Leadership funding has been provided by The Louis and Lena Minkoff Foundation.

Funding at the Partner Level has been provided by Jonathan Boos, Debra Force Fine Art, and by Julius Lowy Frame & Restoring Company.

We gratefully acknowledge funding received from The American Art Fair, Philip and Lorraine Brewer, Collisart, LLC, Conner • Rosenkranz, LLC, James Dicke, II, Driscoll Babcock Galleries, Jerald A. Fessenden, George Jeffords, Menconi & Schoelkopf Fine Art, LLC, Susan and Burn Oberwager, James Reinish & Associates and anonymous donors, as well as support received from Christie’s, Sotheby’s, Shannon’s, and Meredith Ward Fine Art (as of March 20, 2013).

This conference honors William H. Gerdts and his life-long commitment to exploring and revealing byways and highways of American art.

This conference is dedicated to Harry L. Koenigsberg (1921 - 2002).

Reclaiming American Art

In this conference focusing on the period from 1700 to the 1930s and beyond, we explore American artists once well-known but now obscure. We consider too the work of well-known artists that have, since their creation, been eclipsed by cycles of taste, or aspects of an artist’s oeuvre that have fallen out of favor.

Why do artistic stars dim? What causes tastes to change and works to be consigned to museum basements?

In confronting these questions, we will look at the vagaries of the marketplace, the effects of choices made by museums in exhibiting and acquiring, and the roles of individual collectors,

dealers, and the critical establishment in defining and redefining the cannon over time. We look as well at how the specifics of artists’ careers—the company they kept, the diversity of their output, and how much they left behind—affect their fates and that of their works.

In the end, this process of rediscovery is made possible by new generations of dealers, scholars, and collectors, whose professional and personal efforts make once-forgotten works resonate in new ways, bringing them in tune with our time and place.

Alfred H. Maurer, Le Bal au Moulin Rouge, 1902 – 1904, oil on canvas, 36½ x 32½ in. Curtis Galleries, Minneapolis, MN.

18th AnnuAl AmericAn Art conference

fridAy – SAturdAy, mAy 17 – 18, 2013

friday, may 17, 2013

Formal sessions take place at The Graduate Center, City University of New York, 365 Fifth Avenue (between 34th and 35th Streets).

8:45 – 9:15 a.m. Registration and continental breakfast

9:15 – 9:30 a.m. Introduction. Lisa Koenigsberg.

9:30 – 10:30 a.m. From Buffalo to Beecher to Blavatsky: An Artist's (or Artistic) Journey to Fame (Then) and Fortune. William H. Gerdts.

10:35 – 11:15 a.m. Back on Radar: Copley, West, and the American Revolution in London. Paul Staiti.

11:15 a.m. – 12:00 p.m. In the Cause of Unification: The Art Gallery of the Metropolitan Fair, New York City, 1864 Elizabeth Mankin Kornhauser.

12:00 – 12:45 p.m. Reclaiming American Art: The Lost, Overlooked, and the Workings of Change in Taste, a Panel Discussion. Lily Downing Burke, Linda S. Ferber, Liza Kirwin, Andrew Schoelkopf, and James W. Tottis, moderator.

12:45 – 2:00 p.m. Lunch (on your own)

2:00 – 2:40 p.m. Preserved in Bronze: Vanishing Wildlife in American Sculpture, 1850 – 1925. Thayer Tolles.

2:45 – 3:25 p.m Currier & Ives Artists: Who? Steven Miller.

3:25 – 3:45 p.m. Break

3:45 – 4:25 p.m. In a Perfect World: Severin Roesen and the Art of American Still Life During the Mid-Nineteenth Century. Mark D. Mitchell.

4:30 – 5:15 p.m. California Stories, Genre Paintings from the Golden State. Alfred C. Harrison, Jr.

