Idea, 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.
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The Hook, 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.
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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.
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The Hook, 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.
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Newsplex.com, WCAV-TV, CBS 19. Beth On the Bright Side: Flower Exhibition, by Beth Duffy, May 5, 2011
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.
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Richmond Times-Dispatch, "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.
The Hook, "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. Read more >
NBC 29 WVIR-TV, "Henry Moore's Seated Woman," February 22, 2011
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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. Read more >
The Hook, 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
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Cavalier Daily, "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." Read more >
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." Read more >
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. Listen >
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.
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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. Read more or watch video >
Daily Progress,"Industrial Resolution" by David Maurer, December 27, 2010
It was a time when people throughout Europe were being uprooted from ancestral soil like market produce, and driven by invisible forces to large cities. The rule of nobility was being ended by mob decree and the busy work of the guillotine. Towering factory chimneys were beginning to spew smoke rising from the fires of progress. And within the human mind was flowering the profound notion of equality, staying the knee from bending to any king of flesh. Feeding this roiling sea of change were the surging rivers of awakening science and technology. Like the cave painters and stone etchers before them, the artists and writers had to document and make sense of it all. As Irish poet, writer, and physician Oliver Goldsmith shows us in his 1770 poem, "The Deserted Village," they performed magnificently.
The works of some of the greatest painters and writers of this period, roughly from the last part of the 18th century to the first part of the 19th century, are presented in a new exhibit at the University of Virginia Art Museum. Titled From Classic to Romantic: British Art in an Age of Transition, it runs through Jan. 30. "This exhibition is about one of the most tremulous periods in Western history — the age of revolutions," said Bruce Boucher, director of the Museum. "You start about 1750 with neoclassicism, which was the last age to have an unalloyed admiration for the classical world. Read more >
The Hook, The 2010 visual vault, December 23, 2010, by Laura Parsons
Despite an economic climate that challenged both art practitioners and purveyors, the Charlottesville art scene made several memorable leaps in 2010.
Man, oh, Man Ray: In late August, the University of Virginia Art Museum made another impressive showing by hosting the traveling exhibit, "Man Ray, African Art, and the Modernist Lens," which examined how Man Ray's photographs of African sculpture shifted it from being regarded as anthropological evidence to being considered fine art. Numerous lectures and a film series augmented the rich and informative main exhibition, which included not only images by Man Ray and his contemporaries but also the objects they photographed.
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WCAV CBS-19, Popular U.Va. Sculpture on the Move. December 14, 2010
The popular "Tripes" sculpture at the University of Virginia was removed from grounds Tuesday morning. Crews used a crane to lift the heavy piece of artwork that has been part of the landscape in front of Peabody Hall since last year. U.Va. Vice Provost of the Arts, Elizabeth Turner, says the 12-foot sculpture is being moved to Manassas to undergo much needed repairs. Read more >
WVIR NBC-29, U.Va. Sculpture Removed for Preservation Work. December 14, 2010
One of the sculptures outside of the University of Virginia's Peabody Hall was carefully removed early Tuesday morning so it can get some much needed sprucing up. Crews removed the Alexander Calder sculpture known as Tripes. It is now headed to northern Virginia for some preservation work. Read more >
WHTJ. Charlottesville Inside out, Season 4, #403, November 25, 2010
Visit the newly renovated U.Va. Art Museum with host Terri Allard, a local performing artist and native daughter of the region, who introduces viewers to the people and places that define the Charlottesville area. Watch now >
Daily Progress. "Ray of Light," by David Maurer, September 21, 2010
The horrific bloodletting of World War I helped ignite fires of artist expression that continue to impact human sensibilities to this day.
From the ghastly ferment arose literary voices such as those of Ernest Hemingway and F. Scott Fitzgerald. And at the vanguard of the visual arts was Emmanuel Radnitzky — known to the world as Man Ray.
The contributions of this American artist, who spent much of his career in Paris, have become increasingly appreciated since his death in 1976. Before the start of the new millennium, ARTnews, the oldest and most widely circulated art-related magazine in the world, listed Man Ray among its top 25 most influential artists of the 20th century.
