Posted in ALL THE NEWS, Happening Now at the RBSC on Wednesday, May 14th, 2014
2014 has been mostly winter so far, with hints of spring finally on the horizon. Here’s what’s been happening at the RBSC, while we watch the buds blossom and the flowers bloom.
In preparation for the major project to overhaul our collection catalog database, I queried colleagues in the Historic Artists’ Homes & Studios and At Home in Chicago consortiums and gleaned helpful information about how other sites’ online collection catalogs. James, Nick, and I finally penetrated the mysteries of FilemakerPro, and with inspiration from the Donald Judd Foundation’s databases, we began the process of transforming our primitive system into an astonishing (to us!) system of collection documentation.
We engaged the expertise of Lela Hersh, Museum Fine Art Consulting and faculty in Arts Administration, who advised on the process and gave an introductory lecture to the class. The team created a manual which outlines the process for every step of collection documentation, including photographing in situ and complete object photography, many categories of describing the object physically and in terms of its function(s) and associations, its provenance and “social life,” condition and conservation, and artist/maker information. We created a manual outlining the each step of the process of object documentation. Students selected objects of interest, researched their makers and provenance, documented them thoroughly, and delivered presentations on their findings.
2nd year Historic Preservation grad and architectural drawing wizard Erin Weevers worked at the RBSC (through the Cooperative Education program) this semester. Her job–-which she undertook at record speed and with great accuracy––was to create measured drawings, elevations, and reflected ceiling plans of the second floor, including locating all furniture, so each object can be documented according to its exact location in the collection. Erin’s drawings became a kind of revelatory tool in our project of collection documentation. She went on to make measured drawings of the garden, garage, and first floor. We’ll miss Erin, who’s has a job waiting for her back in Calgary. You can read her blogpost here.
The collection documentation project is now the primary focus of staff and volunteers, well into the future. Peter Rosen, from the International Museum of Surgical Sciences and admittedly “collections obsessed” has signed on to assist.
Roger Brown exhibition in Sydney, Australia
“I look forward to hearing from you regarding an artist I find to be intriguing,
crisp and more eloquent for our own time than many living, working painters.
I am very keen to introduce the work of Roger Brown to Australia
and look forward to further dialogue.”
That email from Evan Hughes, and the ensuing dialogue, became a kind of dream come true, in three exhibitions at the Hughes Gallery, Sydney, in spring 2014.
Former director (and current guiding light) Ray Hughes visited Chicago in the late 1970s/early 80s and organized the exhibition Chicago on Paper at his Brisbane Gallery in 1982.
Working with Russell Bowman Art Advisory, the exhibition Roger Brown: His American Icons opened with great fanfare––coinciding with the Biennale of Sydney––on March 21.
Evan and Ray produced a beautiful catalog and the exhibition received favorable and insightful reviews, and excitement for the work of Roger Brown on the Antipodean shores.
Links to reviews
Concurrently on view, the show The Hairy Here (a nod to The Hairy Who), showcased works by Australian artists whose works echo or rhyme with Chicago artists, or in some cases, were influenced by Chicago artists.
Ray and Evan created an installation in honor of Roger Brown, Collector, with objects gathered from Ray’s incredible home collection. If you were blindfolded (and notwithstanding the long plane ride!), and plunked down in Ray’s rambling, art filled apartment, you might think you were in Chicago, such are the strong shared collecting sensibilities. Following are a few images of the installation, which echoes Roger’s collection, right down to the Wassily chairs.
As further evidence of Ray and Evan Hughes’ commitment to Chicago artists, Roger Brown: His American Icons was followed by the current exhibition, Now Chicago! (May 2 – June 10), with works by Isak Applin, Carl Baratta, Gabrielle Garland, Carmen Price, Rebecca Shore, and Geoffrey Todd Smith. A few of the artists traveled to Sydney, to celebrate this exciting exhibition.
Back to the RBSC.
Spring semester was action packed, with class projects keeping us on our toes.
On the occasion of Amanda Douberly’s Art History course “Modern, Post-Modern, Anti-Modern” I created a 22 minute video exploration of the Roger Brown Study Collection and Roger Brown’s experiences at SAIC interpreted through a Surrealist lens, which you can view here. We couldn’t host all three classes (two w/ 50 students and 1 w/ 100) so we held “Surrealist Saturday at the RBSC” in which students explored the collection in search of Surrealist moments.
A quick overview of staff projects:
James Connolly did extraordinary work on the new FilemakerPro database, worked closely with the Special Collections Practicum class, managed staffing and tours, and many other projects. James taught workshops in Film, Video, New Media, animation and performed in Chicago; he performs in Ohio in June.
Olivia Junell wrote the wikipedia entry for Roger Brown, perhaps the longest entry on an artist.
Gabe Stallings digitally corrected hundreds of images of Roger Brown’s works, creating very high resolution files, which will be used for Artstor, Shared Shelf, and many other purposes.
Erin Weevers created measured drawings of floor plans and elevations of the first floor and second floor, as well as the back porch, stairway, garden, and garage
Annette LePique worked on the master collection database project and other collection organization tasks.
Molly Hewitt and Ariel Fang both began working here in their first semester as freshmen; both are graduating, much to our dismay. They were busy in their final semester and both worked just a few hours/week, doing gallery preparation, cleaning, scanning, and other collection tasks.
The plan to remove the existing porch and stairs and replace with a code compliant structure is moving forward. Our architect and structural engineer worked with SAIC’s Instructional Resources Facilities Management team on the new design, which will accommodate for the reclining juniper, which we are determined to save. Thanks to Carol Yetken, CYLA, for advise on saving this tree, and for her recommendation that we create a more elegant, Japanese-style support system. Construction is planned for this summer; if protracted, the project will be deferred to summer 2015. The project will require the deinstallation of all objects in the den.
Our spring exhibition, 21st Century Digital Boy, featured works by students in Laura Prieto-Velasco’s fall semester Modeling for Sculpture class, in which students hauled in a very sophisticated 3-d scanner and laptops loaded with modeling software, and explored objects in the collection.
