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Postwar British Prints at UVa's Fralin Museum of Art: An Interview with Curator Jennifer Farrell and Docent Pia von Barby
by Robert Packard and Lewis Reining, WTJU, July 18, 2014
UVa's Fralin Museum of Art Curator of Exhibitions Jennifer Farrell and Education intern and docent Pia von Barby discuss the summer Postwar British Prints exhibit and happenings at the Fralin with Soundboard's Robert Packard and Lewis Reining.
The New Criterion
Joseph Cornell and Surrealism, at The Fralin Museum of Art
by Leann Davis Alspaugh, June 24, 2014
Was Joseph Cornell a surrealist? He has been described as a "lone star within the surrealist constellation," a turn of phrase that might have pleased the avid stargazer of Flushing, New York, but one that leaves an incomplete picture of Cornell the artist.
The Fralin Museum of Art recently posed this question with a finely focused exhibition in which Cornell’s work appeared alongside that of Marcel Duchamp, Max Ernst, René Magritte, Man Ray, Mina Loy, Salvador Dalí, Yves Tanguy, among others. In a way, this show, which closed at the beginning of June, recreated the 1932 lineup seen at Julien Levy’s gallery, when Cornell's work first appeared. But Cornell was uneasy about this association, and later wrote to Alfred Barr before MOMA's 1936 show "Fantastic Art, Dada, Surrealism": "In the event that you are saying a word or two about my work in the catalogue, I would appreciate your saying that I do not share in the subconscious and dream theories of the surrealists. While fervently admiring much of their work I have never been an official surrealist, and I believe that surrealism has healthier possibilities than have been developed." Without a doubt, Cornell’s pervasive nostalgia and penchant for hoarding have Freudian connotations, but it is remarkable that he would see in the surrealists’ obsession the subconscious signs of mental imbalance.
With pioneering works in collage, film montage, and assemblage art, American Joseph Cornell (1903–1972) took his place among the most celebrated of surrealist artist. Drawing on The Fralin Museum's expansive collections of the artist's work and significant international loans, Joseph Cornell and Surrealism examines his emergence and maturation as an artist over the course of the 1930s and 40s, the zenith of surrealism in the United States. A selection of works by other major surrealist artists appear alongside Cornell’s pieces, evoking the vibrant New York milieu of galleries, museums, American and expatriate-European artists, including Marcel Duchamp, Salvador Dalí, Man Ray, René Magritte, and poets, critics, and magazines that contribued to the shaping of his style.
Contemporary American artist Jasper Johns, now 83, creates art that puts a different spin on familiar, everyday objects—what he has called "things the mind already knows." An exhibit titled "Jasper Johns: Early Prints from the Collections of Jordan D. Schnitzer and His Family Foundation" will run through May 17 at the Fralin Museum of Art at the University of Virginia.
The University of Virginia’s Fralin Museum of Art has new leadership. The museum announced Tuesday that John Casteen, president emeritus of the university, will chair the museum’s advisory board. He will be joined on the board by his wife, Betsy.
Casteens Join Museum’s Advisory Board; Former U.Va. President to Serve as Chair
by Robert Hull, May 6, 2014
The Fralin Museum of Art at the University of Virginia has announced that John T. Casteen III, president emeritus of the University of Virginia, and his wife, Betsy, have agreed to join the museum’s advisory board. Casteen will serve as chair.
Coming to the University from its previous display in Lyon, France, "Joseph Cornell and Surrealism" is currently on display at the Fralin Museum. Curated by Matthew Affron and Sylvie Ramond, the exhibition places modern artist Cornell in context with the surrealist movement and his peers, featuring almost 100 works from renowned artists such as Salvador Dali, Marcel Duchamp, Man Ray and, of course, Cornell himself.
This exhibition explores surrealism from the 1930s and 1940s and its focus on the mind. With the prefix "sur" meaning above, surreal therefore means "above the real," causing many to view the form as both captivating and disturbing for its focus on subverting and building strangely on reality. This manipulation of reality stems from the artists' aim "to express the activity of the unconscious or dreaming mind," as described in the exhibition pamphlet.
Joseph Cornell plays in the shadows of the Surrealist movement
by Sarah Sargent, April 2, 2014
A rich and deeply satisfying show, "Joseph Cornell and Surrealism" at the Fralin Museum explores Cornell's work in the context of the Surrealist movement of the 1930s and '40s. Prior to seeing it, I had the common, yet incorrect impression, that Cornell was a hermit-like creature akin to Henry Darger who created his work in a self-imposed vacuum.
Fralin Museum of Art at U.Va. Hosts Saturday Talk on Cowboys in Art for ‘The Big Read’
by Robert Hull, March 25, 2014
Scholar Stephen Margulies will give a Saturday Special Tour and talk at The Fralin Museum of Art at the University of Virginia on March 29 from 2 to 3 p.m.
Margulies’ talk, “The Cowboy in Art: The Good, the Bad, and the Funny” is planned in partnership with the Jefferson-Madison Regional Library and the National Endowment for the Arts’ annual “Big Read,” designed to revitalize the role of literary reading in American popular culture.
The weather is heavy in Suzanne McClelland's new paintings, where paint surges, lines whip and skid, and fragmentary letters and numbers collapse, inflate and slam into each other, hard. Words have a longstanding place in McClelland's work, often formed in a way that links their visible shape to their voiced sound, and to their origin in breath and body. Recently, the artist has shifted her attention from the link between spoken and written language to the juncture between letters and numbers. But as before, multitudes of ideas race through these images at speed. The works' range of social and cultural observation is matched by an extravagantly free dispersal of mediums across a variety of supports. Painting, pouring, dripping, splattering, writing and drawing, McClelland produces surfaces that are variously rococo, catastrophic, sparkly and black as dried blood.
The Fralin Museum at U.Va. to Host March 18 Lunchtime Talk on Jasper Johns Exhibit
by Robert Hull, March 13, 2014
Exhibition curator Jennifer Farrell will give a Lunchtime Talk at The Fralin Museum of Art at the University of Virginia, on the “Jasper Johns: Early Prints from the Collection of Jordan D. Schnitzer and His Family Foundation” exhibit March 18, from noon to 1 p.m.
