The Tate has acquired four 1907 watercolors by the women’s rights campaigner Sylvia Pankhurst. The watercolors were acquired directly from the artist’s grandchildren, Helen Pankhurst and Alula Pankhurst, through funds provided from the Denise Coates Foundation. Currently, they are on display at the Scarborough Art Gallery through January 6, 2019, and they will go on display at Tate Britain in 2020. “These watercolors enable Tate to represent Sylvia Pankhurst in the collection for the first time and to expand the way we represent working women as subjects in art history,” said Ann Gallagher, Director of Collection (British Art) at the Tate. “At a time when gender pay gaps and women’s rights at work remain urgent topical issues, these images remind us of the role art can play in inspiring social change.”
The North Carolina Museum of Art (NCMA) has acquired William Wetmore Story’s sculpture, “Saul Under the Influence of the Evil Spirit” (1865). The sculpture was completed in Rome, then exhibited in Dublin and purchased by an English aristocrat for his home in Gloucestershire. The statue then disappeared for 150 years. Later, the home in Gloucestershire became Rendcomb College, a private boarding school, and they sold the statue to the NCMA. John Coffey, NCMA curator of American and modern art, said, “I have been after this statue for more than seven years. Our American galleries have cried out for a monumental marble of a dramatic subject, and you cannot get more monumental or dramatic than King Saul of the Bible.” The statue is currently on view in Studio 4 on the entrance level of the Museum’s East Building, and it will undergo a cleaning, along with a repair of its right big toe. The public is invited to view the cleaning process by NCMA objects conservator Corey Riley.
The Telfair Museums in Savannah, Georgia have received a gift of 347 works by American photographer Bruce Davidson. The donation comes from an anonymous donor and spans from 1956 to 2008. “History and human nature are deftly revealed through the empathetic eye of Bruce Davidson,” said Erin Dunn, assistant curator at the Telfair Museums. “This momentous gift not only allows us to revel in the individual photographs of Davidson, but to appreciate his entire career’s worth of noteworthy subjects and imagery. The photographs stand on their own, but will also complement themes and subject matters already evident in the Telfair Museums’ permanent collection.”
Join Hyperallergic for an online conversation with Kiowa Tribal Museum Director Tahnee Ahtone on January 25 at 7pm (EST).
This week, Patrisse Cullors speaks, reviewing John Richardson’s final Picasso book, the Met Museum snags a rare oil on copper by Nicolas Poussin, and much more.
Graduate students in the University of Denver’s Emergent Digital Practices program work on research with faculty who are engaged directly with their communities, both online and off.
Alexi Worth’s paintings demand a double take that allows viewers to look closer and begin dissembling the painting in order to understand what is being looked at.
Anastasia Pelias’s sculpture builds on this mythological legacy, suggesting we all have the ability to commune with a higher power and influence our futures.
Curated by Jill Kearney, this exhibition in Frenchtown, NJ amplifies stories both local and universal with work by Willie Cole, Sandra Ramos, sTo Len, and more.
Jack Spicer’s poetry can be deeply funny and playful but it has a consistent undercurrent of sadness.
Belinda Rathbone’s biography traces the sculptor’s embrace of kinetic mechanisms to his work in the Singer Sewing Machine factory.
The first lecture is on the relationship between early portrait photography and diverse notions of US identity during the Gilded Age. Register to attend on January 25.
It’s the first time in the country’s history that objects of this significance are offered for public sale.
Schwartz was at the forefront of computer-generated art before desktops or the kind of software that makes it commonplace today.
Curator La Tanya S. Autry shares a set of crucial questions she considers when curating images of anti-Black violence.