BGuthrie Photos: DC -- American University -- Katzen Arts Center -- 2019D Early Fall Exhibit: Moves Like Walter: New Curators Open the Corcoran Legacy Collection

DC -- American University -- Katzen Arts Center -- 2019D Early Fall Exhibit: Moves Like Walter: New Curators Open the Corcoran Legacy Collection:

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Description of Pictures: Moves Like Walter: New Curators Open the Corcoran Legacy Collection
September 3-December 15, 2019
Moves like Walter: New Curators Open the Corcoran Legacy Collection is a product of Director and Curator Jack Rasmussen’s spring course on curatorial practice. Upon receipt of the Corcoran Collection, graduate students in art history, arts management, and studio art have curated a playful and provocative interpretation of the 9,000-piece gift. The exhibition is inspired by Walter Hopps, briefly the Director of the Corcoran and an erratic but seminal American curator of contemporary art. The curators have divided their responses into five sub-groups, Boundless: Existing Within Ambiguous Space, The Road Home, The Selfless Spirit: Nature vs. Nurture and the Effects of Motherhood in the Corcoran Collection, American Legacy: Reconsidering Non-Western Subjects in the Corcoran Collection, and Redefining the Gaze: Shifting the Power.
Featuring artists: William Albert Allard, Lynn Allen, Milet Andrejevic, Tania Antoshina, Demeter Balla, Frederic Clay Bartlett, Crawford Barton, Ruth Bernhard, George Biddle, Irving Block, Mimi DuBois Bolton, Mary Clark Branley, Karen Bucher, Kenneth Callahan, Victor Candell, Joan Cassis, Paula Crawford, Regina DeLuise, Marjoree Nee Deo, Fannie S. Eanes, Jimmy Ernst, Alan Feltus, Katherine Fishman, Michael Goldberg, Robert Goodnough, Ed Grazda, Steve Hart, Charles Webster Hawthorne, George Peter Alexander Healy, Dion Johnson, Simpson Kalisher, Earl Cavis Kerkam, Minnie Klavans, Leon Kroll, Alexander Lapin, Louis le Brocquy, Nancy Lensen-Tomasson, Emanuel Gottlieb Leutze, Hung Liu, Reuben Nakian, Robert C. Osborn, Mark Power, Gregorio Prestopino, J. Baylor Roberts, Joseph F. Rock, Joseph Rodriguez, Thomas Prichard Rossiter, Gayle Rothschild, Stephen Shames, Joseph Shannon, Callie Shell, Thomas H. Shuler Jr., Gladys Nelson Smith, Carroll Sockwell, Elisabeth Sunday, Steve Szabo, Edmund Charles Tarbell, Joyce Tenneson, William Tolliver, Arthur Tress, and Bernis von zur Muehlen.

The Corcoran Gallery of Art, one of the first private museums in the United States, was established in 1869 by William Wilson Corcoran and expanded in 1880 to include the Corcoran College of Art and Design with the mission "dedicated to art and used solely for the purpose of encouraging the American genius." In 2014, the Corcoran transferred the college to the George Washington University and distributed the works from its Collection to museums and institutions in Washington, DC.

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Specific picture descriptions: Photos above with "i" icons next to the bracketed sequence numbers (e.g. "[1] ") are described as follows:
1. KATWAL_190907_001.JPG: Moves Like Water New Curators Open the Corcoran Legacy Collection
2. KATWAL_190907_003.JPG: Moves like Walter: New Curators Open the Corcoran Legacy Collection is a product of Director and Curator Jack Rasmussen's spring course on curatorial practice. Upon receipt of the Corcoran Collection, graduate students in art history, arts management, and studio art have curated a playful and provocative interpretation of the 9,000-piece gift. The exhibition is inspired by Walter Hopps, briefly the Director of the Corcoran and an erratic but seminal American curator of contemporary art. The curators have divided their responses into five sub-groups, Boundless: Existing Within Ambiguous Space, The Road Home, The Selfless Spirit: Nature vs. Nurture and the Effects of Motherhood in the Corcoran Collection, American Legacy: Reconsidering Non-Western Subjects in the Corcoran Collection, and Redefining the Gaze: Shifting the Power.
