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Byo–bu: The Grandeur of Japanese Screens

Tales and Poems in Byōbu: The Grandeur of Japanese ScreensFebruary 7–March 23, 2014Brush and Ink in Byōbu: The Grandeur of Japanese ScreensMarch 25–May 11, 2014Nature and Celebration in Byōbu: The Grandeur of Japanese ScreensMay 13–July 6, 2014

Japanese folding screens, or byōbu, were originally constructed to demarcate spatial divisions within a room. Often monumental in scale and sumptuously decorated, byōbu have been created by some of Japan’s greatest artists. This exhibition features screens from the mid-16th to the early 21st century, representing diverse themes painted by most of the dominant schools of the period, particularly from the 17th and 18th centuries. Byōbu: The Grandeur of Japanese Screens includes the Gallery’s finest screens as well as works on loan from private collections, offering a truly comprehensive display of this opulent Japanese aesthetic. This exhibition is presented in three successive installations, each focusing on a different aspect of the Japanese screen tradition.

Five West Coast Artists: Bischoff, Diebenkorn, Neri, Park, and Thiebaud

March 28–July 13, 2014

Organized by Gallery director Jock Reynolds, this exhibition features ap-proximately 30 works by West Coast artists drawn primarily from the Gal-lery’s permanent collection. Beginning in the mid-20th century, out of the studios, art schools, and universities of the greater San Francisco Bay Area, a major trend in American art developed, one that adapted and transformed some of the painterly techniques of Abstract Expressionism to render the human figure and other subjects recognizable once more and in powerful new ways. The exhibition presents the work of five artists central to this

movement—David Park, Elmer Bischoff, Richard Diebenkorn, Wayne Thiebaud, and Manuel Neri—whose devotion to teaching not only helped to support each other but also strongly influenced new generations of artists, including Reynolds, who studied with Neri and Thiebaud at UC Davis. Included in the exhibi-tion is David Park’s late masterpiece The Model (1959), a painting recently purchased by the Gallery. It will be accompanied by an array of other important new acquisitions from the Bay Area School as well as many major works long at the Gallery but never before shown in concert with one another.

MEDIA CONTACT Public Relations Department: 203.432.0611 or yuagpress@yale.edu

ADVANCE SCHEDULE OF EXHIBITIONS

SPRING 2014–WINTER 2015/16

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Jazz Lives: The Photographs of Lee Friedlander and Milt Hinton

April 4–September 7, 2014

This exhibition brings together Lee Friedlander’s and Milt Hinton’s extraordinary images capturing the people, spirit, and history of jazz. Friedlander’s photographs of New Orleans musicians were made during a series of visits to the city from the late 1950s to the 1990s. Renowned bassist Milt Hinton’s photos were shot over the course of his musical career, which spanned

much of the 20th century, and offer an insider’s view of the jazz scene. Organized by students, including musicians from the Yale Undergraduate Jazz Collective, this show features performances by student, faculty, and community jazz groups throughout its run. Related publications available.

Contemporary Art/South Africa

May 9–September 14, 2014

Contemporary Art/South Africa features more than 30 artworks produced in South Africa or by South Africans from the late 1960s to the present, a period of immense political and social change. The artists in this exhibition—including Gavin Jantjes, William Kentridge, Santu Mofokeng, Zanele Muholi, Robin Rhode, and

Sue Williamson—address key aspects of the experiences of South Africans, offering multiple perspectives on their lives, their society, and their world. Contemporary Art/South Africa features a small but growing body of South African artworks acquired in recent years by the Gallery, alongside loans from public and private collections. The exhibition not only recognizes South Africa as a thriving cultural center but also invites viewers to ask whether it is possible to understand a country through the art it has produced and to understand art through the country in which it was made.

East of the Wallace Line: Monumental Art from Indonesia and New Guinea

August 8, 2014–February 1, 2015

East of the Wallace Line: Monumental Art from Indonesia and New Guinea explores the cultural characteristics of eastern Indonesia and coastal western New Guinea. Taking as its jumping-off point the “Wallace Line,” an ecological demarcation first recognized by British naturalist Alfred Russel Wallace that runs through Indonesia between Bali and Lombok and west of Sulawesi, the exhibition presents intricately decorated, large-scale sculptures and textiles, as well as more intimate personal and domestic objects. With more than 120 works from the 17th to 19th century, the exhibition features highlights from the Gallery’s permanent collection and select loans, many either too large or too fragile to be regularly displayed.