We thank Laura for presenting her students with the RBSC as a source of inspiration, and the artists for their thoughtful responses to objects in the collection. The technology makes many things possible––including predictable 3-d printed objects that don’t necessarily extend or penetrate ideas and meanings contained in the original objects–-so we appreciate the insightful scope of their works.
A Late breaking historical tidbit:
The Lincoln Park Community Research Initiative, though DePaul’s Special Collections and Archives, created an online archive of historic Lincoln Park images, which can be found here. After combing through this waltz down Lincoln Park memory lane, we stumbled upon the ad below, for The Herman Bookbinding Co. (NOT INC.!!!), at 1926. We’re pretty sure his business occupied our building from ~ 1915 to 1917.
We can almost smell the leather bindings and can only imagine what books were bound here, whose hands they were held by, and where they are now. This house full of histories has found its way from a 19th Century tobacco shop to a 21st Century house museum, with a Ford Mustang in the garage and a gift shop in the dishwasher. It’s owned and operated by a prominent art school, and most of the work is done by students. Its purpose is not to lock its history in time but to unlock it, and in the process, to re-write the rules of playing house museum.
Posted in Uncategorized on Monday, April 21st, 2014
The RBSC website is currently being reorganized into a thing of beauty. We retired the old website and we appreciate your patience in the interim.
Please browse through the blog entries to see what we’ve been up to.
Roger Brown, Ablaze and Ajar, 1972, oil on canvas, 70 5/8 x 46 ¼ inches, collection of the Museum of Contemporary Art, Chicago.
VISIT THE RBSC
As a special collection of SAIC the RBSC hosts classes, projects, and meetings, which can take place mornings, afternoons, and evenings any day of the week. To accommodate academic programming there are no specific days/times that the collection is open to the public. However, we welcome guests from the public and all visits are by appointment. We strive to accommodate all requests; visits are scheduled based on staff availability.
FOR THE SAIC COMMUNITY
The RBSC is open to SAIC faculty, students and staff by appointment. Class visits can include a guided exploration of the collection, a focused exploration of artists, objects, concepts, and histories in it, and/or access to archival materials. There is no fee for SAIC students, faculty, and staff. The SAIC community is invited to bring visiting artists, colleagues, family, and friends to visit the collection; a little advance notice is advised.
Faculty: click here for a link to a calendar that shows days/times when tours are already scheduled.
- Read this calendar in day” mode, not in “week” or “month” mode.
- Class visits are scheduled in three time slots: 9:00 – 12:00, 1:00 – 4:00, and 6:00 – 9:00. If a time slot reads “class tour” or “not available” the entire time slot is booked, even if a class is coming for only part of that time.
- We can’t book more than two time slots in a single day; if two slots are booked, the third reads “Not available.” We are unable to staff 3 classes in a single day.
FOR THE PUBLIC
ARTISTS’ MUSEUM Public Tours: Guided tours include a slide presentation on Roger Brown’s artistic and collecting path and a complete tour of the collection. Tours generally last an hour and a half, and are limited to 15 or fewer guests, $15.00/guest.
SNEAK PEEK TOURS: If you prefer to skip the more formal Artists’ Museum tour, a “sneak peek” visit will guide you through the collection, provide information, and answer questions. All this for $8.00 / guest. A little advance notice is advised, and visits are scheduled based on staff availability.
ARTISTS’ MUSEUM GROUP TOURS:
Tours for museums and other groups: We welcome museum and other professional groups. Tours include a slide presentation on Roger Brown’s artistic and collecting path and a complete tour of the collection. Slide presentations can be tailored to specific subjects or areas of interest by request. Group tours generally take one and a half hours. For groups of more than 15 guests, half of the group will view the slide presentation in the first floor gallery/orientation space, while half the group tours the collection on the second floor, then the groups switch.
There are many restaurants in the area, please feel free to request a list.
- Group tours are limited to 30 or fewer guests.
- The fee is $15.00/guest and can be paid by cash or check on the day of the tour. Apologies, we aren’t equipped to accept credit cards. We’ll be happy to provide you with an invoice in advance and receipt(s) on the day of the trip.
For information or to schedule a visit please email firstname.lastname@example.org or call 773.929-2452.
PLEASE NOTE: The Roger Brown Study Collection is densely installed with art and objects. Tours are geared primarily for an audience of teen age and older guests. If you bring young children they must be carefully supervised.
The RBSC is located in a historic 1888 storefront building. The collection is located on the second floor and in two stairways, accessible by stairs only. Our facilities are not presently fully accessible but we are actively working towards removing barriers to accommodate people with disabilities. An in-depth slide presentation with many views of the collection can be shown to anyone unable to reach the second floor. Please let us know if you have special needs in advance of your visit. Our wheelchair ramp is located on the south side of the building. A staff member will open the gate. All visits are scheduled on a first come – first served basis, based on staff availability.
LOCATION / CONTACT INFORMATION
Roger Brown Study Collection
1926 North Halsted St., Chicago, Illinois 60614
voice: 773. 929-2452
fax: 773. 665-4804
Directions to the RBSC
The RBSC is located at 1926 North Halsted Street, 1/2 block south of Armitage Avenue on Halsted Street, on the west side of the street.
By public transportation
- CTA Brown Line (Ravenswood El): Exit at Armitage and walk 3 blocks east to Halsted St. Turn right on Halsted and go 1/2 block south to 1926.
- CTA Red Line: Exit at North Avenue, go to Halsted St. (1/4 block east) and walk 2 1/2 blocks north to 1926.
- CTA Bus # 8, Halsted Street Bus, exit at Armitage and walk 1/2 block south to 1926.By car
From I-94, exit at North Avenue, drive east to Halsted Street. Turn left/north on Halsted St. and drive 2.5 blocks to 1926.
Posted in Happening Now at the RBSC, Staff Projects on Monday, April 14th, 2014
Note from the curator: SAIC Historic Preservation graduate student Erin Weevers has been working at lightning speed, translating the complexity of the building and collections within it into crisp and accurate measured drawings of the elevations, floor, and ceiling plans this semester. She’s made the challenging process look incredibly easy and her drawings have already been invaluable. I invited her to describe the project so far.