3. KATWAL_190907_006.JPG: The Corcoran Gallery of Art, one of the first private museums in the United States, was established in 1869 by William Wilson Corcoran and expanded in 1880 to include the Corcoran College of Art and Design with the mission "dedicated to art and used solely for the purpose of encouraging the American genius." In 2014, the Corcoran transferred the college to the George Washington University and distributed the works from its Collection to museums and institutions in Washington, DC.
4. KATWAL_190907_009.JPG: The Corcoran Gallery of Art's mission statement proclaimed that it would use art to foster the "American Legacy." However, upon examination of the paintings in the American University Museum's 9,000-piece gift, we found that most representations of people of color were created by white artists. This realization catalyzed a project that specifically examined the Corcoran Gallery of Art's history of collecting, formation, and intentions. We intended to think about whose voices were being validated and made commercially valuable. Who pictured whom, and why? This is a point of intervention. Although institutions have come a long way in terms of diversity and representation, our group finds that being as transparent as possible about the circumstances in which these paintings were collected, and why, is very potent. We hope that our selection of works will cause visitors to become radically skeptical of even the most encouraging and promising institutional mission statements. We chose to include two contemporary works to demonstrate how the Corcoran Gallery of Art's acquisition practices became more diverse, Hung Liu's Children at Work: Boy with Pots (2000) and Tania Antoshina's The Turkish Bath (1999). Both works, made by female artists, demonstrate the dichotomy of "orientalism"-either revealing its processes or exploiting it. We include these works not only to reflect how the institution's goals for the collection have changed over its lifetime, but to reveal how artists see, respond, and care about these issues as well.
5. KATWAL_190907_012.JPG: Tania Antoshina The Turkish Bath from the series "Museum of a Woman", 1999
6. KATWAL_190907_020.JPG: Thomas Prichard Rossiter Rebecca at the Well, 1852
7. KATWAL_190907_026.JPG: William Tolliver Noises in the Dark, n.d.
8. KATWAL_190907_030.JPG: These paintings, Noises in the Dark by William Tolliver and Terai Hara by George Biddle were chosen for their depictions of people of color. We were interested in both the relationships that the artists had with their subjects, as well as with the Corcoran Gallery of Art. One of the artists (Tolliver) was a person of color and the other was not (Biddle). We hope these artworks will generate conversations about artistic purpose; what it means to represent someone of another culture or race, and to represent someone of one's own culture or race. These two paintings are purposefully placed alongside other artworks with non-western subjects that hold similar messages.
9. KATWAL_190907_035.JPG: George Biddle Terai Hara, 1922
10. KATWAL_190907_042.JPG: Fannie S. Eanes Still Life with Oriental Objects, c 1931
11. KATWAL_190907_045.JPG: These two works are juxtaposed to make a direct comparison about the valued artistic genre by female artists and investigate the use of orientalism by artists. Eanes was a student at the Corcoran who valued her studies, made clear in her will and in the gifting of her estate to the Corcoran. Paul Richard describes her use of still life and orientalism as appropriate for young ladies in a 1975 Washington Post article. Liu is a contemporary artist who was born in China but immigrated to America to pursue an MFA. She has described her work as a consideration of "becoming American." By placing these works together, we hope to spark conversations about gender, subject matter, and "appropriateness" in an American artistic context.