Although the Philadelphia-born artist thought of himself primarily as a painter, he also was an exceptional fashion and portrait photographer. This latter pursuit is the focus of the University of Virginia Art Museum’s major exhibit, Man Ray, African Art, and the Modernist Lens. Read more >
The Hook. "Out of Africa: Man Ray adjusts the lens," by Laura Parsons, August 30, 2010
"Wow" is not a word you see on this page. So pay attention. Almost a year ago, University of Virginia Art Museum director Bruce Boucher announced the museum would be hosting a Man Ray show this fall. Since then, I’ve been counting the days. But I had no idea what a rich and enriching experience awaited me. Wow.
More than an exhibition about Man Ray’s work, Man Ray, African Art, and the Modernist Lens examines a zeitgeist moment in 20th century art and culture in the U.S. and Europe, when African art shifted from being regarded as anthropological evidence to being celebrated as fine art worthy of appreciation and imitation. The show includes over 50 photographs by Man Ray, as well as images by his contemporaries (e.g. Walker Evans and André Kertész), displayed alongside the actual African pieces photographed. In addition, the exhibit presents African-inspired artwork from the period, along with books, magazine articles, and catalogues. Read more >
Cville. "The Bayly [U.Va. Art Museum] looks at African art through Man Ray's lens, Into the art of darkness" by Andrew Cedermark. Issue #22.34 :: 08/24/2010 - 08/30/2010
"From the entrance on Rugby Road, the event itself looked to have wilted in the 92 degree afternoon heat; it was move-in day at U.Va., and students rode past the Bayly Building in the backs of pickup trucks, beside their mattresses and couches. Theirs was a trip into the heart of darkness worthy of a new exhibit at the U.Va. Art Museum, Man Ray: African Art and the Modernist Lens, which was celebrated with a low-key three hour community event dubbed Man Ray Day." Read more >
Newsplex.com. "Man Ray Day Celebrates New Exhibit, African Culture," August 21, 2010
The University of Virginia Art Museum held a festival dedicated to African culture Saturday, in celebration of their new exhibit "Man Ray, African Art and the Modernist Lens." Festival-goers made their own African art, watched tribal performances and took tours of Man Ray's exhibit, featuring his work. Bruce Boucher is the museum's director. He says Man Ray was influential in shedding light on African art. "What strikes me about these images is their potency," Boucher explains. "They are the perfect balance between what's real and abstract." The exhibit will run until October 10.
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NBC29.com. "Exhibit at U.Va. Art Museum Focuses on Man Ray," August 21, 2010
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Unbeige. "University of Virginia Art Museum to Celebrate 'Man Ray Day'", by Stephanie Murg, August 10, 2010
"Dry those suspiciously globular tears! Man Ray Day is almost upon us. On Saturday, August 21, the University of Virginia Art Museum will celebrate the artist (almost exactly 120 years after his birth as Emmanuel Radnitzky) in conjunction with its current exhibition, Man Ray, African Art, and the Modernist Lens, which explores the role of photography in changing the perception of African objects from artifacts to fine art." Read more >
WVTF Public Radio. "Man Ray exhibit at U.Va.", by Sandy Hausman, August 9, 2010.
"The University of Virginia Art Museum has a new exhibit on display. It is an interesting mix of photographs and African sculptures centered around the work of modern artist Man Ray." Listen >
The Hook. "Face forward: Uncapping the lens of vulnerability," by Laura Parson, July 26, 2010
I thought I knew what I was in for when I visited the University of Virginia Art Museum’s exhibit, "The Figure in Photography, 1995-2005," curated by museum ace Andrea Douglas and art prof William Wylie. But instead of images examining the human body, what I found was a show highlighting work by eight photographers who, with one exception, explore context-specific, color portraiture.
Each artist dismantles the artificial veneer of formal portraits to disclose the vulnerability of the subjects in front of the lens. Several of the show’s photographers work within particular environments, like Dave Woody, who shoots adolescent boxers before and after bouts. Read more >
UVA Today. "Conservator Gives Museum's Statues a Spring Cleaning Before Exhibit," March 24, 2010
Adam Jenkins, a visiting conservator, spent several days in residence at the museum repairing two early 20th-century sculptures that will go on display April 2, along with other key pieces from the University collection.