In an interesting intersection between my architecturally-dominated experience in the field of historic preservation and the world of Roger Brown, I have found myself working for the Roger Brown Study Collection this semester. Hired as a “design drawing and curatorial assistant,” my task for the semester has been to create interior elevations, plans, and details of the second level of Roger Brown’s Home and Studio.
The process of documenting the building has been a fascinating experience. While it feels like I’ve measured every inch of the second story and two stairways, there always seems to be another undiscovered and unmeasured corner of the house – an aspect of the project that reminds me of the collection itself. As I measure the building, I continue to uncover artifacts and objects that I missed at first glance, an easy thing to do with such an extensive collection in place.
My previous work experience has largely been confined to the field of architectural design firms and, while the softwars used to create the drawings of the Roger Brown Home and Studio are the same, the ways in the finished products are utilized are very different. Rather than completing drawings which conceptually demonstrate how a building is constructed or illustrating how it will be restored, preserved, or otherwise treated, this project documents the house in its current state, serving as a simple, yet identifiably distinct, architectural backdrop for the collection.
The most interesting part of this project, for me, has been understanding how these drawings will contribute to the collection catalogue (a separate endeavor which has instilled a great appreciation for the complex process of sorting and classifying a collection such as this – a distinct entity among museums in and of itself) and attempting to adapt them to suit the demands of the museum.
The preservation work I have done has always focused on the building as the primary significant object, and this project has developed into an intriguing combination of illustrating how the building functions within the context of a house museum and also highlighting the important objects contained within it.
Posted in Staff Projects on Friday, February 7th, 2014
Cracked Ray Tube, an installation by RBSC assistant curator James Connolly, and his collaborator, Kyle Evans, is on view in Discarded: The Afterlife of Everyday Electronics, at The Arcade, Columbia College, 618 S. Michigan Avenue 2nd floor (through March 7). Through hardware hacking the two artists manufacture a synchronized video and audio environment displayed on cathode ray tube (CRT) computer monitors and analogue televisions. This is a treat for those of you who love analog, who miss old TVs and putty colored monitors, who appreciate the finespun, distinctively non-High Def beauty of cathode ray tube generated images, and enjoy an interlude in the dark with all of the above plus low frequency sounds.
By day James manages all things digital / electronic at the RBSC. His and Kyle’s Cracked Ray Tube work shows a side of James we don’t see at 1926, which should definitely be seen, heard, and felt. Don’t miss this show! There’s a reception and live performance on February 13, from 5:30 – 8:30.
Video and images are below.
Posted in ALL THE NEWS, Happening Now at the RBSC on Thursday, December 19th, 2013
The ongoing project of “playing house/museum” has been full and fulfilling this fall. Amid the deluge of SAIC class visits and projects, we squeeze in visitors from the public. A grateful guest sent a note of thanks, bolstering our belief that Brown’s Artists’ Museum of Chicago is a worthwhile endeavor.
“…i can’t describe how i felt in that space or how it makes me feel right now just thinking about it, but it’s physical and in my heart and my stomach and my throat. it’s these kind of experiences that make me feel connected to other people and make the world less lonely. very inspiring…”
This semester we hosted 58 class visits. In addition to regaling 40 Research Studio classes, we hosted several intriguing class projects, some for a single day, and some spread out over the semester.
By the third week of the semester Tim Parsons’ and Dan Price’s Thing Lab class (AIADO) had created ambitious sculptures, which they arranged around the orientation/project space. The day entailed intensive thought about objects-recently-created, curiously heightened by the proximity of praying hands objects and the presence of the collection upstairs.
Mark Jeffery’s Performing the Document class occupied 1926 for the first four Mondays of the semester. Delving into the histories, ideas, and associations in objects, arrangements, spaces, and documents, performances were created and performed throughout the entirety of 1926 N. Halsted St.
Gunter Baumann’s all-day postcard generating machine.
Holly Warren was saddened that the rocket juniper Roger planted c.1994 will be removed next summer. (The project to replace the rear porch and stairs, to comply with City Code, will likely necessitate removal of the tree.) The tree blew over in a storm in summer 2012, but continues to thrive in its reclining position.
Holly ignited the idea of preserving it through grafting branches onto bonsai, which she ceremoniously demonstrated. We’ll spend the winter researching methods to graft and propagate from this tree, and if at all possible, to save it in place.
Holly’s project intuited Brown’s final series of five sublime paintings of bonsai in 1996. Surely related to his cultivation of bonsai in his La Conchita, California garden, these paintings reverse the scale of bonsai as miniature trees, positioning miniature humans against landscapes with monumental bonsai. Brown imbued these works with the feeling of a departure into a different realm, anticipation of a different dimension.
Roger Brown, Bonsai series, left to right:
Bonsai #1, presumably; we have an image but no documentation of this painting
Bonsai #2, Climbing with the Cascade (Kengai) 1997, oil on canvas, 72 x 48 in.
Bonsai #3, Ishitsuki, Root Over Rock 1997, oil on canvas, 72 x 48 in.
Bonsai #4, Sekijoju, Root over Rock 1997, oil on canvas, 48 x 48 in.
Bonsai #5, Literati (Bunjing) 1997, oil on canvas, 72 x 48 in.
Patricia Rieger’s Curious Intimate Object (Ceramics) class explored objects and settings throughout the collection, as springboards for making, and locations for critiquing their curious, intimate objects. Students installed their works throughout the collection, temporarily, making it a new place in many small ways, introducing fresh reflections on objects and the creative process.
Modeling for Sculpture
Laura Prieto-Velasco and her Modeling for Sculpture students arrived one day armed with an imposing 3-d scanner. Students explored the collection, found objects of interest, and put the scanner to work turning physical info into digital data. They spent the ensuing weeks manipulating the objects’ “dna” into original objects in a variety of media. Their sculptures, carrying traces of their parentage, will be on view at 1926 in an upcoming exhibition, details forthcoming.