12. KATWAL_190907_047.JPG: Hung Liu Children at Work: Boy with Pots, 2000
13. KATWAL_190907_054.JPG: Frederic Clay Bartlett Canton Street, 1919
14. KATWAL_190907_058.JPG: Joseph F. Rock Untitled, 1928
15. KATWAL_190907_062.JPG: Unidentified The Three Huidekoper Children, c 1853
16. KATWAL_190907_066.JPG: J. Baylor Roberts Untitled, 1937
17. KATWAL_190907_071.JPG: Regina DeLuise Girl on Rock, Chandrunk, Nepal, 1994
18. KATWAL_190907_075.JPG: Emanuel Gottlieb Leutze The Amazon and Her Children, 1851
19. KATWAL_190907_080.JPG: Arthur Tress Girl in Mask, Rhinebeck, New York, from the series "Theater of the Mind," 1975
20. KATWAL_190907_083.JPG: Arthur Tress Mother and Daughter, New York City from the series "Theater of the Mind," 1978
21. KATWAL_190907_086.JPG: Joseph Rodriguez Elim Transitional Housing, St. Paul, 1999
22. KATWAL_190907_089.JPG: William Albert Allard Untitled, 1981/1989
23. KATWAL_190907_092.JPG: Elizabeth Sunday Dogon Mother from the series "Africa I", 1987
24. KATWAL_190907_097.JPG: Boundless: Existing Within Ambiguous Space
25. KATWAL_190907_099.JPG: Charles Webster Hawthorne The Fisherman's Daughter, c 1912
26. KATWAL_190907_105.JPG: Earl Cavis Kerkam Composition with Forms of the Head, 1964
27. KATWAL_190907_109.JPG: Milet Andrejevic Private Indicator, 1961
28. KATWAL_190907_114.JPG: Marjoree Nee Deo Foliage, 1962
29. KATWAL_190907_119.JPG: Robert Goodnough The Bug, c 1858
30. KATWAL_190907_127.JPG: Minnie Klavans Nanjemoy, 1972
31. KATWAL_190907_133.JPG: Jimmy Ernst Icarus, n.d.
32. KATWAL_190907_137.JPG: Paula Crawford Cat's Game, 1998
33. KATWAL_190907_145.JPG: Katherine Fishman Cinderella from the series "Dayton, Women, and Dreams," 1980
34. KATWAL_190907_148.JPG: Victor Candell Forest Theme, 1954
35. KATWAL_190907_152.JPG: Louis Le Brocquy Study for Head of Keats, 1968
36. KATWAL_190907_156.JPG: Kenneth Callahan The Waiters, 1964
37. KATWAL_190907_164.JPG: George Peter Alexander Healy Emily Clarissa King Barlow Volk and her daughter, Honora, 1862
38. KATWAL_190907_167.JPG: Edward Grazda Mazar-I Sharif, Afghanistan, 1997
39. KATWAL_190907_170.JPG: Stephen Shames El Paso Child Crisis Center, 1999
40. KATWAL_190907_177.JPG: Mark Power Untitled, 1973
41. KATWAL_190907_180.JPG: Alexander Lapin Mother and Daughter from the series "A Kiss," 1987
42. KATWAL_190907_187.JPG: Alan Feltus Two Women, one seated, curtain, 1972
43. KATWAL_190907_192.JPG: Nancy Lensen-Tomasson "Magnolia" Series: Sisters, 1982
44. KATWAL_190907_198.JPG: Gladys Nelson Smith Reclining Female Nude, 1929-1930
45. KATWAL_190907_201.JPG: Lynn Allen Jasper Stone, 1977
46. KATWAL_190907_207.JPG: Lynn Allen Masked Woman, 1979
47. KATWAL_190907_209.JPG: Lynn Allen Torso, 1979
48. KATWAL_190907_215.JPG: Irving Block Seated Woman Knee to Elbow, 1966
49. KATWAL_190907_219.JPG: Reuben Nakian Leda & Swan, 1968
50. KATWAL_190907_226.JPG: Callie Shell Seattle, 1999
51. KATWAL_190907_229.JPG: Bernis Von Zur Muehlen Marilyn, 1981
52. KATWAL_190907_233.JPG: Bernis Von Zur Muehlen Teri, 1982
53. KATWAL_190907_244.JPG: Joyce Tenneson Self Portrait, 1976
54. KATWAL_190907_248.JPG: Joyce Tenneson Self Portrait, 1975
55. KATWAL_190907_254.JPG: Leon Kroll Girl on Balcony, 1934
56. KATWAL_190907_260.JPG: Joseph Shannon The Hangman's Wife, 1970
57. KATWAL_190907_265.JPG: Mary Clark Branley Child with a Blindfold, 1978
58. KATWAL_190907_268.JPG: Mark Power Untitled, 1979
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2019 photos: Overnight trips this year: (May, August, October, December) Four trips to New York City (including the United Nations, Flushing, and the New York Comic-Con), (July) My 14th consecutive San Diego Comic-Con (including sites in Utah). (August) Massachusetts (Boston, Stockbridge, and Springfield) to experie/nce rain in another state, and (August) Asheville, NC to visit Dad and his wife Dixie. Equipment this year: I continued to use my Fuji XS-1 cameras but, depending on the event, I also used a Nikon D7000. Number of photos taken this year: about 582,000.
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