{"id":648,"date":"2020-07-24T17:57:44","date_gmt":"2020-07-24T17:57:44","guid":{"rendered":"http:\/\/blogs.rollins.edu\/cfam\/?p=648"},"modified":"2020-07-24T18:09:38","modified_gmt":"2020-07-24T18:09:38","slug":"on-the-direct-encounter-with-the-work-of-art","status":"publish","type":"post","link":"https:\/\/blogs.rollins.edu\/rma\/2020\/07\/24\/on-the-direct-encounter-with-the-work-of-art\/","title":{"rendered":"On the Direct Encounter with the Work of Art"},"content":{"rendered":"\n

I live in a smallish college town in the Blue Ridge\nMountains, far from the bustling museum and gallery scenes of New York, Boston,\nand Washington, D.C., three places I have lived over the years. Still, D.C. is\nabout four hours from me by train, and I had anticipated traveling there\nsomewhat frequently this year, to facilitate my research into the CFAM collection,\nfor my own research, and simply for pleasure. Obviously\u2014as is the case for my\nplans to travel to Winter Park this month\u2014I had to adjust to the changing\ncircumstances of our current world. I, like most art historians, believe deep\nin my bones that there is no substitute for the direct, unmediated encounter\nwith the work of art. Indeed in February, when it became clear that something\nbig was going to happen, I made a quick day trip to Washington to catch True\nto Nature: Open-Air Painting in Europe, 1780-1870<\/a> and Degas at the Op\u00e9ra<\/a>\nat the National Gallery (and to eat at my favorite ramen restaurant) before\neverything shut down. That was my last trip out of town, and it looks like it\nwill be so for the foreseeable future.<\/p>\n\n\n\n

I have sorely missed these encounters with works of art, but as with so much in our current way of life, I have adjusted. That is until this morning, when I read a wonderful reflection on the career of Leo Amino<\/a> by the critic and poet John Yau, writing for Hyperallergic<\/em>. In it Yau writes movingly of the art world\u2019s erasure of Amino\u2019s life and career, and the way in which he refused to play the art world \u201cgame\u201d in a way that would have brought him greater recognition, instead preferring to keep to himself, making his human-scaled polyester resin and wood sculptures in his apartment, rather than a studio.1<\/sup> The essay\u2014which is a review of an exhibition at David Zwirner<\/a>\u2014is illustrated with truly stunning photographs. Fifteen years ago, when I was an art history major in college, faculty were just making the transition from pink-tinged photographic slides to digital, and such photos would have been an absolute wonder. But as good as they are, these photographs also set off that familiar longing to see works in person.<\/p>\n\n\n\n

<\/p>\n\n\n\n

\n
\n
\"Leo
Leo Amino
(American, 1911-1989)
Triumphant Warrior<\/em>s, 1951
Mahogany
47 x 16 x12 inches
The Alfond Collection of Art and Rollins College
Gift of Barbara \u201968
and Theodore \u201968 Alfond 2017.15.13 <\/figcaption><\/figure><\/div>\n\n\n\n

<\/p>\n<\/div>\n\n\n\n

\n

As part of my research, I keep a running list of works which I want to make sure to examine in storage at CFAM. Amino\u2019s Triumphant Warriors<\/em>, which I wrote about briefly<\/a> back in May, is definitely on that list, and Yau\u2019s review has prompted me to return to it again. The sculpture is nearly four feet tall, something which I was aware of but perhaps had not considered fully\u2014the photograph makes it seem smaller, as they so often do. This scale, at once intimate and commanding, seems to me to be inextricably tied to the work\u2019s effect. As Yau notes, Amino never worked in the monumental scale that was so common for his contemporaries, like David Smith.2<\/sup> And yet, four feet is not exactly small<\/em>, either. A four-foot wood sculpture is designed to call attention to itself, to have a relationship not just with the mind and the eye, but with the body. I can\u2019t wait to get back to Winter Park, to see the sculpture as Amino intended. I\u2019ll walk around it, leaning in close, inspecting the details of the wood grain, the ways that the forms and negative spaces of the sculpture perfectly balance one another\u2014or, perhaps, don\u2019t. Then I\u2019ll step far away from it, trying to get a sense of how it changes as I move around the room. <\/p>\n\n\n\n