Peter Exley’s Research Studio class showed up one evening with legendary Mekons guitarist and artist Jon Langford in tow. Langford regaled us with dark tales of his attempts to penetrate the realms of art and music in 1970s London, Manchester, and Leeds.
That was just a warm-up, as Langford returned with Sally Timms and Janet Bean, as The Freakons…. giving Exley’s class and lucky select guests a heartfelt and rousing performance of mining tunes, on the last day of the semester. Eternal thanks to The Freakons!!
This semester’s exhibition Hands Together: An Icon Incarnate, lead us into intense thinking and talking about the curious co-mingling of fine art, popular culture, private devotion, appropriation, collecting, consideration of objects, and diverse portrayals of the human hand. Please see the earlier post for a guided tour through the exhibition. Inspired collectors Rolf and Maral seek the perfect new home for the collection and we’re currently considering interesting possibilities…
Nick Lowe’s spring 2014 Collections Practicum class will spend most of the semester in a long-awaited project to completely revise and reinvent the RBSC master collection catalog. (A dream to come true for one chagrined and humble curator….)
All hands were on deck hosting the many class tours but in our spare time we gained traction with a few projects:
James kicked all data storage and retrieval systems, training, and project organization systems into a stellar level of on and offline organization. He just completed a 2 week residency at the Roger Brown New Buffalo, MI compound, where he spent his days winding electromagnets and modifying cathode ray tube monitors for an upcoming installation and his evenings researching and writing a paper examining the renewed potency of analog audio/video aesthetics in the context of digital immateriality.
Nick Lowe continued to organize La Conchita collection objects at 1926 and worked with Lisa and Patrick Jones to survey the collection in storage at 43rd Street, as we consider the future of this collection.
Ariel Fang (undergrad senior) worked on several aspects of the Roger Brown master database, and did all gallery preparations.
Molly Hewitt (undergrad senior) took a much-needed sabbatical! (But we get her back in winter and spring semesters.)
Danyu Xu (Arts Admin 2nd year grad) scrambled to keep up with scanning archival materials for independent researchers.
Olivia Junell (Art History/Arts Admin dual degree 1st year grad) researched and rewrote the Roger Brown/RBSC Wikipedia page, soon to be online.
Annette Lepique (Art History 1st year grad) promoted the Hands Together exhibition through an FNews video interview, and organized images of Roger Brown prints.
Gabe Stallings (Sculpture grad 1st year) recorded measurements and exhaustively photographed the rear stairs and porch, to document this original feature before it’s replaced next summer.
And Lisa worked on refining the 1926 / RBSC juggling act…
1926 / facilities
Let there be Light… The den, living room, central stairs and front hall have been transformed, almost miraculously, with LED lighting. We can finally see the objects (and the dust) and were able to discard many clumsy clip-on lamps.
Let there be sound… Subtle background music provides an essential ambiance for guests touring the collection. To date we’ve used an ancient boom box on the kitchen floor–-quaint but hardly ideal. IRFM (Instructional Resources Facilities Management) staff ordered tiny Sonos speakers for the den, living room, hall, and bedroom. The speakers will be connected wirelessly to a laptop on the first floor, from which we will be able to program sound to each speaker independently. We look forward to the unlimited possibilities of curating sounds and music, from Roger’s long-playing record albums and other sources.
Let there be Code Compliance…We’re working with IRFM on the plan to replace the back porch and stairway with a new wood and metal porch/stairway that will conform to City of Chicago code.
Let there NOT be rats… IRFM staff worked hard to repair the garage door and walls, and the garage is now fortunately off limits to the rodents.
Collection / Archive
Thirty-six Yoakum drawings were reinstalled after a year of rest in the archive. We determined a rotation period of 5-6 months per year, annually. We plan to have the drawings on view from September through February. We’ll put them to rest from March through August, and create room interpretation with video and slides shows on two flat screen monitors.
Outreach, colleagues, happenings
The Open Eye series of exhibitions, with its grand centerpiece, Ray Yoshida’s Museum of Extraordinary Values opened at the John Michael Kohler Arts Center (Sheboygan, WI) to much fanfare in October. Nearly thirty Yoahida family members––many from Hawaii––attended the opening, to honor their beloved “uncle.” Expertly curated by Arts Center curator Karen Patterson (SAIC alumna and former RBSC staff member), the exhibition is an outstanding tribute to Ray’s life and work, his “open eyes,” and his remarkable legacy.
We made friends with SAIC visiting artist Jane Wildgoose, founder/operator of the Wildgoose Memorial Library in London, “…a private reference resource which may be accessed by persons wishing to consult & make free associations on the subjects pertaining to the mysteries of THE LVING IN RELATION TO THE DEAD, AND ON MEMORY AND IMMORTALITY.” Ms. Wildgoose was enchanted by the RBSC and we immediately began scheming to join forces in the further adventures of artists’ museums and collections.
SAIC installed a Donor Recognition Wall in SAIC’s LeRoy Neiman Center in the Sharp Building, 37 South Wabash Avenue. Roger Brown is recognized in the Chairman’s Circle, for donors of $5,000,000 or more. Thank you Roger Brown.
And as always, we send our warm greetings to Greg and Benedicte Brown, and to all Brown & Palmer family members far and wide.
and happy holidays to all…
Lisa Stone, December 2013
Posted in Happening Now at the RBSC on Thursday, November 7th, 2013
RBSC staff member Annette LePique recently discussed the exhibition Hands Together: An Icon Incarnate with RBSC curator Lisa Stone and collector Rolf Achilles for SAIC’s F Newsmagazine. The exhibition will be on display at the RBSC through December.
Annette LePique is currently a curatorial assistant at the RBSC, a graduate student in the Art History department at SAIC, and a regular contributor to F Newsmagazine. Her complete list of writings and interviews for F News can be found here.
Posted in Happening Now at the RBSC on Wednesday, October 23rd, 2013
Hands Together: An Icon Incarnate
A modest exhibition at the Roger Brown Study Collection
August 26 – December 16, 2013
In 1508 Albrecht Dürer highlighted with white paint a black ink brush drawing of two hands, palm to palm, on handmade paper tinted a very uniform blue. It was a study for an apostle’s hands for his Heller Altarpiece. This study of his left hand as seen in two mirrors evolved into an iconic image of prayer.