Johns, who was born in 1930, has challenged ideas about what art can be by focusing on everyday icons and emblems, or what the artist famously referred to as “things the mind already knows.” While perhaps best known for his paintings, Johns is also widely respected for his graphic work, which has occupied a central role in his oeuvre for more than five decades. His prints not only show a mastery of various mediums, but a profound sense of experimentation, which has had significant impact not only on his own art, but also on the field itself.
“Joseph Cornell and Surrealism” focuses on the work of the American artist Joseph Cornell (1903, Nyack, NY – 1972, New York, NY) in the 1930s and the 1940s. These years span both Cornell’s emergence and maturation as a visual artist and the heyday in New York of surrealism, the international art movement founded by André Breton in Paris in 1924. This international loan exhibition is a collaboration of the Musée des Beaux-Arts de Lyon and The Fralin Museum of Art at the University of Virginia. Following a run in Lyon (Oct. 18, 2013 – Feb. 10, 2014), the exhibition opens at The Fralin on Mar. 7 and will remain on view through June 8, 2014.
Fantastical Universe of Joseph Cornell Comes to The Fralin Museum of Art at U.Va.
by Robert Hull, March 6, 2014
More than a half-century before there was Pinterest or any of the online applications devoted to the art of virtual collage, American artist Joseph Cornell was busy creating his own real assemblage works by hand. With snippets of magazines, pasted photographs and found objects, the universe of Cornell’s imagination was realized in meticulously composed masterworks born of everyday material.
“Joseph Cornell and Surrealism” – an international loan exhibition created in a collaborative effort between the Musée des Beaux-Arts de Lyon, a municipal museum of fine arts in the French city of Lyon, and The Fralin Museum of Art at the University of Virginia – opens Friday at the The Fralin Museum of Art, and will remain on view through June 8.
Now in his eighties, America’s greatest living artist, Jasper Johns, is still recognized as the vanguard who ignored convention to create a new, galvanizing style that brilliantly reflected the spirit and mores of its time. Johns’ far-reaching influence can be discerned in Pop Art, minimalism, and conceptual art movements and it continues to resound in contemporary art today.
Though he is best known for his paintings and his bronze Ballantine Ale cans, Johns is also considered a master printmaker with a body of work that shows his total command of the various media within the field of printmaking. “Jasper Johns: Early Prints from the Collections of Jordan D. Schnitzer and His Family Foundation” at UVA’s Fralin museum (through May 19) offers a rare opportunity to view a selection of these graphic works.
With the generous support of the Ellen Bayard Weedon Foundation, the Fralin Museum of Art at the University of Virginia presents four lectures on South and East Asian art each year. The next lecture in the series is “Twanging Bows and Throwing Rice: Warding Off Evil in Medieval Japanese Birth Scenes” by Yui Suzuki, Associate Professor of Art History, University of Maryland, on Thursday, February 27. The lecture will begin at 6:00pm in Campbell Hall’s Room 153.
In art, the “new” is usually the work of a young gun just beginning to establish a reputation. But occasionally, the past still offers up an artist whose imagery hasn’t been emblazoned on items in the museum gift shop, or been maxed out by Madison Avenue. Take Émilie Charmy. Born in 1878 and active into her 90s, this French painter did not invent a new vocabulary or deploy color in a strikingly unusual manner. The old standards — still life, portraits, landscape and genre scenes — were her stock-in-trade. Yet she exercised the true artist’s prerogative: to paint what she wanted the way she wanted. From Feb. 27 through May 17, the Arts Club of Chicago presents the first U.S. retrospective of her work.
Initially curated by Matthew Affron for the University of Virginia’s Fralin Museum of Art, the exhibition enables one not only to experience the individual sophistication of Charmy’s visual strategies, but also to reconsider the status of the female painter in the early 20th century. “She belonged to a generation of women who reformulated notions of gender and art at the same time,” says Affron, now a curator of modern art at the Philadelphia Museum of Art. “And the study of an artist who is not well-known is as interesting for what we learn about the conditions of art-making, the nature of the art market and evolving interests in the art world — not least for women artists — as it is fascinating in terms of rediscovering the paintings themselves.”
Weedon Asian Arts Lecture at U.Va. Feb. 27 to Focus on Childbirth Depictions
by Robert Hull, February 19, 2014
The Fralin Museum of Art at the University of Virginia will host Yui Suzuki for an Ellen Bayard Weedon Lecture in the Arts of Asia on Feb. 27. Her lecture, “Twanging Bows and Throwing Rice: Warding Off Evil in Medieval Japanese Birth Scenes,” will be held at 6 p.m. in Campbell Hall, room 153.
Although a transformational life experience, childbirth has not received much focused attention in art history. In medieval Japan, birthing scenes were often inserted into medieval picture scrolls (called “emaki”) to evoke the larger Buddhist notion of suffering. Despite the long-established practice of medicine in Japan, childbirth pictures reveal that the upper echelons of society relied heavily on multifarious networks of ritual specialists and their magico-religious rites. In her talk, Suzuki will examine images of the diverse performances by religious professionals and the reasons why such elaborate measures were taken to ensure the safety of mother and child.
U.Va.’s Family Art JAM Explores Printmaking Inspired by Jasper Johns’ Work Feb. 15-16
by Robert Hull, February 14, 2014
Families are invited to an afternoon of fun and hands-on creativity as The Fralin Museum of Art at the University of Virginia continues its monthly children’s program, the Family Art JAM.
On Feb. 15 and 16, the museum will offer four sessions of “Letters and Numbers: Printmaking Inspired by Jasper Johns” for children ages 5 to 12.
Family Art JAMs combine age-appropriate tours with hands-on art projects planned to make the museum's exhibitions accessible to young children.
Jasper Johns at UVa's Fralin Museum of Art: An Interview With Curator Jennifer Farrell
by Julia Kudravetz, WTJU, February 10, 2014
A “Golden” experience: Fralin exhibit of portrait-esque "tronies" truly shines
by Kristen Clevenson, February 10, 2014
I know it’s probably been a while since you memorized vocabulary for the SATs, but here’s a word too fun to ignore: tronie.
