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Otis Kaye, My Cup Runneth Over, 1950s, Oil on canvas mounted on board, 39 x 29¾ in., Private Collection, Illinois

Otis Kaye: Money, Mystery, and Mastery
Saturday, Jan. 17–Sunday, May 10, 2015

Opening Reception
2-3:30 p.m., Sunday, Jan. 18, 2015
Remarks 2:30 p.m.

The exhibition features thirty-four works that display a mastery of the highly realistic, trompe l’oeil technique in curious compositions of currency, letters, and other symbolic items that make reference to political, economic and social issues facing America, and Otis Kaye personally, during the first half of the twentieth-century. More puzzling than Kaye’s work, which is steeped in mystery and symbolism, is the enigma that surrounds the artist himself. The record of Kaye’s life is nearly non-existent. The artist did not exhibit or sell his work during his lifetime, but gave his art to close family and friends. Through this exhibition, our visitors will have the opportunity to investigate this intriguing artist and help answer some of the remaining questions about his life and work.

The works featured in this retrospective are some of Kaye’s finest, generously loaned from various private collections and the Otis Kaye Estate and Trust. The Museum is thankful to the many private collectors, including Ron Cordover, Walter and Lucille Rubin, Richard Manoogian, Frank Hevrdejs, the Board of Governors of the Federal Reserve System, and the Sheldon Museum, University of Nebraska for their loans to this exhibition. In addition, Ron Cordover’s generous contribution through the Cordover Family Foundation has allowed us to publish the first monograph on Kaye with contributions by James M. Bradburne, Mark D. Mitchell, and Geraldine Banks, which are included in the fully illustrated, 188-page catalogue, Otis Kaye: Money, Mastery, and Mystery. Additional funding has been received from the David T. Langrock Foundation, which has supported several of the New Britain Museum of American Art’s important scholarly monographs.

William Partridge Burpee, Swampscott Dory, detail, 1891, Oil on canvas, 18 x 24 in., Collection of Charles J. and Irene Hamm

Jan. 31–Apr. 12, 2015
2-3:30 p.m., Sunday, Feb. 1, 2015
Remarks at 2:30 p.m.

This winter, the New Britain Museum of American Art
proudly showcases the Hamm’s labor of love in the
exhibition, Over Life's Waters: The Coastal Art Collection of Charles and Irene Hamm. Ninety-three of the Hamm’s American coastal collection will be on view, including works by noted artists Thomas Hart Benton (1889–1975), William Braford (1823–1892), William Partridge Burpee (1846–1940), Sears Gallagher (1869–1955), Rockwell Kent (1882–1971), and Paul Pollaro (b. 1921). The exhibition will highlight several scenic seascapes including Old Mystic, Connecticut, Swampscott, Massachusetts, Monhegan, Maine, and New York Harbor.

As avid sailors and marine enthusiasts, each coastal work in the collection and exhibition has been handpicked by the Hamms. When forming their collection, the couple opted to collect works by American painters, alive or dead, in any medium that attracted their eyes and emotions. Together, the Hamms have sailed along several continents and have enjoyed cruising the New England and Northwest coasts. Their Connecticut residence on the Long Island Sound has been designed to display their coastal art collection and maximize their views and sense of the water.

Over Life's Waters: The Coastal Art Collection of Charles and Irene Hamm will allow visitors an opportunity to grasp the fundamental significance of coastal waters and how the Atlantic has shaped America. The Hamms have generously gifted the Museum their entire coastal art collection, consisting of 165 paintings, and $1 million to the Art and Education Expansion Project. The Charles and Irene Hamm Gallery will be constructed in the new wing, set to open in the fall of 2015, and paintings from the Hamm Collection will be installed throughout the galleries. The Museum is profoundly thankful to Charles and Irene Hamm for their extreme generosity and thoughtfulness.

Titus Kaphar, The Vesper Project, detail, 2012, Mixed media installation, Courtesy of Burger Collection, Hong Kong & Friedman Benda, New York

NEW/NOW: Titus Kaphar
The Vesper Project

Saturday, Nov. 1–Sunday, Feb. 22, 2015
Opening Reception
2-3:30 p.m., Saturday, Nov. 1, 2014
2:30 p.m. Artist Remarks

‘The Vesper Project’ is a massive sculptural statement— an encompassing installation, in which Titus Kaphar’s own work is seamlessly woven into the walls of a 19th-century American house. It is the culmination of an intense five-year engagement with the lost storylines of the Vesper family, a 19th-century family of mixed descent that passed as white. The project was “birthed in a state of extended disbelief,” according to Kaphar. As the artist’s muses, the members of the Vesper family and their histories are intertwined with Kaphar’s autobiographical details, and layered with wide-based cultural triggers of identity and truth.

In ‘The Vesper Project,’ period architecture, gilt frames, a vintage typewriter, a neglected wardrobe, and old photographs act as seemingly recognizable elements, but by employing every tool of his trade, Kaphar insinuates doubt and transports the viewer into a disrupted mental state. As the house fractures, like the lives of the Vesper family, so does the viewer’s experience. In so doing, Kaphar compresses time and history, postulating new, powerful realities.

The Museum is grateful to Max and Monique Burger for funding the Museum’s presentation of ‘The Vesper Project.’


The NEW/NOW Series is made possible by the generous support of Marzena and Greg Silpe

An image from John O'Donnell's Psychedelic Pantry.


New Media: John O'Donnell
Sept. 6, 2014–Feb. 8, 2015
Opening Reception
2-3:30 p.m., Sunday, Sept. 7, 2014
Artist Remarks at 2:30 p.m.
8-11 p.m., Friday, Oct. 31, 2014
@ Museum After Dark

Psychedelic Pantry, a new media installation created by John O’Donnell, points to moments of everyday life while highlighting the bizarre and mysterious moments we often overlook while shuffling to the toaster or coffee maker in the morning.

Appearing as a simple representation of a kitchen area or pantry, further inspection reveals there is more happening than food storage. Psychedelic Pantry is a New Media installation that reveals moments of constructed metaphysical awareness to reveal hallucinatory or surreal sensation, playing on ideas of peripheral vision and imagined movement. The aesthetic is informed by the combination of rather mundane objects typically found in a kitchen and psychedelic imagery. This installation intends to move past the typical category of drug induced awareness and speak about the potential of common items and commercial packaging to inform a heightened experience. Inspired by the brightly colored packaging of cereal boxes and other common snacks, this installation calls our attention to the hypnotic, and often times annoying, design of food items packaging. This is also a reference to the growing number of artificial additives that are found in a large portion of the food for sale in a grocery store and ultimately brought home for temporary storage before consumption.

O’Donnell, who lives and works in Connecticut, is a multidisciplinary artist and has created performance pieces for the Museum of New Art in Detroit, Proof Gallery in Boston, Flux Space in Philadelphia, and SOHO20 Gallery in New York City.

Diana Zlatanovski of Arlington, MA stands by her first prize winning work Bundle Typology, Harvard Museum of Comparative Zoology.

Nor’Easter: The 45th Annual Juried Members Exhibition
Saturday, Jan. 10–Sunday, Jan. 25, 2015

Opening Reception
1-2:30 p.m., Sunday, Jan. 11
Remarks and awards at 1:30 p.m.

The exhibition is a prime opportunity for the Museum to highlight the exceptional work of emerging artists in all media and expose contemporary visual arts to a wide audience.

This year’s exhibition was juried by Sharon Butler, artist and author of the influential art blog Two Coats of Paint.

First prize: Ernest Jolicoeur
Second prize: Naya Bricher
Third prize: Roxanne Faber Savage
Juror’s Award:
Ron Lambert
Visitors’ Choice: Make sure to cast your vote when you are in the gallery, winner receives an NBMAA Blog interview and write-up on the website

For more information contact Jenna Lucas, Development Associate at (860) 229-0257, ext. 231 or This e-mail address is being protected from spam bots, you need JavaScript enabled to view it

Brett Weston, Horseshoe Crab, detail, 1945, Gelatin silver print, 10 x 14 in., Bank of America Collection

Group ƒ.64: Revolutionary Vision
Tuesday, Oct. 7–Sunday, Jan. 18, 2015
Opening Reception
2-5 p.m., Sunday, Oct. 12, 2014
3:30 p.m. Remarks

Group ƒ.64: Revolutionary Vision showcases Photography by Ansel Adams, Imogen Cunningham, Willard Van Dyke, Brett Weston and Edward Weston. Works from the Bank of America Collection

Founded in 1932, Group ƒ.64 was an informal association of Bay Area photographers devoted to promoting a new direction in photography. “ƒ.64” refers to the large-format camera aperture, which produces the maximum depth of field yielding sharply focused and graphic compositions. Their group established a challenge to Pictorialism, a movement favoring painterly, hand-manipulated, and soft-focus prints. On November 15, 1932, the work of the original eleven members of Group ƒ.64 was shown in a major exhibition at the M.H. de Young Memorial Museum in San Francisco. Group ƒ.64: Revolutionary Vision features five of the most important members of this group.