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Roman in the Provinces: Art on the Periphery of Empire

August 22, 2014–January 4, 2015McMullen Museum of Art, Boston College, February 14–June 5, 2015

The Roman Empire was vast and diverse, but the inhabitants of even its most far-flung provinces—Britain, Gaul, Turkey, Syria, Egypt, and Tunisia—were all, to some degree, “Roman.” Roman in the Provinces: Art on the Periphery of Empire examines the interaction between local traditions and adopted Roman imperial culture through artifacts of daily life, politics, technology, and religion. The juxtaposition of mosaics, ceramics, sculpture, glass, textiles, coins, and jewelry presents a rich image of life in the Roman provinces. The exhibition features objects from across the

empire, including works from Yale University’s excavations at Gerasa and Dura-Europos, many of which have rarely or never before been on view. Catalogue available.

Book Arts from the Allan Chasanoff Collection (working title)

October 10, 2014–February 1, 2015

This student-curated show presents a selection of innovative creations realized in the medium of book arts, all drawn from a major collection of nearly 350 works of art recently gifted to the Gallery by Allan Chasanoff, b.a. 1961. The exhibition features works that take the book as material and transform the traditional codex form into an extraordinary array of sculptural objects. The

exhibition is produced in collaboration with Yale University’s Arts of the Book collection and with Artspace, the nonprofit artists’ organization in New Haven’s 9th Square. Catalogue available.

Vida y Drama de México: Prints from the Collection of Aimée Brown Price and

Monroe E. Price

October 17, 2014–February 1, 2015

The Taller de Gráfica Popular was a collective printmaking workshop founded in Mexico City in 1937 by three artists—Leopoldo Méndez, Pablo O’Higgins, and Luis Arenal. The lithographs and linocuts produced by these artists and numerous others promoted the goals of the Mexican Revolution (1910–20) and supported the working classes and social justice. For this exhibition, about 50 prints have been selected from a group of over 125 donated or lent to the Gallery by Aimée Brown Price, m.a. 1963, ph.d. 1972, and Monroe E. Price, b.a. 1960, ll.b. 1964.

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Art of the Romantic Movement (working title)

March 6–June 28, 2015

This exhibition, jointly organized by the Gallery and the Yale Center for British Art, brings together both museums’ marvelous collections of Romantic art—principally from France and Great Britain—and takes a broad view of the movement to encompass materials from around 1760 to 1860. The exhibition offers the op-portunity to draw together these venerable university museums’ permanent collections—including paintings, prints, drawings,

and photographs—to explore what the term Romanticism meant historically and means today. The show coincides with the 200th anniversary of the Battle of Waterloo.

Selections from the Arthur Ross Collection (working title)

December 18, 2015–April 3, 2016

This exhibition features selections from the recent generous dona-tion to the Gallery of the Arthur Ross Collection, encompassing more than 1,000 18th- to 20th-century Italian, French, and Span-ish prints. The works in the collection, all of the highest quality, include sparkling etchings by Canaletto and Tiepolo; all four volumes of Piranesi’s Antiquities of Rome; Goya’s Tauromaquia

in its first edition of 1816; an extremely rare etching by Edgar Degas; and numerous other French 19th-century prints by Eugène Delacroix, Honoré Daumier, Édouard Manet, Paul Gauguin, and Paul Cézanne. This rich and varied group of works was given to the Gallery for the express purpose of sharing it with a broad and diverse audience: major selections from the collection will subsequently travel to the Blanton Museum of Art, University of Texas at Austin, and to the Smith College Museum of Art, in Northamp-ton, Massachusetts, during 2016, to be incorporated into the teaching and exhibition programs of those museums. Catalogue available.

TRAVELING EXHIBITIONS

Robert Adams: The Place We Live, A Retrospective Selection of Photographs Jeu de Paume, Paris, February 10–May 18, 2014Fotomuseum Winterthur, Switzerland, June 7–August 31, 2014

This exhibition showcases the artistic legacy of the American photographer Robert Adams, one of the most significant and influential chroniclers of the American West. The multivenue touring retrospective features more than 250 prints from the Gallery’s master sets of Adams’s work, spanning the artist’s 45-year career. Three-volume retrospective catalogue and companion paperback available.