Severin Roesen, Flower Still Life With Bird's Nest, 1853, oil on canvas, 40 x 32 in. Philadelphia Museum of Art, purchased with support from The Henry P. McIlhenny Fund in memory of Frances P. McIlhenny; Mr. and Mrs. Robert L. McNeil, Jr.; The Edith H. Bell Fund; Mrs. J. Maxwell Moran; Marguerite and Gerry Lenfest; The Center for American Art Acquisition Fund; Donna C. and Morris W. Stroud II; Dr. and Mrs. Robert E. Booth, Jr.; Frederick LaValley and John Whitenight; Mr. and Mrs. John A. Nyheim; Charlene Sussel; Penelope P. Wilson; and the American Art Committee, 2010.

John Singleton Copley, Henry Laurens, 1782, oil on canvas, 54.13 in x 40.55 in. National Portrait Gallery, Smithsonian Institution, Washington DC.

6:00 – 8:00 p.m. Reception and tour of atelier and showroom Julius Lowy Frame & Restoring Company

223 East 80th Street (between Second and Third Avenues)

Tour one of the most distinguished collections of antique and custom frames, over 5,000 in inventory, ranging in style from 15th-century Renaissance to 20th-century modern. See how frames are carved, gilded, and restored and view state-of-the-art painting conservation techniques. Founded in 1907, Lowy has worked with collectors, galleries, fine art dealers, museums, and artists alike.

Saturday, may 18, 2013

Formal sessions take place at The Graduate Center, City University of New York, 365 Fifth Avenue (between 34th and 35th Streets).

9:00 – 9:30 a.m. Coffee

9:30 – 10:15 a.m. Who’s In, Who’s Out: Stamos, Simonds, Stella. David Anfam.

10:20 – 11:05 a.m. Minor Characters in Major Roles: Telling the Stories of Technical Art History From 1860 – 1945 Lance Mayer and Gay Myers.

11:05 – 11:20 a.m. Break

11:20 a.m. – 12:00 p.m. Blum’s Japan: Cultural Tourism and Responsible Romanticism in the Gilded Age. David Park Curry.

12:05 – 12:45 p.m. Alfred Maurer's Early Figurative Imagery: Portal to the Modern. Stacey Epstein.

12:45 – 2:00 p.m. Lunch (on your own)

2:00 – 2:40 p.m. George Bellows and Company: Painting Outdoors. Charles Brock.

2:45 – 3:25 p.m. Precisionism and Beyond: Rediscovering the Art and Career of Edmund Lewandowski (1914 – 1998). Valerie Ann Leeds.

3:30 – 4:15 p.m. Reclaiming a Legacy: Forgotten Chapters in American Modernism, 1914 – 1930s and Beyond. William Agee.

4:30 – 6:00 p.m. Closing reception and viewing Meredith Ward Fine Art

44 East 74th Street (between Madison and Park Avenues)

Theodoros Stamos, Dark Field, 1961, oil on canvas, 57 x 35 in. Private collection, New York; photo courtesy of Jonathan Boos.

James Daugherty, Simultaneous Color Planes, 1969. Private collection; photo courtesy of William Agee.

Robert Frederick Blum, The Ameya, by 1893, oil on canvas, 251/16 x 311/16 in. The Metropolitan Museum of Art, Gift of Estate of Alfred Corning Clark, 1904; 04.31.

Presenters

Lisa Koenigsberg, conference director, president, Initiatives in Art and Culture; she launched the series of annual conferences on American art in 1996. Formerly director, Programs in the Arts and adjunct professor of arts, NYU/SCPS; assistant director for project funding, Museum of the City of New York; executive assistant, Office of the President, American Museum of Natural History; architectural historian, New York City Landmarks Preservation Commission; and guest curator, Worcester Art Museum and Yale University Art Gallery. Her writings have appeared in books and journals, among them The Gilded Edge: The Art of the Frame (2000), Architecture: A Place for Women (1990), The Architectural Historian in America (1991), the Archives of American Art Journal, the Journal of the Society of Architectural Historians, and the Proceedings of the American Antiquarian Society. She collaborated with Suzanne Smeaton on an essay for the catalog for Auspicious Vision: Edwin Wales Root and American Modernism, an exhibition celebrating the 50th anniversary of the Edwin Root Bequest to the Munson–Williams Proctor Art Institute.

