Saturday, April 19, 2008
Have you heard of these women? Helen Hyde, Matilda Lotz, Clara Taggart McChesny? They were among California women artists whose paintings were on exhibit at the Columbian International Exposition of 1893. Others were Lucy Conant, Ellen Frances Burpee Carr, Ann Lyle Harmon, Bertha Lee, Evelyn McCormick, and Mary Paxton Herrick Ross. They were all successful and well-known professional artists of their day. Lotz, for example, exhibited throughout Europe and became known as the "American Rosa Bonheur" for her focus on animal portraiture. Do you think you can find them in major museums or galleries today?
Only one may be familiar: Grace Carpenter Hudson. The insert is "Boats at Dock" by impressionist Evelyn McCormick, perhaps my favorite artist of the group. Print maker Helen Hyde is in the collections of the Smithsonian and the Fine Arts Museum of San Francisco, which is not to say her works are on the walls.
Thursday, April 17, 2008
Today I visited the Grace Carpenter Hudson museum in Ukiah, which is about to close its special exhibit on Art and Poetry from Native American California. Featuring 32 contemporary artists, the exhibit includes a number of women with whom I'm familiar, including painters Jean LaMarr, L. Frank Manriquez, Judith Lowry, Lyn Risling, and basket maker Julia Parker. The formal exhibit title is "Sing Me Your Story, Dance Me Your Home." Themes of sacred rituals, homelands, changing traditions, and more predominate. This was a rare opportunity to view these artists, who with California women artists in general are difficult to find in major museum permanent collections or at the elite art galleries. One of my criteria for art is an element of surprise, of the new, which resonates in most of this exhibit.
The poets were new for me, and equally effective. I regret not purchasing the small catalog that included the poems. The exhibit travels to the San Francisco Public Library on May 4, 2008 and to the Tulare Historical Museum on July 13, 2008.
For the first time too I could see the permanent gallery with Grace Hudson's art from throughout her career. I was reminded again of how the most exacting reproduction can never match the original. Certain paintings viewed that had struck me as sentimental now delivered a different emotional impact. Her appreciation for the Pomo peoples and culture, her primary subjects, is evident, but to reduce her to a painter of Native Americans is to underestimate some of her work. (Portrait is "Tarweed Gatherer," on exhibit at the GHM.)
When will fine artists be judged, as symphony musicians are today, without regard to their identities? Why is art that invokes Native symbols and beliefs somehow set apart in a different box? This is one of the unintended consequences of Ethnic studies and woman's studies, the isolation of the subjects of interest from the mainstream. I welcomed a comment by one painter that Indian artists don't exclusively address their identity in all their work, just as women artists do not invoke solely feminist themes. Following the Civil Rights movements, identity themes did become prominent, e.g. Judy Chicago, and one consequence has been a sense from some quarters that women and ethnic artists must invoke identity. It's like saying male novelists can have only men in their stories. Enough said.