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Paper + People is a blog about the Smith College Museum of Art’s collection of over 18,000 prints, drawings, and photographs. Here you will find a diverse array of posts written by museum staff, students, scholars, and other paper enthusiasts about anything pertaining to the collection.

Any works you see featured here are available to view by appointment.

  • Thursday, February 4, 2016

    Student Picks: Time and Space

    Student Picks is a SCMA program in which Smith students organize their own one-day art show using our collection of works on paper. This month’s student curator and guest blogger Anna Saunders '17J  discusses her show "Workers in the Shadows: Portraits of Urban Life" which will be on view FRIDAY, February 5 from 12-4 PM in the Cunningham Center for the Study of Prints, Drawings, and Photographs. We hope to see you there!

     

    Confused and contemplative, I don’t want to say America is at a crossroads with itself, but… it’s like we literally entered a new millennium. This exhibition loosely deals with American adolescence, of coming into a history with uncertain predictions of the future. A juxtaposition of isolated prints, this collection consists of portraits and still lifes that span that from roughly the Sixties to the early 2000s. 

    David Ricci, American, born 1952. Swan Hotel, Walt Disney World, 1991. Cibachrome. Gift of David Ricci. SC 1991:10

     

    Lauren Greenfield, American, born 1966. Jennifer Lopez in Versace at the VH1;Vogue Fashion Awards, New York, New York, 1998. Dye destruction print. Promised gift of Ann and Richard Solomon (Ann Weinbaum, class of 1959). SC TR 6977.37

    These photos represent my fascination with historical progression; the divergent subjects of these photos capture halted moments that are stalled within the context of time and space at which they were taken. 

    Martin Parr, English, born 1952. New Brighton, Merseyside from The Last Resort, ca. 1983-1986 negative; 2005 print. C-print. Purchased with the Josephine A. Stein, class of 1927, Fund in honor of the class of 1927. SC 2006:7

    I would like to thank the Cunningham Center for sponsoring such an incredible and unique opportunity. I would also like to thank Colleen McDermott for her help, support and patience.

    Sarah Malakoff, American, born 1972. Untitled Interior (blizzard), 2005. Digital C-Print. Purchased with the class of 1990 Art Fund. SC 2007:36

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  • Thursday, January 28, 2016

    Clarence Kennedy and the Photographical Construct

    Clarence Kennedy, American (1892 - 1972). Plate 41. Her Right Hand, Holding Vase of Ointment. Back. Gift of the Hillyer Art Library. SC 1976:55-1(41)

    Well-regarded as a Renaissance History professor at Smith, Clarence Kennedy began to take photographs of pre-Modern European sculpture to aid his students in their research. During the early 20th century, photography was the primary way of viewing and studying the art of other regions, especially Europe. 

    What makes his photographs stand out is the unparalleled level of control he had over their staging. Kennedy recognized the importance of treating sculpture as a three-dimensional object, and carefully controlled the lighting and angled at which he took photographs. His work was not about creating something new, but bringing out features of art that are normally unseen.

    This images in this post are of the statue of Mary Magdalene at the Santa Trinita in Florence, Italy. The above image is of her right hand, holding a chalice containing ointment. The following three images are all of her left hand, each shot from different angles.

     

    Clarence Kennedy, American (1892 - 1972). Plate 42. Her Left Hand. In Profile. Gift of the Hillyer Art Library. SC 1976:55-1(42)

    Clarence Kennedy, American (1892 - 1972).Plate 43. Her Left Hand. Partly Turned from the Observer. Gift of the Hillyer Art Library. SC 1976:55-1(43)

    Clarence Kennedy, American (1892 - 1972). Plate 44. Her Left Hand. Back. Gift of the Hillyer Art Library. SC 1976:55-1(44)

    Compare this with the full image of the statue below:

    Clarence Kennedy, American (1892 - 1972). Plate 33. The Figure as a Whole. The Magdalen. Santa Trinità, Florence. Gelatin silver print. Gift of the Hillyer Art Library. SC 1976:55-1(33)

    The sculpture in its entirety is beautiful. Yet it is easy to miss small details like the hands when confronted with the whole.

    It is striking how fundamentally different art photography is today. High-resolution color photography enables us to see every paint chip and wood grain on a sculpture. However, no photographer would be able to work as intimately with the art as Kennedy did--and for good reason. Contemporary thoughts on the conservation and preservation of art mean that works are handled as little as possible. Kennedy’s work is an invaluable resource because it reflects both the art and the circumstances which he worked in. 

    Clarence Kennedy photographing a sculptural relief, c. 1930

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  • Thursday, January 21, 2016

    The Nuremberg Chronicle

    The Smith College Museum of Art is dedicated to bringing out works on paper into the main galleries, where all visitors can see them. Since works on paper are more sensitive to light than other mediums, SCMA has installed special Works on Paper cabinets throughout the galleries for the display of prints, drawings and photographs. Today’s post is part of a series about the current installations of the Works on Paper cabinets, which will remain on view through May 2016.

    The Nuremberg Chronicle is a German book detailing the history of the world from the biblical account of creation to 1493, the date of its publication.  Though its official title is the Liber Chronicarum (Book of Chronicles), it is usually referred to in English after Nuremberg, the city which it was printed in. It is best known for its vast number of woodcut images—over 1800 in total, depicting a variety of people, places, and historical events. The Works on Paper cabinet brings together pages of the chronicle at Smith with those from the Mead and the Mount Holyoke College Art Museum. In addition, there is an original copy of the Nuremberg Chronicle on loan from the Mortimer Rare Book Room.

    The breadth of material covered in the Chronicle is impressive. With the rediscovery of Greek and Roman literature and texts during the Renaissance, scholars began looking for connections between themselves and antiquity. They sought to fit these new narratives and histories into their own Christian understanding of the world. The Nuremberg Chronicle is an example of how scholars pieced together classical, biblical, and contemporary political history into a single unified timeline.  

    Nuremberg, Leaf from Nuremberg Chronicle (Latin Edition), 1493. Woodcut and colored ink on paper. Gift of Ellen P. Reese to the Mount Holyoke College Art Museum, South Hadley, Massachusetts. MH 1986.37.2

    This two-page spread of Nuremberg is the largest, most intricately detailed image in the book. While the printers did produce special colored editions of the Nuremberg Chronicle, these pages were likely hand-colored by the book’s owner, which was common practice at the time. 

    Though stylized, it is an accurate portrait of the city during the late fifteenth century, giving a sense of the crooked buildings and narrow streets that lead to the castle at the top of the hill. The city gate bears Nuremberg’s coat of arms, and there are two small notes identifying the churches of St. Lorenz and St. Sebald. Next to the river, the building in the lower right corner of the page is the mill where the paper for the Chronicle was made. Yet for all its modernity, the artists make sure to remind readers of the presence of Christ. In the lower center of the page, a pedestrian with sack in hand walks towards three crosses—a clear reminder of the crucifixion of Jesus Christ and the two thieves.

    The cabinet is on view on the second floor of the galleries until May 2016. I encourage you to see it if you have the chance!

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