Reproduction: study for Apostle’s hands, also known as “Praying Hands” 1508, brush, gray and white ink, gray wash on blue prepared paper, 29.1 x 19.7 cm. Original drawing in the collection of the Albertina, Vienna. Reproduced with permission on banner material, 23 x 16 inches.
In 1871, after many years of being preserved in the Albertina, Dürer’s sketch was shown to the public for the first time. No one paid any particular attention. Twenty-five years later, in 1896, the sketch was reproduced for the first time. The Praying Hands image became an immediate sensation and reproductions by scores of printers found a wall-spot in many German homes.
This new domestic image quickly spread to the United States, brought by many thousands of German immigrants. By the mid-1950s the study sketch from 1508 shows up in 3-D as cast plaster, candles, bookends, lamp stands and is claimed as a symbol by Baptists and Fundamentalist Christians.
This display of some 50 objects from the collection of Rolf Achilles and Maral Hashemi reflects Dürer’s hands in the hands of an adoring public. Through it we celebrate the conversation between “fine art” and objects from popular culture––generally considered “not-so-fine-art”–– brought together on neutral ground.
A display cabinet contains praying hands objects discovered and acquired by RBSC staff and friends, plus our souvenir fans (quite affordable at $2.00@).
Hands Together is augmented by three Roger Brown paintings from SAIC’s collection each reflecting Brown’s engagement with religion, representation, popular culture, issues of scale, and the many dimensions of faith.
In Brown’s The Story of Creation he updates Giovanni de Paolo’s iconic composition to 1989, with Kenny Rogers as God. Brown riffs on the idea that a Western, Christian God has been envisioned as an older white man with gray/white hair and beard, and that popular entertainers are elevated to supreme status in our culture.
Giovanni di Paolo, The Creation of the World and the Expulsion from Paradise, 1445, Tempera and gold on wood, 18 1/4 x 20 1/2 in. (46.4 x 52.1 cm) Metropolitan Museum, New York, Robert Lehman Collection. Photo: Lisa Stone
Veronica’s Landscape has long been a puzzler: why would Brown interpret Veronica’s veil as a landscape? (In the legend, Veronica wiped Christ’s face as he made his way to the crucifixion; his image was mystically transferred to the cloth, a ‘true icon.’) The portrait of Jesus is strikingly similar to an object Brown had in his La Conchita, California home, a slip-cast ceramic oval with what we come to recognize as the face of Jesus recessed in a concavity. This object––whose eyes appear to follow the moving observer–– may have been so oddly compelling that Brown just had to paint it.
Virtual Still Life #16: 3 Saki Cups and Four Big Sur Communion Chalices With Oral Roberts Vision Of A Two Mile High Jesus, presents issues of scale in evangelizing. Oral Roberts indeed had a vision of a towering Jesus, which hit the newspapers and tabloids as a sensation. Brown created a very phallic interpretation of Roberts’ vision in 1984.
There is a praying hands tie in here: Oral Roberts did indeed commission a 60 foot tall bronze casting of praying hands for his City of Faith in Tulsa, OK.
In 1995 Brown returned to the subject, placing the viewer, facing the vision of Jesus, point blank at two miles high in a sickly haze. Ordinary yet extraordinary ceremonial vessels ground the ground plane. Are we in heaven?
Roger Brown, Virtual Still Life #16: 3 Saki Cups and Four Big Sur Communion Chalices With Oral Roberts Vision Of A Two Mile High Jesus, 1995, oil on canvas and mixed media, 29 ½ x 23 ½ x 9 in.
© The School of the Art Institute of Chicago and the Brown family.
Hands Together inaugurates occasional exhibitions from faculty and staff collections, and the ongoing investigation of objects at the RBSC. We are open by appointment, please come have a look.
Rolf Achilles and Lisa Stone
Posted in ALL THE NEWS, Blogging the Archive, Happening Now at the RBSC on Sunday, May 19th, 2013
There’s nothing like the return of sandhill cranes to the Midwest after a long winter.
Warm spring greetings from the Roger Brown Study Collection.
Roger Brown, Memory of Sandhill Cranes, 1981, oil on canvas, 60 x 96 inches
Managing the Roger Brown Estate continues to keep us on our toes. We’re thrilled to announce that the Ray Hughes Gallery in Sydney has enthusiastically embraced the work of Roger Brown. Working with Russell Bowman Art Advisory (on our side of the globe!), Ray and Evan Hughes will mount an exhibition of Brown’s work, which will open in March 2014, coinciding with the Sydney Biennale.
Ray and Evan Hughes
The Hughes Gallery website tells us, “In 1981 Ray Hughes collaborated with the legendary, Phyllis Kind Gallery on an exhibition titled ‘Chicago on Paper’ featuring the likes of Jim Nutt, Gladys Nilsson, Yoakum, Karl Wirsum, Roger Brown and Ed Pashke. Evan Hughes, when working for James Mayor in London, began looking at old catalogues from when Mayor had worked with the Chicago Imagists in the 1980s…The small world has come full circle with both Hugheses now actively engaging with the young Chicago scene…” Killer Crab (below) and other works will soon be on their way to Australia.
Roger Brown, Killer Crab, 1986, oil on canvas, 48 x 72 inches
It’s been a busy semester at the RBSC, with nearly 900 guests to date, and 33 classes, including classes that use the site weekly: Lisa Stone and Jim Zanzi’s Better Homes & Gardens: Vernacular Art Environments and Nick Lowe’s Collections Practicum. Students in Nick’s class took on a range of projects to advance aspects of the collection and archive. Jue Ma and Chiara Giulianotti worked on the documentation of Brown’s early student works, particularly his theatre paintings of 1967-68, going through hundreds of 35 mm slides, analyzing them in relation to images in sketchbooks, prints, and other graphic works, and to works by artists Brown admired (such as Magritte and O’Keeffe), to create an accurate record of this seminal period of his oeuvre.
