Muses can be hard to positively ID, but I’m pretty sure this one is Terpsichore, Muse of Dance. She is sometimes shown dancing, and sometimes, as here, as a seated woman in Greek dress playing her harp to accompany a troupe of dancers. Presumably the laurel wreath hanging from the back of her chair will be awarded to the best dancer.
Terpsichore is about 8 inches high and made of spelter, an inexpensive white metal alloy made mostly or entirely of zinc. Originally used as decoration on an Ansonia clock, she was made in imitation of costly French bronzes of her day.
Another Ansonia clock figure, this dashing artist in 17th century garb seems to be identified as both Rembrandt and Rubens. About 8″ high, he’s a companion for Erato. I’m keeping his original pewter patina but refreshing it with pale gold highlights and darker shadows.
“Could a nude woman artist be both image and image-maker?” – Carolee Schneemann
To say that Carolee Schneemann, who passed away last month, was a legendary painter, photographer, and performance artist is to miss the point, almost, of her six-decade-long body of work. I mean that phrase literally, since Schneemann used her body to stage intricate and taboo feminist dramas in a way no one else has ever done. Schneeman explored desire, sex, oppression, and—yes—joy, in ways that were confrontational, sometimes brutal, and almost always ephemeral. It is difficult to explain her work without having seen it, and it is doubly difficult when, as Maggie Nelson says in her excellent article in the New Yorker:
“…I also can’t help feeling that to consistently deem someone an underrated living legend is also to practice a certain repetitive distortion, whereby all praise or estimation begins to register more as corrective than insight. Similarly complicated, when it comes to Carolee’s work, is the question of suppression and censorship.”
Read more about this fascinating artist, and, if you can, see her work.
Photo of the artist from the author’s postcard of “Carolee Schneemann: Up To And Including Her Limits,” 1997, at the New Museum; a still from the film “Meat Joy.”
Take a look at Nedret Andre’s paintings, which occasionally become three-dimensional, now at the Hess Gallery at Pine Manor College:
Hess Gallery / Nedret Andre
Nedret’s ecological activism and artwork speak volumes about what dedicated individuals can do to heal the planet.
Full disclosure: I’m the Hess Gallery director.
My favorite show of the year so far is now up at the BCA’s Mills Gallery
. Curated by filmmaker Maya Erdelyi, the show features 13 artists who make entirely handmade animated films, using every imaginable media including cutouts, cut paper sculpture, pencil drawings on vellum, and inking directly on film. The show is exuberant, refreshingly handmade, and by turns tender, hilarious, horrifying, and stunning. Panel discussions still to come, check out the full list of activities and register here
. The show is up until April 28th.
Top right: Ma Femme Maison installation and animation by Maya Erdelyi, At left: installation view of the main gallery.
Holly Curcio‘s handbuilt “Dream Team” at Mudflat Pottery in Somerville.
…of the Flower Painter Jan Frans Van Dael (1816), a new acquisition of the Worcester Art Museum. This view of Van Dael’s studio at the Sorbonne shows a charming group of women painters in various stages of work: making preparatory drawings, painting, studying. Some women were amateurs; others professional painters who exhibited and sold artwork. By Philippe Jacques Van Bree.
Worcester Art Museum news here.
Painter Florence Hosmer, a younger (much younger) cousin of sculptor Harriet Hosmer, lived in Sudbury, Massachusetts most of her life. Her former home is now a museum housing her artwork and furniture. A painter of portraits, Hosmer’s first known attempt was this self-portrait at age 16. She received many commissions in her lifetime, but mainly painted family and friends.
A docent from the Sudbury Historical Society gives a tour of Florence’s home and artwork.
As nights draw in, there always seems to be more time for reading. Check out fellow blogger artforhousewives and her recent meditations on Dido, Harriet Hosmer, and The Burden Of Beauty:
Burden of Beauty
The Tears of Things
Marisol Escobar’s wry portrait of Ruth Klingman, titled simply “Ruth” is on display at The Rose Art Museum this fall. Ruth is included in Passage, a wide-ranging selection of work from the permanent collection of the Rose.
Ruth Klingman had been Jackson Pollock’s mistress, and was the lone survivor of the car crash that killed Pollock and another friend in 1956. Constructed 5 years after Pollock’s death, in 1961, Marisol’s Ruth is made of carved and found wood, plaster casts, and found objects. Marisol’s signature draftsmanship details Ruth’s hair and facial features, using loose line work to create casual but accurate portraiture. Ruth is a literally multifaceted portrait of a misunderstood, complicated woman who was—as Marisol herself was for a time—a part of Andy Warhol’s New York inner circle.
Marisol, an influential and once-widely-exhibited pop artist, is due for a long-overdue retrospective at the Albright Knox gallery