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El joven Velázquez: “La educación de la virgen” de Yale restaurada

(The Young Velázquez: Yale’s “Education of the Virgin” Restored) Espacio Santa Clara, Instituto de las Artes y la Cultura de Sevilla, SevilleOctober 15, 2014–January 15, 2015

Recently reattributed to Diego Velázquez as possibly his earliest major commission and newly restored after a ten-year conservation and research campaign, the Gallery’s Education of the Virgin (1617) now travels to Seville, the artist’s birthplace. The canvas, which depicts Saint Anne teaching the young Virgin Mary to read, will be displayed with two related works—a painting of the same subject by Juan de Roelas that is thought to have been the young Velázquez’s inspiration, and The Holy Family by Luis

Tristán, whose work, like Velazquez’s, displays a new, naturalistic approach to intimate domestic subject matter. The exhibition offers an opportunity to examine the history, technique, and iconography of this previously unknown work by one of the most important painters of Spain’s Golden Age. English- and Spanish-language catalogues available.

SPECIAL PROJECT

Sol LeWitt: A Wall Drawing Retrospective

Massachusetts Museum of Contemporary Art (MASS MoCA), North Adams, through 2033

This major collaborative installation among three institutions comprises 40 years of work by Sol LeWitt, one of the most influential contemporary artists of the last half-century. Conceived by the Gallery in collaboration with the artist before his death in April 2007, the project was undertaken by the Gallery, MASS

MoCA, and the Williams College Museum of Art, in Williamstown, Massachusetts. The installation will remain on view for 25 years, occupying a 27,000-square-foot historic mill building in the heart of MASS MoCA’s campus. YALE UNIVERSITY ART GALLERY

The Yale University Art Gallery, the oldest college art museum in the United States, was founded in 1832 when the patriot-artist John Trumbull gave more than 100 of his paintings to Yale College. Since then its collections have grown to more than 200,000 objects ranging in date from ancient times to the present. In addition to its world-renowned collections of American paintings and decorative arts, the Gallery is noted for outstanding collections of Greek and Roman art, including artifacts from the ancient Roman city of Dura-Europos; collections of early Italian paintings; the Société Anonyme Collection of 20th-century European and American art; modern and contemporary art and design; Asian art; African art; art of the ancient Americas; and Indo-Pacific art. In December 2012, the Gallery completed a comprehensive expansion and renovation project which united its three buildings—the landmark Louis Kahn building (1953), the Old Yale Art Gallery

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building (1928), and Street Hall (1866)—into a cohesive whole with a rooftop addition by Ennead Architects (2012). The Gallery is both a collecting and an educational institution, and all activities are aimed at providing an invaluable resource and experience for Yale faculty, staff, and students, as well as for the general public.

GENERAL INFORMATION

The Yale University Art Gallery is located at 1111 Chapel Street, New Haven, Connecticut. Museum hours: Tuesday–Friday, 10 am–5 pm; Thursday until 8 pm (September–June); and Saturday–Sunday, 11 am–5 pm. The Gallery is closed Mondays and major holidays. Admission is free and open to the public. For general information, please call 203.432.0600 or visit the Gallery’s website at artgallery.yale.edu.