William Agee, Evelyn Kranes Kossak Professor of Art History, Hunter College, City University of New York; he is founding editor, contributing editor, and co-author of the essays in Stuart Davis: A Catalogue Raisonné (3 volumes, 2007); formerly director, The Museum of Fine Arts, Houston and Pasadena Art Museum. Among his publications are works on Synchromism, Duchamp–Villon, painting and sculpture of the 1930s, Bruce, Daugherty, Schamberg, Crawford, Diller, Davis, Dove, Francis, Judd, Marin, Noland, Porter, and Arnold Friedman. He is at present working on a book, Modern Art in America, 1908 – 1968: A Critical and Thematic History. In the Spring of 2011, he was a fellow at the Georgia O'Keeffe Museum Research Center in Santa Fe, New Mexico.

David Anfam, Commissioning Editor for Fine Art, Phaidon Press, London; he was the 2003 Henry Luce Visiting Professor in American Art at Brandeis University. Educated at the Courtauld Institute of Art (BA, PhD), Anfam is a regular contributor to The Burlington Magazine and has curated several exhibitions, including “Mark Rothko: A Retrospective” (Museum of Contemporary Art, Tokyo, 1996) and the inaugural show of Haunch of Venison New York, “Abstract Expressionism: A World Elsewhere” (2008). Among his numerous writings, Mark Rothko: The Works on Canvas – A Catalogue Raisonné (1998) received the 1998 George Wittenborn Memorial Award, the 2000 Mitchell Prize, and was named among the art books of the year by The New York Times, The Boston Globe, and the San Francisco Chronicle. Anfam is adjunct curator, Clyfford Still Museum, Denver and, in 2009, received the Umhoeffer Prize for Achievement in Humanities. His most recent project is an international touring exhibition focused around Pollock’s epochal Mural (1943), planned to be shown at the Peggy Guggeneheim Collection, Venice in 2015.

Charles Brock, Associate Curator of American and British Paintings, National Gallery of Art where he has worked since 1990. Among the major exhibitions Brock has contributed to are: “Winslow Homer” (1995), “James McNeill Whistler”

(1995), “The Victorians: British Painting, 1837 – 1901” (1997), and “Modern Art and America: Alfred Stieglitz and His New York Galleries (2001).” His publications include Charles Sheeler: Across Media (2006) and American Modernism: The Shein Collection (2010). Brock most recently served as the volume editor of the catalogue for the critically acclaimed retrospective exhibition “George Bellows” currently on view in London at the Royal Academy of Arts.

Lily Downing Burke, Director and Vice President, Gerald Peters Gallery-New York; she has served in that capacity for over 20 years. During that time she has focused on artists such as Max Weber, Georgia O'Keeffe, and Robert Henri. In addition to developing collections,

she has also directed exhibitions including “Robert Henri, The Painted Spirit”; “Max Weber, Paintings from the 1930's, 1940's and 1950's”;“Max Weber, Music Art and Dance and Leon Kroll: Revisited.” She has mounted other important exhibitions on Albert Bierstadt, Alfred Jacob Miller, as well as group exhibitions, among them “The Modern Figure” and “American Modernism: The Francoise and Harvey Rambach Collection.” Educated as a fine arts major, Downing Burke’s first exposure to the art world was as an intern at the Whitney Museum of American Art and from there she went to Andre Emmerich Gallery. Downing Burke learned the art business from a less academic and more hands-on perspective. Prior to beginning her tenure at Gerald Peters, she was employed at the Cooley Gallery in Old Lyme, CT where she augmented her knowledge of the better known Hudson River School with an immersion into the 19th-century painters of the Connecticut River.

Downing Burke believes that it is better to acquire an excellent painting by a lesser known artist than a lesser painting by a well known artist. In her view,the essence of art collecting is the acquisition of objects we wish to have enmeshed in our daily lives.

