Now everyone is an insider!
In order to provide an open forum for ALL of the museum’s collection and activities, the Paper + People blog is being renamed SCMA Insider. With its expanded focus, SCMA Insider will act as a go-to place for sharing information on the diverse collections and many voices and visions that shape SCMA.
If you want to contribute to the blog, please contact the Brown Post-Baccalaureate Curatorial Fellow, Shanice Bailey, at email@example.com.
Wednesday, April 8, 2015
Guest blogger Saraphina Masters is a Smith College student, class of 2017, majoring in Classical Studies and Art History. She is the 2013-2015 STRIDE Scholar in the Cunningham Center for Prints, Drawings, and Photographs.
As is often the case when I am conducting research on works of art or individuals, I came across far too much fascinating information on Selma Erving to relegate to a label with a limited word count. My main source of information about Ms. Erving and her relationship was the book Nineteenth and Twentieth Century Prints: The Selma Erving Collection, prepared and published by the Smith College Museum of Art in 1985. The two introductory essays were written by then-director Charles Chetham as well as Elizabeth Mongan, curator emeritus and former art history professor at Smith. Both of these essays revealed a great deal of material about Selma’s life and her character.
Selma Erving, from a photograph by Mrs. John C. White
Selma Erving was born in 1906 to a family closely connected to art. For over sixty years, her grandfather Henry Wood Erving had been one of the first collectors of American furniture, and had a collection recognized by many in the field. As a young woman, her mother, Emma Lootz Erving, had been a roommate and friend of Gertrude Stein and subsequently acquired a great appreciation of art. Her father and elder brother also collected various kinds of art. However, both her parents made their living as medical doctors and Selma herself had intended to follow in their footsteps. After graduating from Smith College in 1927, where she was a member of both the Colloquium Club and the Granddaughter’s Club, she went to Johns Hopkins Medical School.
Senior yearbook from Class of 1927, Selma Erving at top right. Courtesy of Smith College Archives
However, after her first year, she developed tuberculosis, an illness that would keep her from completing her degree and starting a practice. Not one to languish or be idle, she turned her discerning mind and active disposition to the collection of art. With the help of her friend and advisor Jon Wyss, a Swiss dealer and framer, Selma bought from auctions and dealers alike. Her collection, which contained over 700 items, came to the attention of the Smith College Museum of Art (SCMA) when Miss Erving contacted Charles Chetham, the director at the time, in search of a paper conservator. He recommended the well-known Christa Gaehde, who upon seeing the Erving collection, was “overwhelmed” and made note to Chetham of its “unusual quality”.
Once Chetham was finally able to visit Selma in her home in West Hartford and see her collection, he was utterly taken with the quality of the pieces and with the quiet yet courageous character of Selma herself. He described her as “capable of the keenest perceptions about quality in art and quality in people”, an attribute that is made obvious in her collection. Her home in Hartford, which was to be visited often by staff members from the SCMA, contained a living room that Chetham describes as “covered with prints and drawings of a splendor that came as a considerable shock”. Much of her collection was assembled with intent, but one notable piece has a rather serendipitous and anecdotal story. Above her mantel hung a painting by Edvard Munch that her grandfather, a Norwegian Vice-Consul, had won by chance in a raffle at a time when the artist was still unknown (image below).
Through a continued relationship with the SCMA, Selma provided guidance for the growing collection of works on paper. Described by Chetham as a “gentle perfectionist”, she was attentive to the Museum’s plans for developing a more focused dedication to works on paper. In fact, it was the promise of her excellent, expansive collection to Smith that influenced and supported Chetham’s argument for a large and accessible Print Room. Selma, keenly and with great interest, advised Chetham and the Museum’s first prints specialist, Elizabeth Mongan, in the ensuing creation and flourishing of the Prints Room as it was funded by Priscilla Cunningham (Class of 1958), in memory of Eleanor Lamont Cunningham (Class of 1932). In 1975, President Jill Ker Conway dedicated a print exhibition gallery in honor of Miss Erving. True to her humble character, Selma only consented to attend the dedication of the eponymous gallery on the condition that no attention would be called to her presence.
