In the mid-1930s, a woman named Dorothy Waterhouse was scraping wallpaper from the interior of an old Cape Cod house when she developed an unusual obsession. “Suddenly I spotted beneath the drab looking top layers some beautiful colors,” she later told a newspaper. She soon opened her own wallpaper business, and throughout the rest of her life, she would take many trips into the countryside to expose and preserve the wonders hidden in other people’s walls.
Waterhouse isn’t alone in her fixation. Wallpaper has been the subject of exhibitions at institutions like New York’s International Print Center and Manchester’s Whitworth Gallery, and artists like Andy Warhol and Damien Hirst have even created their own designs. It surfaces throughout literature, too — in books like Crime and Punishment and short stories like The Yellow Wallpaper.
Now all of us who share Waterhouse’s fascination with wallpaper can explore her 1,400-item-strong collection online. After her death, the archive was donated to Historic New England, which recently finished digitizing it along with 4,800 other wallpaper samples. “The collection is searchable by date, location, and manufacturer, and by keywords like color and type of pattern,” cataloguer Peggy Wishart said in a press release. “You can zoom in to see every detail.”
The archive tells the regional history of wallpaper from the early 18th century, when it was still a luxury import, through after the American Revolution, when manufacturers like Ebenezer Clough, Moses Grant, and Zechariah Mills began woodblock printing their own. By the late 19th century, one advertisement claimed that the “decorative possibilities of the new WALL PAPERs are almost boundless.”
The small New York art fair celebrated its 26th edition with the works of 11 women artists.
The artist couple shared creativity and mutual devotion reflecting a period of light and joy that came after considerable darkness in their early lives.
Curated by Clare Dolan, this solo exhibition in Frenchtown, NJ contains new and unearthed paintings, sculptures, and prints selected from the organization’s 60-year history.
The plot of Maureen Fazendeiro and Miguel Gomes’s film moves backward in time, continually recontextualizing what at first looks like a simple situation.
It’s art fair season and we’re here to comfort and entertain you during this difficult time of the year with a new, biting edition of our Bingo card series.
Conversations with Leslie Barlow, Mary Griep, Alexa Horochowski, Joe Sinness, Melvin R. Smith, and Tetsuya Yamada will be accessible online or in person at the Minneapolis College of Art and Design.
Jeremy Webster of Leicester University’s Attenborough Arts Centre reportedly pelted the statue from behind a fence.
The artifacts are estimated to date from 400 to 300 BCE, when Greek settlements existed along the northern shores of the Black Sea near Odesa.
Now on view in Pasadena, this exhibition explores how four artists challenged the limitations of gestural abstraction by exploiting the resonance of figural forms.
Snapchat CEO Evan Spiegel and model Miranda Kerr paid off the student loans of 285 recent graduates.
Cammie Tipton-Amini’s opinion piece “When Ukraine Was Newly Independent and Everything Was Possible” employs simplistic whataboutism that dangerously echoes Putin’s lies.
Anthony Banua-Simon’s documentary Cane Fire contrasts decades of Hollywood images of his home with its current reality.