True to modernist beliefs, the members of Group ƒ.64 argued that photography could only advance as an art form if its practitioners exploited the characteristics inherent to the camera’s mechanical nature. “Pure photography is defined as possessing no qualities of technic [sic], composition or idea, derivative of any other art form,” reads their manifesto. Photography was considered only valid when it was “straight,” or unaltered. The group preferred contact prints, made on a sheet in direct contact with the negative. This technique gave the photographs rich clarity, subtle definition and maximum tonal range.

Group ƒ.64 disbanded in 1935, but many of its members remained active and are now considered among the most influential photographers of the 20th century. This exhibition features nearly fifty works faithful to their revolutionary philosophy.


This exhibition is provided by Bank of America Art in our Communities program.

Bank of America logo

Nelson Augustus Moore, A Country Romance, 1865. Oil on canvas, 24 x 36 in., Collection of Todd and Marenda Stitzer

Nelson Augustus Moore
Connecticut Water, Hills, and Sky
Sept. 20, 2014–Jan. 11, 2015
Opening Reception
2-5 p.m., Sunday, Oct. 12, 2014

Nelson Augustus Moore’s exquisitely beautiful 19th-century paintings of the Connecticut landscape reveal the mastery of this Kensington artist.

During the 19th century, photography was positioned to compete with the efficacy of naturalistic painting. Nelson Augustus Moore (1824–1902) embraced both mediums to capture his beloved hometown of Kensington, Connecticut, where the Moore family lived and flourished for many generations. Beginning September 20, the NBMAA will feature oil paintings and photographs in the exhibition Nelson Augustus Moore: Connecticut Water, Hills, and Sky.

The paintings on display have been generously loaned by Todd and Marenda Stitzer. As they explain, "Our home in Kensington—Hillside Cottage—sits near the top of Mooreland Hill on land once owned by the Moores. Little did we know when we purchased our home that Nelson Augustus Moore was a member of this illustrious family or that he painted the very views we see from our windows. Once we made the connection, we immediately decided to bring the best of Moore's work home to Kensington where they were created. The paintings in the exhibition are the result.”

Born in Kensington in 1824, Moore studied art in New York City and later returned to open the first commercial daguerreotype business in the state with his brother. Throughout his life, Moore continued to paint idyllic landscapes of New York and New England. The paintings will be presented alongside four of Moore’s photographs of Kensington from the Museum’s permanent collection as well as contemporary images of the vistas Moore depicted.

Kate Themel, New Year's Eve, 2012, Cotton, 44 x 41 in., Courtesy of the artist

Let Me Quilt One More Day
Saturday, Oct. 4–Sunday, Jan. 4, 2015
Opening Reception
2-5 p.m., Sunday, Oct. 12, 2014
4 p.m. Remarks by Douglas Hyland

American quilting has dramatically been transformed over the past 250 years. Let Me Quilt One More Day showcases a history of the artistic practices, reinterpretations, and innovations of this age-old craft.

Let Me Quilt One More Day explores the long-standing practice and art of quilt making in the United States. This exhibition, curated by Dr. Douglas Hyland, brings together an extraordinary selection of over 40 historical and contemporary quilts ranging from traditional to modern designs and demonstrating both the practical application and artistic range found in this medium. The themes of Industry, Emotion, and Art loosely group quilts that vary greatly in material and artistic style.

The quilts speak to the lives, history, and aspirations of the artisans who created them while examples of contemporary works display how this fascinating medium has evolved and yet, in many ways, the traditions have stayed the same.

Noted quilt authority Lynne Z. Bassett, advised on the selection of objects for this exhibition, and her catalogue essay adds immensely to our understanding of this craft and art form.

The exhibition contains works from the Lyman Allyn Art Museum, Mattatuck Museum, New Haven Museum and Historical Society, Fenimore Art Museum, Webb-Deane-Stevens Museum, and Connecticut Historical Society. In addition we are fortunate to have works by contemporary quilters: Barbara Barrick McKie, Richard Killeaney, Todd Knopke, Norma Schlager, Denyse Schmidt, Marlene Shea, Kate Themel, Anna Tufankjian, and Victoria Findlay Wolfe along with works from the collections of others.



This exhibition is funded in part by a grant from the Quilter's Guild of Dallas, Helena Hibbs Endowment Fund.

This tree was inspired by Thomas Hart Benton's The Arts of Life in America and the artist's love for jazz music.

Holiday Decorating
Tuesday, Dec. 2, 2014–Sunday, Jan. 4, 2015


The Holiday decorating committee has been hard at work and is pleased to announce a splendid lineup of trees that will grace the Museum lobby and galleries. In conjunction with the our celebration of American quilts, with the exhibition Let Me Quilt One More Day in the McKernan Gallery, the Museum Lobby will feature a 14-foot quilt Christmas tree decked out with handmade quilt-themed ornaments, compliments of members of the Studio Art Quilters Associates, The Journal Art Quilters of Berlin, Connecticut, and many local quilt artists. Better yet, many of these ornaments will be available in our Museum Shop!

The second floor will feature a Kwanzaa Tree which will be decorated with handmade ornaments by artist and docent Loretta Eason. Don’t forget to check out the Victorian Charm of the Moser Library, once the dining room for the Landers House. Artist Ken Adams brings us full scale Victorian Christmas charm!

Trees boasting reinterpretations of favorites from the collection will be dispersed throughout the galleries, decorated and crafted by our Holiday Decorating Committee. The Hudson River School Gallery will house a tree inspired by Albert Bierstadt’s, Seal Rock. The Impressionism Gallery will be home to our very own Willard Leroy Metcalf, Mountain Laurel tree. The Academic Gallery will house a tree inspired by Winslow Homer’s Butterflies (The Butterfly Girl, Summer). In the Benton Gallery, be sure to check out the brightly colored interpretive tree of the Thomas Hart Benton Murals. Right next door, in the Contemporary Gallery, be sure to see the Marc Swanson-inspired tree!

Many thanks to the Holiday Decorating Committee for their service!


Artist Bob Gregson demonstrates how Spin Cycle works. Bob Gregson, Spin Cycle, 2014, Acrylic on Trupan, 55 x 55 in., Courtesy of the artist

NEW/NOW: Bob Gregson
July 26–Oct. 26, 2014
Opening Reception
2-3:30 p.m., Sunday, July 27, 2014
Artist Remarks at 2:30 p.m.

In our world of Twitter, iPhones, Facebook, and other forms of social media, many people live removed from the physical world. Bob Gregson’s work counteracts this lack of intimate involvement and creates situations that constantly shift the rules and allow for new encounters.

There is a reason why Bob Gregson’s work is fun. His exhibition Space to Maneuver harnesses humor to gently draw people into the work and provide
opportunities for participation: rolling on your back, turning panels or rearranging objects, alone or with others who may be total strangers.

Space to Maneuver is at once a playful and thought-provoking exhibition that questions the relationship between the viewer and the art object. As Gregson explains, “The basic message may be that art is serious but not sacred…I also enjoy the idea that the work is never actually completed but continually reinterpreted and refreshed through those who encounter it.” His work adds a new twist to a long line of art movements that have challenged the definition of art, including Dada, Fluxus, Happenings, Conceptual art as well as Minimalism.

Bob Gregson received a BFA from Hartford Art School and an MFA from the Art Institute of Chicago.
He has been the artistic director for hundreds of public events, which he calls “situations”—mixing community
participation with large scale inflatable sculptures, scaffolding, mazes, and theatrical lighting. He has taught art classes at numerous museums and universities. He has authored and illustrated many books about art and participation and lectures widely on the subject. He is a Silvermine Guild Artist and is the creative director of the Connecticut Office of Tourism.

