ARTstor and the Ruth Chandler Williamson Gallery at Scripps College are now sharing more than 700 images of works from the permanent collection in the Digital Library. The collection in ARTstor consists of highlights from several special collections.
The Gallery houses a teaching collection of Japanese woodblock prints and illustrated books from the late 17th century to late 20th century, featuring works by the artists Yoshu Chikanobu (1838-1912) and Tsukioka Yoshitoshi (1839-1892). The Marer Collection of contemporary ceramics is international in scope, comprising American, British, Japanese, Korean, and Mexican works. The Young Collection focuses on Impressionist oil paintings by 19th and 20th century American artists, including George Bellows, Mary Cassatt, William Glackens, Frederick Childe Hassam, Robert Henri, Winslow Homer, Maurice Prendergast, and Theodore Robinson, among others. Another important teaching collection traces the history of photography with a selection works from the 19th through the 21st century. Finally, there is the Samella Lewis Contemporary Art Collection, which comprises works by contemporary artists with a special focus on art by women and African-American artists, such as Elizabeth Catlett, Samella Lewis, Faith Ringgold, and Alison Saar.
THE magic of Tanglewood, the summer festival in western Massachusetts, has many parts. There is the music of course, this being the summer home of the Boston Symphony Orchestra. There is the beauty of the surroundings, both on the meticulously maintained campus in the quaint town of Lenox and all around in the Berkshire Hills.
There is a spirit that has evolved over three-quarters of a century, stemming from the festival’s founder, Serge Koussevitzky, the music director of the Boston Symphony from 1924 to 1949; nurtured under music directors like Charles Munch and Erich Leinsdorf, and influential guests like Leonard Bernstein and Lukas Foss; and now combining the youthful energy of students at the Tanglewood Music Center with a unity of purpose across generations. That spirit splintered briefly some 15 years ago, when Seiji Ozawa, the orchestra’s music director at the time, crossed swords with longtime faculty members, but it seemed to come back stronger than ever under James Levine, the music director from 2004 to 2011.
There is even a tinge of pride — a slight sense of indomitability, perhaps — shared by performers and audiences alike, born of their having repeatedly weathered terrifying flash storms and survived the annual plague of mosquitoes. Mud is part of the creation myth, as witnessed in the photograph of well dressed patrons tiptoeing over the newly soaked grounds at a Wagner concert in 1937 — in the festival’s first season, before the concert shed was built — often printed in the Tanglewood program.
Alas, this disparate yet potent mix of elements cannot be bottled. But happily the music can be, to some extent, and has been, in the form of archival recordings now being made available in quantity.
The images and their associated information will join our collection of more than 12 million freely usable media files, which serves as the repository for the 285 language editions of Wikipedia. Check it out!!
Did you know that the UCSD Library gives you access to more than one million digital images in the arts, humanities, and sciences? The ARTstor Digital Library includes of that, plus software tools to view, present, and manage images.
The UCSD Arts Library presents an exhibit** of Stylophones on the lower level, West wing of Geisel Library at UCSD. Exhibit opens March 28th and closes April 30.
Opening event: Wednesday, March 28th at 12:30 p.m. features a premiere of new works for Stylophone by composer Pea Hicks. Additional event: Sunday, April 15th, 2:30 p.m., features a premiere of a new work for multiple Stylophones by composer Scott Paulson.
About the Stylophone:
In 2002, David Bowie made a surprising Stylophone confession: “It’s the only instrument I take on holiday with me to compose on.” In fact, David Bowie’s 1969 album “Space Oddity” was composed entirely on a Stylophone. The small British company that manufactured the instrument (Dubreq) was surprised to hear this news, as they had invented and marketed the instrument merely as a musical toy.
Invented in 1967. the Stylophone is a pocket electronic musical synthesizer. Originally invented by Brian Jarvis as a toy and made available to the general public in 1968, the little instrument was presented as a novelty electronic organ with an iconic transistor radio look… Read more…
Artist Mike Kelley has passed away at his home in Los Angeles, having apparently taken his own life. The tragic news was confirmed to BLOUIN ARTINFO by Helene Winer, of New York’s Metro Pictures gallery, a long-time associate of the artist.
“It is totally shocking that someone would decide to do this, someone who has success and renown and options,” said Winer. “It’s extremely sad.” She added that the artist had been depressed.
Kelley was born in 1954 in a suburb of Detroit, Michigan. He became involved in the city’s music scene as a teen, and while a student at the University of Michigan, formed the influential proto-punk band Destroy All Monsters with fellow artists Jim Shaw, Niagara, and Cary Loren (a retrospective devoted to Destroy All Monsters was held at L.A.’s Prism gallery last year). Together, the band hatched a style of performance that skirted the edge of performance art.
After graduating college in 1976, he moved to Los Angeles to attend the California Institute of the Arts, studying alongside teachers like John Baldessari and Laurie Anderson. Music continued to be a constant passion: he formed another band, “Poetics,” with fellow CalArts students John Miller and Tony Oursler.