemporary paperweights from important private collections.
Paperweights: Highlights from the Flint Institute of Arts Collection
(hardcover; 248 pages; $24.95)
This exhibition catalog features more than 140 weights from the Classic Period (1845–1860) of French manufacturers Baccarat, Clichy, and Saint-Louis, to works by contemporary artists Josh Simpson and Debbie Tarsitano, from the collections of Mrs. Viola E. Bray and Mrs. Genevieve Shaw. Kathryn Sharbaugh, FIA Director of Development, serves as guest curator to research and write about the history of paperweights, as well as highlight their various styles, techniques, and categories. This book is published in conjunction with the exhibition Small Worlds, which presents a survey of glass paperweights from the 19th century to the present. Support for the catalogue provided by the Bray Charitable Trust.