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	<title>Off the WallOff the Wall | Off the Wall</title>
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	<link>http://pages.vassar.edu/fllaceducation</link>
	<description>From the Frances Lehman Loeb Art Center at Vassar College</description>
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		<title>“High Art” Inspiring a Reinterpretation of a Children’s Story</title>
		<link>http://pages.vassar.edu/fllaceducation/high-art-inspiring-a-reinterpretation-of-a-childrens-story/</link>
		<comments>http://pages.vassar.edu/fllaceducation/high-art-inspiring-a-reinterpretation-of-a-childrens-story/#comments</comments>
		<pubDate>Mon, 06 May 2013 20:51:53 +0000</pubDate>
		<dc:creator>Carlos Ignacio Hernandez</dc:creator>
				<category><![CDATA[Art Center People]]></category>
		<category><![CDATA[Connections]]></category>

		<guid isPermaLink="false">http://pages.vassar.edu/fllaceducation/?p=2802</guid>
		<description><![CDATA[Today&#8217;s blog post comes from Angela Brown, class of 2016 and Art Center Student Docent.
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Upon learning that this year’s Founder’s Day theme would be Alice in Wonderland, I
couldn’t help but consider how stories from childhood remain with us throughout our
lives. I wanted to explore the way the significance and meaning of these stories shift
according to new experiences and perceptions of the world and our selves.
Fortunately, the collection at the Frances Lehman Loeb Art Center offered me an
opportunity to explore this from an artistic and art historical perspective. Vassar owns a
special edition of Alice in Wonderland illustrated by Salvador Dalí and I wondered how
this merging of “high art” with a familiar children’s story would affect my interpretation
of the illustrations. The book is copy 1,090 out of only 2,500 copies printed by Maecenas
Press—a division of Random House—in 1969. It includes one color etching and twelve
photolithographs of Dalí’s original illustrations. The originals were made with vivid
watercolor, gouache, and ink and often included cut-outs of butterflies, caterpillars,
cards, and other images. Interestingly, each printed illustration contains a different
lithographic remarque, making the signature itself an area of aesthetic interest within the
compositions.
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The illustrations allude to the text while utilizing a juxtaposition of spontaneity and
premeditation that adds a [...]]]></description>
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		<item>
		<title>Embracing His Work: Rembrandt’s Goldsmith</title>
		<link>http://pages.vassar.edu/fllaceducation/embracing-his-work-rembrandts-goldsmith/</link>
		<comments>http://pages.vassar.edu/fllaceducation/embracing-his-work-rembrandts-goldsmith/#comments</comments>
		<pubDate>Thu, 25 Apr 2013 19:06:33 +0000</pubDate>
		<dc:creator>Carlos Ignacio Hernandez</dc:creator>
				<category><![CDATA[Art Center People]]></category>
		<category><![CDATA[Exhibitions]]></category>

		<guid isPermaLink="false">http://pages.vassar.edu/fllaceducation/?p=2792</guid>
		<description><![CDATA[Today’s post comes from Alec Aldrich, class of 2015 and Art Center volunteer.
Rembrandt van Rijn’s The Goldsmith (1655) was the smallest work in the Art Center’s
winter exhibition, Recent Acquisitions: Works on Paper, but it was well worth the
viewer’s attention. The intaglio print joins the ranks of numerous other intaglio prints
by the artist that are at the Art Center as a result of the Warburg family gift of Old
Master Prints in 1941, but these works are not often on view due to their light-sensitive
nature. Accordingly, an encounter with such a work is accompanied by the mystery of its
making. I hope to shed some light on this work in particular, but also the intaglio process
in general—a topic whose discussion often does not make it out of the Art Center’s print
room.
The Goldsmith measures a mere 3 ⅛ x 2 ¼ inches. The image’s namesake, the goldsmith,
can be found in the center of the image, hunching over his work. He wraps his arm
around his current project—a statuette of a modest woman and two children—while he
hammers out the base of his creation. Behind him to the left is a furnace for manipulating
the material of his trade.
Though it has the look of a drawing, Rembrandt rendered [...]]]></description>
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		<title>Ship Masts and Telephone Poles: Sándor Bernáth’s Gloucester, Mass.</title>
		<link>http://pages.vassar.edu/fllaceducation/ship-masts-and-telephone-poles-sandor-bernaths-gloucester-mass/</link>
		<comments>http://pages.vassar.edu/fllaceducation/ship-masts-and-telephone-poles-sandor-bernaths-gloucester-mass/#comments</comments>
		<pubDate>Thu, 11 Apr 2013 19:27:37 +0000</pubDate>
		<dc:creator>Carlos Ignacio Hernandez</dc:creator>
				<category><![CDATA[Art Center People]]></category>
		<category><![CDATA[Permanent Collection]]></category>