Comparison of works by Brown and Magritte.
Caption: Comparison of works by O’Keeffe and Brown
Sarah Henninger began the project to catalog Brown’s collection of vinyl long playing record albums from his Chicago, Michigan, and California homes. Organizing over 250 albums into music genres was philosophically vexing so she organized them alphabetically and outlined the processes for cleaning, rehousing and photographing records, sleeves, and jackets, entering information into the database. We acquired equipment to create digital recordings from the record albums so we can eventually use Brown’s collection of music in ways too numerous to imagine at this time. Sarah’s project opened up a new dimension of exploration in our archive, and found interesting connections between his albums and his work.
Center: Roger Brown’s Story of Creation (1989, oil on canvas, 72 x 48 in.) with Kenny Rogers as God (!) flanked by two sources of inspiration: Brown’s Kenny Rogers album cover on the left, and Giovanni di Paolo’s The Creation of the World and the Expulsion from Paradise (1445, tempera and gold on wood, 1/4 x 20 1/2 in., Metropolitan Museum of Art, photo: Lisa Stone).
Sarah Lensink and Tyler Blackwell worked with the Harold Allen Study Collection, examining many of Allen’s photographs, entering information about the prints, locations of images, and other documentation processes into the database. Their work advances the organization of this long dormant collection, so we can move closer to making this extraordinary material accessible. Working with Flaxman Library Digital Resources Librarian Chris Day, we’ve developed a website with hundreds of Harold Allen’s remarkable photographs. We’ll send an announcement when the site launches soon.
Harold Allen, Pilaster Capital (Sun Stone) from Mormon Temple, 1841-1845. Nauvoo Illinois, February 1953, gelatin silverprint, 1953
Harold Allen, Wedding Cake House, 1826. Kennebunk, Maine, gelatin silverprint, 1953.
Harold Allen, Stone Dog on Dimick Monument, Chippiannock Cemetery, Rock Island, IL, April 15, 1956
Marie Zaro researched methods for elevating Brown’s 1967 Ford Mustang slightly off its tires, in a way that will still allow guests to sit in the bucket seats, breathe in the aroma of old leather, and get the feel of a late 1960s American classic. She also worked on design solutions for a new crate for Brown’s Pronghorn Diorama (1987), a work with a full scale taxidermied Pronghorn Antelope.
Mustang wheel and Zaro’s sketch for a crate for Pronghorn Diorama.
I attended a workshop of the Historic Artists’ Homes & Studios program of the National Trust for Historic Preservation in Santa Fe in early April. This year our meeting included a group of NTHP historic site directors and administrators. It was invigorating to meet with members from the other sites and National Trust staff, to share thoughts on our efforts to make our house museums perform fully, as art/historical/cultural treasures. It was especially exciting to have Estevan Rael-Galvez, Senior Vice President of Historic Sites and former historian of the State of New Mexico, guide us through New Mexico’s beguiling landscape with knowledge and passion for the land, its diverse inhabitants, and complex histories.
Estevan Rael-Galvez and the HAHS / NTHP group at Sanctuario de Chimayo
We visited Abiquiu and were introduced to the Native and Hispanic history of the village, and then toured the O’Keeffe home/studio/garden. We then had the rare opportunity to visit O’Keeffe’s home/studio/garden at Ghost Ranch. As members of the HAHS program, we all try to preserve and convey the relationships between homes and studios and creative practice. It’s always a thrill to visit sites where this relationship is instant and profound.
Photography is unfortunately strictly prohibited at both O’Keeffe sites.
Back at home in Chicago, I’m working with fellow house museum friends to create a website for At Home in Chicago, the family of 24 house museums in the Chicago area. With a generous grant from the Richard Driehaus Foundation we’re working with a truly talented team: Jon Satrom of studiothread and artist Lilli Carré.
The At Home in Chicago website will take some time to develop but for now we have a handy map with links to all the sites, so you can visit them all, online and in person.
Lisa Stone, May 2013
Posted in Blogging the Archive on Wednesday, April 17th, 2013
Written by Laura Bickford
I spent the Fall semester of 2012 reading, sorting, and organizing a collection of photocopied letters that Roger Brown wrote home to his parents from 1960-1976. These were formative years for Brown, documenting his decision to leave the South and become an artist, his first impressions of Chicago, art school, his now-famous peers, and his initial thoughts about collecting and arranging objects in his home.
Not a lot is known about Brown’s life before he lived at 1926 N. Halsted and these letters offer some of the best clues of his developing worldview and evolving perspective on art-making as he found himself in a new, challenging, and inspiring city, both personally and artistically.
The original copies of these letters are in the collection of the Roger Brown Rock House Museum in Beulah, Alabama. Images in this blogpost are from the Rock House Museum collection.
During the period of 1960-1976, Brown left his parents’ home in Alabama for the first time to attend school at David Lipscomb College in Nashville, Tennessee. Sensing that the evangelical nature of the school was not conducive to the artistic life he envisioned, he spent some time taking art classes in Nashville and traveling through the South with a performer named Don. When he finally arrived in Chicago in 1960, staying first at a YMCA in Hyde Park, he wrote enthusiastic letters to his family detailing his new experiences, encounters, and impressions, both infectious and amusing. Particularly insightful, both to Brown as an artist and as a person, were his detailed descriptions of his lessons in art history and techniques. Before powering through his BFA in 1968 and his MFA in 1970, both at the School of the Art Institute of Chicago, he earned a certificate from the American Academy of Art and Design in commercial design. In one of the letters to his parents, he detailed an assignment involving repeatedly drawing straight lines for eight hours and his mastering of several typographies by free-hand. These early technical lessons, when considered with his job working at a decal company (and before that, counting steaks at his job as a maitre d’ at the Palmer House Hotel!), can be seen as clear milestones and important sources of influence in the later development of his exacting technique, both stylistically and philosophically. Additionally, the seriousness with which Brown relayed home his responses to his visits to the Art Institute, particularly to the work of Surrealist artists and pre-Raphaelite painters, and the detailed descriptions and diagrams he would include in his letters about his lessons on three-point perspective and his first appreciation of the diligence and creativity necessary to become an artist, were early evidence of his lifelong dedication to being a full-time, occupational artist who drew from the entire object landscape for inspiration.