Available Video:
Bob Gregson "New Britain Exhibition"

The NEW/NOW Series is made possible by the generous support of Marzena and Greg Silpe.

Lino Tagliapietra, Angel Tear, ca. 2011, Blown glass, 33 3/4 x 22 x 5 1/2 in., Collection of Henry and Sharon Martin

Glass Today: 21st-Century Innovations
June 21–Sept. 21, 2014
Opening Reception
2-3:30 p.m., Sunday, June 22, 2014

A sequel to the NBMAA’s popular 2008 glass exhibition, Glass Today: 21st-Century Innovations, celebrates glass as a material for contemporary art—sculpture, installation, video and even painting and printmaking.

This group exhibition, curated by Assistant Curator Anna Rogulina, brings together over 80 works by 66 artists united by their ability to manipulate the properties and potentialities of the medium. Three themes—Nature & Landscape; Form & Color; and Narrative & Symbol—serve as loose connective tissue between the sheer diversity of techniques, aesthetics and conceptual goals achieved by each of the exhibiting artists.

We invite you to take advantage of the many exciting programs happening in conjunction with this exhibition. Please consult our website, calendar and program listings in this newsletter for more information about lectures, trips, and studio classes offered this summer!

Special funding has been provided by the Art Alliance for Contemporary Glass, the Bailey Family Fund for Special Exhibitions, and the Kathryn Cox Endowment Fund for Special Exhibitions with additional support from the Connecticut Department of Economics and Community Development Office of the Arts through the New Britain Commission on the Arts.

Participating Artists

Giles Bettison, Mary Beth Bliss and Peter Vanderlaan, Martin Blank, Peter Bremers, Latchezar Boyadjiev, Nancy Callan, Sydney Cash, José Chardiet, Nicole Chesney, Dale Chihuly, Daniel Clayman, Amber Cowan, Dan Dailey, Steffen Dam, Andrew Erdos, Josepha Gasch-Muche, Peter Greenwood, Mundy Hepburn, Eric Hilton, Richard Hornby, David Huchthausen, Sidney Hutter, Anja Isphording, Luke Jerram, Richard Jolley, John Kiley, Vladimira Klumpar, Stephen Knapp, Jon Kuhn, Thérèse Lahaie, Karen LaMonte, Shayna Leib, K. William LeQuier, Beth Lipman, Marvin Lipofsky, Carmen Lozar, Linda MacNeil, Dante Marioni, Richard Marquis, Benjamin Moore, Debora Moore, Sibylle Peretti, Stephen Rolfe Powell, James Randolph, Mark Reigelman II, Jill Reynolds, Christopher Ries, Martin Rosol, Richard Royal, Brian Russell, Toland Sand, Judith Schaechter, Thomas Scoon, Josh Simpson, Raven Skyriver, Carmen Spera, Dan Spitzer, Ivana Šrámková, Ethan Stern, Preston Singletary, Lino Tagliapietra, Bertil Vallien, Norwood Viviano, David Walters, Steven Weinberg, and Toots Zynsky

Online Interactive
Click here for the online interactive and downloadable brochure

Details of paintings (from upper left): Joanne Greenbaum, Untitled, 2012; Lisa Beck, Channel, 2013; Andrew Masullo, 5358, 2011–12; Keith Mayerson, Iconscape 4, 2012; Adam Henry, #5, 2012; Joshua Abelow, Running Man, 2013

This One's Optimistic: Pincushion
Curated by Cary Smith
June 7-Sept. 14, 2014
Opening Reception
2-3:30 p.m., Saturday, June 7, 2014
Curator Remarks at 3 p.m.

This One’s Optimistic: Pincushion is a densely hung, salon style exhibition that includes paintings and drawings by 38 contemporary artists, all of whom are known for their excellence in making work that leans heavily towards abstraction. Their styles are vastly different and will, in close proximity, create a wide-ranging visual experience, which can be seen as a current reflection of a slice of what is going on within the art community. A unifying theme among all the artwork is that of an intuitive, positive, human force—one that is authentic, smart, original, and inventive—and always with a warm beating heart.

Smith believes there is a heightened collective awareness that we share due to the immediate exchange of digital information among us. As Smith finds himself often sitting in front of his computer looking, watching, listening—and posting images of his own work along with the work of other artists he admires—he finds that in short bits of time he can view art from all over the globe. This exhibition is a snippet of that world for all to view in real time, in real space where the heart of the artist is ever present.

Participating artists

John Phillip Abbott, Joshua Abelow, Lisa Beck, Trudy Benson, Timothy Bergstrom, Michael Berryhill, Ross Bleckner, Todd Chilton, Steve DiBenedetto, Amy Feldman, Michelle Grabner, Joanne Greenbaum, Clare Grill, Adam Henry, Daniel Hesidence, Xylor Jane, Bill Komoski, Joshua Marsh, Chris Martin, Andrew Masullo, Keith Mayerson, Douglas Melini, Tom Nozkowski, Carl Ostendarp, Ann Pibal, Josh Podoll, Lisa Sanditz, James Siena, Jennifer Wynne Reeves, Alexander Ross, Julie Ryan, Jackie Saccoccio, Russell Tyler, Dan Walsh, Chuck Webster, Garth Weiser, Stanley Whitney, Michael Williams, B. Wurtz, Tamara Zahaykevich

Cary Smith is an artist who lives in Farmington, CT.
More information about him can be found at:

David Borawski, God Save Your Mad Parade, 2014, Digital Image, Courtesy of the artist

New Media: David Borawski
Apr. 26–Aug. 31, 2014

Closing Reception
2-3 p.m, reception, 2:30 p.m., artist remarks
Sunday, August 31

Opening Reception
5:30-8 p.m., Friday, May 2, 2014

Hartford-based multi-media installation artist David Borawski likes to take the viewer on a visual and conceptual ride, leading you down a path then leaving you to find your way home. Unleashing ideas, images and ready made materials that the viewer may not normally consider as art supplies, Borawski’s work draws upon social and political events that have influenced major shifts in our collective consciousness, positioning them as eerie precursors to present-day circumstances.

God Save Your Mad Parade is an installation that addresses anarchy and the proliferation of crime and lawlessness at both ends of the wealth and class spectrum, through video, sound and sculpture. Borawski assembles video clips of ceiling fans and projects them onto the gallery floor. At the same time, the viewer is subjected to a digitally manipulated soundtrack of surveillance and helicopter noise. Other elements will include plastic chain, fabric bandanas and corrugated cardboard. Borawski explains, “chains suggest restraint and control. That is the function of law and authority, chains stop someone from doing something.” As the Sex Pistols lyrics conclude, “no future for me, no future for you.”


More information on the artist can be found at and

Joe Fig, Petah Coyne: May 9, 2013, 2014, Mixed media, 17 3/4" x 21 1/4" x 21 1/4". Courtesy of Tierney Gardarin Gallery

NEW/NOW: Joe Fig
Apr. 19–July 20, 2014
Opening Reception
3:30-5 p.m., Sunday, Apr. 27, 2014
Artist's remarks at 4 p.m.
followed by book signing

When walking through a museum it is easy to forget that the perfectly hung paintings and well-lit sculptures are products of a long and arduous process. They are the end results of many moments of creative inspiration, but also a myriad of physical and logistical details. It is these details—aspects of an artist’s daily routine—that motivated the artist Joe Fig to embark on a life-long exploration of the working lives of his fellow professional artists. This exhibition, entitled NEW/NOW: JOE FIG, presents a series of sculptures and paintings representing the studios of some of today’s leading contemporary artists, including Petah Coyne, Tara Donovan and Ursula Von Rydingsvard. All of the artists represented are women working in the New York area, and each portrait reflects the intimacies and subtleties of who they are as people and what they do as artists.

Fig visits and interviews each artist in order to fully and accurately document their process. This allows for a rare look into the self-made universe of the artist’s studio. The resulting artworks are both a celebration of the wonders of the creative process and a revelation regarding the rather mundane tasks involved in making art. Fig’s process of documentation and translation gradually evolves into a portrait of the artist and her creative process.