Neither a troll mixed with a pony nor a misspelled version of “phony,” “tronie” is 17th century Dutch for “face,” also referring to a style of artwork which focuses on people’s faces and emotions. Intrigued? You’re in luck — the Fralin Museum of Art is displaying a collection of 17th century Dutch tronies from now until August.
Print Preview: Fralin hosts the work and illustrious legacy of artist and lithographer Jasper Johns
by Madison Deluca, February 4, 2014
Print is everywhere — it spells out the Bodo’s menu board, constitutes the reading assignments spat out by HP Deskjets everywhere and fills the pages of The Cavalier Daily print editions appearing in distribution boxes every Monday and Thursday. Few people give the process of printmaking much attention because of its ubiquity. Few people, that is, besides Jasper Johns.
Johns, born in Georgia and raised in South Carolina, began exploring his interest in symbols, images and icons after settling in New York in the 1950s. Expressing himself primarily through lithography and painting, Johns played an integral role in the Neo-Dada and Pop Art movements of the late 20th century.
Fralin Museum of Art at U.Va. Announces Winners of Writer’s Eye Competition
by Robert Hull, February 4, 2014
The UVa. Fralin Museum of Art announces the winners of Writers Eye 2013. The Writer’s Eye program challenges writers of all ages to use visual art as inspiration for the creation of original poetry and prose.
Entrants submitted original writings inspired by one of 18 pieces selected for the competition from the museum’s permanent collection and visiting exhibitions. After conducting tours for more than 3,600 students and adults, the museum received more than 1,500 entries to the competition from writers in the Charlottesville and University communities.
The UVa. Fralin Museum of Art announces the winners of Writers Eye 2013. The Writer’s Eye program challenges writers of all ages to use visual art as inspiration for the creation of original poetry and prose. Contestants submitted original writings inspired by one of 18 pieces selected for the competition from the museum’s permanent collection and visiting exhibitions. After conducting tours for more 3,600 students and adults, the museum received more than 1,500 entries to the competition.
The Fralin Museum of Art presents a two-part exhibit in its Stair Hall Gallery titled Portraying the Golden Age. The exhibit is curated by John Hawley, Luzak-Lindner Graduate Fellow.
In the first installation of Portraying the Golden Age, drawings from the Maida and George Abrams Collection reveal the blossoming of drawn portraiture in the Netherlands during the seventeenth century. The first installation will be on display through April 27.
Jasper Johns (b. 1930) has fundamentally challenged ideas about what art can be by focusing on everyday icons and emblems, or what the artist famously referred to as "things the mind already knows.” While perhaps best known for his paintings, Johns is also widely respected for his graphic work, which has occupied a central role in his oeuvre for over five decades. Johns’ prints not only show a mastery of the various mediums he has engaged, but also a profound sense of experimentation, which has had significant impact not only on his own art, but also on the field itself. Printmaking has allowed Johns to explore various methods for interpreting icons, emblems, and objects—such as numbers, letters, maps, targets, and ale cans—while also expanding the possibilities for printmaking. Several of his prints make reference to the artist’s work in other media, yet they are not mere copies or reproductions. Rather, Johns has consistently returned to such motifs in order to explore new methods and techniques that would allow him to reinterpret and engage these subjects again.
Fralin Museum of Art to Exhibit Work of Popular American Artist Jasper Johns
by Robert Hull, January 6, 2014
Contemporary American artist Jasper Johns has challenged the definition of art by focusing on everyday icons and emblems – what the artist famously referred to as “things the mind already knows.”
Johns is best known for his painting “Flag” (1954–55), which he created after dreaming about the American flag. His early works were composed using simple schema such as flags, maps, targets, letters and numbers.
While best known for his paintings, Johns, now 83, is also widely respected for his graphic work, which has occupied a central role in his oeuvre for over five decades.
‘Portraying the Golden Age’ Exhibit Opens Jan. 17 at The Fralin Museum of Art
by Robert Hull, January 2, 2014
Art during the Dutch Golden Age, which spanned the late 16th and 17th centuries, gave portraiture a place of great prominence.
While young painters in the Netherlands primarily focused on portraiture, there were many other artists, mostly draftsmen and printmakers, whose works could be bought for comparatively lower prices than their painted counterparts.
To trace the blossoming of this drawn portraiture in the Netherlands during the 17th century, The Fralin Museum of Art at the University of Virginia presents Portraying the Golden Age, the first of a two-part installation running from Jan. 17 through April 27.
National Endowment for the Arts Grants Awarded to Three U.Va. Arts Disciplines
by Robert Hull, November 17, 2013
Three newly awarded National Endowment for the Arts grants will help the University of Virginia build its momentum in advancing and supporting the creative arts.
NEA Art Works grants have been given to the Virginia Quarterly Review, The Fralin Museum of Art at the University of Virginia and a collaborative multimedia project between poet Rita Dove and the McIntire Department of Music.
Sculptor, U.Va. Students and Community Volunteers Turn Sticks into Art ‘On the Fly’
by Robert Hull, November 5, 2013
“When I grab a stick, I get a bunch of good ideas. I feel alive,” said University of Virginia artist-in-residence Patrick Dougherty in his documentary, “Bending Sticks.”
Dougherty—the guest of The Fralin Museum of Art at the University of Virginia, the McIntire Department of Art and the Office of the Vice Provost for the Arts—spent three weeks working with students and community volunteers installing his “stickwork sculpture” exhibit in front of the Ruth Caplin Theatre on the Betsy and John Casteen Arts Grounds.