After working at the Roger Brown Study Collection for three years and constantly being impressed by the continuity between Brown’s early observations and sketches, and his finished works and writing, reading these early letters home added a new appreciation to his foresight. His almost intuitive self-awareness of the gravity of events as they occurred, and the seeming recognition of the impact they would have on him later in life, is striking. In the letters, he would send accounts home to his parents about mundane events that we now know were pivotal in his career and the development of his artistic and philosophical sensibility. This ability to recognize important moments in his life as they happened to him lends a deeper layer of meaning for me, for the RBSC and the archival collections housed within it. The sorts of documents he saved, now in the archive, has always been surprising to me; even more shocking is when one of these seemingly random letters or scraps of paper reveals the answer to a question about one of his works of art or an object in the collection that had plagued us. Brown’s ability to see everything through a big-picture lens is evident in his works that are simultaneously deeply personal but enlighteningly universal. His awareness of the long-term importance to the School and future students of his house and collection at 1926, is an aspect of the Study Collection that is perhaps one of the most powerful lessons I will take with me. By keeping yourself constantly open to the possibility of having a life-changing experience at any moment allows for just such experiences to happen. Getting as close as possible to what moves you, whether objects, places, people, or thoughts, and allowing those things to change you without an awareness of in what way or for what purpose, is an important aspect of a life worth living.
It felt so fitting to end my time at the SAIC, the Study Collection, and perhaps Chicago, reading about Brown’s beginnings at the school, 1926, and this city, which he grew to love so much.
You can access a map showing all of Brown’s Chicago addresses during this time here. The map offers insight into the neighborhoods Brown was living in and reacting to as moved around the city.
Here are two timelines, one indicating the addresses he lived at in Chicago during this
time, and the other indicating the chronology of his education.
Posted in ALL THE NEWS on Tuesday, December 11th, 2012
Greetings. The RBSC is in its fifteenth year of serving SAIC as a house museum encompassing the intimate nature of “home,” among many other things. 2012 is also the fifteenth anniversary of Brown’s passing from this world into the next, and from full time artist in his lifetime, to full time teacher posthumously, through his many gifts to SAIC. We remember Roger with gratitude––his gifts are alive as ever.
Here’s what we’ve been up to:
Hosting guests, lots of guests. By the numbers:
2400+ guests (up from 2011’s 1639), 89 SAIC classes (64 this semester), more independent researchers, and more half or full semester class projects.
Gillion Carrara’s spring semester Collections Practicum class worked on intriguing projects at 1926. One team attacked the “Top Drawer” project, documenting and rehousing Brown’s early/student graphic work, analyzing the relationships between his paintings and sketchbooks from the mid 1960s.
“Top Drawer” project: student at work and analysis of Brown’s theatre drawings and paintings
Emily Platt chose to examine Brown’s Pronghorn Diorama , which had been crated since 2004. Concerned about its condition we examined the pronghorn with Ruth Norton, conservator at the Field Museum of Natural History. Norton provided an in-depth description of its condition (pretty good!) and later gave Platt and RBSC staff a behind-the-scenes tour of storage containers for taxidermy and objects with organic components at the Field Museum.
Other class and research use of the RBSC included:
– Nick Lowe’s Unpacking Roger Brown course (fall 2012) used 1926 as home base, radiating from here into major private collections, museums, and galleries, in their intensive examination of specific paintings, through which they explore radiating themes, concepts, ideas, and interrelationships between and among Brown’s works and the world.
– Stone and Zanzi’s Better Homes & Gardens: Vernacular Art Environments met at 1926 each Friday, spring semester.
– Clemenstein Love’s Intro to Interior Architecture class used the first floor of 1926 for two major design projects, creating models and design solutions presenting an array of intriguing possibilities. A few may be realized but all become part of the creative record of the site, not unlike the 1922 Tribune Tower competition.
Thankfully, the project motivated the long overdue removal of the clumsy wing walls, replaced by temporary black drapes––a touch of class!
Patricia Rieger’s Diminutive Object class installed sculptures throughout the collection for their mid-term critiques. Juxtaposing works in the collection created a challenging context for critiquing the works, stretching the collection temporarily, beyond Roger Brown’s realm.
A visit from Lela Hersch’s Arts Administration Arts Consulting class, in which seasoned consultant Hersch and the class explored and critiqued most aspects of RBSC collections administration, resulted in many ideas for improvement and future projects.
Under the inspired direction of Leslie Buchbinder, Pentimenti Productions continued to use the RBSC archive to support the inaugural documentary film Hairy Who and the Chicago Imagists! PP has graciously covered expenses to migrate RBSC archival media into digital formats and share the wealth of their in-depth research. We look forward to celebrating the release of the film in 2013.
– University of Michigan art history student Franny Mendes Levetin, summer internship, organized documentation of Barbara Rossi’s career from the Phyllis Kind Gallery Archive.
– Katie Campbell, MA candidate at Christies Education, New York, conducted extensive research for her thesis Paintings and the Proscenium: Roger Brown and the Theater.
– Northwestern University sociology grad student Gemma Mangione researched the ways artists defined as “regional” are constrained and marginalized, but perhaps also benefited in some ways by that designation.
In September we deinstalled 36 beloved Yoakum drawings, to rest for at least one year. The Yoakum room is the only place with many works by a single artist in the RBSC and it feels quite bare. We now have the “Yoakum Lounge” where guests can peruse slide shows of Brown’s Yoakum drawings, the Art Institute of Chicago’s online collection of over 220 works, and a video interview of AIC curator Mark Pascale with Roger, in the room, in 1995. It’s comforting to hear Roger and Mark’s voices emanating from the room while the drawings are at rest.