Joe Fig's studio is in Collinsville, Connecticut. His work has been exhibited extensively throughout the United States and his sculptures, paintings and photographs can be found in numerous museums, including the Parrish Art Museum, the Norton Museum and the Fogg Art Museum. His acclaimed book Inside the Painter’s Studio explores the day-to-day practicalities of 24 leading contemporary artists and is currently in its sixth printing. He received both his BFA and MFA from the School of Visual Arts and is represented by Tierney Gardarin Gallery in New York.

The NEW/NOW Series is made possible by the generous support of Marzena and Greg Silpe.


James Prosek (b. 1975), Blue Marlin, 2011, Watercolor, graphite, gouache, and mica powder on tea-stained paper, 60 x 180 in., New Britain Museum of American Art, Grant from the Richard P. Garmany Fund at the Hartford Foundation for Public Giving, 2012.07

James Prosek: Wondrous Strange
Feb. 22–June 8, 2014
Opening Reception
2-3:30 p.m., Saturday, Feb. 22
Artist remarks at 2:30 p.m.

James Prosek: Wondrous Strange is the first exhibition to bring together the multi-faceted, multi-media works of James Prosek—painting, sculpture and installation.

James Prosek’s work takes its inspiration from the long tradition of natural history painting; from animal depictions on cave walls to the works of Albrecht Dürer, William Blake, and John James Audubon. His contemporary influences are wide-ranging, from Lee Bontecou and Mark Dion to Martin Puryear and Eero Saarinen. In particular, Prosek’s work is conceptually focused on how we name and order nature, including the limitations of language in describing biological diversity. His art challenges us to reflect on how our culture, our priorities, and our values are manifested in systems we use to classify and harness nature.

The paintings, monumental watercolors, and sculptures in the exhibition range from realistic to fanciful, though all are rendered with meticulous precision and detail. Many are the result of extensive travel, collecting trips and biological expeditions to places as distant
and diverse as Suriname and Kyrgyzstan. Ultimately, it’s the realms that science cannot quantify or solve and the power of personal experience that are Prosek’s fertile ground.

A native of Easton, Connecticut, Prosek graduated from Yale University and is a writer and naturalist in addition to being an artist. His work has recently been exhibited at the Addison Gallery of American Art, the Philadelphia Museum of Art, Virginia Museum of Fine Arts, the National Academy of Sciences, among many other institutions. His documentary film The Mystery of Eels debuted on PBS in 2013.

This exhibition is made possible by a grant from the Richard P. Garmany Fund at the Hartford Foundation for Public Giving

Sholes & Glidden, Decorated, 1876, 15 x 16 x 16 in., Collection of Greg Fudacz

Click! Clack! Ding!
The American Typewriter
Mar. 8–June 1, 2014
Opening Reception
5:30-7:30 p.m., Thursday, Mar. 13, 2014

This exhibition will include over 20 machines and wartime badges that span nearly 100 years, dating from 1873 to 1966. All the typewriters are American made, with a focus on models built in Connecticut. One of the highlights to be displayed is a Sholes and Glidden dated 1876, three years after the first commercially successful typewriter was produced. There were 3,000 decorated models that were originally made by Remington at their sewing machine factory in Ilion, NY. Roughly 200 of these rare and extremely desirable machines have been found as of today.

A typewriter is not only an object of precision and design, but a tool used to communicate ideas. During the Industrial Revolution, as more and more of the population became educated, the need to communicate to an increasingly educated population made the typewriter an indispensable tool to produce text more quickly. When typewriters were first introduced, design was an important element; they were expensive so they needed to be attractive as objects.

Collector Greg Fudacz looks for attractive, well-built and well-designed machines that are hard to come by. What he finds most thrilling about collecting, is the hunt. He confesses “Letting them go is hard, if I have three or four of anything, I want more.”

Expect to fall in love with these once common household and workplace machines all over again.

Floral Expressions Exhibit, 2013

12th Biennial Floral Expressions Placement Show
May 8–12, 2012

Opening Reception

5:30-7 p.m., Thursday, May 8, 2014

Floral Expressions will return this Mother’s Day weekend in conjunction with a bevy of events called Bubbles & Blooms that culminates with our special Mother’s Day event Brunch on the Park. Join us at the opening reception for remarks by Mary Gould, member and past President of the New Britain Garden Club. 

Twenty floral arrangements inspired by select pieces in the Museum’s permanent collection will be on display, created by members of the Garden Club and National Council accredited judges from The Federated Garden Clubs of Connecticut. See the Front Desk for a self-guided tour that will walk visitors through the exhibition and give insight into the arrangements and the art they represent.

The New Britain Garden Club has been a member of The Federated Garden Clubs of Connecticut since 1941. The Museum and the Garden Club have had a working relationship for much of that history: many members of the Garden Club have lent their talents to the Museum as docents and volunteers. One of the Museum’s gardens has been named for The New Britain Garden Club in recognition of their long service and support.

Check out Bubbles & Blooms’ workshops, lectures, and more!

The artist's concept sketch for The Fallen Sky Chronicles: You and What Army? in the NBMAA's New Media nook

New Media: Ivan Toth Depeña
Dec. 14, 2013–Apr. 20, 2014

Ivan Toth Depeña has created a multi-sensory installation using custom software to abstract a group of images mined from the Internet. These images were randomly selected by Google-searching the key words "rainbow" and "spectrum." The software loads the images, examines their color information, "unwraps" them pixel by pixel and finally rearranges them into gradients of color. These pixel gradients are then displayed sequentially in the order that the images are loaded and played at a predetermined rate.

In addition to examining the idea of chance, this project also explores the concept and experience of "synesthesia." Synesthesia can be defined as "a neurological condition in which stimulation of one sensory or cognitive pathway leads to automatic, involuntary experiences in a second sensory or cognitive pathway." In this case, the color information from each of the "rainbow" images is used to directly affect audio, creating a surreal collision of sound and image. Judy Garland's Over the Rainbow is sped up, slowed down and scrambled according to the hue and saturation of the colors being displayed on the screen. The title deals with our inherent compulsion to understand and often recreate the undefinable aspects of our realities, natural phenomena, and universe.

Based out of Brooklyn, Depeña studied art, architecture and graphic design at Pratt Institute and the University of Miami. He earned his M.Arch. from Harvard University’s Graduate School of Design. His recent projects include a number of exciting public art commissions in Florida and Colorado. His work has been shown throughout the U.S., including at the Frost Museum of Art, Miami; School of Visual Arts in New York City; Museum of Art Fort Lauderdale; and the Miami Art Museum.

Joseph Nawahi, View of Hilo Bay, Hawaii, detail, ca 1868–70, Oil on canvas, 20 x 36 in., Collection of Melinda and Paul Sullivan.

Aloha: Hawaiian Art and Artifacts from the Sullivan Collection
Nov. 30, 2013–Mar. 2, 2014
Low Illustration Gallery ends April 27, 2014
Opening Reception
2 p.m., Sunday, Dec. 8, 2013
Remarks at 2:30 p.m.

Traveling nearly 5,000 miles from Hawaii to the New Britain Museum of American Art, the Sullivan Collection will present a cross section of the culture, beauty, and history of the Islands of Aloha. Despite the geographical distance between Connecticut and Hawaii, the two states' histories intertwined beginning in the 1820s, when many Connecticut missionary families such as the Lymans, Coans, Cookes, Wilcoxes, and Baldwins came to the Islands.

Longtime Museum benefactors Melinda and Paul Sullivan have carefully collected works from a wide range of artists, mediums, and contexts over the years. Selections from their extensive holdings of historical and contemporary works include paintings, works on paper, furniture, and crafts spanning over two centuries of Hawaii’s vibrant history.

Eighteenth-century engravings by John Webber (1751–1793) depict the islands as they appeared when English explorer Captain James Cook reached Hawaii in 1778. Other pieces also capture the Western impression of the Islands, but most celebrate the state’s natural beauty through the eyes of native artists.

One of the highlights of the Collection is a nineteenth-century oil painting by artist, politician, scholar and activist Joseph N¯awahi (1842–1896). Although he received no formal art training, N¯awahi became the first Hawaiian-born artist to paint in a naturalistic “Western” style.

Other treasures such as quilts made in the traditional Hawaiian style, furniture crafted of native Koa wood and shell necklaces from the remote island of Niihau will also be on display. Visitors will have the opportunity to travel through more than 200 years of history, as well as become acquainted with artists living and working in the Aloha State today.