"Pause in a Dance" (1908), by German sculptor Reinhold Begas, is a cast bronze statue of a sensuous, partially veiled female dancer holding a tambourine. The museum purchased the sculpture last year shortly after Bruce Boucher became its new director. Boucher had been familiar with the piece and coveted it.
" 'Pause in the Dance' struck me as a major acquisition of a major piece of sculpture by a contemporary of Rodin," Boucher said.
"Thomas Fortune Ryan" (1910) is a marble bust by French sculptor Auguste Rodin. Read more >
Richmond Times-Dispatch. "Exhibit at U.Va. explores ageless expression," February 21, 2010
"Dorothy C. Wong gazed at an inscrutable face of stone and smiled. Like countless others before her, the associate professor of East Asian art at the University of Virginia was experiencing the silent communion of thought and soul-stirring sensation that great art can inspire. A thousand years and more have passed since skilled hands, using mallet and chisel, shaped the sacred countenance of Buddha and other Buddhist deities now on display in the main gallery of the U.Va. Art Museum. Wong is the curator of "Treasures Rediscovered: Chinese Stone Sculpture from the Sackler Collections at Columbia University." Read more >
UVA Today. "A Little Bit of Russian Comes to U.Va. Language Students," by Jane Ford, February 10, 2010.
"A group of Russian language students arrived at the University of Virginia Art Museum Thursday just as the museum was closing for the day. They were there for a special tour in Russian led by museum volunteer docent Daria Kolchugina.
The tour, which lasted a half hour, provided an opportunity for the students, who were from a number of different advanced language classes, to hear someone other than their teacher speak Russian.
"It's a chance for the students to test their language skills outside the classroom and see how they can handle conversations," said assistant professor Lilia Travisano, who heads the Russian language program in the College of Arts & Sciences. "It's is a rare chance to hear a native speaker. It's a little bit of Russia coming to our students." Read more >
WVTP Public Radio, Roanoke, Va.
Studio Virginia. "Ancient Chinese sculptures at the UVA Art Museum," February 04, 2010
Virginia Living Blog."Yes, It's Art," February 3, 2010.
"The first time U.Va. displayed an Alexander Calder "stabile," in the 1950s, the work was met with questions and dark Cold War insinuations. Now, the university is exhibiting another Calder installation on its historic grounds, and the reception is entirely different.
Since last March, a new presence has dominated one of the most heavily trafficked spaces on the grounds of the University of Virginia. The monumental, 12-foot-tall Tripes, which now stands near the entrance of Peabody Hall, was made in 1974 by renowned American modernist Alexander Calder. Even today, it resonates with echoes of conspiracy and innovation that once characterized its maker and his oeuvre. It also recalls the once notorious and now mostly forgotten presence of another Calder sculpture, Steel Fish, which briefly stood in front of the Rotunda more than 60 years ago. " Read more >
Charlottesville Daily Progress. "The Spirit Inside the Stone," by David A. Maurer, January 24, 2010.
On a recent morning Dorothy C. Wong gazed at an inscrutable face of stone and smiled.
Like countless others before her, the associate professor of East Asian art at the University of Virginia was experiencing the silent communion of thought and soul-stirring sensation that great art can inspire.
A thousand years and more have passed since skilled hands, using mallet and chisel, shaped the sacred countenance of Buddha and other Buddhist deities now on display in the main gallery of the U.Va. Art Museum. For the next two months, these ancient works of art will fill the large room with an unseen radiance that can be felt as surely as a human touch.
Wong is the curator of "Treasures Rediscovered: Chinese Stone Sculpture from the Sackler Collections at Columbia University." This is the final stop in the two-year exhibition tour organized by the Miriam and Ira D. Wallach Art Gallery at Columbia.