Good Golly Miss Molly! An accomplished object imitator, staff member Molly Hewitt created captivating painted ceramic versions of the lineup of mostly sugary products on the top shelf of the kitchen cabinet; she arranged them on the shelf beneath. In this house full of objects there’s simply no telling which ones will inspire action.
Staff spent much of the summer preparing paintings for exhibition: 29 works for Roger Brown: This Boy’s Own Story and 23 works for Roger Brown: Major Paintings, and one for Afterimage.
Curated by Arts Admin/Art History student Kate Pollasch. Roger Brown: This Boy’s Own Story explored sexuality in many of its guises throughout Brown’s career, including erotic landscapes, sex in the city, love, longing, loss, HIV/AIDS, and pure joy, on view at SAIC’s Sullivan Galleries, from August 24 to November 10. The project illustrates possibilities for creative professional work graduate students can achieve at SAIC. Kate’s research continues in her masters thesis, contextualizing Roger Brown’s work addressing sexuality into the larger cultural, theoretical, and art historical narrative of 1970s sexual liberation and 1980s and 90s HIV/AIDS and culture wars in America. Below are a few views. Click here for a pdf virtual tour.
A pdf virtual stroll through the exhibition can be found here. We extend special thanks to Kate for a wonderful, insightful project and labor of love, and to Executive Director of Exhibitions and Events Mary Jane Jacob, and Sullivan Galleries staff Kate Zeller, Trevor Martin, Todd Cashbaugh, Christina Coscio, for their unconditional support of the exhibition and their assistance in every aspect of this ground-breaking exhibition.
The Roger Brown: Major Paintings dual exhibitions at Russell Bowman Art Advisory and Zolla Lieberman Gallery presented an array of Brown’s work spanning much of his career, from early, c.1968 works, to paintings from the last chapter of his life in California, and many in between.
A solo exhibition of Brown’s work will be on view at D.C. Moore Gallery, New York, January 8 – February 2, 2013. Robert Cozzolino will give a lecture there on January 26.
The exhibition Afterimage at the RBSC enlivened the RBSC from September 14 – November 18. A satellite component of Afterimage at the DePaul Art Museum curated by Dahlia Tullett Gross and Thea Liberty Nichols Afterimage at the RBSC featured micro-exhibits by Carl Baratta, Edra Soto, and Onsmith. Packed installations combining their own works, works by friends, source materials, and collections of sundry objects that they live with in dense intimacy, provided a perfect backdrop for orienting (and disorienting!) our guests.
Sprucing up the storefront: To maintain a mysterious RBSC storefront identity to the street, and celebrate the artists’ own “museums” we installed perforated window banners of slides taken by Brown in 1972, of Burnette G. Pletan’s Artists Museum, somewhere in South Dakota. Pletan’s title was Brown’s touchstone, and he wrote that he wanted to call the RBSC Artists’ Museum of Chicago, because …the things in it are of universal appeal to all artists and people with a sense for the spiritual and mystical nature that material things can evoke.
Stellar Staff ProjectsIt’s almost not possible to believe how deeply and creatively Nick Lowe delved into the realm of Roger Brown’s life and works, both realized and unrealized, during his one year sabbatical. Much of it can be seen in his blogpost and sabbatical blog.
When not hosting the near continuous flow of class visits, James Connolly, Ariel Fang, Laura Bickford, Molly Hewitt, and Danyu Xu all worked on various and sundry collections and archive organization projects.
The garden: In 1994 or thereabouts Roger transformed a weedy backyard with brick garage into a charming garden conjoining vernacular and high-style elements with conifer plants, thus distilling ideas and beliefs fundamental to his creative life. Last summer we brought in tree care experts to advise on the rocket juniper, which was looking poorly. Shortly after charting a course of treatment, a wild storm struck, repositioning it into a graceful, Martha Graham-like bow. It’s now decked out for the holidays…
Friends and comrades: Linda Cathcart and friends at Casa Dolores (Santa Barbara) held a Roger Brown Garden Dedication and Tea Party. Brown was close friends with Casa Dolores’ founder and director Linda Cathcart. Nick Lowe worked with Linda and her staff, creating a garden in Brown’s honor, with ceramics on loan from SAIC’s Roger Brown La Conchita, CA collection. We thank Casa Dolores friends for honoring Brown and keeping his legacy alive in southern California.
The At Home in Chicago consortium now has 23 affiliates. An enchanted summer reception was held at the Paul Schweikher House, where artist Martyl (designer of the Doomsday Clock, among many other things) lead us through the outstanding home and studio where she has worked for over 60 years. The RBSC hosted the group in September, where we fine-tuned ideas for the consortium website, which we hope to launch in 2013.
The RBSC has been an affiliate of the National Trust for Historic Preservation’s Historic Artists Homes and Studios program since 2000. In May the Judd Foundation invited Lisa to participate in a Visitor’s Experience Think Tank. She joined 24 house museum colleagues scholars of the genre at a day long discussion, held at the Renee and Chaim Gross Foundation, the wondrous home/studio/collection of sculptor Chaim Gross, his wife Renee, and their daughter Mimi Gross. Mimi shared warm memories her years in Chicago and visits with Roger at his 1926 collection, noting the shared sensibilities among artists’ collections.
The Brown family Greg and Benedicte Brown spent a few days in New Buffalo in early August. We joined them for a special dinner, celebrating with a bottle Roger had saved for just such an occasion, a 1971 Chateau Mouton Rothschild (which had unfortunately gone a bit vinegarey!). Roger and Greg’s cousin Trudy Ballinger and her husband Roy traveled to Chicago in October to see all three Roger Brown exhibitions. Beloved Aunt Iva (who passed away on November 20, 2011) had faithfully attended nearly every exhibition of Roger’s in the Chicago area. Trudy has taken over for Iva, and plans to keep up the tradition.
We concluded the semester with a fireside chat/command-concept performance with the legendary Jon Langford and Sally Timms, who shared thoughts on being creative people while sidestepping the mainframe minefield, remaining true to themselves, for their entire careers. Excellent wisdom for Peter Exley’s freshman Contemporary Practice students to hear, and all in attendance were charmed. You can watch their performance HERE
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