Henri Toulouse-Lautrec. French, 1864-1901. La Passagère du 54 - Promenade en Yacht; Expostion Int'l d'offiches. ca. 1896. Crayon, brush and splatter lithograph in olive green, beige, red, yellow, blue, black, and dark gray-blue on beige wove paper. Bequest of Selma Erving, Class of 1927. Photography by Petegorsky/Gipe. SC 1984:10-76
The file pertaining to Miss Erving in the Museum’s records is overflowing with staff members singing her praises. Elizabeth Mongan, upon receiving a gift of works from Selma declared that the Museum was “basking in a wonderful euphoria”. This testimony and others about her material and intellectual generosity paint a fascinating picture of a fascinating woman. Pieces donated by Selma have been featured in five exhibition thus far at the SCMA and in 1975 a Smith seminar coordinated an exhibition from her collection. . In addition, the Selma Erving collection is known outside of Smith and New England, with acclaim coming from the director of the Cleveland Museum of Art and more. This follows the wishes of Miss Erving; that her art and her resources would be used to educate and enlighten. As perhaps her greatest admirer, Charles Chetham articulately summed up the impact Selma and her collection had and continues to have.
“For the years to come student who use Miss Erving’s collection will make contact through it a rare and unusual spirit, and, perhaps without knowing it, will be guided to the perception of great quality”
Works donated by Selma Erving are now on view on the second floor of the Museum in the Cunningham Center corridor as part of the exhibition Figure and Image: The Selma Erving Collection until May 3rd, 2015.
Tuesday, March 31, 2015
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 Niyati Dave '15 discusses her show “Camera Exotica: Clichés, Counter-Narratives and Cultural Clashes” which will be on view FRIDAY, April 3 from 12-4 PM in the Cunningham Center for the Study of Prints, Drawings, and Photographs. We hope to see you here!
Kara Elizabeth Walker, American (1969 - ). Harper’s Pictorial History of the Civil War (Annotated), Buzzard’s Roost Pass, 2005. Offset lithography and screenprint on Somerset Textured paper. Purchased with the Dorothy C. Miller, class of 1925, Fund. Photography by Petegorsky/Gipe. SC 2010:64-3
“Exotica”: The Unknown. The Other. The Dark. The Feared. The Fetishized. The Pagan. The Strange. The Foil Against Which The Familiar is Formed.
Most of the images in this exhibition play with ideas of the “exotic” and question the ways in which it is very much a constructed category. Within the ethnographic images on display, we see how colonial photography in the British Empire was not simply an apolitical act of recording an objective history, but rather an exercise of dominance over native populations. By having the power to “see” the local populations and fix that image as well as dictate its meaning, the colonial camera also used its dominance over local populations to reinforce orientalist tropes about debauchery, primitiveness, inherent inferiority and, in doing so, consolidates the ideology driving colonization.
What is particularly interesting about the works of the contemporary artists represented in this exhibition is how they appropriate and play with these orientalist tropes and re-contextualize them to challenge the dominant narratives that the Western world largely takes for granted.
Willie Cole, American (1955 - ). Fig. 3. & 4. Sunbeam Male, Ceremonial, 2004. Digital print Epson 9600 using Ultra Chrome Archival Inks on paper. Purchased with the Janice Carlson Oresman, class of 1955, Fund. Photography by Petegorsky/Gipe. SC 2012:15
Works such as Willie Cole’s Sunbeam Male, Ceremonial (above) and Nusra Latif Qureshi’s Of Birds and Fourteen Year Olds (below) use formal qualities associated with colonial or ethnographic photography such as the frontal position and an emphasis on costume and accoutrement as a marker of “ethnic” or “tribal” authenticity. In doing so, they make a point about how knowledge is subjective and constructed within a system of hierarchies.