CREDITSByōbu: Exhibition organized by Sadako Ohki, the Japan Foundation Associate Curator of Japanese Art, Yale University Art Gallery. Made possible by the E. Rhodes and Leona B. Carpenter Foundation, the Mary Livingston Griggs and Mary Griggs Burke Foundation, the Council on East Asian Studies, and an endowment created with a challenge grant from the National Endowment for the Arts. Five West Coast Artists: Exhibition organized by Jock Reynolds, the Henry J. Heinz II Director, Yale University Art Gallery. Made possible by the Janet and Simeon Braguin Fund. Jazz Lives: Exhibition organized by Yale University students under the direction of Pamela Franks, Deputy Director for Exhibitions, Programming, and Education and the Interim Seymour H. Knox, Jr., Curator of Modern and Contemporary Art; Molleen Theodore, Assistant Curator of Programs; and Joshua Chuang, the Richard Benson Associate Curator of Photography and Digital Media, all of the Yale University Art Gallery. Made possible by the Jane and Gerald Katcher Fund for Education; the John F. Wieland, Jr., b.a. 1988, Fund for Student Exhibitions; and the Nolen-Bradley Family Fund for Education. Contemporary Art/South Africa: Exhibition organized by Yale University students under the direction of Kate Ezra, the Nolen Curator of Education and Academic Affairs, Yale University Art Gallery. Made possible by the Jane and Gerald Katcher Fund for Education; the John F. Wieland, Jr., b.a. 1988, Fund for Student Exhibitions; and the Nolen-Bradley Family Fund for Education. East of the Wallace Line: Exhibition organized by Ruth Barnes, the Thomas Jaffe Curator of Indo-Pacific Art, Yale University Art Gallery. Made possible by Mary T. and Frederic D. Wolfe, b.a. 1951, and an endowment created with a challenge grant from the National Endowment for the Arts. Roman in the Provinces: Exhibition and publication organized by Lisa Brody, Associate Curator of Ancient Art, Yale University Art Gallery, and Gail Hoffman, Assistant Professor in Classical Studies, Boston College. Made possible by Sharon and Richard A. Hurowitz, b.a. 1995, with additional support from Boston College and the patrons of the McMullen Museum. Book Arts: Exhibition and publication organized by Yale University students under the direction of Jock Reynolds, the Henry J. Heinz II Director; Pamela Franks, Deputy Director for Exhibitions, Programming, and Education and the Interim Seymour H. Knox, Jr., Curator of Modern and Contemporary Art; and Gabriella Omonte Svenningsen, Museum Assistant, all of the Yale University Art Gallery. Made possible by Allan Chasanoff, b.a. 1961; the Jane and Gerald Katcher Fund for Education; the John F. Wieland, Jr., b.a. 1988, Fund for Student Exhibitions; and the Nolen-Bradley Family Fund for Education. Vida y Drama de México: Exhibition organized by Suzanne Boorsch, the Robert L. Solley Curator of Prints and Drawings, and Lucy Gellman, the Florence B. Selden Fellow, Department of Prints and Drawings, both of the Yale University Art Gallery. Made possible by the Florence B. Selden Fund. Romantic Movement: Exhibition organized by Elisabeth (Lisa) Hodermarsky, the Sutphin Family Senior Associate Curator of Prints and Drawings, Yale University Art Gallery; Paola D’Agostino, the Nina and Lee Griggs Assistant Curator of European Art, Yale University Art Gallery; Cassandra Albinson, Curator of Paintings and Sculpture, Yale Center for British Art; Nina Amstutz, Postdoctoral Associate, Yale Center for British Art; and Izabel Gass, Graduate Curatorial Assistant, Yale University Art Gallery and Yale Center for British Art. Credit line pending. Ross Collection: Exhibition and publication organized by Suzanne Boorsch, the Robert L. Solley Curator of Prints and Drawings. Made possible by the Arthur Ross Foundation. Robert Adams: Exhibition and publications organized by Joshua Chuang, the Richard Benson Associate Curator of Photography and Digital Media, and Jock Reynolds, the Henry J. Heinz II Director, both of the Yale University Art Gallery. Made possible by Helen D. Buchanan; Allan K. Chasanoff, b.a. 1961; the Samuel Freeman Trust; Nathaniel W. Gibbons, b.a. 1979; Betsy and Frank Karel; Saundra B. Lane; Melanie and Rick Mayer, b.a. 1982, and the MFUNd; Mark McCain and Caro MacDonald/Eye and I; Mr. and Mrs. Alexander K. McLanahan, b.a. 1949; Ms. Eliot Nolen, b.a. 1984, and Mr. Timothy P. Bradley, b.a. 1983; The Reed Foundation; Risher Randall, Sr., b.a. 1950; the Shamos Family Foundation; Mary Jo and Ted P. Shen, b.a. 1966, hon. 2001; Jane P. Watkins, m.p.h. 1979; the Janet and Simeon Braguin Fund; and an endowment created with a challenge grant from the National Endowment for the Arts. The Young Velázquez: Exhibition co-organized by the Mayor’s office of the town of Seville and the Yale University Art Gallery. Publication organized by the Yale University Art Gallery. Made possible by a generous grant from Banco Santander. Sol LeWitt: Exhibition organized by the Yale University Art Gallery, MASS MoCA, and the Williams College