The Frick’s Center for the History of Collecting has awarded its Sotheby’s Book Prize for a Distinguished Publication on the History of Collecting in America to Get There First, Decide Promptly: The Richard Brown Baker Collection of Postwar Art (Yale University Art Gallery, 2011). The book’s general editor, Jennifer Farrell, shares the prize with essayists Thomas Crow, Serge Guilbaut, Jan Howard, Robert Storr, and Judith Tannenbaum. The Frick’s Director, Ian Wardropper, commented, “Within recent years, the history of collecting art has found acceptance as an academic field, and we are very proud of the role that the Center for the History of Collecting has played in that development. Established at the Frick Art Reference Library six years ago, the center has fostered a high level of discourse through symposia, oral histories, publications, and fellowships. Furthermore, its book prize, generously supported by Sotheby’s, strengthens this area of study by acknowledging—and perhaps inspiring—new publications. We offer congratulations to Jennifer Farrell and her colleagues for this wonderfully researched publication and look forward to presenting the award to her formally at a reception hosted at Sotheby’s in January.”
Soundboard interview Oct 24, 2013 - Patterson symposium
October 24, 2013
“In the Shadow of Stalin: African American Artists and Intellectuals in Soviet Russia” will examine the diverse experiences of African Americans who both visited and immigrated to the Soviet Union during the first half of the twentieth century.
U.Va. Symposium and Exhibit Explores Experiences of African-Americans in Soviet Union
by Robert Hull, October 21, 2013
“In the Shadow of Stalin: The Patterson Family in Painting and Film,” an exhibit at The Fralin Museum of Art at the University of Virginia running through Dec. 22, examines a 1932 journey by Langston Hughes and several of his African-American peers to the Soviet Union.
The Daily Progress
Artist Patrick Doughtery Creates Stickworks At UVa
October 21, 2013
Students and community members gave a hand to artist Patrick Doughtery and his creation of a Stickworks installation Wednesday on the lawn of the Betsy and John Casteen Arts Grounds at the University of Virginia. The installation involves weaving of tree saplings and sticks into towering nest-like sculptures. The project is expected to be completed October 18th and will remain on grounds for more than a year.
Installation artist Patrick Dougherty twists twigs and tames volunteers
by Sarah Sargent, October 16, 2013
If you’ve been in the vicinity of the Ruth Caplin Theatre and the Arts Commons at UVA, you’ve no doubt noticed some unusual activity in the bowl-shaped area between the buildings. Renowned installation artist Patrick Dougherty, together with a group of community and UVA volunteers, is hard at work weaving a sculpture made from locally harvested twigs and saplings collected by Dougherty, in a collaboration with UVA sculpture professor, Bill Bennett, and his class.
If you drive around the University of Virginia's drama building, you might be surprised by what you see. A sculpture more than 10 feet high is being built out of tree saplings and branches in front of the Ruth Caplin Theatre on the Betsy and John Casteen Arts Grounds.
Émilie Charmy defied convention with her masculine style
by Sarah Sargent, October 2, 2013
Born in 1878 in the town of Saint-Étienne near Lyon, France, Émilie Charmy was groomed for the proper profession of teaching. But Charmy, whom I had never heard of before the Fralin show, had other ideas, taking up painting instead. Initially, she focused on traditional scenes of domestic life in an Impressionist style. But, she soon began painting subjects that had been the province of male artists. One of the first paintings in the show, Charmy’s shimmering “The Salon,” c. 1900, features naked prostitutes in a brothel—though you might never know it, given the decorous soft focus with which they’re painted.
Aired on Thursday September 26, 2013, Jennifer Farrell, curator of exhibitions and contemporary art at The Fralin Museum of Art, and Bill Bennett, associate professor of studio art in the McIntire Department of Art, discuss Patrick Doughtery's Stickworks, U.Va.'s site-specific sculpture made of locally harvested twigs and saplings in front of the Ruth Caplin Theatre and the Arts Commons, the latest additions to the Betsy and John Casteen Arts Grounds. Farrell and Bennett also talk about U.Va. and community volunteers helping with the build and an exhibition at The Fralin featuring models and photographs of Dougherty’s earlier projects, as well as preparatory drawings for the installation at U.Va. Soundboard is WTJU 91.1 FM's discussion program about news, culture, and community issues in the Charlottesville area.
C'ville Art Blog
Émilie Charmy—A Visceral Voice at The Fralin Museum of Art
by Rose Guterbock and A.I.Miller, August 29, 2013
Most of her paintings have a fierce inquisitive quality. Her application of paint gives expressive life to simple compositions. Single thick brush strokes resolve into a small elegant wrist or a delicate twist of hair. Although a few paintings, like "Nu tentant son sein," seem merely fast and crude, her work cultivates a rough and layered visceral quality. The show culminates with a painting so thickly built, it brings to mind the Balzac story "Unknown Masterpeice." Mounds of paint construct an obscure image, a self portrait, which viewers experience more through the care of each brush stoke than the foggy edged figure which haunts the picture plane.
The Fralin Museum of Art introduces Modern artist Émilie Charmy to American audiences with retrospective
by Art Daily Staff, August 26, 2013
Though one of the most compelling female voices in French modern art, Émilie Charmy remains largely unrecognized. Curator Matthew Affron hopes to change that with an exhibition at U.Va.’s Fralin Museum of Art, the first U.S. retrospective of her work. The exhibition runs from Aug. 23, 2013 through Feb. 2, 2014, then travels to the Arts Club of Chicago, where it will run from Feb. 27 through May 17, 2014.
Affron, the Muriel and Philip Berman Curator of Modern Art at the Philadelphia Museum of Art and formerly The Fralin’s Curator of Modern Art, said, “Charmy’s painting engaged with major artistic currents, from Impressionism and Post-Impressionism to Fauvism before World War I.” She pursued an expressive, sensuous, modernist naturalism thereafter.
Review: Rediscovering the masterworks of Ansel Adams
by Sarah Sargent, August 21, 2013
Ansel Adams’ photography is one of those things that’s easy to dismiss because we’ve seen so much of it reproduced in calendars, outsize posters, and the like. But after spending time with the actual photographs now on view at UVA’s Fralin Museum in Ansel Adams: A Legacy through October 13, I rediscovered the magic in Adams’ images of desert, mountain, and forest.
