Mt. Greylock’s 7th graders visited the Clark yesterday for their first session of the Curating a Culture of Respect project. Part of their day was spent making t-shirts, and we were so happy to discover that the teachers from the Hans Arp School were wearing the ones they made too! Although we are thousands of miles apart we are united by the same ideas: Can art change the world? Can art change YOUR world?
Yes it can!
Thank you to our French friends for the GREAT IDEA!
FRAME Educators from Detroit, Hartford, St. Louis, and Virginia met to talk about expanding the Curating a Culture of Respect program. Stay tuned…
In October 2015, BART Charter School’s 8th grade class visited the Clark to look at art in relation to thinking about human nature. Since then, another school around Williamstown—Mt. Greylock Regional School—joined the “Curating a Culture of Respect” project and the entire 7th grade visited on January 12. The Clark education department worked with Mt. Greylock’s teachers to develop a full-day event for them. A lot of the programming for this visit was based on the experiences we have shared with BART.
Mt. Greylock Students in the galleries
The Clark hosted about 110 students at the museum to discuss ideas around compassion, aggression, and violence prevention. Between 10:00 AM and 12:00 PM, students had an hour experience in the galleries. They then spent the other hour meeting in conversations about “The Power of Art.” Four speakers were stationed in separate corners of a large multipurpose space in the museum, and each station discussed a different theme—Art & Ownership, Art & Community Enhancement, Art & Influence, and Art—Now & Then.
After lunch, all 110 students went into the galleries to complete reflections related to art and what it tells us about human behavior. Thank you to all teachers, chaperones, and especially the students for an enriching, exhilarating day. What a way to kick off 2016!
All photos taken by Tucker Bair.
Little Dancer Aged Fourteen
Hilaire-Germain-Edgar Degas, French, 1834-1917
Modeled 1879-81, cast 1919-21
Bronze with gauze tutu and silk ribbon, on wooden base
When Degas’s Little Dancer Aged Fourteen was first exhibited at the 1881 Impressionist exhibition—modeled in wax, with a real tutu and real hair—reaction was mixed. The figure’s awkward limbs and inscrutable expression seemed at odds with the traditional image of the elegant ballerina. Some critics called the sculpture “hideously ugly,” while others applauded its realism. This bronze was cast from the wax original after Degas’s death.
Read more here: http://www.clarkart.edu/Collection/3551
Is art criticism a type of aggression?
If so, where is the line between constructive criticism and hurtful criticism?
The ballerina in this sculpture does not look happy or relaxed. Is her discomfort justified for the sake of the art?
C.R.W. Nevinson, English, 1889-1946
Drypoint on paper
Known for his bleak and graphic depictions of World War I, C. R. W. Nevinson worked as a painter and printmaker throughout his career. Nevinson began his artistic training in 1908 at St. John’s Wood School of Art, and enrolled at the Slade School of Fine Art in London the following year. His visit to the Sackville Gallery’s 1912 Futurist exhibition inspired him to start working in that manner. His connection with the Italian Futurists and especially their leader, the poet and editor Filippo Tommaso Marinetti, was cemented with their jointly written manifesto, “Futurism and English Art” (1914). But in marked contrast to the Futurists’ heroicizing approach to World War I, Nevinson increasingly utilized this style to capture the war’s horror and devastation. As an ambulance driver for the Red Cross and, later, as an official war artist for the British government, Nevinson developed a visual vocabulary focused on military combat and its aftermath. Abandoning Futurism in 1919, Nevinson concentrated on naturalistic urban scenes until ceasing his printmaking practice in 1932. His autobiography, Paint and Prejudice, was published in 1937 as a memoir primarily of his experiences as an artist during the Great War.
Jan Provoost, Netherlandish, 1465-1529
Oil on panel
Joseph of Arimathea supports Christ’s body as John the Evangelist wipes away a tear and places a consoling hand on the Virgin’s shoulder. Mary Magdalene clasps her hands in prayer. In the background, three crosses refer to Christ’s recent Crucifixion, and a man preparing a tomb alludes to his future entombment. The painting may originally have formed part of a polyptych, an arrangement of four or more panels, telling the story of Christ’s life. By including a Gothic church, Provoost set these scriptural events in the fifteenth century.
Dead Christ with Joseph of Arimathea and Nicodemus (Sepulcrum Christi)
Perugino, Italian, 1450-1523
Oil possibly with tempera on panel, transferred to fabric on panel
Joseph of Arimathea looks on contemplatively as a tearful Nicodemus supports Christ’s lifeless body on a stone tomb, which is inscribed in Latin with the artist’s name and the work’s subject, “sepulcher of Christ.” The painting may originally have been positioned above an altar in a private chapel, where its somber mood was meant to encourage devotion and prayer. Despite his bloody wounds, Christ is depicted with an idealized body, like that of a classical statue, and a serene expression, suggesting his eventual triumph over death.
Woman with Baby
Mary Cassatt, American, 1844-1926
Pastel on gray paper
The child’s embrace and the woman’s affectionate expression suggest the tender relationship between mother and daughter, though the figures were, in fact, unrelated. The woman was among Cassatt’s favorite models, her cook Reine LeFebvre. The pastels are subtly blended to represent the varying textures of flesh and hair, and the striking orange, blue, and green colors of the voluminous kimono are echoed in the background.
The Women of Amphissa
Sir Lawrence Alma-Tadema, British, Born Netherlands, 1836-1912
Oil on Canvas
Followers of Bacchus, the god of wine, awaken in the marketplace of Amphissa, Greece, where they have wandered from their home in Phocis during a night of ritual dancing. Amphissa and Phocis are at war, but the women of Amphissa graciously offer the bacchantes nourishment and protection. The painting illustrates an event recorded by the Greek historian Plutarch, which Alma-Tadema staged as a lesson in charity for his Victorian audience.
Rockets and Blue Lights (Close at Hand) to Warn Steamboats of Shoal Water
Joseph Mallord William Turner, British, 1775-1851
Oil on Canvas
Rockets and Blue Lights, or to give the work its full title, Rockets and Blue Lights (Close at Hand) to Warn Steamboats of Shoal Water is a painting by Joseph Mallord William Turner. It is fairly typical Turner seascape, all swirling colours, smoke and seaspray, painted by an artist who is often regarded as the greatest British painter that ever lived. Dated to the year 1840 the painting passed through a number of hands until it was purchased in 1932 by an American couple Mr and Mrs Clark, and is now in the ownership of the Clark Art Institute of Williamstown, Massachusetts.