Art and Design Commons^™

Cubism In America, Donald Bartlett Doe

Sheldon Museum of Art: Catalogs and Publications

Synthetic Cubism not only synthesized "real" materials with painted/constructed reality, but also synthesized earlier discoveries, permitting objects to seem tangible while forms and surfaces were shuffled in space as thin as gossamer.

World War I ended the joint investigations of Picasso and Braque and dispersed the international community of artists who had gathered in Paris. Excepting Juan Gris and Ferdinand Leger, all of these artists, including the American artists, were on-lookers. Few grasped all of the issues and formal ideas with which Braque and Picasso experimented. Most seized upon an aspect of the style and wedded it to theories of …

Jene Highstein: Shapes In The Stream, Donald Bartlett Doe, George W. Neubert

Sheldon Museum of Art: Catalogs and Publications

This exhibition of Jene Highstein's sculpture initiates a series of exhibitions entitled the Resource Series. This series is a two-fold exhibition program, the first is: Resource and Response which will be a series of small scaled exhibitions in response to current issues and ideas of contemporary American art and artists. These Response exhibitions are to be far ranging in subject and content, but will reflect a regional component. The second part of the Resource Series is entitled Resource and Reservoir and these exhibitions will be drawn from the Sheldon Gallery's important permanent collection and will focus on subjects and themes …

Goldberg, Donald Bartlett Doe

Sheldon Museum of Art: Catalogs and Publications

This exhibition, the second in the Resource and Response Series, assembles approximately a score of works which span nearly four decades of Michael Goldberg's career as a painter. In so doing, this exhibition also reflects upon perhaps the most fabled chapter in the history of American art: the emergence of the New York School and, with it, the creation of an "independent, self-generating, and specifically American art.'" Here, as for all shows in this series, the intent is not to rival a full retrospective, but to develop a focused response to prominent issues and concerns in the world of contemporary …

Alice Aycock: The Machine That Makes The World, Alice Aycock

Sheldon Museum of Art: Catalogs and Publications

"There is a state of free fall where you don't know up, down, left, right, backwards or forwards; they're totally confused. Those seem to me to be the six ways of orienting yourself. What I would like to do is probably just disorient all those sensations. On the other hand, that also can be a very euphoric state; it can be very pleasing and people engage in all kinds of activities which involve this titillation (skydiving, amusement parks) ... What are they all but ways of titillating yourself? They always have to do with whirling in space, for pleasure as …

Before And After, Donald Bartlett Doe

Sheldon Museum of Art: Catalogs and Publications

The contrast between the appearance of a work of art which has been professionally restored and one which continues to suffer from at least some of the ills which art can be heir to can seem nearly miraculous, or so subtle as to be invisible to the casually observant eye.

The ills are numerous and reflect the fragility of many if not most works of art. Variations in relative humidity can cause a canvas to shrink or expand. Variations in temperature can do the same. With time and continued fluxations, tiny cracks may appear and grow into fissures that cross …

American Impressionism, Suzanne T. Wise

Sheldon Museum of Art: Catalogs and Publications

T he term American Impressionism, when used in the context of stylistic analysis, implies a specific set of definable characteristics, and by extension, a traceable lineage that will fit comfortably in the historical narrative of American art. If one seeks to assert this notion when confronted with an exhibition of American Impressionist painters, the result will be confusion coupled with a healthy dose of skepticism. For unlike their French counterparts, who established a style in close proximity to one another, both geographically and philosophically, American artists arrived at Impressionism from a variety of viewpoints.

Early surveys of American art tend …