Selections from the Sullivan Collection offer a rare glimpse into the art and history of the Islands of Aloha.

- Current - Upcoming - Recently off the Wall

Stephanie Lampert (b. 1983), York, 2007, C-print mounted on Sintra, Paul W. Zimmerman Purchase Fund, 2011.33

NEW/NOW: Stephanie Lempert
Jan. 11–Apr. 13, 2014
Opening Reception
2-3:30 p.m., Sunday, Jan. 12, 2014

NEW/NOW: Stephanie Lempert explores systems of visual and verbal communication through sculpture, photography and video. Lempert is fascinated by the language she infuses in her work: recorded snippets of conversations, personal histories, and memories. She is both a collector and preserver of sounds and stories, sourcing the raw material for her work from the vast urban landscape of New York City, as well as from one-on-one interviews she conducts with her subjects.

In her Language of Space series, Lempert is an anonymous listener who tunes into dialogues exchanged across various New York neighborhoods, transportation hubs, and bridges. She documents each chosen site first by photographing it and then by infusing the surface of the image with transcriptions of the overheard conversations. As in the Language of Space series, the Memory Lines series also combines photography and language to capture not only the expressions of the sitters but also the stories of their lives. Written in the subjects' own handwriting, aspects of their biographies are hidden in their facial lines and wrinkles.

In Reconstructed Reliquaries, hand-written childhood memories are interwoven to produce actual objects with the aid of 3D printing. NEW/NOW: Stephanie Lempert will survey these bodies of work, as well as debut her video project and three new Language of Space photographs.

Based in Brooklyn, New York, Lempert is a graduate of the Rhode Island School of Design. Her work has been exhibited at Socrates Sculpture Park, The Armory Show, Art Basel Miami, the Moscow World Fine Art Fair, the 2006 New York Video Festival and many other venues in the U.S. and abroad.

Maurice Sendak, Wild Thing & Max, late 60's early 1970's, Ink & watercolor on paper, 20 1/2 x 16 1/2 in., original illustration Private collection, Edward T. Long Circa

Maurice Sendak
Nov. 9, 2013–Feb. 9, 2014
Opening Reception
5:30-7:00 p.m., Saturday, Nov. 9, 2013

Maurice Sendak will be comprised of 65 works, culled to commemorate the 50th anniversary of Sendak’s beloved Where the Wild Things Are. It will explore the creative genius of a man who gave form, in words and images, to the fierce power of children’s imagination. Original works will be complemented by quotes from 50 prominent individuals such as Tom Hanks, President Barak Obama and Theodor Geisel (Dr. Seuss). Also in the gallery will be a film, documentaries, a reading table for children and families, and an interactive art-making area.

The exhibition will be grouped in four themes and will examine:

Where the Wild Things Are: From Pages to Stages and Screens: Original book illustrations, limited-edition lithographs, and sculpture; opera set design drawings; movie concept sketches

“A book is a book is a book": Illustrations for The Sign at Rosie’s Door, Pierre, In the Night Kitchen, Little Bear, and more

Cover to Cover; Wall to Wall: Magazine covers, original posters, prints and more (Including art for The Rolling Stone, American Ballet, the Brooklyn Children’s Museum and Children’s Book Week)


Lisa Hoke
Lisa Hoke, The Gravity of Color, New Britain, 2008, installation, Stephen B. Lawrence Fund and the Edwin Austin Abbey Mural Fund of the National Academy of Design

Lisa Hoke, The Gravity of Color, New Britain (detail)

Lisa Hoke: The Gravity of Color
May 28, 2008 (beginning)

Following a national competition for the honor, artist Lisa Hoke of New York City has been commissioned to create a new installation for the NBMAA at the top of the LeWitt Staircase leading from the first to second floor of the Museum. Her work on the colorful multi-media artwork will begin May 28 and will be completed by the end of June.

Hoke is a 2008 recipient of a fellowship sponsored by the Edwin Austin Abbey Endowment at the National Academy Museum and School of Fine Arts. More than 50 artists from throughout the U.S. submitted proposals for the project, coordinated in conjunction with NBMAA Director Douglas Hyland. A panel of six judges reviewed applications for the project, including three Museum representatives -- Hyland, NBMAA Chairman Timothy McLaughlin and Trustee Linda Cheverton-Wick.

Hoke’s work will replace The Eye, an installation created by Stephen Hendee in 2006 for the opening of the Chase Family Building.

Hoke is known for the innovative use of “found” materials in her work. Her NBMAA installation will be created with clear plastic cups coated with vibrantly colored paints, as well as new and vintage opaque paper cups found through a variety of sources.

Each of thousands of cups will be attached to Museum walls with a grommet, or glued, creating a breathtaking, jewel-like visual impact with swirls of color and texture. During her installation, Hoke will work with several assistants to choreograph the work from the wall at the top of the staircase, around the windows and up the inner wall next to the staircase as it extends to the second floor.

Hoke’s installation, like Stephen Hendee’s work The Eye, is a temporary piece which will be replaced in two to five years by another commissioned work of art. Hoke has created similar installations for other U.S. museums.

Fern Berman, Architecture 101, detail, 1999, C-Print on Somerset Velvet 330 gsm paper, 30 x 20 in., New Britain Museum of American Art

Fern Berman (b. 1958), Man in the Moon, 2011, C-print on Somerset Velvet 330 gsm paper, 42 x 28 in., Collection of the artist

NEW/NOW: Fern Berman
Sept. 21, 2013–Jan. 5, 2014
Opening Reception
2-3:30 p.m., Sunday, Sept. 22, 2013
Remarks at 2:30 p.m.

Brilliant color, almost meditative compositions and illusory textures reveal a photographer who “paints” with her camera. Connecticut-based photographer Fern Berman finds beauty in unexpected places: a swatch of flaking paint, a splash of Venetian red, words of faded graffiti or an ancient weathered rooftop. Approximately twenty of her photographs, whose emotive color owes a “great debt” to painters such as Franz Marc, Mark Rothko, Vasily Kandinsky, and Paul Klee, will be on view in NEW/NOW: Fern Berman.

Berman’s interest in abstraction, color relationships and expression through de-materialization and decay rests on patient observation and extended contemplation of her chosen subject. Whether viewed as a group or individually at close range, her photographs pose the question: does Berman imbue the subject with mystery and emotion through her distinctive vision, or is she simply revealing the layers of what is already there? As Tracey O’Shaughnessy of Republican-American has observed, “Perhaps that’s [her] way of reminding us how each of us lays a thin layer of ourselves which ultimately erodes to reveal something earlier and more atavistic. Or perhaps it’s a reminder that corrosion itself is a kind of beauty. More than likely, though, it is the photographer’s gentle nudge to encourage us to look a little closer to see radiance in the neglected, moldering architecture that defines our lives.”

Born in Brooklyn, New York, in 1958, Berman studied photography at the Art Institute of Boston and the School of Visual Arts in New York City. In addition to the New Britain Museum of American Art, her work is represented in the collections of Wesleyan University, the Buhl Foundation, WNPR New Haven, and numerous other private collections.


Holiday Decorations
Dec. 4, 2013-Jan. 5, 2014

The Museum's halls will be decked with creatively themed trees, the centerpiece being a Hawaiian Christmas Tree in the lobby to complement and celebrate the exhibition Aloha: Hawaiian Art and Artifacts from the Sullivan Collection. The ArtLab will host a Kwanzaa Tree by artist and docent Loretta Eason. A Paint Brush Tree in the Impressionism Gallery will celebrate the Impressionist's love of paint and color. In the Benton Gallery an interpretive tree will help bring the murals to life. And, in homage to our contemporary artists, visitors will find a pink Martin Kline-inspired tree in the Contemporary Gallery. Not to leave out the culinary arts, the Café on the Park will feature a Recipe Swap Tree. Yes, leave one of your favorite recipes and take a new one to try.

Also on view, the Moser Library will be dressed in traditional Victorian Christmas splendor thanks to artist Ken Adams, and the Beth El Temple of West Hartford will put up a Hanukkah Display in the Stanley Works Center.

Thanks go to the Holiday Decorating Committee Ken Adams, Manon-Lu Christ, Lydia Dyson, Ellen Fisher, Wendy Kirkland, and Carol Shimelman.