David Park Curry, Senior Curator, Decorative Art, American Painting and Sculpture, Baltimore Museum of Art (BMA); at the BMA, he is directing a reinstallation of the American collections from the late 18th to the mid 20th centuries; formerly Curator of American Arts, Virginia Museum of Fine Arts; Gates Foundation Curator of American Art, Curator of Painting and Sculpture, Denver Art Museum; and Curator of American Art, Freer Gallery of Art, Smithsonian Institution. His research explores aspects of late 19th- and early 20th-century American art including Impressionism and Realism, folk art, patronage patterns, framing history, and public presentation. Among his publications are works on Bunker, Hassam, Homer, Sargent, and Whistler. His recent publications include the monograph James McNeill Whistler: Uneasy Pieces (2004); an essay on world fairs for Americans in Paris (2006); articles on painted furniture and reverse glass painting for The Sienese Shredder (2009, 2010), and a 2011 essay on Whistler’s exhibition designs, “Much in Little Space,” published in the V & A’s catalogue for the exhibition “The Cult of Beauty: The Aesthetic Movement 1860 –

Augustus Tack, Night, Amargosa Desert, 1935. The Phillips Collection, Washington DC, acquired 1937.

1900.” His recent essay on “George Bellows’ Images of Polo, Parks, and Tennis” was published by the National Gallery of Art in their current retrospective catalogue. He is working on the fish paintings by William Merritt Chase and on the State china service designed for President Rutherford B. Hayes.

Stacey Epstein, Director of Modernism and Director of Research, Hollis Taggart Galleries in New York, and an independent curator and scholar. Co-curator of the forthcoming Alfred H. Maurer museum retrospective organized by the Addison Gallery of American Art and author of the accompanying catalogue, Alfred H. Maurer at the Vanguard, Epstein holds master’s and doctoral degrees from the Graduate School of the City University of New York, where she wrote her doctoral thesis on Alfred Maurer. She has since written extensively on Maurer, including Alfred H. Maurer: Aestheticism to Modernism 1897 – 1932 (1999), Alfred H. Maurer: Modernist Expressions (2004), “Alfred H. Maurer: Reconsidered” in American Art Review (2004), and Alfred H. Maurer: Fauve in Focus (2006). Epstein has also curated and written for a range of other American modernist exhibitions and publications, including Concerning Expressionism: American Modernism and the German Avant-Garde (1998), Inheriting Cubism: The Impact of Cubism on American Art 1909 –1936 (2001), and Pathways and Parallels: Roads to Abstract Expressionism (2007). She recently contributed essays to Cézanne and American Modernism (Baltimore Museum of Art, 2010) and Celebrating the American Spirit: Masterworks from the Crystal Bridges Museum of American Art (2011). Epstein was featured in “Shattering Boundaries: Grace Hartigan,” the documentary film on the American Abstract Expressionist painter Grace Hartigan.

Linda S. Ferber, Vice President and Senior Art Historian, The New-York Historical Society (N-YHS); previously she served as Andrew W. Mellon Curator of American Art and chair of the Department of American Art, Brooklyn Museum, where she is curator emerita. Ferber has organized numerous exhibitions and written accompanying publications about William Trost Richards beginning with “Tokens of a Friendship: Miniature Watercolors by William T. Richards” (1982), followed by “Never at Fault: The Drawings of William T. Richards” (1986) for the Hudson River Museum and in 2001 and 2002, “Pastoral Interlude: William T. Richards in Chester County” and “In Search of a National Landscape: William Trost Richards and the Artists’ Adirondacks” for the Brandywine River Museum and the Adirondack Museum, respectively.” She organized “The New Path: Ruskin and the American Pre-Raphaelites” at The Brooklyn Museum (with W. H. Gerdts, 1985). For the Brooklyn Museum and the National Gallery of Art, she co-authored and co-curated (with N. K. Anderson, 1991) Albert Bierstadt: Art & Enterprise. In 1998, co-curated and co-authored the accompanying publication, “Masters of Color and Light: Homer, Sargent and the American Watercolor Movement” (with B.D. Gallati). In 2007, she organized: “Kindred Spirits: Asher B. Durand and the American Landscape,” for the Brooklyn Museum while overseeing at the N-YHS, “The World of Asher B. Durand; The Artist in Antebellum New York,” followed in 2010 by “The American Landscapes of Asher B. Durand,” also drawn from N-YHS collections, organized for the Fundacion Juan

March. In 2011, her exhibition “Nature and the American Vision: The Hudson River School” began a national tour at the Amon Carter Museum of American Art. She collaborated (with B.D. Gallatti, 2011) on the traveling exhibition and publication “Making American Taste: Narrative Art for a New Democracy.”

