The Ulrich Museum of Art boasts a nationally significant collection of modern and contemporary artworks. From Robert Henri's 1917 oil portrait of Gregorita with the Santa Clara Bowl, to Zhang Huan's photographs of his 2000 performance Family Tree; from the expressive brush strokes in Robert Motherwell's 1977 Study in Automatism to the digital animation of Jeremy Blake's 2001 video Mod Lang, the Ulrich has amassed a 20th- and 21st-century art collection valuable for both its breadth and quality. Art of Our Time: Selections from the Ulrich Museum of Art includes 57 works, the treasures culled from a collection of over 6,000. Eager to mix creative and scholarly voices, this catalogue takes an interdisciplinary and collaborative approach, bringing together the voices of art historical scholars--Toby Kamps (Contemporary Art Museum, Houston), Patricia McDonnell (Ulrich Museum of Art), Tim Rodgers (Museum of Fine Arts, Santa Fe), Robert Silberman (University of Minnesota), and Emily Stamey (Ulrich Museum of Art) and creative writers, Laura Moriarity and Antonya Nelson. In addition, a photo essay of the museum's outdoor sculpture collection by fine art photographer Larry Schwarm layers the catalogue with even more art and adds distinction to its design.

Art of Our Time: Selections from the Ulrich Museum of Art, Wichita State University

Arts & Photography

McDonnell, Patricia

Stamey, Emily

History & Criticism

Univ of Washington Pr

The Ulrich Museum of Art boasts a nationally significant collection of modern and contemporary artworks. From Robert Henri's 1917 oil portrait of Gregorita with the Santa Clara Bowl, to Zhang Huan's photographs of his 2000 performance Family Tree; from the expressive brush strokes in Robert Motherwell's 1977 Study in Automatism to the digital animation of Jeremy Blake's 2001 video Mod Lang, the Ulrich has amassed a 20th- and 21st-century art collection valuable for both its breadth and quality. 
Art of Our Time: Selections from the Ulrich Museum of Art includes 57 works, the treasures culled from a collection of over 6,000. Eager to mix creative and scholarly voices, this catalogue takes an interdisciplinary and collaborative approach, bringing together the voices of art historical scholars--Toby Kamps (Contemporary Art Museum, Houston), Patricia McDonnell (Ulrich Museum of Art), Tim Rodgers (Museum of Fine Arts, Santa Fe), Robert Silberman (University of Minnesota), and Emily Stamey (Ulrich Museum of Art) and creative writers, Laura Moriarity and Antonya Nelson. In addition, a photo essay of the museum's outdoor sculpture collection by fine art photographer Larry Schwarm layers the catalogue with even more art and adds distinction to its design.

Art of Our Time: Selections from the Ulrich Museum of Art

In the early twentieth century while French achievement dominated modern painting, important American painters such as Marsden Hartley were working in Berlin. Their disillusionment with French innovation and subsequent embrace of German expressionism brought the premises of American early modernism into sharp focus. Painting Berlin Stories examines the philosophical goals and cultural context of these American painters who discovered they shared a common language of ideas with their contemporaries in expressionist Berlin.

Painting Berlin Stories: Marsden Hartley, Oscar Bluemner, and the First American Avant-Garde in Expressionist Berlin (American University Studies)

Peter Lang Inc., International Academic Publishers

Book by McDonnell, Patricia, Plante, Michael

Dictated by Life: Marsden Hartley's German Paintings and Robert Indiana's Hartley Elegies

Plante, Michael

Frederick R. Weisman Art Museum

Florida International University Art Museum

Terra Museum of American Art

Distributed Art Pub Inc

Marsden Hartley (1877-1943), one of the most important artists from the American early modern period, was part of the heady group surrounding Alfred Stieglitz and his galleries in the early decades of the twentieth century. While New York and Stieglitz acted as a base of support and friendship for Hartley, he constantly shifted from place to place, living abroad and in varying locales across the country. Marsden Hartley: An American Modern traces the artists’s movements and the evolution in his thinking and art. For the first 40 years of his life, Hartley pursued the ideals and philosophical principles of American transcendentalism. He shifted radically from his approach after the First World War. Instead of embracing subjectivity, he honored rational intellect and objectivity. Toward the end of his life, he returned to a passionate belief in the subjective self. Patricia McDonnell analyzes Hartley’s beliefs and artistic practice in the context of the cultural and political realities that deeply affected the man and his times This completely redesigned version of the catalogue published by the Weisman Art Museum in 1997 features an expanded section of color plates.

Marsden Hartley: American Modern : The Ione and Hudson D. Walker Collection, Frederick R. Weisman Art Museum, University of Minnesota

Collections, Catalogs & Exhibitions

American artists in the early decades of the 20th century found rich inspiration in vaudeville halls, revue theatres and moving-picture houses. The spectacular new visual attractions in these venues, emerging partly as a result of such technological advances as electrical lighting of the stage and the invention of motion pictures, emboldened artists to translate the arresting stimuli to their own medium. This illustrated work is devoted to American artists' responses to film, popular theatre, and other urban amusements from 1890 to 1930. The volume presents more than 100 paintings, drawings, watercolours and photographs that convey the highly-charged experience of attending vaudeville, early moving-picture shows, and other forms of popular amusements. These works of art reveal much about the beginnings of modernity in the United States and about how artists in early 20th-century America searched for new pictorial vocabularies to express the profound change and dynamism of their time. The contributors to the volume represent a wide variety of expertise - from art history to film to theatre - and they examine works by such key artists as Charles Demuth, Edward Hopper, Walt Kuhn, Everett Shinn and John Sloan, each of whom found a different formal and stylistic means to portray popular entertainment and, along the way, what it meant to be modern.

On the Edge of Your Seat: Popular Theater and Film in Early Twentieth-Century American Art

Allen, Robert Clyde

Frederick R Weisman Art Museum

Marsden Hartley: American Modern

Weisman Art Museum

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Books by McDonnell, Patricia