STAGECRAFT: 50 Years of Design at Hartford Stage
Oct. 2–Dec. 15, 2013
Opening Reception
5:30-8 p.m., Friday, Nov. 1, 2013
Remarks at 6 p.m.

In celebration of Hartford Stage’s 50th Anniversary Season, STAGECRAFT consists of a selection of costumes, props and scenic elements from the company’s extensive collection. A hallmark of the theatre’s work is the quality of the work that appears on stage, all of which is built here in Hartford. Scores of locally based artists, craftspeople, and technicians created these pieces to animate the visions of some of the world’s most prominent theatrical designers.

Hartford Stage has earned many of the nation’s most distinguished awards, including a Tony Award for Outstanding Regional Theatre, the Margo Jones Award for Development of New Works, OBIE awards, and two New York Critics Circle Awards, and has produced nationally renowned titles, including the New York transfers of Enchanted April, The Gershwin’s Fascinating Rhythm, The Carpetbagger’s Children, The Orphans' Home Cycle, Tea at Five and Resurrection (Through the Night).

“We are thrilled to partner with Hartford Stage to celebrate 50 years of great theater and community service,” said Douglas Hyland, Director of New Britain Museum. “And to offer this treasure to the public makes this project a stunning example of a collaborative effort between two of Hartford areas anchor institutions.


Jason Huff, The Road Not Taken by Robert Frost, Google Search Suggestions, 2010–13, Book cover, 9 x 7 in.

New Media: Jason Huff
July 27–Dec. 8, 2013
Opening Reception
5:30-8 p.m., Friday, Sept. 6, 2013
Remarks at 6 p.m.

Jason Huff’s the road not taken highlights the hidden systems and processes that underlie our routine use of the web and other digital tools.

Brooklyn-based artist, writer and designer Jason Huff is intensely interested in how our interactions with new media technologies shape our daily experiences and affect the creative process. Huff’s multi-media installations critically examine the validity and usefulness of innovations in digital publishing and other mainstay Internet features, weighing the ability of new digital tools to effectively replace “old media.”

The Road Not Taken playfully explores the effects of the Internet on literature and art. The project takes Robert Frost's seminal 1916 poem, The Road Not Taken, and re-envisions it five times by feeding it through Google's auto-complete search function. Of the work, Huff says the following: “As technology automates suggestions and routes data algorithmically, our decisions about the information we navigate to become increasingly important.” On view will be a traditionally bound and printed collection of Huff’s iterations of Frost’s poem as well as an audio recording of Huff’s tongue-in-cheek poetry being recited.


Max Ginsberg, The Friends, New Britain Museum of American Art

Imagine That! Children’s and Young Adult Illustrations from the Sanford B.D. Low Illustration Collection
Begins June 24, 2013

Imagine That! Children’s and Young Adult Illustrations from the Sanford B.D. Low Illustration Collection spans 120 years of American illustration, focusing on original art created for children’s and young adult books, periodicals and newspapers as well as science fiction and graphic art for young readers. It draws from the Museum’s rich holdings and includes acrylics, watercolors, gouaches, oils, pen and ink drawings, and photography.

Visitors can unravel Walter Wick’s photograph for I Spy: Treasure Hunt: A Picture Book of Riddles, see early Disney technology in an animation cel from Pinocchio, and immerse themselves in the adventure of N.C. Wyeth’s painting for Treasure Island. Also featured is the work of Nicholas Napoletano, a recent graduate of the Illustration Program at the Hartford Art School who illustrated a children’s story written by the Museum’s Director Douglas Hyland. Look for The Mystery of West Rock on the bookshelves of the Museum Shop later this year.


Barbara Bosworth (b. 1953), Bill above Millers River. detail, Inkjet print, 24 x 60 in. Gift of the artist courtesy of the National Park Service, 2013.30

To Be at the Farther Edge: Photographs Along the New England Trail: Barbara Bosworth
Opening Reception
5:30 p.m. Friday, Oct. 5
First Friday fee applied

The Museum is proud to participate in an "exhibition trail" dedicated to landscape photography of Barbara Bosworth, Artist-in-Residence for the New England National Scenic Trail (NET). Nine Connecticut and Massachusetts venues along the trail will feature her visual response to the vistas and paths she encountered while hiking. As Curator Randi Hopkins explains, "The 215-mile trail that she photographed runs through a remarkable swath of New England, rich in natural beauty, geological significance, and cultural heritage. Her works capture the unique experience of nature - what is seen at on one particular moment during one particular day, at one particular time of year - as well as the paradoxically timeless nature of our natural environment."
The exhibition trail is presented by the National Park Service in cooperation with the Appalachian Mountain Club and the Connecticut Forest & Park Association.


Jacob Collins, Overcast Fire Island, detail, 2012, Oil on panel, 13 x 24 in., Collection of the artist and Adelson Galleries

Jacob Collins: Recent Work
Aug. 24–Nov. 24, 2013
Opening Reception
2-3:30 p.m., Sunday, Aug. 25, 2013
Remarks at 2:30 p.m.

The works of Jacob Collins form that rarest of unions where classic beauty and striking originality meet as harmonious equals.

The Museum is thrilled to present Jacob Collins: Recent Work as part of a continued effort to make prominently visible the work of contemporary representational painters. The exhibition will feature the studiously crafted portraits, landscapes, and still lifes in oil and graphite by Collins, a leading figure in the revival of classical style of academic painting. Celebrated for his careful draftsmanship and finely-tuned eye, Collins invites viewers to appreciate meticulously recorded moments and details of daily life: the texture of hair, the softly rumpled bed sheet, the hardness of stone, the reflective nature of polished wood.

Collins studied painting at the New York Studio School, the New York Academy of Art, and the Art Students League. He has been commissioned to paint many luminaries, including J. Paul Getty, Jr. and President George H.W. Bush, and to paint the Forbes family properties in Normandy, France. He lives and works in New York City where he has founded the Water Street Atelier, The Grand Central Academy of Art, and the Hudson River Fellowship, all aimed toward classically training artists through rigorously painting from life, as well as studying technical perspective, anatomy, figure structure, painting methods and materials, and art history. As an artist, teacher and role model, Collins stands to preserve and advance the kind of painting that—while set in the present—exudes a sense of timelessness.

Funding provided by John and Jasie Britton.


Meet Lexi Lee Sullivan, Assistant Curator at the deCordova Sculpture Park and Museum in Lincoln, Massachusetts, who will be the juror of this year's Members Exhibition.

Members Exhibition
Oct. 12–27, 2013
Reception and Awards Ceremony at NBMAA
1-2:30 p.m., Sunday Oct. 13, 2013

The list is in for the 44th Annual Juried Members Exhibition! Congratulations to the winners and accepted artists! Click here to view the list.

Important Dates:

Oct. 27, 2013 Exhibition closes
Oct. 28, 2013 Pick-up of displayed works,
1-5 p.m. at NBMAA

Open to NBMAA members 18 years and older, this year’s exhibition will be juried by Lexi Lee Sullivan, Assistant Curator at the deCordova Sculpture Park and Museum in Lincoln, MA. The Annual Juried Members Exhibition is a prime opportunity for the Museum to highlight the exceptional work of emerging artists in all media and expose contemporary visual arts to a wide audience.

PRIZES: First Prize: $1,000, Second Prize: $500, Third Prize: $250, Juror’s Award: Upgraded NBMAA
Membership and NBMAA Blog interview; Visitors’ Choice: NBMAA Blog interview and write-up on
the website.

Over the years, this longstanding NBMAA tradition has seen an increase in the quality of submissions, earning a slot in the Museum’s McKernan Gallery for changing exhibitions. “With this year’s improvements, we seek to elevate the exhibition even further, making it a prominent showcase in the Northeast region, attracting a greater number of artists from further afield and opening it up to cutting edge media and genre,” commented Director Douglas Hyland. “Our long-term goal is to endow the Members Exhibition prize pool. Toward that end, if you value the artists in our midst and want to encourage their advancement, and the NBMAA as a hub for this artistic output, please consider making a tax-deductible donation to the Members Exhibition Advancement Fund, see Front Desk for details or contact Jenna.”


Louis Comfort Tiffany, Port of Piraeus, Greece, detail, n.d., Oil on canvas, 8 x 14 in., Nassau County Museum of Art.