William H. Gerdts, Professor Emeritus of Art History, Graduate School of the City University of New York; he was senior advisor in American Art, Pennsylvania Academy of the Fine Arts (2008). Among his most recent publications are: Once Upon an Island: Stephen Scott Young in the Bahamas (2012), The Pastels of Leon Dabo (2012), and “A New Look at Andrew Wyeth,” in Andrew Wyeth in China (2012). Among his other numerous books and articles are: The Golden Age of American Impressionism (with C. Lowrey, 2003); Joseph Raphael (1869 – 1950): An Artistic Journey (2003); California Impressionism (with W. South, 1998); Impressionist New York (1994); William Glackens (with J. H. Santis, 1996); Monet’s Giverny: An Impressionist Colony (1993); Art Across America (1990); American Impressionism, (1984; new, expanded edition, 2001); Painters of the Humble Truth: Masterpieces of American Still-Life, 1801 – 1939 (1981); Grand Illusions: History Painting in America (with M. Thistlewaite, 1988); and Down Garden Paths: The Floral Environment in American Art (1983).

Alfred C. Harrison, Jr., owner of North Point Gallery; he started as a private collector of 19th-century American paintings whose hobby turned into his profession when he assumed. ownership of the gallery in 1985. In addition to holding exhibitions of early California art, Harrison has assembled a research archive relevant to early California painters from contemporary newspaper sources. He is a frequent lecturer and writer on the subject. Recent projects include essays in the exhibition catalogue California Impressions published by the Fine Arts Museums of San Francisco in 2006, “The Art of William Keith” in The Comprehensive Keith (St. Mary’s College of California, 2011) and “Radical Revival: California Plein Air Landscapes, Past and Present” in the May / June 2012 issue of The Magazine Antiques.

Liza Kirwin, Interim Director, Smithsonian Institution’s Archives of American Art; she holds a PhD in American Studies from the University of Maryland at College Park. Her publications include More Than Words: Illustrated

Isabel Bishop, Artist’s Table, 1931, oil on canvas, 145/8 x 171/2 in. Smithsonian American Art Museum, Washington, DC, Gift of the Sara Roby Foundation, 1986.6.6.

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Please register me for Reclaiming American Art. The conference fee is $350. Educators and Museum professionals $160 (with ID).

Student rate $100 (with ID).

Currier & Ives, The Life of a Hunter: “A Tight Fix,” 1861, hand-colored lithograph, 183/4 x 271/16 in. Based on a painting by Arthur FitzWilliam Tait.

to registerRegistration confirmations are sent via email.

To register on-line:Go to: www.acteva.com/go/americanart

By e-mail: Fill in the registration form and send to: info@artinitiatives.com.

By mail: Return form at least 10 days before the conference start date with a check or money order payable to Initiatives in Art and Culture or complete the credit card information on the form, and mail to Initiatives in Art and Culture, 333 East 57th Street, Suite 13B, New York, NY 10022

By phone: Using American Express®, Visa® Card, Discover®, or MasterCard®, call (646) 485-1952.

Fee: The conference fee is $350. A discounted rate of $160 is available for museum and university professionals with ID; a discounted rate of $100 is available for full-time students with ID. To receive the discounted rates you must provide appropriate ID.

Withdrawal and refunds: Notice of withdrawal must be made in writing to: Initiatives in Art and Culture, 333 East 57th Street, 13B, New York, NY 10022 or to the Program Office via email at lisa.koenigsberg@artinitiatives.com. No refunds will be made after May 10, 2013.

Conference location: Formal sessions take place at The Graduate Center, City University of New York, 365 Fifth Avenue (between 34th and 35th Streets).

Program subject to change.

Single-day registration options available; please send inquiries to: info@artinitiatives.com or call (646) 485-1952.