After that, perhaps I\u2019ll step into the Siemens Print Study Room to consider Childe Hassam\u2019s Country Road<\/em>. This work is on a much different scale and demands different engagement from the viewer. It\u2019s smaller, and two-dimensional. It demonstrates Hassam\u2019s facility with pastel, a delicate medium that straddles drawing and painting, and goes back centuries. Pastels are wonderful\u2014bright yet soft, they are perfect for representing sunny landscapes and lushly lit interiors. They have a fine, feathery texture that is virtually impossible to replicate on a computer screen, no matter how high-resolution the image. They are also incredibly fragile, with pigments that are quite prone to change in the light, and barely adhere to the (also fragile) papers to which they are applied.3<\/sup> Any time you see an exhibition that features pastels, I recommend you go see these beautiful objects in person. It will be well worth your time. That\u2019s why Country Road<\/em> is at the top of my \u201cto see\u201d list for my next trip to Winter Park, especially since Hassam is an acknowledged master of the medium.4<\/sup> <\/p>\n<\/div>\n<\/div>\n\n\n\n

\"Childe
Childe Hassam, (American, 1859 – 1935), Country Road<\/em>, 1891, Pastel on canvas
17 5\/8 x 21 1\/4 in., Gift of Diane and Michael Maher, 2017.8.2<\/figcaption><\/figure>\n\n\n\n

I don\u2019t know when I\u2019ll get to make that trip to Florida, or\nto my favorite haunts in Philadelphia, Richmond, and San Francisco. But thanks\nto Yau\u2019s essay, I am reminded of why I became an art historian in the first\nplace, and why I think museums are some of the most special places in our\nsociety. There is nothing like that encounter with the work of art, that\nfeeling of it reaching out to you, pulling you in for a closer look.
<\/p>\n\n\n\n

\n\n\n\n

1<\/sup> \u201cThe Art World\u2019s Erasure of a Revolutionary Japanese-American Artist,\u201d Hyperallergic, July 18, 2020<\/a>.<\/p>\n\n\n\n

2<\/sup> \u201cThe Art World\u2019s Erasure of a Revolutionary Japanese-American Artist.\u201d<\/p>\n\n\n\n

3<\/sup> \u201cFrench Pastels: Treasures from the Vault.\u201d Museum of Fine Arts, Boston. <\/a><\/p>\n\n\n\n

4 <\/sup>H. Barbara Weinberg, ed. Childe Hassam: American Impressionist<\/em>. (New York: The Metropolitan Museum of Art, 2004), 126.<\/p>\n","protected":false},"excerpt":{"rendered":"

I live in a smallish college town in the Blue Ridge Mountains, far from the bustling museum and gallery scenes […]<\/p>\n","protected":false},"author":16,"featured_media":659,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"footnotes":""},"categories":[55],"tags":[64,9,65,63,11],"class_list":["post-648","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-research-highlights-insights-into-the-american-art-collection","tag-childe-hassam","tag-cornell-fine-arts-museum","tag-fl","tag-leo-amino","tag-winter-park"],"aioseo_notices":[],"yoast_head":"\nOn the Direct Encounter with the Work of Art - Rollins Museum of Art<\/title>\n<meta name=\"description\" content=\"I, like most art historians, believe deep in my bones that there is no substitute for the direct, unmediated encounter with the work of art.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/blogs.rollins.edu\/rma\/2020\/07\/24\/on-the-direct-encounter-with-the-work-of-art\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"On the Direct Encounter with the Work of Art - 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