Printed in the 1960s and ’70s by Adams for the San Francisco Friends of Photography, the Meredith Collection of photographs is, in effect, a retrospective of Adams’ career from his early explorations of the medium in the 1920s, to familiar masterworks. The photographs came into the Merediths’ hands in 2002 after the SFFOP was dissolved. At the time, Tom Meredith, a committed conservationist from Austin, Texas, was looking to acquire four prints for his wife, Lynn. With the auction of the SFFOP holdings looming, the couple was talked into purchasing the entire collection in order to keep it intact.
The Washington Post
What would compel a black American to move to Stalinist Russia?
by DeNeen L. Brown, August 16, 2013
The oil painting of a black Russian man lay quietly for years in a back corner of an antique shop in a dingy walking mall in Moscow.
Andy Leddy, a white American working on a U.S. government contract for a refugee program in 1992, a year after the Communist Party lost power, pulled the canvas out and unrolled it.
Exhibit Examines African-American Soviet Émigré's Legacy
by Carl Schreck, RIA Novosti, August 2, 2013
An exhibition set to open this month at the University of Virginia will examine the family history of Lloyd Patterson, an African-American who emigrated to the Soviet Union in the 1930s and whose son became a child film star and a well-known Soviet poet.
Titled In the Shadow of Stalin: the Patterson Family in Painting and Film, the exhibition “will examine the Patterson family’s history in order to engage larger issues,” according to the university’s Fralin Museum of Art in Charlottesville, Virginia, which is hosting the exhibit from Aug. 23 to Dec. 22.
Today’s American West looks very different from the pristine wilderness documented in the photographs of Ansel Adams.
In conjunction with the new Ansel Adams: A Legacy exhibit, The Fralin Museum of Art at the University of Virginia opens Looking at the New West: Contemporary Landscape Photography, on Friday. The exhibit, running through Dec. 15, focuses on six contemporary photographers’ explorations of the ever-changing scenery of the American West.
C'ville Art Blog
Learning How to Read—On STrAY by Suzanne McClelland
by A.I.Miller and Rose Guterbock, May 28, 2013
Suzanne McClelland asks a lot of her audience. Her exhibition STrAY: Found Poems from a Lost Time, currently at the Fralin Museum of Art, is dense, complicated and poetic. For a casual viewer it may appear obtuse and contemporary in the worst possible way. For another viewer willing to invest time into closely exploring and examining the work, it opens windows to the grinding mechanisms of history and language.
Fralin Museum’s “Corot to Cézanne” paints a portrait of the collectors
by Sarah Sargent, April 24, 2013
One of America’s great art connoisseurs and patrons, Paul Mellon was quoted as saying that he and his wife “almost never buy a painting or drawing we would not want to live with or see constantly.” Having cut his teeth on father Andrew Mellon’s renowned art collection (which formed the nucleus of the National Gallery of Art), Paul Mellon was graced with an extraordinarily refined eye.
This is evident in Corot to Cézanne: French Drawings from the Collection of Mr. and Mrs. Paul Mellon at the Virginia Museum of Fine Arts now on view at the Fralin.
Breaking the chrysalis: Whistler's early work reveals non-conformist beauty
by Sarah Sargent, February 21, 2013
The butterfly of Becoming the Butterfly, The Fralin Museum's current exhibition of etchings and lithographs by James Abbott McNeill Whistler refers to the stylized butterfly that Whistler used to sign his work and the exhibition. Curated by Emilie Johnson, the show provides a succinct yet effective window into Whistler's evolution as an artist. This is the first of two shows at the museum focusing on the American 19th century master's prints (through April 28). The second (opening April 30), will feature portraits.
Born in Lowell, Massachusetts in 1834, Whistler began studying art when he was 9 in St. Petersburg, Russia, where his father, an eminent civil engineer, was employed by the Moscow-St. Petersburg Railway. Following the death of his father when Whistler was 15, the family returned to America.
The Fralin's Making Science Visible: The Photography of Berenice Abbott was awarded third place in the small exhibitions category of the British Society of the History of Science's Great Exhibitions 2012.
Workshops Meld Science, Art to Pique Middle School Girls' Interest in STEM Fields
by Lisa Kessler, November 8, 2012
Inside the dark room, six young girls huddle around a green glow. The glow comes from a green laser refracting through a large crystal that redirects beams to bounce off several carefully positioned small mirrors. A fog, produced by a hand-made machine that one girl continuously thumps, makes the beams more visible; the girls take digital pictures, adjusting the crystal or the laser to create a new shot.
Their enthusiasm is audible—besides the beat of the fog machine, the girls' exclamations fill the smoky green darkness as they move around, testing new angles with their cameras to get the perfect photograph. Afterward, in a brightly lit hallway, the girls talk excitedly about the images they captured before moving on to the next workshop.
Jean Hélion's journey through abstraction at the Fralin Museum of Art
by Sarah Sargent, September 13, 2012
Jean Hélion: Reality and Abstraction, currently on view at U.Va.'s Fralin Museum of Art presents a small, yet rich collection of this under-appreciated artist's work. The eight paintings and numerous works on paper are both handsome works of art and revealing souvenirs from Hélion's artistic journey "through and then away from abstract art."
Curated by Matthew Affron, associate professor, McIntire Department of Art, the exhibition provides an excellent showcase of [French artist, Jean] Hélion's strong compositional sense. Whether working in oil on canvas, or watercolor, charcoal, and ink on paper, his abstract shapes have real authority. In his oils, Hélion uses alternating flat areas of color with volumetric modeling that recalls the work of Fernand Léger. Deftly arranged on the picture plane, these shapes achieve Hélion's ideal of "a surface fully organized and optically integrated." This compositional skill continues in Hélion's representational work where the unexpected placement of figures and objects in space adds drama and interest. Hélion uses a striking combination of cool and warm tones in his paintings. His works on paper rely on strong lines with subtle smudges and washes of watercolor and gouache.
Making Science Visible: The Photography of Berenice Abbott, which opened Aug. 31 at the Fralin Museum of Art at the University of Virginia, explores how the photography of Berenice Abbott (1898-1991) has been used in both artistic and scientific contexts.