Presenters

Letters from the Smithsonian's Archives of American Art (Princeton Architectural Press, 2005); Artists in Their Studios, Images from the Smithsonian's Archives of American Art (Collins Design, 2007); and most recently Lists: To-dos, Illustrated Inventories, Collected Thoughts, and Other Artists' Enumerations from the Smithsonian's Archives of American Art (Princeton Architectural Press, 2010). Kirwin has organized numerous exhibitions of archival material and manages the Archives’ acquisitions and oral history programs.

Elizabeth Mankin Kornhauser, Curator of American Paintings, The Metropolitan Museum of Art since 2010, she recently completed work on the new American Paintings and Sculpture galleries that opened in January 2012. She served as the chief curator and Krieble Curator of American Painting and Sculpture at the Wadsworth Atheneum Museum of Art from 1997 to 2010, having begun her tenure at the Museum in 1983. Her special exhibitions and accompanying catalogues for the Wadsworth Atheneum include “American Moderns on Paper: Masterworks from the Wadsworth Atheneum Museum of Art” (2010); “Neue Welt: Die Erfindung der amerikanischen Malerie” (“New World: Discovering an American Art,” 2007), an international project with the Bucerius Kunst Forum, Hamburg, Germany; “Samuel Colt: Arms, Art, and Invention” (2006); “Marsden Hartley” (2003); “Alfred Stieglitz, Georgia O’Keeffe & American Modernism” (1999); “New Worlds from Old: 19th-Century Australian & American Landscapes” (1998); “Joseph Cornell: Box Constructions and Collages” (1997); “Thomas Cole: Landscape Into History” (1994); and “Ralph Earl: The Face of the Young Repubic” (1991). The catalogue for the Earl exhibition won the 1992 Fraunces Tavern Museum Book Award. Kornhauser has a PhD in American Studies from Boston University and an MA in American Folk Culture from Cooperstown Graduation Programs, SUNY, Cooperstown, NY. A graduate of the Getty Leadership Institute, Los Angeles, Kornhauser serves as a member of the Advisory Board of the Bucerius Kunst Forum, Hamburg, Germany, and the Thomas Cole National Historic Site.

Valerie Ann Leeds, independent curator and scholar specializing in the work of Robert Henri and the Ashcan painters; her current projects include: “Spanish Sojourns: Robert Henri and the Spirit of Spain,” a travelling exhibition and accompanying publication organized with the Telfair Museum of Art, Savannah. Recent projects include “Road to Corrymore: Robert Henri and Ireland,” a travelling exhibition and catalogue produced with the Mint Museum, Charlotte, North Carolina; a traveling retrospective and publication devoted to the work of Midwestern Precisionist, Edmund Lewandowski, for the Flint Institute of Arts, Michigan; and a project exploring Georgia O'Keeffe and camping, “Georgia O’Keeffe and the Faraway: Nature and Image” (2010). Past publications include My People: The Portraits of Robert Henri (1994); Robert Henri in Santa Fe: His Work and Influence (1998); Robert Henri: The Painted Spirit (2005); and studies

on The Eight and their circle, including an essay in the catalogue for the Detroit Institute of Arts traveling exhibition, “Life’s Pleasures: The Ashcan Artists Brush with Leisure” (2007). Other publications include studies on the work of John Sloan (2009), William Glackens (2003), Ernest Lawson (2000), Leon Kroll (1998), Charles Davis (2007), and Marguerite Zorach (2007). She received a PhD from the Graduate Center of CUNY, and has held curatorial positions at the Flint Institute of Arts, Orlando Museum of Art, Tampa Museum of Art, and the Whitney Museum of American Art.