Considered one of the most notable collections of Chinese stone sculpture in the nation, it includes 21 monumental sculptures that include steles, full figures, heads of divinities and funerary objects. Some of the pieces are more than 2,000 years old, and together they provide a visual time line of the spread of Chinese Buddhist culture along the extensive Asian trade routes known as the Silk Road." Read more >
Gabriel Laderman: Unconventional Realist, exhibition news
The Wall Street Journal, "Murderers and Metaphors: And other shows worth seeing in New York's galleries," by Lance Esplund
"Native New Yorker Gabriel Laderman (born in 1929), though relatively unknown today, is one of the strongest and most inventive figurative painters now living. During the 1960s, when Pop Art and Abstract Expressionism reigned, he was a leading pioneer in re-establishing metaphoric, post-abstract figuration. This compact, traveling retrospective -- the artist's first -- of some two dozen paintings from the 1960s through the 1990s, now making its fourth of five stops, is welcome and long overdue." Read more >
WINA, Charlottesville-Right Now: Bruce Boucher (Director of the U.Va. Art Museum), Charlottesville Podcasting Network, September 22, 2009
Host Coy Barefoot talked with U.Va. Art Museum director Bruce Boucher about the reopening of the museum and the exhibition Thomas Jefferson's Academical Village: The Creation of an Architectural Masterpiece.
Cavalier Daily, "Calder Mobile Debuts at Art Museum: 'Untitled 1976,' on loan from the Calder Foundation, decorates entryway of Bayly Building," by Virginia Terwillinger, September 17, 2009
"The University Art Museum installed Alexander Calder's 1976 mobile, called Untitled 1976, in the entrance gallery of the Bayly Building Sept. 9."
The mobile added a missing piece to the decor, Art Museum Director Bruce Boucher said. The Untitled Calder mobile links together two of the museums signature pieces located in the entrance gallery: Frank Stella's Jerdon's Courser, an abstract piece, and Willard Midgette's Lobby, a realist painting. All three works are pieces from the 1970s, the peak decade of the abstract movement, Boucher said.
The black mobile in the museum is made of sheet metal, rod and wire and moves with changing air currents generated by the museum's new climate control system.
Read more >
WVTF Public Radio (Roanoke VA), "University of Virginia Art Museum", September 15, 2009
The dust has settled, the workmen have gone home, and the curtain is up on a newly renovated art museum at the University of Virginia. WVTF's Sandy Hausman reports on what $2.5 million and five months of work have done for the Bayly building.
Charlottesville Daily Progress, "New research revives exhibit on Jefferson's Academical Village," by Olin Ericksen, September 12, 2009
Sitting cross-legged in the sunlight, University of Virginia student Ariel Cornett looked up from studying to admire her setting. The Rotunda, columned pavilions, a lush rectangular lawn flanked by hidden ornate gardens—close to how Thomas Jefferson imagined them nearly 200 years ago—surround her. "It’s beautiful," she said. "It inspires you."
Now an updated exhibit opening today at the newly renovated UVa Art Museum offers Cornett and others a chance to see how it got that way. Thomas Jefferson’s Academical Village: The Creation of an Architectural Masterpiece delves deep into the UVa founder’s crown jewel in design and building. Read more >
Charlottesville Daily Progress, "U.Va. Art Museum reopens today," By Olin Ericksen, September 12, 2009
Lights, classrooms and climate control. After five months and a $2 million-plus renovation, the University of Virginia Art Museum is ready for visitors again. "The university, in committing itself to the renovation, sends a signal to the community that it takes the museum and its future seriously," said Bruce Ambler Boucher, UVa Art Museum director. "They've now given us a building that will help us improve our game immeasurably." Read more >
WVIR NBC-29, "U.Va. Art Museum Re-opens," September 11, 2009
The art museum director, Bruce Boucher, hopes the renovation helps bring the university and the community together. "We hope that by infusing new life into the physical plant of the museum that we're also able to infuse new life into the kind of exhibitions that we can show and reach out to the university and the community at wide and become a forum for the discussion of art and the enjoyment of art in Charlottesville," he stated. Read more >
WCAV CBS-19, "U.Va. Art Museum Reopens After Renovations," September 11, 2009
The museum has more exhibit space, new classrooms, better lighting for the artworks, and a new climate control system to protect the works. Upstairs, you'll find an exhibit on Thomas Jefferson and the design for the University of Virginia, including original drawings by Jefferson. Read more >
WVTF Public Radio (Roanoke VA), "U.Va. Art Museum Re-opens," September 10, 2009
Studio Virginia featured a story about the reopening of the U.Va. Art Museum and the new exhibits Thomas Jefferson's Academical Village: the Making of an Architectural Masterpiece, The Expanding Eye: Art Inspired by Edgar Allan Poe and Abstract Photography: Selections from Glenstone. Listen >
C-ville, "New Alexander Calder piece bound for U.Va.," by Brenda Fitzgerald, September 8, 2009
...it sounds as if the UVA Art Museum will shortly unveil a new symbol of its optimism. Vice Provost for the Arts Elizabeth Hutton Turner tells C-VILLE that an untitled mobile by Alexander Calder—the second Calder piece to reach the UVA Grounds in the last year—will hang from the ceiling of the museum, possibly as soon as the Bayly building reopens its doors to the public on September 12. Read more >
The University of Virginia Magazine. "The Vision for the Village: Jefferson's drawings show multiple influences and singular genius" by Maura Singleton, Fall 2009.