Abbott's images are important in art, science, documentaries and the history of science education. Trained in New York as a sculptor, she left for Europe in 1921. In Paris, she became the Surrealist artist Man Ray's photographic assistant and saw the photographer Eugéne Atget's work. In 1929, Abbott returned to New York and began a series of documentary photographs of the city and directed the "Changing New York" project for the Works Progress Administration in 1939.
By the early 1950s, Abbott was experimenting with photographs of scientific subjects, and produced images of an array of scientific processes. On display in this exhibition are photographs of magnets, parabolic mirrors, insects, soap bubbles and bones created for scientific textbooks and Science Illustrated magazine. Her images represent a unique melding of science and art, which produces an aesthetic that compels the viewer while also conveying scientific ideas.
The New Criterion
The Adoration of the Magi by Bartolo di Fredi: A Masterpiece Reconstructed
by Marco Grassi, September 2012
Review of The Adoration of the Magi by Bartolo di Fredi: A Masterpiece Reconstructed organized by The Fralin Museum of Art at the University of Virginia (UVaM) on view at the Museum of Biblical Art (MOBIA), New York.
The French painter Jean Hélion made his name as an abstract painter. Throughout the 1930s, he created extraordinary geometrical compositions that balance pristine clarity with both a strongly dynamic feeling and a sense of unceasing transformation. But by the end of the decade, Hélion turned in a different direction and began to paint worldly subjects in a realistic style.
The Fralin Museum of Art at the University of Virginia explores Hélion's evolution in Jean Hélion: Reality and Abstraction. The exhibit, curated by art history professor Matthew Affron of the College of Arts & Sciences, who is also the museum's curator of modern art, runs from Aug. 31 through Dec. 16.
Hélion helped found an international artists' group called "Abstraction-Création" in Paris, participated in many important exhibitions in Europe, and forged connections with modern art circles in the United States. He spent much of the 1930s shuttling back andforth across the Atlantic and between studios located in Paris, New York City and Rockbridge Baths, Va. His evolution is more complicated than it might first appear, Affron said. "The abstract compositions had contained configurations of form, which were ultimately converted into recognizable figures and objects. And the newer figurative pictures possessed strongly formal qualities. Hélion complicates any simple opposition between notions of abstract art's detachment and realism's involvement in social immediacy."
Chinese ink paintings at UVa reveal a wealth of details
by David Maurer, August 26, 2012
The artistic alchemy of ancient and modern Chinese masters will be presented in a major exhibition... Included are paintings so skillfully rendered as to make water appear to flow and trees radiate with life. Minimal brushstrokes animate a bird and contrast a green praying mantis with the hue of autumn leaves.
Delicate wisps of fog materialize as if produced by natural forces. A featureless face, all but hidden beneath the sheer pitch of looming cliffs, reveals emotions with the cant of the head.
Unlike exhibits in which one stands back several paces to admire the paintings, Ancient Masters in Modern Styles: Chinese Ink Paintings from the 16th-21st Centuries invites viewers to draw near.
"Get close to the paintings," said Kathleen M. Ryor, curator for the exhibit, which will be on display through Dec. 16. "You'll see Chinese scholars of paintings get their face right up to it.
"That's how you see the brushwork, individual strokes, movement of the artist and the process. And it's amazing, because it's so minimal, and yet so much is achieved."
New York Times
Come Let Us Adore Him
by Holland Cotter, August 9, 2012
...Mr. Boucher and Ms. Fiorani also deliver a masterpiece but supplement it with fresh research, probing questions and answers that try to tell us things that we (and they) didn't know. In short you get, through modest means, a big art experience: beauty, deepened by information, leading to contemplation. As I said, perfect.
July 31 — August 6, 2012
French novelist Roland Dorgelès wrote, "Émilie Charmy, it would appear, sees like a woman and paints like a man, from the one she takes grace and from the other strength, and this is what makes her such a strange and powerful painter who holds our attention." Remembered in part for her place in the early avant-garde movement, Charmy produced a body of work full of...full the body. Her sensuous, expressive portraits of the female form have remained objects of admiration....
Museum of Biblical Art Hosts Newly Reconstructed 14th-Century Sienese Altarpiece
by Laura Gilbert, July 31, 2012
One of the must-see exhibitions of the summer is now on view at the Museum of Biblical Art ... "It's Bartolo's masterpiece," said Bruce Boucher, the director of the University of Virginia Art Museum, which first hosted the show and owns one of the predella panels. The other is loaned from the Lindenau-Museum in Altenburg, Germany.
"A river runs through it: American painting, photography, and prints in the Civil War period"
No 237, July/August 2012
Like Caesar's Gaul, this exhibition is divided into three parts. The first is a display of paintings by Thomas Cole, Frederic Church, David Johnson, Standford Robinson Gifford, John Frederick Kensett and Aaron Draper Shattuck, all mainly New York-based, who composed the first and second (and final) generations of what art historians have name the Hudson River School.
Emilio Sanchez reveals beauty in unremarkable landscapes
by Peter Barnes, June 26, 2012
Sunlight does peculiar things in the city. It overwhelms surfaces in ways it can't when there's more organic matter around to soak up the glare or scatter it into chaotic shadows. The portfolio of Cuban-American painter Emilio Sanchez contains a broad range of still life and natural scenes, but a collection featuring only his depictions of the built environment makes for a rewarding summer show at the Fralin Museum of Art at the University of Virginia.
The Fralin Museum of Art
by University of Virginia, May 31, 2012
Heywood Fralin (College '62) and his wife Cynthia talk about their gift to the newly named Fralin Museum of Art, and the Museum's importance to future study at the College.
The couple responsible for providing Roanoke's Taubman Museum of Art with its collection of American paintings will have an art museum named after them in Charlottesville.
The name of the University of Virginia Art Museum will be changed to the Fralin Museum of Art to honor the donation of a 40-piece collection of American art by Roanoke philanthropists Heywood and Cynthia Fralin, UVa officials announced Monday. The Fralins' gift is the largest single gift of art in the university's history.
"We're really enamored with the idea of future students being able to study American artists ... on an up close and personal basis," Heywood Fralin said Monday.