Lance Mayer and Gay Myers, conservators of paintings; they work part time at the Lyman Allyn Art Museum in New London, Connecticut, and spend the majority of their time working as independent conservators for large and small museums and private collectors. They have treated such important American paintings as Rembrandt Peale’s The Court of Death at the Detroit Institute of Arts, Samuel F. B. Morse’s The Gallery of the Louvre, owned by the Terra Foundation, and Emanuel Leutze’s Washington Crossing the Delaware at The Metropolitan Museum of Art. For many years they have been studying documentary sources that shed light on the history of painting materials, and have published on such topics as the varnishing practices of American Impressionist painters, the experimental techniques of the British painter George Stubbs, and the tempera techniques used by 20th-century painters of the American scene. They were recipients of a Winterthur Advanced Fellowship in 1999, were Museum Scholars at the Getty Research Institute in 2003, and received an FAIC/ Kress Publication Grant in 2005. Their most recent publications are: American Painters on Technique: The Colonial Period to 1860 (Getty Publications, 2011), and American Painters on Technique: 1860 – 1945 (Getty Publications, July 2013). In 2013, they were awarded the College Art Association/Heritage Preservation Award for Distinction in Scholarship and Conservation.

Steven Miller, museum consultant, writer, educator; recently served as collection consultant, Museum of the City of New York, and, in various curatorial capacities from 1971 to 1987. Miller is Executive Director Emeritus, Morris Museum, Morristown, NJ, where he served as Executive Director of both the museum and its Bickford Theatre (2001 – 2010). Prior to that he was Executive Director, Bennington Museum, Bennington, Vermont (1995-2001); Director of Museums, Western Reserve Historical Society, Cleveland, Ohio (1991–1995); and Assistant Director, Maine State Museum, Augusta, Maine (1987–1995). A member of the boards of trustees of ArtPride New Jersey and Historic Deerfield Inc., he also serves on American Alliance of Museums’ Accreditation Visiting Committee, and is an ongoing, writer for Museum magazine.

George Bellows, My House, Woodstock, 1924, oil on panel. Michael A. Mennello, Winter Park.

Art Gallery of the Metropolitan Fair, Union Square, New York, April 1864, engraving, Harper’s Weekly, April 16, 1864.

Miller holds a BA from Bard College, Annandale-on-Hudson, New York and an International Graduate Certificate, Principles of Conservation Science, International Centre for the Study of the Preservation and Restoration of Cultural Property, Rome, Italy. He teaches Museum Studies at Seton Hall University and has taught at other institutions among them NYU School of Continuing and Professional Studies, NYU’s Graduate Program in Archival Management and Historical Editing, Case Western Reserve University, The New School for Social Research, and Columbia University’s Graduate School of Architecture and Planning.

Mark D. Mitchell, Associate Curator of American Painting and Sculpture and manager of the Center for American Art, Philadelphia Museum of Art. He worked at the Princeton University Art Museum, Hood Museum of Art at Dartmouth College, and National Academy Museum in New York. Among other subjects, Mitchell has written and lectured on American drawings and watercolors. He curated the first exhibition of landscape painter Francis A. Silva (1835 – 1886) in 2002 and co-organized the first retrospective of artist and collector James A. Suydam (1819 – 1865) in 2006. He contributed an essay on Charles Demuth (1883 – 1935) to the catalogue accompanying the Philadelphia Museum of Art’s blockbuster “Cézanne and Beyond,” and curated the Museum’s recent exhibition “George Inness in Italy.” His current project is a survey of American still-life painting that opens in summer 2014. He received his doctorate in American art history from Princeton in 2002.

Andrew Schoelkopf, co-founder and partner, Menconi & Schoelkopf Fine Art, LLC; Schoelkopf literally grew up in an American painting gallery; his father, Robert Schoelkopf, opened an art gallery on Madison Avenue in 1958 and ran the business—which Andrew joined in 1989—until his passing in 1991. After the closing of the Robert Schoelkopf Gallery, Schoelkopf joined Christie’s auction house as a specialist in American paintings and became director of the American Paintings Department in 1995, leading several of the firm’s most successful auctions in the field, most notably that of American paintings, drawings and sculpture from the estate of Thomas Mellon Evans. He subsequently held a number of senior positions with Christie’s including director of business development for North and South America; in his final position with the firm, he served as president of Christie’s Internet auction business. He was also a member of Christie’s Business Development and Operating Committees. In April 2001, Andrew and his partner Susan Menconi opened their doors and are private dealers specializing in

American paintings, drawings, and sculpture of the 18th, 19th, and early 20th centuries; they have sold works of art to the leading private collectors and museums including the Museum of Fine Arts, Boston; The Metropolitan Museum of Art; and The Art Institute of Chicago. The recipient of a BA from Denison University and an MBA from Fordham University Graduate School of Business, Schoelkopf is a past member of the board of directors of the Private Art Dealers Association of America and sits on the Art Show Committee of the Art Dealers Association of America. The gallery is a member of both the Private Art Dealers Association of America and the Art Dealers Association of America.