		<guid isPermaLink="false">http://pages.vassar.edu/fllaceducation/?p=2781</guid>
		<description><![CDATA[Today’s post comes from Natasha Mandell, class of 2016 and Art Center Student Docent.
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The Frances Lehman Loeb Art Center’s Spring 2013 exhibition, Recent Acquisitions: Works on Paper, showcased some of the new additions to the Art Center’s collections. The exhibition covered a wide variety of time periods, movements, and media, including sixteenth- to twenty-first-century prints alongside numerous photographs, drawings, and watercolors.
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One particular watercolor that was featured in the exhibition, Sándor Bernáth’s Gloucester, Mass. (1935), portrays coastal New England in the middle of the Great Depression. At first glance, the painting seems purely representational: a lonely house sits between the docks and train tracks, ship masts and telephone poles peek over the roof. Gloom pervades the scene, emphasized by such details as an empty room seen through a forward-facing window. But on closer examination, we can observe how Bernáth has departed from strict realism by making everything in the scene carefully and almost comically off-kilter, from the angle of the ship’s mast to the railroad tracks to even the lines of the house itself. Further, we can see how Bernáth makes use of the specific texture of the watercolor paper to portray the sky. A blue and purple wash over the [...]]]></description>
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		<title>Laylah Ali: Bridging the Gap Between Two- and Three-Dimensional Space</title>
		<link>http://pages.vassar.edu/fllaceducation/laylah-ali-bridging-the-gap-between-two-and-three-dimensional-space-2/</link>
		<comments>http://pages.vassar.edu/fllaceducation/laylah-ali-bridging-the-gap-between-two-and-three-dimensional-space-2/#comments</comments>
		<pubDate>Mon, 01 Apr 2013 20:59:28 +0000</pubDate>
		<dc:creator>Carlos Ignacio Hernandez</dc:creator>
				<category><![CDATA[Exhibitions]]></category>

		<guid isPermaLink="false">http://pages.vassar.edu/fllaceducation/?p=2760</guid>
		<description><![CDATA[Today’s post comes from Olivia Zisman, class of 2016 and Art Center Student Docent.
Laylah Ali’s print, Untitled, in the Recent Acquisitions: Works on Paper exhibition, brings three-dimensional motion to a two-dimensional space. The image itself suggests flatness, showing round creatures suspended in space right up against the picture plane. The creatures—although somewhat simple-looking—are meticulously rendered and slightly grotesque. They have red cuts on their sides and some wear band-aids; all wear expressions of hurt and sadness. The shape and textured “skin” of these characters brings to mind the image of dodgeballs. In fact, the dodgeball theme is one recurrent in Ali’s work, and the artist herself has talked about how her anxiety and negative feelings toward this game have come to play a role in her paintings. This resemblance makes the creatures seem as if they could bounce off the page into the viewer’s world and also seems to contradict the flat, compressed nature of the work. However, I don’t believe this contradiction detracts anything from the piece, as I see Ali’s work as embodying a series of contradictions. Her work is simultaneously still and in motion, and bright and cartoonish while also being somber and deeply emotional.
The sky-blue background [...]]]></description>
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		<slash:comments>0</slash:comments>
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		<title>Seas, Trees, and Sawdust: The Artful Dodger with Peter Stillman</title>
		<link>http://pages.vassar.edu/fllaceducation/seas-trees-and-sawdust-the-artful-dodger-with-peter-stillman-3/</link>
		<comments>http://pages.vassar.edu/fllaceducation/seas-trees-and-sawdust-the-artful-dodger-with-peter-stillman-3/#comments</comments>
		<pubDate>Wed, 13 Mar 2013 19:34:43 +0000</pubDate>
		<dc:creator>mavetare</dc:creator>
				<category><![CDATA[Artful Dodger]]></category>
		<category><![CDATA[Permanent Collection]]></category>