"Before the University of Virginia was canonized as an architectural masterpiece, it was disparaged for the odd proportions and outdated style of its pavilions and "frail" materials. And long before Thomas Jefferson was hailed for his genius, skepticism persisted that such an amateur could have designed it himself.
"Jefferson died in 1826 believing he had created a leading educational institution and an architectural landmark. Posterity continues to reappraise it; perceptions have obviously improved, though speculation over the sources of his ground plan—the gardens at Marly-le-Roy? The Hôtel de Salm in Paris?—has become an absorbing hair-splitting exercise among historians and critics.
"For U.Va. architectural historian Richard Guy Wilson, ongoing research has strengthened his conviction that the University was, ultimately, Jefferson’s own design. In the U.Va. Art Museum’s current exhibit, "Thomas Jefferson’s Academical Village: The Creation of an Architectural Masterpiece, 1817-1826," his rule breaking reveals itself. A reprise of a 1993 exhibit, the current show explores the genesis of the University through a trove of original drawings, Jefferson’s correspondence with colleagues and newly gleaned information about the construction process." Read more >
UVA Today, "Polishing a Gem: U.Va. to Renovate and Expand Bayly Building", July 2, 2009
"The University of Virginia is moving forward with a $2.5 million renovation of the Thomas H. Bayly Building, home of the U.Va. Art Museum.
The decision to proceed with a renovation of the building - designed in the Beaux Arts style by former architecture dean Edmund S. Campbell - reflects the first phase of the University's commitment to transform and expand the space into a world-class academic museum, said Elizabeth Hutton Turner, vice provost for the arts. "The Bayly is a fine and beautiful gem in need of extensive polishing," she said.
"The second phase of the museum's renaissance will include a four-level, 20,000 gross-square-foot addition on the west side of the existing building, currently in the planning stage. The project will support the museum's teaching and exhibit missions by providing expanded exhibit and teaching galleries; improved art storage, art handling and art conservation facilities; additional offices; and other support spaces."
Read more >
Albemarle, June-July 2009
The magazine featured the Museum's special fall exhibition, Jefferson's Academical Village: The Creation of an Architectural Masterpiece, opening September 12:
"Don't miss a unique look into the University of Virginia's past in the upcoming exhibition by curator, architectural historian, and University professor Richard Guy Wilson…". Read more >
Richmond Times Dispatch, "U.Va. show focuses on French art" by Roy Proctor, March 29, 2009
The proof lies in the 88 paintings, drawings, prints, sculptures and tapestry screens in Matisse, Picasso and Modern Art in Paris, an exhibition at the University of Virginia Art Museum that bears witness to Jones' collecting acumen.