Nusra Latif Qureshi, Pakistani (1973 - ). Of Birds and Fourteen Year Olds, 2004. Gouache on paperboard. Purchased with the Richard and Rebecca Evans (Rebecca Morris, class of 1932) Foundation Fund. Photography by Petegorsky/Gipe. SC 2004:6
Detail of Of Birds and Fourteen Year Olds
Either through revealing invisibilized marginal histories or reappropriating and satirizing dominant narratives, most of the work in the show tells a story of cyclical cultural clashes, starting with the colonial moment, moving onto political and social decolonization and culminating with an exploration of what it means to belong to an “authentic” culture in a neoliberal, globalized and interconnected world.
Saira Wasim, Pakistani (1975 - ). Buzkashi, from the series Musharaff, 2003-2004. Graphite, gouache and gold on wasli paper. Purchased with the Josephine A. Stein, class of 1927, Fund in honor of the class of 1927. Photography by Petegorsky/Gipe. SC 2004:25
Further complicating the West vs East binary, I also aim to focus on marginalized voices within both of those geopolitical constructs—even post-independence. After all, can such a thing even exist, given how ideas of nationhood, belonging and authenticity are in a state of constant flux?
This show attempts to reveal the clichés around which the colonial apparatus is ideologically centered, to explore the counter-narratives proposed by the Black, South-Asian and Mexican contemporary artists whose works you see here and to consider how the idea of cultural clashes might itself be a misnomer given how the discursive ideas of the East and the West are (faux)thentic.
Tuesday, March 24, 2015
Guest blogger Thalia Berard is a Smith College student, class of 2015, majoring in Art History. She wrote this post for Islamic Art and Architecture, a course which surveys the architecture, landscape, book arts and luxury objects produced in Islamic contexts from Spain to India, and from the seventh through the twentieth centuries. The Fall 2014 session was taught by Professor Alex Dika Seggerman, the Five College Post-Doc in Islamic Art & Architecture.
Nusra Latif Qureshi, Pakistani (1973 - ). Three Songs of Devotion, 2002. Gouache on wasli paper with tan-colored paper frame. Purchased with the Janice Carlson Oresman, class of 1955, Fund. Photography by Petegorsky/Gipe. SC 2004:5
Born in Lahore, the capital city of Pakistan, Nusra Latif Qureshi studied classic miniature painting at the National College of Arts in Lahore. In 2001, she immigrated to Australia to continue her studies postgraduate at the Victorian College of the Arts at University of Melbourne, where she continues to work as an artist today. Qureshi’s work is built both on the traditional Mughal painting style she honed in Lahore and her own contemporary painting style born from her studies in Melbourne.
Three Songs of Devotion represents her earlier work, as it is dated to 2002, a year after Qureshi immigrated to Melbourne. Her perspective of being both Middle East-born and immigrant has led to her using well-known symbols from South Asian and Middle Eastern art combined with her own boldly minimal style to illustrate the difficulties she’s faced in crossing cultures and identities.
In addition to studying miniature painting in Pakistan, Lahore also studied the technique in India, inspiring her to adopt Hindu cultural motifs into her works. Gardens of Desire II, for instance, depicts two such Hindu divinities, lovers Radha and Krishna, by referencing an eighteenth century Hindu painting Krishna and Radha in a Pavilion.
Detail of bird drawings
While Three Songs of Devotion may not make as direct a reference, Qureshi’s choice to represent the male figure as a basic outline and the female figure in detail calls into question traditional gender roles in Mughal painting, a field typically dominated by men, by showcasing the woman in the painting. The overlay of line drawings recalls the British colonization of India, as the British were instructed to record and document native Indian plants and wild life. The angelic figures take the reference to Western invasion one step further, harkening back to putti that populated European Renaissance paintings.
Detail showing putti