Louis Comfort Tiffany, Silver-Mounted Favrile Glass Vase, ca. 1900, Sterling silver, gold, favrile glass, 7 3/4 in x 3 1/2 in. (diameter), Tiffany & Co. Archives, B2011.27

The Brilliance of Louis Comfort Tiffany: Painter and Craftsman
May 24–Sept. 29, 2013
Opening Reception
5:30-7 p.m., Thursday, May 30, 2013
Remarks at 6 p.m.

The Brilliance of Louis Comfort Tiffany: Painter and Craftsman is a major exploration of the paintings of Louis C. Tiffany (1848–1933) within the wider context of his creative genius. A celebrated glass and jewelry designer, Tiffany was first and always a painter, studying under George Inness and Samuel Colman at the start of his career. While Tiffany’s paintings are not widely known, they reveal a profound sensitivity to light and color. Ultimately, these interests drove Tiffany’s refinement of glass, a medium in which he concentrated so much of his creative energies. Furthermore, the subjects of Tiffany’s painting, particularly the Orientalist scenes captured during the artist’s travels in North Africa and the Middle East, informed his design aesthetic, which was known not only for its nature-inspired forms but also its exotic motifs from Morocco, India, Turkey and the Far East.

At the core of the exhibition are approximately 100 highlights from the Nassau County Museum’s collection of Louis Comfort Tiffany paintings, the best and largest of its kind. To demonstrate the indubitable link between Tiffany’s painting and design, the paintings will be thematically grouped alongside a treasure-trove of approximately 40 examples of large stained glass windows, furniture, lamps, vases and other decorative art objects. These objects come from the extensive holdings of the Mark Twain House & Museum, whose interior was designed by Tiffany’s firm, Associated Artists, as well as from private collections. Examples of exquisite jewelry designed or co-designed by Louis Comfort Tiffany are on loan from the premier holdings of Tiffany & Co. Archives.

Funding comes from The David T. Langrock Foundation, The Edward C. & Ann T. Roberts Foundation, the New Britain legislative delegation and the Department of Economic and Community Development, Office of the Arts.

Opening Reception Dinner
Plated dinner in Stanley Works Center.

Prosciutto & melon carpaccio, basil mascarpone cream, basil aioli

Pecan crusted atlantic salmon, mandarin orange & pomegranate glaze, haricot vert w/ mint & lemon, basmati rice w/ caramelized onions & lentils

Vegetarian Option
Open lasagna with summer vegetables and roasted red pepper coulis

Tiffany Blue Cup Cake

Soft drinks will be available and cash wine and beer bar. $50 per person. Dinner seats at 7 p.m., reservations required, contact the Front Desk at (860) 229-0257, ext. 0.


Skylar Hughes, Hem and Leaf and Branch and Bone, Oil on canvas, 14 x 14 in., 2012, Collection of the artist

Skylar Hughes, Untitled Collage (1), Collage on postcard, 3H x 5H in., 2012, Collection of the artist

NEW/NOW: Skylar Hughes One Big Gust of Wind
June 15–Sept. 15, 2013
3-4:30 p.m., Sunday, June 16, 2013
Remarks at 3:30 p.m.

Skylar Hughes investigates relationships, associations, and the artistic process in the paintings and collages on display in One Big Gust of Wind. The works hover on the edge between abstraction and representation, the familiar and the unrecognizable, and conscious and unconscious painterly gesture.

Rooted in the exploration of the artistic process, Hughes’ works also search for understanding of oneself and of the passage of time. As Hughes explains, “I’ve always considered my work as a kind of placeholder for a period of time in my life, something to put down not just to show for, but in order to understand and move on from.” Skylar Hughes is a Connecticut-born artist living and working in Los Angeles, California. He earned a B.F.A. from the Hartford Art School in 2009. One Big Gust of Wind is his first solo exhibition.


Jane Bunker, Illumination, detail, 2012, Oil on canvas, 72 x 60 in., Collection of the artist.

Jane Bunker: Illumination
June 8–Aug. 18, 2013
Opening Reception
3-4:30 p.m., Saturday, June 15, 2013
Remarks at 3:30 p.m.

Because of undiagnosed childhood myopia, Jane Bunker saw the world as blurry and light-filled for many years and had no idea that others perceived it differently. Although her vision was eventually diagnosed and corrected, she uses this blurred perspective to investigate meaning. As she explains, “Beneath the appearance of apparent separate objects lies a deeper truth of interconnectedness—a oneness that is at the heart of all we perceive of as real. The lack of sharp boundaries between trees, flowers, sky and grass in my paintings is my way of attempting to paint that deeper truth.”

Born in Boston and raised on Cape Cod, Bunker studied art as a child at the Farnsworth School of Art in North Truro and went on to earn her B.A. in Art at Stanford University. She ultimately changed course and spent the middle years of her life practicing psychology. In 1993, she returned to painting full time, though psychology and interconnectedness continue to inform her work. Her painting is also influenced by photography; in fact, each canvas begins from a landscape photograph or a close-up of a floral form taken by the artist in a moment of instant recognition and close connection to the subject.


Brown Gillespie, Milkyway, 2011, Wood, custom programmed LEDs, acrylic on canvas, 53 x 50 in., New Britain Museum of American Art,
Gift of Mary Gillespie

New Media: Brown Gillespie
Apr. 6–July 21, 2013
Opening Reception: 5:30-8 p.m.,
First Friday, April 5, 2013

Brown Gillespie has always been fascinated by color—its ephemeral and ever-changing quality in nature, principles of color theory, as well as the effect of emotions on the human perception of color. These interests coalesce in Gillespie’s Light Visions series to which Milkyway belongs.

Part painting, part light show, Milkyway consists of a box-framed canvas with acrylic pigments and LEDs (Light Emitting Diodes) inside the frame. Programmed to loop, the LEDs continuously emit light onto the pigments to create swirling effects that mesmerize the eye on a visceral level. The hope, as Gillespie explains, is “that the changing color interacts and helps open access to the less rational, more experiential side of the brain and may help to heighten perception in the same way as a quiet walk in the woods . . . At first you don’t really see much, but after time, perception shifts and suddenly new smells and sounds become abundant along with heightened visual acuity.”


Community’s collective belongings. Photos by Collections Manager, John Urgo.

NEW/NOW: Michael Mahalchick: Here Today, Gone Tomorrow
Mar. 9–June 9, 2013
Opening Reception
Sunday, Mar. 10, 2013, 1-2:30 p.m.
Artists Remarks 1:30 p.m.

Michael Mahalchick to assemble a material portrait of the New Britain community with your help.

Michael Mahalchick moves seamlessly between the realms of sculpture/assemblage, installation, performance, music and dance, weaving chance, humor, brio and what he calls a “scavenging” aesthetic into his work. A graduate of the Tyler School of Art (BFA) and the California Institute of the Arts (MFA), he has exhibited nationally and internationally, including at PS1/MoMA, Queens, NY and the Sculpture Center, Long Island City, NY, and is currently on the visiting faculty at the Yale University School of Art.

As Mahalchick conceptualizes his installation in NEW/NOW, he invites your input and participation. Objects donated to the Museum will become the raw material for his work. Mahalchick will combine them in unexpected ways to present a cross-section of our community’s collective belongings. The artist welcomes your trinkets, hand-made treasures, decorative items, manufactured goods, heirlooms with which you are ready to part, etc. If an object could conceivably be found at a garage sale and is of reasonable size, it likely fits the bill. Please be creative and think outside the box, and you may just find your former belonging reimagined, reused, reworked and on view in the Cheney Gallery from March 9 through June 9, 2013.

The NEW/NOW Series is made possible by the generous support of Marzena and Greg Silpe.


Romolo del Deo, The Beauty of Time, 2010, Bronze (unique), 19 x 9 x 6 in., Collection of Thomas and Kathryn Cox

A Joint Venture: The Collection of Thomas and Kathryn Cox
Jan. 25–June 2, 2013
Opening Reception
Sunday, Feb. 17, 2013, 2-3:30 p.m.

Married for the last 14 years, Thomas and Kathryn Cox joined their individual collections and passion for art and have been a force of American art collecting ever since.