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Museum of Art. Yale University Art Gallery funding is provided by Happy and Bob Doran, b.a. 1955; Julia Childs and Harrison H. Augur, b.a. 1964; Elizabeth Ballantine, b.a. 1971, m.a. 1974, m.phil. 1974, m.s.l. 1982, ph.d. 1986; Nina M. Griggs; Paul E. Francis, b.a. 1977; Carol LeWitt; Agnes Gund and Daniel Shapiro; Robert Mangold, b.f.a. 1961, m.f.a. 1963, and Sylvia Plimack Mangold, b.f.a. 1961; Anna Marie and Robert F. Shapiro, b.a. 1956; Robert A. Feldman, Esq., ll.b. 1961; Julia Mangold and Hannah R. Mangold; Carolyn H. Grinstein and Gerald Grinstein, b.a. 1954; Mr. and Mrs. Morris Cartin on behalf of the Morris B. and Edith S. Cartin Foundation; Angela K. Westwater; and Marion B. Stroud.

CAPTIONSPage 1: Flowering Cherry with Poem Slips, Japanese, Edo period, 17th century. Right screen from a pair of six-panel folding screens: ink, mineral color, gold, and silver on paper. Collection of Peggy and Richard M. Danziger, ll.b. 1963; David Park, The Model, 1959. Oil on canvas. Yale University Art Gallery, Partial promised gift of Karen, Lawrence, and Ellen Eisner, in memory of their mother, Anita Brand Eisner; gift of Laila Twigg-Smith, by exchange; and purchased with Charles B. Benenson, b.a. 1933, Fund; Walter H. and Margaret Dwyer Clemens, b.a. 1951, Director’s Discretionary Fund for the Yale University Art Gallery; Leonard C. Hanna, Jr., Class of 1913, Fund; The Iola S. Haverstick Fund for American Art; The Heinz Family Fund; Katharine Ordway Fund; Joann and Gifford Phillips, Class of 1942, Fund; George A., Class of 1954, and Nancy P. Shutt Acquisition Fund. Courtesy of Hackett | Mill, representative of the Estate of David Park; Page 2: Lee Friedlander, Young Tuxedo Brass Band, New Orleans, 1959. Gelatin silver print. © Lee Friedlander, Courtesy Fraenkel Gallery, San Francisco; Robin Rhode, Piano Chair (video still), 2011. Digital animation, 3 minutes, 50 seconds. Courtesy of Lehmann Maupin Gallery, New York; Canoe Prow Ornament, Indonesia, Western Papua, Cenderiwasih Bay, mid-19th to early 20th century. Wood. Yale University Art Gallery, Gift of Anne Mitro in memory of Frieda and Milton Rosenthal; Page 3: African Red Slip Pelike, Roman, late 2nd–3rd century a.d. Terracotta. Yale University Art Gallery, Gift of Rebecca Darlington Stoddard; Chris Perry, 86 Ripples: Droplet, 2011. Paper, fabric, gel acetate, and wood. Pending gift to the Yale University Art Gallery by Allan Chasanoff, b.a. 1961; Alberto Beltrán, Vida y drama de México, 1957. Linocut. Published by El Taller de Gráfica Popular. Yale University Art Gallery, Gift of Aimée Brown Price, m.a. 1963, ph.d. 1972, and Monroe E. Price, b.a. 1960, ll.b. 1964; Page 4: George Stubbs, A Lion Attacking a Horse, 1770. Oil on canvas. Yale University Art Gallery, Gift of the Yale University Art Gallery Associates; Francisco de Goya, Bullfight in a Divided Ring, 1825. Lithograph. Yale University Art Gallery, The Arthur Ross Collection; Robert Adams, Colorado Springs, Colorado, from The New West, 1968. Gelatin silver print. Yale University Art Gallery, Purchased with a gift from Saundra B. Lane, a grant from the Trellis Fund, and the Janet and Simeon Braguin Fund. © Robert Adams; Page 5: Diego Velázquez, The Education of the Virgin (during treatment), ca. 1617–18. Oil on canvas. Yale University Art Gallery; Sol LeWitt’s Wall Drawing #901 and Wall Drawing #1081 at MASS MoCA. Photo: Kevin Kennefick