Experiments in Installation: Part IV

Hornet's Nest with Georgia O'Keeffe's Red Hills, Lake George (1927) in the Main Gallery. Photo: Joshua Navarro

Hornet’s Nest with Georgia O’Keeffe’s Red Hills, Lake George (1927) in the Main Gallery. Photo: Joshua Navarro

This is the fourth in a series of posts from University of Virginia graduate student Tom Winters on his class’s experience installing works from our permanent collection in the Main Gallery. See parts one, two, and three.

Exciting new developments have taken place in our installation of the Main Gallery. Our hornet’s nest has now been suitably be-pedestaled and installed in one of the corners of our space, following deliberation over possible locations with Professor Turner last week. Now appropriately objectified and labeled, the hornet’s nest will henceforth be referred to as Hornet’s Nest. We are also delighted that Georgia O’Keeffe’s Red Hills, Lake George (1927) has joined our display. It replaces a Stuart Davis painting, though he is still represented with two other works in the gallery. O’Keeffe’s (artistic) relationship with Alfred Stieglitz–one of our main protagonists–makes her work an obvious inclusion in our ensemble; its quality makes it near essential.

Tom Winters, UVa graduate student, Department of Art History

Arthur Dove's Rain or Snow (1943) with Hornet's Nest in the Main Gallery. Photo: Joshua Navarro

Arthur Dove’s Rain or Snow (1943) with Hornet’s Nest in the Main Gallery. Photo: Joshua Navarro

Hornet's Nest, up close. Photo: Joshua Navarro

Hornet’s Nest, up close. Photo: Joshua Navarro

Art Madness!

Every year around this time March Madness, the annual college basketball tournament involving 68 teams, sweeps the nation. In workplaces all over America, the office betting pool is organized and people gather around the actual or virtual water coolers and compare how they did in their brackets.

I’ve noticed an unsurprising lack of interest in this over-commercialized, hyperbolic expression of American sports here at the Phillips, bastion of high culture that we are. But despite my nerdy love of art history and long time as a museum professional, I am still a huge college basketball fan. In fact my first year on the job here, I won the great respect of our former director, deputy director, and CFO (all men) by winning the college basketball pool organized by the CFO. After the CFO left the museum, it fell to me to organize the college basketball betting pool.

A few years ago, I thought of a way to make the event slightly more interesting to those who had little or no interest in March Madness. What if I associated each team participating in the tournament with artists prominent in the museum’s collection? It could be ART MADNESS. Those who did not know a Duke Blue Devil from a North Carolina Tar Heel might be able to see that if this year’s #1 seed Kentucky was associated with Cézanne, they could defeat a #16 team paired with Arthur B. Davies. The higher seeds would be paired with the most prominent artists, for example van Gogh, Klee, and Picasso are #1 seeds.

There were other fun possibilities. I could pair Georgia O’Keeffe with New Mexico and William Christenberry with Alabama. Some teams were paired with artists with whom I could not imagine the relationship–what does Notre Dame have to do with Delacroix or Xavier with Ingres (aside from Catholicism)? The teams play one another in the first round, and the two artists were long time rivals. And of course, Alfred Stieglitz was paired with a team slated to take on Georgia O’Keeffe/New Mexico.

Naturally, I made mistakes. I left Edward Hopper out of the first version of ART MADNESS and did not make a place for Thomas Eakins in the final version. One participant noted that it seems unfair to give Marjorie Phillips (our founder’s wife and an accomplished painter) only a 16th seed. Not to mention that I made Renoir a #2 seed because his style of painting seems to me a perfect match for Duke. As arguable as they may be, all of my choices are based on some criteria.

Did ART MADNESS increase participation by Phillips staff, you ask? Well this year’s pool has 22 participants. Not much maybe, but that’s the largest number in my eight years at the museum. Although as the person who keeps track of the brackets, I must admit that everyone who participated picked teams not artists, and all the selections are plausible. No one seems to have made any arbitrary or artist-based selections. Hmm . . . maybe people at the museum are more interested in college basketball than I thought?

Paul Ruther, Manager of Teacher Programs

Click the image to enlarge and discover Paul’s artist/team pairings for Art Madness 2012.

O’Keeffe and Stieglitz: a Doorstopper of Love Letters

Alfred Stieglitz, photographer, patron, art dealer, and friend of Duncan Phillips, died on July 13, 1946.

Recently, the library was kindly given a copy of the newly published collection, My Faraway One: selected letters of Georgia O’Keeffe and Alfred Stieglitz: Volume I, 1915-1933. A substantial book, it is merely a selection of the 25,000 pages these two artists wrote to each other. The book donor commented to our librarian that she found the frequency and specificity of the letters to sound almost like Twitter feeds, O’Keeffe and Stieglitz updating each other on nearly every waking moment of their days. A letter on page 513 begins, “My dearest Alfred . . . I had your two registered letters yesterday afternoon- also your telegram . . . ” Another references a previous letter of 40 pages! Editor Sarah Greenough, who has had a long scholarly relationship with both artists and knew O’Keeffe, has carefully presented these intimate materials according to O’Keeffe’s spare but direct wishes: “make it beautiful and keep it honest.” The book is widely available and on sale in the Phillips shop.