		<guid isPermaLink="false">http://pages.vassar.edu/fllaceducation/?p=2744</guid>
		<description><![CDATA[Today&#8217;s post comes from Deborah Steinberg, class of 2014 and Art Center Student Docent.
On February 22, Professor Peter Stillman kicked off our Artful Dodger series this spring with a discussion of two photographs that expanded upon the course he taught last semester around the Sawdust Mountain exhibition at the Art Center. Richard Misrach’s Salton Sea (T.V. Antennae) and Althea Thauberger’s Dani are both photographs from the permanent collection. While initially these photographs appeared to have nothing in common, Professor Stillman pointed out that both images depicted landscapes that were altered or transformed due to human activity.
Richard Misrach’s photograph of the Salton Sea is initially disconcerting and surreal. The reflections of the antennae in the water inhibit our ability to accurately perceive the space, and as a result there is no clear foreground or background. The symmetrical bands of color in the sky and in the water come together at the thin horizon line, but all of this is cloaked by a smoggy haze that offsets the sense of space even further. Yet the whole scene is extraordinarily placid, despite the knowledge that these waters destroyed whatever was here beforehand and left everything underwater. It’s an absolutely beautiful and peaceful photograph, yet at the same time extremely [...]]]></description>
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		<slash:comments>0</slash:comments>
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		<title>Post-War Culture of the Defeated</title>
		<link>http://pages.vassar.edu/fllaceducation/post-war-culture-of-the-defeated-3/</link>
		<comments>http://pages.vassar.edu/fllaceducation/post-war-culture-of-the-defeated-3/#comments</comments>
		<pubDate>Thu, 07 Mar 2013 21:20:18 +0000</pubDate>
		<dc:creator>Carlos Ignacio Hernandez</dc:creator>
				<category><![CDATA[Connections]]></category>
		<category><![CDATA[Exhibitions]]></category>

		<guid isPermaLink="false">http://pages.vassar.edu/fllaceducation/?p=2702</guid>
		<description><![CDATA[
At the conclusion of World War I, Germany suffered terrible financial and social backlash from the rest of Europe. Veterans and civilians alike struggled to pick up the pieces and move on from wartime. War profiteers in Berlin lived sumptuously, in high contrast with the wounded veterans and families who outlived their primary breadwinner. Impoverished wounded veterans and war widows struggled to make ends meet and were shunned as a constant reminder of Germany&#8217;s humiliating defeat and terms of surrender.
Otto Dix, a German artist working out of Dresden and then Düsseldorf, depicted this culture of the defeated in post-war Germany. A prime example of his work in this vein, Nocturnal Apparition, can now be seen in the Art Center’s exhibition Recent Acquisitions: Works on Paper (through March 30). In Nocturnal Apparition, a lithograph from 1923, Dix depicts a skeletal prostitute, leering out from the paper and smiling diabolically at the viewer. Her thick fur stole and feathered hat contrast with her bony face. The skeletal features are emphasized by the intense and stiff highlights on her cheeks and nose, by the broad smile that reveals uneven teeth between her thin lips, and by large black eyes more reminiscent of the [...]]]></description>
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		<slash:comments>0</slash:comments>
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		<title>Podcast: The Sound of &#8220;An Aesthetic Ecosystem&#8221;</title>
		<link>http://pages.vassar.edu/fllaceducation/the-sound-of-an-aesthetic-ecosystem/</link>
		<comments>http://pages.vassar.edu/fllaceducation/the-sound-of-an-aesthetic-ecosystem/#comments</comments>
		<pubDate>Tue, 19 Feb 2013 22:44:09 +0000</pubDate>
		<dc:creator>Carlos Ignacio Hernandez</dc:creator>
				<category><![CDATA[Art Center People]]></category>
		<category><![CDATA[Happenings]]></category>

		<guid isPermaLink="false">http://pages.vassar.edu/fllaceducation/?p=2661</guid>
		<description><![CDATA[The Frances Lehman Loeb Art Center is continuing its series of event podcasts, broadcasting various Art Center happenings to the cyberworld!
This time we bring you a lecture by museum director James Mundy and a panel discussion with art dealer Eric Brown (Vassar class of 1990) of the Tibor de Nagy Gallery in New York, Williams College Museum of Art curator emerita Deborah M. Rothschild (Vassar class of 1971), and collector Jonathan Kagan. This mixed group of individuals and the intricate web of relationships among them informed our discussion on the business of building a collection, the main theme of the talk.
Please find the podcasts below. Enjoy!
(Part I) Collectors, the Market, and the Art Museum: An Aesthetic Ecosystem *
(Part II) Collectors, the Market, and the Art Museum: An Aesthetic Ecosystem
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* For an accompanying set of images that complement Mr. Mundy&#8217;s talk (Part I), please take a look at the image gallery below.
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		<wfw:commentRss>http://pages.vassar.edu/fllaceducation/the-sound-of-an-aesthetic-ecosystem/feed/</wfw:commentRss>
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		<title>“What Can You Give Me for Seven Dollars?”</title>
		<link>http://pages.vassar.edu/fllaceducation/what-can-you-give-me-for-seven-dollars/</link>
		<comments>http://pages.vassar.edu/fllaceducation/what-can-you-give-me-for-seven-dollars/#comments</comments>
		<pubDate>Tue, 19 Feb 2013 19:21:20 +0000</pubDate>
		<dc:creator>Carlos Ignacio Hernandez</dc:creator>
				<category><![CDATA[Art Center People]]></category>
		<category><![CDATA[Happenings]]></category>

		<guid isPermaLink="false">http://pages.vassar.edu/fllaceducation/?p=2650</guid>
		<description><![CDATA[Today’s post comes from Justine Paradis, class of 2013 and Art Center Docent.