Nothing in Jones' conventionally privileged Petersburg upbringing or Virginia education indicated that his artistic tastes would run so far ahead of most of his Virginia peers after he settled into a distinguished career as an admiralty lawyer in New York City. Read more >
The Cavalier Daily. "TJ's New Director, Incoming director of the University Art Museum hopes to promote a well-rounded education with increased museum functionality," by Sara Danver, March 26 2009
"Being the director of a small art museum is a bit like being a small town doctor," University Art Museum Bruce Boucher said. "You end up treating the whole family — and everyone is related to Thomas Jefferson."
Mr. Jefferson led the recently hired Boucher to the University by way of a book he wrote about Andrea Palladio, an Italian architect whose work greatly influenced Jefferson's designs. Sound familiar? Think "Six Degrees of Kevin Bacon." Neither Bacon nor Palladio, however, can take all of the credit. Boucher already had a vested interest in the University through family connections, including a brother who graduated from the Medical School. Read more >
WMRA, 103.5 FM. Wednesday, March 11
Curators Matthew Affron and John Ravenal discussed the special exhibition Matisse, Picasso, and Modern Art in Paris with Peter Solomon.
"The extensive collection of European modern art began a two-year tour around Virginia this month. Sixty years ago, a private donor gave the paintings away, splitting them between the University of Virginia's Art Museum and the Virginia Museum of Fine Arts in Richmond. This touring exhibition reunites the works for the first time for display in Charlottesville, Winchester, Abingdon and Richmond."
Download mp3 >
Download transcript >
UVA Today. "Library Staffer's Twin Passions Yield Valuable Online Tool to Study Ancient Coins," February 18, 2009
Ethan Gruber has two passions: Roman history and computer technology. …Gruber, who works with faculty members to make their scholarship available through the Web in his library job, saw an opportunity to bring the art museum's coin collection to a wider audience. From his own experience in the numismatics class and discussions with [U.Va. art history professor John ] Dobbins, Gruber knew his idea to digitize and make the museum's coin collection available on the Web would be a viable project. Read more >
WVTF. "Art Activity," February 3, 2009
Art lovers may be seeing more activity at the University of Virginia's museum, where a new director is taking the helm and promising change. WVTF's Sandy Hausman reports on who he is, and what he has in mind. Listen >
The Cavalier Daily. "U.Va. Art Museum gains new director" by Bethel Habte, Cavalier Daily Senior Writer; January 30 2009
University faculty, museum staff, administrators and students gathered yesterday at the University Art Museum to witness the introduction of its new director, Bruce Ambler Boucher.
"It's a great honor to have been chosen by the search committee to become the next director of the University Art Museum," Boucher said, thanking the crowd for being indoors with him on the unseasonably warm winter afternoon.
"In Chicago we call this a spring day," he joked. Read more >
C-ville. "UVA announces new director " by Chiara Canzi, January 29, 2009
At a press conference today, UVA announced Bruce Boucher as the new director of the University of Virginia Art Museum. Boucher, an architectural historian, educator and museum curator, comes to the University from the Art Institute of Chicago. His experience in the field spans more than 35 years.
This afternoon, Interim Director Elizabeth Turner and UVA Provost Tim Garson introduced Boucher to a group of faculty, University officials and students as "a versatile leader and effective communicator." "Bruce comes to UVA at the right moment," said Turner, "as we begin to imagine and move forward with the newly expanded role of the University Museum." The intention is to physically increase the size of the collection and increase the profile of the museum nationally. … "I find it very heartening that the University of Virginia is seeking to raise the profile of the arts and strengthen the art museum in a time when, let's face it, many universities are closing museums and selling off their collections," he said. Read more >
Daily Progress. "UVA announces new director" by Daily Progress Staff, January 29, 2009
Bruce Ambler Boucher will assume the post March 1. UVa officials introduced him Thursday afternoon to administrators, faculty members, museum staff members, students and friends in the museum.
Boucher has been curator of European sculpture at the Art Institute of Chicago since 2002. He is an expert on the 16th-century Italian architect Andrea Palladio, whose work had a profound influence on the architecture of the Western world. Thomas Jefferson studied Palladio's work as he prepared to design UVa's Academical Village. Read more >
Daily Progress. "Drawing on the political climate" by David Maurer. January 18, 2009
As many as a 100 examples of beautiful things created by Oliphant are on display in the University of Virginia Art Museum through March 8. [Exhibition extended to March 13.] The exhibit, Leadership: Oliphant Cartoons and Sculpture from the Bush Years, includes cartoon drawings, pencil sketches, oversized charcoal caricatures and sculptures in wax and bronze.
