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.
Wednesday, September 28, 2011
Congratulations to the Student Picks winners for the 2011 - 2012 academic year! These Smith students will get to organize an art show using the Cunningham Center's collection of prints, drawings and photographs.
October 7, 2011 – Nicole Teitelbaum ‘14
November 4, 2011 – Elizabeth Stewart ‘13
December 2, 2011 – Maggie Weiler ‘15
February 3, 2012 – Margot Lurie ‘12
March 2, 2012 – Gabrielle Morrison ‘15
April 6, 2012 – Catherine Popovici ‘13
May 4, 2012 – Jasmine Setoodehnia ‘14
October 5, 2012 – Laila Phillips ‘15
After collecting all five ballot boxes on Friday from their locations around campus, we poured the many entries into our infamous big red bucket (courtesy of the Education Department!). SCMA Director Jessica Nicoll picked the seven names, and two alternates.
Meanwhile, we're close on the heels of our first Student Picks show of the year. Nicole Teitelbaum '14, whose name was drawn last year, will show her picks on the Friday after next -- October 7, from 12 to 4 PM. The topic is depictions of mental illness and disorder in art, which relates to Nicole's work as the chair of Smith's chapter of Active Minds as well as her Psychology major.
I will post an invitation on the SCMA Facebook page next week, so remember to "like us" on Facebook if you want to receive updates on upcoming Student Picks exhibitions.
Wednesday, September 21, 2011
This week you'll see a double-bill of posts about Student Picks, our student exhibition program, to mark this Friday's fast approaching deadline for Smith students to enter to win the chance to organize an art show at SCMA. In today's post, guest blogger Lori E. Harris AC '11 reflects on her Student Picks experience in the spring of 2011.
Martin Puryear. American (b. 1941). Avey, from portfolio Cane,2000. Woodblock printed in black ink on Kitakata paper. Purchased with the gift of the Arch W. Shaw Foundation, through the courtesy of Nancy Simonds Shaw, class of 1972, administrator, and other individuals. SC 2000:36-6
I was selected to participate in the Student Picks program in the Fall of ‘10. Although I was very excited that I had been one of seven students chosen to develop and curate my own art exhibition in the Smith College Museum of Art’s Cunningham Center, I anticipated that the process would be very structured and formal. However, upon attending my first Student Picks meeting with Amanda Shubert of the Cunningham Center, I soon discovered that the staff at the Cunningham Center’s goal was to make our experience both educational and enjoyable. Amanda let us know early on in the process that each Student Picks would have the full support of not only the staff but also the resources of the Cunningham Center in selecting and organizing our prints for our final exhibition.
What I found most helpful in this process was that the staff at the Cunningham Center allowed us to define for ourselves what we viewed as artistically creative. The one-on-one conversations with Amanda about my individual interests allowed me to synthesize and focus my ideas and draw on themes and coursework that I had studied throughout previous semesters. I was able to connect that coursework with works of art that make up the vast collection within the Cunningham Center. I became aware that the Cunningham Center owned a volume of woodblock illustrations created by Martin Puryear. By creating abstract portraits of female characters from Jean Toomer’s Cane, Puryear’s illustrations situate the viewer in the historical context of the period, calling attention to the connections between words, community, relationships and culture. Similarly, Japanese Ukiyo-e, or “pictures of the floating world,” was an important vehicle for and reflection on narrative — representing scenes from folk stories and Kabuki plays as well as a cultural narrative of place. Although Puryear’s style is completely different from Ukiyo-e, both can be viewed as the nexus of many complex layers of text, narrative and history.
The staff of the Cunningham Center gave me an opportunity to develop, shape and curate an exhibition that was a transformational experience for me. By supporting my process from the very beginning until the closing of the show, they gave me the confidence to believe that I could create an exhibition that was not only engaging and educational for the audience but also enjoyable. Student Picks is a unique and progressive concept. I would argue that it is one of the few programs on campus that brings together students from every discipline and gives them an opportunity to integrate their academic interest with art. There were a good number of students who attended my exhibition and the primary question they asked before they left was “how can I become a Student Picks!?” I believe the success of the Student Picks Program is evident in that very question.
Toyota Hokkei. Japanese, Surimono: The Hell Courtesan (Jigokudayû), from series Three Prints of Courtesans, mid-1820s. Woodcut printed in color on embossed paper. Gift of Mr. and Mrs. James Barker (Margaret Clark Rankin, class of 1908). SC 1968:478
Monday, September 19, 2011
This week you'll see a double-bill of posts about Student Picks, our student exhibition program, to mark this Friday's fast approaching deadline for Smith students to enter to win the chance to organize an art show at SCMA. In this post, guest blogger Kendyll Gage-Ripa, Smith College class of 2012 reflects on the process of putting together her Student Picks exhibition, held in December 2010.
Carrie Mae Weems. American, born 1950. Portrait of a Woman Who Has Fallen from Grace and into the Hands of Evil, 1988. Gelatin silver print. Purchased. SC 1991:2. Photograph by Petegorsky/Gipe.
My name is Kendyll, and I am a Smith College senior studying Studio Art and African-American Studies. Getting selected to create a Student Picks exhibition was a wonderful (and initially a bit overwhelming) surprise. I didn’t begin seriously thinking about my exhibition until late October. At the starting point I had no idea where the project would lead me—I was full of questions that I could only answer by beginning the process. Although I knew I wanted to create an exhibition that would be thought provoking for others, I would later realize that the experience would be a profound source of learning for me as well.
Because I had a specific collection of objects to work with, whatever theme I might choose would have to be informed by the art. Therefore, my first step was to browse SCMA’s online database of artworksso I could get a sense of the material I had to work with. This proved difficult, as the database is not set up for “browsing:” although works of art are easy to search out when you know what you are looking for, if you don’t, you have to get creative.
In the midst of the mysterious process of “getting creative,” I began to feel that images I was pulling up from SCMA’s collection were strongly connected to ideas from one of my classes, conversations I had been having, and my own private musings. Slowly, along with my discovery of certain images from the collection, an exhibition theme revealed itself to me from my mess of thoughts and feelings.
The theme and title for my show gradually emerged from questions I had about images of women’s bodies. As I thought about the role women’s bodies play in western art and contemporary visual culture, I began searching for artists whose work attempts to resist, critique, and even subvert the way the female body has traditionally been depicted. This process led me to consider much broader ideas that were, nonetheless, intimately tied to the specific topic I was trying to explore. For example, works from the collection like Carrie Mae Weems’s Portrait of a Woman Who Has Fallen from Grace and into the Hands of Evil, and Imogen Cunningham’s The Unmade Beddrew my attention to the process of representation itself, and how it shapes our society’s reading of the female body.
I decided to center my show on “questions”: questions the artists ask, questions I posed, and questions the viewer might ask. I wanted to ask “who is she, really?” as a way to start a conversation between images and audience. Putting together this exhibition taught me that while asking questions is the beginning of interpretation and understanding, perhaps it is the final goal as well. Maybe critical thinking means moving from question to question—gathering meaning, without necessarily reaching concrete answers. In putting a stop to the process of questioning, a fixed “answer” might actually cut off the flow of learning. Questions leave us open to the fullness of the world. Perhaps questions are the closest we can come to the truth. In a sense, I ended where I had begun in October—with a beautiful mess of questions, and not an answer in sight.
Imogen Cunningham. American, 1883–1976. The Unmade Bed, 1957. Purchased. SC 1976:19-14. Photograph by Petegorsky/Gipe.