Couple to donate 40 artworks to UVa museum which will take their name
by Ted Strong, May 21, 2012
The University of Virginia has named its art museum after Board of Visitors member and former rector W. Heywood Fralin and his wife, Cynthia, after the Fralins announced the donation of their collection of American art to the university.
UVa Art Museum Offering Lectures on Art Conservation
May 16, 2012
The University of Virginia Art Museum is allowing the public to get a behind the scene look into art conservation.
The lectures allows visitors to have a hands on experience with art pieces.
Fashion Shown to Benefit Local Museum and Public Television
May 7, 2012
A high-end fashion fundraiser is being held at the Main Street Arena Thursday, May 10, 2012.
The ice rink will be transformed into a runway for the Art in Heels event. Art in Heels is a benefit to help the University of Virginia Art Museum and local public television.
Top celebrity designers like Johnathan Kayne and Heidi Elnora from the show Project Runway will showcase their collection.
Pieces of 14th-Century Altarpiece reunited at UVa Museum
March 1, 2012
Pieces of historic art have been reunited for the first time in hundreds of years, and you can see them at the University of Virginia Art Museum.
On Thursday, the museum hosted a preview of "The Adoration of the Magi," a 14th-century Italian altarpiece painting by Bartolo di Fredi.
Completed around 1385, the altarpiece was dismantled and broken into four pieces at the turn of the 19th century. The painting stayed in Italy while accompanying panels were scattered in museums across the world.
One of the panels ended up at UVa, and now, for a short time, three of the four pieces will be on display together in the "The Adoration of the Magi" exhibit, which opens Friday and runs through May 27.
"It's a great opportunity for us to learn about altarpieces and why our particular panel fits into this larger work of art," said Bruce Boucher, director of the UVa Art Museum
UVA Art Museum reassembles a 14th century Italian masterpiece
by John Rusher, February 28, 2012
A momentous reunion is happening at the University of Virginia. No, we're not talking about alumni returning to town to relive their glory days. This goes back much further than even Mr. Jefferson himself – all the way to 14th century Italy, when painter Bartolo di Fredi took up his brush to create an altarpiece for a church in his native city of Siena. As he applied his tempera and gold leaf, he surely didn't imagine that half a millenium* later parts of his painting would scatter across the globe, nor that they would be reunited for "The Adoration of the Magi by Bartolo di Fredi: A Masterpiece Reconstructed," an exhibition opening Friday at the UVA Art Museum.
Midea, Marucs Institute for Digital Education in the Arts
iPad apps, Part 3: Pleasures of the Kin-Aesthetic, Sculptural and Journalistic
by Peter Samis. February 14, 2012
"... In the last post, while praising MoMA's AbEx NY app for its stunning photography and excellent design, I confessed that the sculptures were less
satisfying: the works themselves are often monochrome, and we want to pivot them, see them in 3D.
It took a little known art museum at the University of Virginia, working together with Jason Lawrence, an assistant professor at the same university and co-founder of the company Arqball, to present a convincing proof-of-concept for how 360° views like the ones we saw in The Elements might convey the magic of 3D objects in art museums' collections."
UVA Art Museum to Reopen Friday
by Mary Dunleavy, February 2, 2012
The doors at the University of Virginia Art Museum will reopen Friday with a few new quirks. The ground floor will be showcasing masterpieces and Renaissance era art.
Landscapes, 100 years of photography and 18th century porcelain will be featured on the upper level of the museum. In celebration of Valentine's Day, Japanese woodcuts from the 19th century will be on display.
UVA Art Museum's new run covers ground: Four shows, 500 years, and three mediums
by Sarah Sargent, January 31, 2012
The UVA Art Museum unveiled four new shows earlier this month that cover a breathtaking expanse of ground and make for an enjoyable afternoon of fine art. Curated by Paul Barolsky, Commonwealth Professor of Italian Renaissance Art and Literature, "Master Printmakers: The Italian Renaissance and its Modern Legacy" features engravings, woodcuts, and etchings by artists who made prints from the work of Renaissance masters like Raphael, Tintoretto, and Titian.
UVA Art Museum opens four new exhibits
by Jane Norris, January 20, 2012
The dawn of abstract art in the early 20th century didn't mean sunset for traditional forms of art. Four new exhibitions opening today at the University of Virginia Art Museum show that there's room for plenty of different forms of self-expression under the sun.
UVA Today: New Art Museum iPad App
December 9, 2011
In this week's UVA Today segment, Nicole Anastasi visited the Newsplex to introduce the University of Virginia Art Museum's new iPad app.
Put 3D objects at your visitors fingertips: UVaM on the iPad
November 29, 2011
Hopi doll with painted headdress springs to life, spinning under my finger tips on a new iPad app from the University of Virginia Art Museum (UVaM).
The delightful app presents 19 different objects in 3D, to spin and zoom, providing an immediacy that rivals seeing an object in real life. In fact, it's better in many ways than peering at an object through a protective case because the objects can be spun through a full 360°, view under bright lighting, at high resolution.
Make it classy! How the Renaissance codified a style
by Laura Parsons, October 27, 2011
Repeat after me: Doric, Ionic, Corinthian, Tuscan, and Composite - anyone who's taken high school Latin knows these are the five types of columns used in Roman architecture. Right? Wrong! As the University of Virginia Art Museum's current exhibition, "Variety, Archeology, and Ornament: Renaissance Architectural Prints from Column to Cornice," shows, Roman builders were much more imaginative than later architectural experts, like Palladio and Vignola, would have us believe.
New York Observer
Jennifer Farrell Named Curator of Exhibitions at the University of Virginia Art Museum
by Andrew Russeth, August 30, 2011
The University of Virginia Art Museum has tapped scholar and curator Jennifer Farrell, who has a long history of working at institutions throughout New York and New England, to be its new curator of exhibitions. Ms. Farrell comes to the museum from the New York-based Nancy Graves Foundation, which maintains the archive of the late sculptor and painter Nancy Graves and makes grants to artists.