Paul Staiti, Alumnae Foundation Professor of Fine Arts, Mount Holyoke College; Staiti is the author of books and essays on John Singleton Copley, Gilbert Stuart, Samuel F. B. Morse, William Michael Harnett, and Winslow Homer. He has lectured at the Louvre and The Metropolitan Museum of Art, and has been awarded fellowships from the National Endowment for the Humanities three times. He is currently writing a book on Copley, Stuart, Benjamin West, and John Trumbull, to be titled Visions of the Republic: The Revolutionary Lives of American Artists in King George’s London.

Thayer Tolles, Curator, The American Wing, The Metropolitan Museum of Art; at the Museum, she oversees the American sculpture collection. She participated in extensive ongoing renovations to the American Wing, reinstalling the sculpture in the Charles Engelhard Court (opened May 2009) and the second-floor paintings and sculpture galleries (opened January 2012). She edited and co-authored the two-volume catalogue American Sculpture in The Metropolitan Museum of Art (1999 and 2001) and Perspectives on American Sculpture Before 1925: The Metropolitan Museum of Art Symposia (2003). Tolles curated the exhibition “Augustus Saint-Gaudens in The Metropolitan Museum of Art” (2009) with an accompanying publication of the same title. She is co-curating the exhibition “The American West in Bronze, 1850 – 1925,” which opens at the Metropolitan in December 2013 and travels to the Denver Art Museum and the Nanjing Museum, China.

James W. Tottis, Director of Collections, Museum of the City of New York; previously, he was a member of the curatorial staff in the Department of American Art, Detroit Institute of Arts (DIA) for over 24 years; he has also served as adjunct professor in the Humanities Department at Wayne State University since 1991. His exhibition, “Life’s Pleasures: The Ashcan Artists Brush with Leisure” (2008), was accompanied by a multi-author catalogue. He was the organizing curator for “American Beauty: Paintings and Sculpture from the Detroit Institute of Arts 1770 – 1920,” a multi-venue exhibition in Europe and America; and organizing curator for “Building Detroit: 150 Years of Architecture and Innovation,” which explored 50 of the city’s most celebrated and influential structures and their architects, and that was part of the DIA’s celebration of Detroit’s tercentenary. His most recent publications are The Guardian Building: Cathedral of Finance (2008) and Life’s Pleasures: The Ashcan Artists Brush with Leisure. He has contributed to Collecting American Decorative Arts 1985 – 2005; American Paintings in the Detroit Institute of Arts, vol. III; and From the Hudson River School to Impressionism: American Paintings from the Manoogian Collection.

Charles Simonds, Wilted Towers, 1984, unfired clay. Private collection, New York; photo courtesy of Charles Simonds.

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18th AnnuAl AmericAn Art conference

fridAy – SAturdAy, mAy 17 – 18, 2013

Reclaiming American Art

Alexander Phimister Proctor, Buffalo, 1912, bronze, 13½ x 19 x 9¾ in. The Metropolitan Museum of Art, New York. Bequest of George D. Pratt, 1935 48.149.29.

Thomas Le Clear, The Itinerants, 1862, oil on canvas, 25¼ x 40 in. Private collection; photo courtesy of Debra Force Fine Art.

Edmund Lewandowski, Wisconsin Ore Freighter, 1948, oil on canvas, 42 x 30¾ in. Collection of the Milwaukee Art Museum, gift of Gimbel Bros., Milwaukee, M1959.

Leon Kroll, In the Country, 1916, oil on canvas. Detroit Institute of Arts, Founders Society Purchase, Special Membership and Donations Fund with a contribution from J. J. Crowley, 19.35.

The graduaTe cenTer, The ciTy universiTy oF new york