From left to right: James Mundy, Deborah M. Rothschild, Eric Brown, and Jonathan Kagan.
Photo by Carlos Hernandez &#8217;14
To enjoy a museum, you don&#8217;t need to know the work involved to put a collection together. However, the shape of a museum&#8217;s collection is almost always determined by an intriguing web of relationships among curators, gallery owners, collectors, and artists. The Frances Lehman Loeb Art Center is no exception, and on Friday, January 25, a curator, gallery owner, and collector sat down with a museum director for a panel discussion on the business of building a collection.
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FLLAC director James Mundy opened the talk with a review of Vassar&#8217;s major art donors and curators—the people who helped give Vassar&#8217;s collection its shape. First, of course, Mundy talked about Elias Lyman Magoon, the 19th-century art enthusiast and trustee of the college whose personal trove of art was purchased by Matthew Vassar as the founding collection. Without Magoon’s paricular vision and aesthetic, FLLAC would not be the same museum. Magoon was a Baptist minister, and he collected on a budget, cultivating relationships with artists. He left behind a large, colorful correspondence, and Mundy [...]]]></description>
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		<title>Winter Thoughts on a Truitt Summer</title>
		<link>http://pages.vassar.edu/fllaceducation/winter-thoughts-on-a-truitt-summer/</link>
		<comments>http://pages.vassar.edu/fllaceducation/winter-thoughts-on-a-truitt-summer/#comments</comments>
		<pubDate>Thu, 20 Dec 2012 17:00:01 +0000</pubDate>
		<dc:creator>Rhyston Mays</dc:creator>
				<category><![CDATA[Insights On Site]]></category>
		<category><![CDATA[Permanent Collection]]></category>

		<guid isPermaLink="false">http://pages.vassar.edu/fllaceducation/?p=2629</guid>
		<description><![CDATA[Today’s post comes from Deb Steinberg, class of 2014 and Art Center Docent.
Anne Truitt’s Sorcerer’s Summer (1991) is an abstract, modern sculpture that develops a visual intensity through its bold planes of color and precise rectilinear form. From across the gallery, the wooden sculpture appears very simple and solid, characterized by its crisp right angles and vertical, solid blocks of color. Each shade of enchanted red and purple seems to inhabit its own plane, where the colors are so deep and vibrant that they appear to be the material of which the sculpture is built, rather than the wood underneath.
But then you step closer, and the bold, stable colors take on a whole new life. They are no longer the solid blocks visible from across the room. Rather, you can see the actual brushstrokes of the paint; how the dark purple overlays a brilliant red and vice versa; how the strokes are not exactly vertical; and how the colors do not even stay in their own planes but enter into the crevice between the shades. It becomes clear that these are not unique shades of color, but that they exist on an infinite spectrum of reds and purples and deep [...]]]></description>
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		<slash:comments>0</slash:comments>
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		<title>Uncovering The Four Ages of Man</title>
		<link>http://pages.vassar.edu/fllaceducation/uncovering-the-four-ages-of-man/</link>
		<comments>http://pages.vassar.edu/fllaceducation/uncovering-the-four-ages-of-man/#comments</comments>
		<pubDate>Mon, 10 Dec 2012 21:13:04 +0000</pubDate>
		<dc:creator>Rhyston Mays</dc:creator>
				<category><![CDATA[Connections]]></category>
		<category><![CDATA[Insights On Site]]></category>

		<guid isPermaLink="false">http://pages.vassar.edu/fllaceducation/?p=2617</guid>
		<description><![CDATA[Today’s post comes from Rhyston Mays, class of 2016 and Multimedia Student Assistant.
Valentin de Boulogne’s The Four Ages of Man (1629) hangs on the Art Center’s walls among other works from the seventeenth century. The first time I came across Valentin’s painting, I was not particularly intrigued. His style was familiar, like that of Michelangelo Merisi da Caravaggio. I had trouble viewing this work as much more than a stylistic imitation, and asked myself why it had a place on the walls of the Art Center. I decided to further my understanding of the work as a viewer. In doing so, I discovered that The Four Ages of Man might be a piece with a literary history. I found that this painting teems with symbolism I did not catch at first glance.
In the thirteenth century, Philippe de Novara wrote Les Quatre Ages de L’homme, a treatise on morality and knightly behavior during the four stages of a man’s life. The Four Ages of Man is likely a tribute to this work, depicting man in his childhood, youth, manhood, and old age. Valentin’s work is then highly allegorical, with each of the four men handling an object that is representative of [...]]]></description>
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