Before joining the Nancy Graves Foundation, Ms. Farrell served as a fellow and then assistant curator of prints, drawings and photography at the Yale University Art Gallery in in New Haven, Connecticut.
Getting into shape: Printmakers color perceptions
June 27, 2011, by Laura Parsons
"How to Steal like an Artist" is a humorous blog post by Texas-based artist Austin Kleon, full of down-to-earth advice for creative types. (Google it, if you're not reading this online where there's a hyperlink). Kleon writes that artists by nature constantly cop others' ideas and methods, adapting them for their own use. Examples of just such beneficent thievery are currently on view in the University of Virginia Art Museum's exhibition, New Images, New Techniques: Abstraction in British Screenprints circa 1970.
The seven artists included in the show not only appropriated silkscreen printing from the realm of industrial and commercial production, but they also snagged ideas from previous abstract artists as well as from each other. Drawn from the Museum's permanent collection, the works displayed reveal the dynamic interplay of ideas between artists working in close proximity, as they used the same medium to delve into relationships between shape and color on the page.
Many flower arrangers have been busy at the University of Virginia's Art Museum, as they work to prove the grounds around the museum can be just as artistic as what is inside.
Arts Briefs: U.Va. museum is as close as your computer
by Times-Dispatch Staff, March 6, 2011
The University of Virginia Art Museum has launched an online collection catalog.
The collection provides access to more than 1,000 images and accompanying catalog information for browsing, studying, research and teaching.
That '70s show: U.Va. paints an era
by Laura Parsons, March 1, 2011, issue #1009
No artist works in a vacuum. Whether consciously or un-, artists constantly respond to a host of factors: exposure to other artwork, the immediate environment, ideas discussed with creative types, political, economic, and social circumstances, etc. But inevitably, what seems radical at the moment will fade to unremarkable in the future.
So, reinvigorating the zeitgeist of the era was curator Andrea Douglas's challenge in organizing Excavating New Ground: American Art in the 1970s, currently on view at the University of Virginia Art Museum. Douglas selected 13 paintings and one sculpture from the Museum's permanent collection, most of them monumental in size, to reflect the "big" East Coast ideas of the period, which included a both/and rather than either/or approach to formerly clear-cut divisions like realism and abstraction, sculpture and painting.
NBC 29 WVIR-TV
Henry Moore's Seated Woman
February 22, 2011
CBS 19 WCAV
Seated Woman Statue Now Sits Along Rugby Road
February 22, 2011
On Tuesday, a statue entitled Seated Woman 1958-1859, was installed along Rugby Road in Charlottesville. The statue which now sits in front of the University of Virginia Art Museum is an indefinite loan from the Henry Moore Foundation.
Southern (dis)comfort: Photographers expose their roots
February 21, 2011, by Laura Parsons
"You don't have a southern bone in your body," a friend recently remarked. She meant it as a compliment, but the truth is I consider myself quintessentially southern. I was born in Lexington, to parents who were both native Virginians, and although I don't identify with bigots, moonshiners, or those who pine for the Confederacy, I do love storytelling and the melancholia of faded beauty.
The South is fundamental to my identity, just as it is for the six artists with work in the UVA Art Museum's exhibition, Southern Views/Southern Photographers. Each contributor offers a distinct aesthetic, but what Shelby Lee Adams, William Christenberry, Emmet Gowin, Sally Mann, Pamela Pecchio, and Jeff Whetstone share is a sense of place and a nostalgic impulse that finds beauty in the not-always-pretty way history - both personal and impersonal - unfolds
Framing Andy Warhol: U.Va. Art Museum shows collection of portraits and snaphsots by post-modern master
by Sofia Economopoulos, February 10, 2011
"Old-school glamour made its appearance at the University's Art Museum Jan. 14 when photography by Andy Warhol came to town. The Andy Warhol Foundation in Pittsburgh, Pa. gave more than 28,000 photographs to 200 museums across the nation. The pieces on display include the Polaroids that later became his iconic, four-color silk-screen portraits and snapshots from Warhol's photographic diary (1975-1980). The photos are striking in their variety of style and technique and prominently feature both celebrity and unknown subjects."
"These photographs are like a time capsule of New York in the 1970s and '80s," curator Matthew Affron said of the collection. "My favorites are pictures of celebrities like Debbie Harry and Margaret Hamilton, who played the Wicked Witch of the West in the Wizard of Oz... Many are spontaneous, candid snapshots of places he was and the people he saw there, and then there are the studies for portraits, so it's this back and forth between the posed and the unposed."
The Chronicle of Higher Education
Art and Alzheimer's at U.Va.
by Carolyn Mooney, February 3 , 2011
"Art engages the senses and makes few demands. It is easily appreciated for its own sake. It humanizes."
"That helps explain why more art museums are developing programs for people suffering from Alzheimer's disease and memory loss. The University of Virginia Art Museum recently began offering its Eyes on Art program, a collaboration with the Alzheimer's Association's Central and Western Virginia Chapter. Docents trained to deal with Alzheimer's patients lead them on small-group tours when the museum is closed to the public. The tours, which also include family members and care givers, typically focus on three paintings that encourage discussion and self-expression: The Lobby by Willard Franklin Midgette; Jerdon's Courser, a Frank Stella abstract; and Our Good Earth, a World War II poster by John Steuart Curry."
WVTF Public Radio
Warhol in Charlottesville
by Sandy Hausman, January 26, 2011
The artist Andy Warhol was known for thumbing his nose at the world of fine art while putting ordinary objects and portraits of celebrities on museum walls. Sandy Hausman reports on a little-known collection of Warhol's works on display at the University of Virginia's art museum.
NBC 29 WVIR-TV
U.Va. Art Museum Get Kids Jammin For Art
by Dannika Lewis, January 24, 2011
The University of Virginia Art Museum is handing over the canvas and encouraging families to enjoy art together.
NBC 29 WVIR-TV
Warhol Photographs on Display at UVA
by Derick Waller, January 19, 2011
He is known as the creator of iconic 1960s pop culture paintings, but now you have a chance to see another side of Andy Warhol.