The man widely considered the dean of the editorial cartoon profession will be providing the public with a rare opportunity to watch him plying his trade during a special event Friday. From 5:30 to 7 p.m. Oliphant will draw and converse with political satirist and writer P.J. O'Rourke and artist and art commentator William Dunlap in the Harrison Institute auditorium of the Small Special Collection Library at U.Va.
… An artist who greatly influenced Oliphant was 19th-century French painter and caricaturist Honore Daumier. …In a magnificent salute to this connection, the UVa Art Museum is accompanying Oliphant's exhibit with one featuring works of Daumier, who died in 1879. With the Line of Daumier presents paintings, drawings and lithographs of the famous artist, some of which are on loan from The Phillips Collection…. Read more >
The Hook, November 6, 2008, "The future was then: Hideyo Okamura channels El Lissitzky" by Laura Parsons
"...For two weeks in September, contemporary artist Hideyo Okamura occupied the Museum's south gallery- a.k.a. the "Pine Room"- and transformed it into a modern work of art designed to showcase El Lissitzky's visionary prints. ...The interplay between Lissitzky's prints and Okamura's space is dynamic. Each enlivens the other. Without Lissitzky's portfolios, Okamura's exquisitely detailed room would lack context. Likewise, Lissitzky's 1920s prints gain new vitality from Okamura's staging.
Stellar both visually and intellectually, "El Lissitzky: Futurist Portfolios" is not to be missed." Read more >
The Cavalier Daily, October 2, 2008, " U.Va. Art Museum presents: El Lissitzky", by Jeannette Williams
" 'Imagine a moment when artists are asked to invent a new language of Art to convey a new way of being in this modern world.' This challenge is posed by the press release for the new El Lissitzky exhibit at U.Va's Art Museum. Located on Rugby Road, an art museum might not be the first thing you'd expect to find on that infamous stretch of asphalt, nor an exhibit from one of the progenitors of a style of art combining the geometry of space with movement. Until Dec. 28, however, that's exactly what you'll find there. Lissitzky's exhibit will be hosted on the first floor of the museum and will house two complete portfolios of his art, Proun and Victory Over the Sun." Read more >
Falls Church News-Press on William Christenberry: Site/Possession, at the American University Museum at the Katzen Arts Center: "Context is a funny thing. It can color and flavor things in unexpected ways. The current offerings at Katzen Arts Center feature the art of southerners, or those that had their roots in the South. ....What seems curious and quirky at first becomes more and more menacing as the space pinches down on you. There you find hooded portraits of Bubbas too brave to show their faces."
Organized by the University of Virginia Art Museum William Christenberry: Site/Possession, this exhibition features 50 of Christenberry's rarely-exhibited drawings and the Klan Room Tableau, which includes over 200 works, is on view at the American University Museum at the Katzen Arts Center through May 11, 2008. The Eagle, American University's independent student voice reported: "Artist William Christenberry is no stranger to odd looks from store clerks. During a tour of his new exhibit "Site/Possession," which opened Tuesday at the AU Museum, the artist recounted one such instance. "'I have to ask, sir,'" Christenberry recalled the cashier saying, "'What are you going to do with 20 G.I. Joe dolls?' And I said, 'You wouldn't believe me if I told you.'"It is hard to believe what Christenberry can do with those dolls, or paint or ink for that matter." Read more >
From The Washington Post, "Southern Trees: Rooted in His Memory". Washington artist William Christenberry, 70, a persistent man, has revisited Hale County, Ala., at least once a year for more than half a century. His exhibition "Site/Possession" is on view in Charlottesville at the University of Virginia Art Museum... its photographs and sculptures and abstract-expressionist drawings, which are expressionist but not entirely abstract -- evoke that hardscrabble, kudzu-covered, rural Southern place... Read more >