Drawn to paintings that celebrate the beauty and awe-inspiring wonders of nature, the Coxes have shared an affinity for traditional landscapes of churning seas and drifting clouds. Among the many highlights are 19th-century seascapes by William Trost Richards, Stanley Woodward, and Frederick Waugh as well as landscapes by Alfred Bricher, Charles Davis, John Joseph Enneking, Walter Launt Palmer, and Nelson H. White.

Over the years, Tom and Kay’s interests have also grown to include contemporary works in a variety of mediums. Today, their eclectic collection includes exquisite glass sculptures by Dale Chihuly, Dante Marioni, Lino Tagliapietra; one-of-a-kind vessels by master ceramicist Cliff Lee; still-lifes by contemporary realists including the late Stephen Brown, Jacob Collins, Graydon Parrish, Larry Preston, Michael Thiese, Dan Truth and others; a whimsical riff on history painting by Mary Dwyer; an expressive pastel portrait of a pig by Bryan Nash Gill; and a haunting and evocative sculpture by Romolo del Deo, which toured the country last year as part of The Tides of Provincetown exhibition.

Kay Cox was an outstanding Chairman of the Museum Board, providing inspired leadership and support. She and Tom have enjoyed collecting and in many ways their close connection to the Museum has helped shape the direction that their collection has taken over a decade. The Coxes are also longtime co-chairs of the American Art Circle and John Butler Talcott Society premier membership groups.


Art from the New Britain Public & Parochial Schools
May 23–June 2, 2013
Opening Reception
Thursday, May 23, 2013, 6:30-8 p.m.

For the 23rd year, the creative output of our youngest artists will be celebrated in Art from the New Britain Public & Parochial Schools. This popular exhibition will feature some 250 artists from kindergarten through high school. The artwork ranges in medium, and will include pastels, markers, collage, crayon, pencil, watercolor, oil paints, tempera, charcoal, clay, ink, and acrylics. A panel of NBMAA docents select the award winners.

Presented By:


Henri de Toulouse Lautrec, Divan Japonais, color lithograph, 1893, 808 x 608 mm, Herakleidon Museum, Athens Greece.

Henri de Toulouse Lautrec
Henri de Toulouse Lautrec, Aristide Bruant dans son Cabaret (in his Cabaret), color lithograph, 1893, 1273 x 950 mm, Herakleidon Museum, Athens Greece.

Toulouse-Lautrec & His World
January 12–May 12, 2013
Opening Reception
Saturday, Jan. 12, 2013
3:30-5 p.m.

For the first time out of Europe, Toulouse-Lautrec & His World begins its U.S. tour here before moving on to Allentown Art Museum in Allentown, PA.

On view from January 12–May 12, 2013 in the McKernan Gallery, this traveling exhibition is on loan from the Herakleidon Museum, in Athens, Greece and is from the collection of Paul and Belinda Firos, the Connecticut collectors who also brought us M.C. Escher: Impossible Reality in 2010.

Henri de Toulouse-Lautrec lived in Paris during the Belle Époque (Beautiful Era) frequenting cabarets and cafés where he captured its famous singers, actors, his friends and the working class in his highly celebrated posters, prints, caricatures, sketches, and paintings. Greatly influenced by the French Impressionist movement, Henri de Toulouse-Lautrec is a post-impressionist of the mid-late 1800's. Due to his excessive lifestyle Henri de Toulouse-Lautrec died from complications of alcoholism and syphilis in 1901 at age 36.

This exhibition highlights approximately 150 of Toulouse-Lautrec’s rare works on paper including sketches, and some of his iconic posters like Jane Avril, Divan Japonais, and La Troupe de Mademoiselle Eglantine. The included posters are incredibly rare and fragile because as temporary advertisements for a particular show they were not done on quality paper. Some of the works are accompanied by appropriate passages from French literature, photographs, and other objects, in order to help the viewer better understand the atmosphere of that time.


Toulouse-Lautrec & His World is from the collection of Herakleidon Museum, Athens, Greece,


Tony de los Reyes, Cannibal, 2009, Red bister on paper, 59 1/2 x 44 1/2 x 2 in., Collection of Bryan and Maureen Stockton.

NEW/NOW: Tony de los Reyes: Chasing Moby-Dick
Dec. 1, 2012–Mar. 3, 2013
Opening Reception
Thursday, Dec. 13, 2012,
5:30-7 p.m.

Upcoming NEW/NOW artist Tony de los Reyes has spent the last decade visually interpreting and expanding on Herman Melville’s Moby Dick. He infuses the classic genre and narrative tradition of “history painting” with modern aesthetics, drawing on minimalism, abstraction, and a wide variety of media not merely to illustrate, but to “reconstruct the epic in a transitional space between literature, political history, and contemporary art.”

In constructing dramatic permutations of the text, de los Reyes creates a mythic vision of America and its enduring national obsessions, envisioning the same insatiable and self-destructive nature that defines Moby Dick’s Captain Ahab. Raw linen stained with sumi ink, pure black and white pigments, and sanguine red bister visually enhance the aura of bloodlust and violence in de los Reyes evocative and allegorical work.

De los Reyes has held many exhibitions on the West Coast and throughout the country. Last year, he received a City of Los Angeles Individual Artist Fellowship Award and was named the Mid-Career Artist Fellow by California Community Foundation in recognition of his outstanding creative accomplishments.

The NEW/NOW Series is made possible by the generous support of Marzena and Greg Silpe.


Artist Eric Souther with screenshots of his YouTube video captured in the background. Art Marlon Portraits.

New Media: Eric Souther
Nov. 15, 2012–Mar. 31, 2013
Opening Reception
Thursday, Jan. 10, 2013,
5:30-7 p.m.

This November, the Museum presents Eric Souther as part of its New Media series. Known for building and utilizing his own software, Souther manipulates video and sound to explore how technology shapes experience and communication in our contemporary culture. His artwork also reveals how machines enrich the expressive means of artists. He “find[s] that creating experiences that lead to new understandings are more important than delving into the exact presentation of information,” and his Search Engine Vision “Chair” does just that.

“Chair” is a compilation of the first 1,000 videos that appear under the keyword “chair” on YouTube. Using Max/MSP and Jitter computer programs, Souther wraps the visual catalogue around a 3D chair model and maneuvers cameras to imitate the process of sifting through information online. He places the viewer in an alternative dimension where the database can be experienced “all at once as a form, an aesthetic visualization of sensory knowledge and experience,” expressing the “vastly broad potentialities of experiencing ‘chair’” and capturing the visual language created by the online community.

Souther’s aim as an artist is to question how we navigate today’s “complex system” of information overload. He “creates individual artistic explorations” of the unseen network of the digital age in which we all engage—the sharing, compiling and encountering of information—to reveal the experiences of modern life “saturated with digital information.”


Dine, Hockney and Summers: Contemporary Prints from the Paul and Teresa Kanev Collection opening reception.

Dine, Hockney and Summers: Contemporary Prints from the Paul and Teresa Kanev Collection
Oct. 19, 2012–Jan. 20, 2013
Opening Reception
Sunday, Oct. 21, 2012,
2-3:30 p.m.

Though its visibility has often been overshadowed by painting, performance and installation art, contemporary printmaking has been the focus of many artists working in the late 20th and 21st centuries. Debuting on October 19, Dine, Hockney and Summers: Contemporary Prints from the Paul and Teresa Kanev Collection aims to give greater attention to achievements in this medium. The exhibition, drawn from the collection of Dr. Paul and Mrs. Teresa Kanev, comprises approximately 20 impressive etchings, lithographs, woodblocks and cardboard reliefs by Jim Dine (b. 1935), David Hockney (b. 1937), and Carol Summers (b. 1925).

Highlights include some of Dine’s famous hearts and robes, three examples from Hockney’s The Weather Series, and Summers’ colorful woodblock landscapes. Often producing works monumental in scale, these artists have helped revolutionize printmaking as an artistic practice. Dine has become one of today’s most prolific, inventive and dedicated printmakers, with work in permanent collections worldwide. Hockney, called “Pop art’s enfant terrible” by British art critic Jonathan Jones, possesses a mastery of color that

dominates his style regardless of the many mediums in which he works. Summers has reworked the ancient technique of woodblock printing, allowing for printing on a previously unprecedented scale and championing what is now known as the “Carol Summers technique.”


© 2010 New Britain Museum of American Art.
Design by InSight Design Studios



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