Friday, November 3 | Free, reservations required
On November 3, the Minnesota Marine Art Museum will present a unique opportunity for students to explore the exhibition, Re/Framing The View: Nineteenth-century American Landscapes, and to talk with the chief curator of the exhibition, Naomi Slipp, from the New Bedford Whaling Museum, in New Bedford, MA.
About the November 3 Gallery Experience
After a brief introduction to the Museum and exhibition, students will have a chance to explore the exhibition at their own pace and notice what questions arise, and their reactions and responses.
The second half of the hour will be spent in conversation with the chief curator of the exhibition, Naomi Slipp. Students can ask questions and share their responses.
Some topics of discussion could include:
How women of the nineteenth-century were faced with limited opportunities presented during their lifetimes, but how some carved out successful careers as professional artists painting landscapes and still lifes.
The environmental conditions and social concerns that may underlie picturesque imagery in these 19th c. American landscapes
60 Minute Student Gallery Experiences are available at 10am, 11am, 1pm, and 2pm.
About the exhibition
Drawn from six private collections, the New Bedford Whaling Museum collection, and six strategic institutional loans, Re/Framing the View: Nineteenth-century American Landscapes includes works by William Bradford, John F. Kensett, Martin Johnson Heade, Frederic Edwin Church, Albert Bierstadt, Jasper Francis Cropsey, George Inness, Francis A. Silva, and Sanford Robinson Gifford, among many others.
As this list suggests, the majority of US based nineteenth-century American landscape painters were men, and heading out into the wilderness to capture the scene was viewed as a masculine pursuit. A selection of objects – including china, nature studies in watercolor, and decorative arts – underscore the gendered aspects of American landscape painting by demonstrating where and how women participated in capturing American flora and fauna.
The realities of women’s opportunities in the arts are elaborated upon through paintings and prints by Fitz Henry Lane and Mary Mellen; Asher B. Durand and Lucy Maria Durand Woodman; Evelina Mount, Adelheid Dietrich, and Claude Raguet Hirst; and Mary Nimmo Moran and Ellen Day Hale.
While the exhibition celebrates the work of these artists, it also offers a layered interpretation of the cultural and historical meaning of such paintings. What such artists often failed to capture are the environmental conditions and social concerns that may underlie picturesque imagery.
About Naomi Slipp
Naomi Slipp is the Douglas and Cynthia Crocker Endowed Chair for the Chief Curator and Director of Museum Learning at the New Bedford Whaling Museum in New Bedford, Massachusetts. Her research explores the intersections between art and science in the nineteenth century, and she has published essays in Panorama, Sculpture Journal, British Art Studies, and the collections Victorian Science and Imagery (2021), Ecocriticism and the Anthropocene in Nineteenth Century Art and Visual Culture (2019), and Bodies beyond Borders (2017), among other venues. She holds a PhD from Boston University and MA from University of Chicago, and was previously a tenured Associate Professor of Art History at Auburn University in Montgomery, Alabama.
“By interrogating the place of gender, race and ethnicity, as well as environment and ecology, we re/frame the view and stage meaningful conversations about historical and contemporary issues and events. ”
Acknowledgements
The Minnesota Marine Art Museum is proud to partner with the New Bedford Whaling Museum to present Re/Framing the View: Nineteenth-century American Landscapes. This landmark exhibition and major publication have been made possible by funding from the William M. Wood Foundation, Cynthia and Douglas Crocker, Victoria and David Croll, KAM Appliances, Louis M. Ricciardi & Elizabeth M. Soares, Roger Servison, Mary Jean and William Blasdale, an anonymous donor, and other individual supporters.
We are grateful to private lenders and museum staff at partner institutions who supported loans, including Cynthia and Douglas Crocker; Tina and Paul Schmid; Frances Levin; Roger Servison; Victoria and David Croll; Carol Taylor and John Deknatel; Erica Hirshler and Ann Walt Tagliamonte at the Museum of Fine Arts, Boston; Maureen O’Brien and Tara Emsley at the RISD Museum; Carol Soltis, Kathleen Foster, Sophia Meyers, Hyunsoo Woo, Hannah Kauffman, Eileen Owens, and Teresa Lignelli at the Philadelphia Museum of Art; Jonathan Olly and Andrea Squeri at the Long Island Museum of American Art; Margi Hofer and Mark Schlemmer at the New York Historical Society; Christina Michelon and Lily Sterling at the Boston Athenaeum; and Michael and Stephan Winokur. We are especially thankful for the participation of Cynthia and Douglas Crocker, whose incredible collection of nineteenth-century American landscape paintings inspired the project and form the core of its display.
Special thanks to both our Museums’ Board of Trustees, members, volunteers and staff. Especially grateful to the incredibly dedicated and talented staff who contributed directly to the project: Naomi Slipp, the Douglas and Cynthia Crocker Endowed Chair for the Chief Curator; Emma Rocha, Curatorial Assistant; Melanie Correia, Exhibitions Manager; Emily Mead, Director of Philanthropy; Jennifer Smith, Manager of Institutional Relations; Jordan Berson, Director of Collections; Michael Lapides, Director of Digital Engagement; catalog contributors Darienne Turner, Elizabeth James-Perry, Astrid Tvetenstrand, and Jennifer Stettler Parsons; and Brian Bierig, Jacek Gancarz, John Morris, and Scott Benson, who assisted with design, object photography, copyediting of the exhibition catalog. And special thanks to Dr. Janelle Cooper and Dr. Kathleen Hanson for keeping the connections between the Upper Mississippi river and the East Coast alive and thriving.
This activity is made possible by the voters of Minnesota through a Minnesota State Arts Board Operating Support grant, thanks to a legislative appropriation from the arts & cultural heritage fund.