Four Perspectives Through the Lens: Soviet Art Photography in the 1970s-80s

Vladimir Kupriyanov: Make a Noise, Make a Noise Obedient, Sail, 1979
Oct 03, 2009 - Mar 28, 2010
Dodge Wing Lower Level


This exhibition presents a selection of more than sixty photographs from the Norton and Nancy Dodge Collection of Soviet Nonconformist Art by Francisco Infante, Vladimir Kupriyanov, Boris Mikhailov, and Aleksandr Slyusarev, four major Soviet artists working with photography in the 1970s and 1980s. Photography was not officially considered an art in the Soviet Union at that time, and it was not taught in art schools. On the other hand, the amateur status of artistic photography, unrestricted by professional conventions or censorship, allowed great creative freedom and presented wide opportunities for experimentation. Soviet photographers made exceedingly canny, inventive, and highly individual use of the medium, expressing ideas that were both specific and universal in character.

These four artists demonstrate four different approaches to the photograph, and testify to the range and variety of fine art photography’s development in Soviet unofficial art. Two – Slyusarev and Mikhailov – are straightforward art photographers. Two others – Infante and Kupriyanov – are visual artists, who use photography as a medium to transcribe their creative ideas. Two of the four – Kupriyanov and Mikhailov – are concerned with social issues; the other two – Infante and Slyusarev – explore abstract categories, such as the geometry of light and reflections, often with reference to Russian avant-garde and/or western modernist practice.

The exhibition presents an opportunity for multiple comparisons and cross-references in areas such as the approaches to social themes, cultural and art historical associations, and various photographic techniques and artistic effects.

Organized by Julia Tulovsky, Assistant Curator of Russian and Soviet Nonconformist Art

Vladimir Kupriyanov

Make a Noise, Make a Noise Obedient, Sail, 1979

Gelatin silver print

Collection Zimmerli Art Museum at Rutgers

Norton and Nancy Dodge Collection of Nonconformist Art from the Soviet Union

Photo Jack Abraham

Trailblazers in the 21st Century: Contemporary Prints and Photographs Published by Exit Art

Vito Acconci/Acconci Studio: Inside a Room of Sky: Memphis, 2001-03 
Oct 03, 2009 - Mar 07, 2010
Eisenberg Gallery

This focus exhibition of nine prints and nine photographs presents a compelling microcosm of America’s current art scene. Featured artists include Vito Acconci, Laylah Ali, Ida Applebroog, Papo Colo, Petah Coyne, Ann Hamilton, Glenn Ligon, Elizabeth Murray, Catherine Opie, Paul Pfeiffer, Ruth Root, Michal Rovner, Gary Simmons, Carrie Mae Weems, Terry Winters, Su-en Wong, and Daniel Zeller. Their works exemplify how artists have adapted new technology to creative visions that challenge traditional aesthetic norms and address issues of race, gender, identity, society, or abstraction. These prints and photographs are from two portfolios published in 2001 and 2003 by Exit Art, a New York nonprofit cultural center; its mission is to explore the rich diversity shaping and transforming contemporary art and ideas in America. This exhibition, selected from the Zimmerli’s collection, is the first display of a recent donation from Peter Frey. 

Organized by Marilyn Symmes, Director of the Morse Research Center for Graphic Arts and Curator of Prints and Drawings


Vito Acconci/Acconci Studio

Inside a Room of Sky: Memphis, 2001-03

Digital pigment print from the portfolio Two 00 One

Published by Exit Art, New York, 2003

Collection Zimmerli Art Museum at Rutgers

Gift of Peter Frey

Courtesy Vito Acconci/Acconci Studio

Photo Bryan Whitney


Seva's Blue Horizon: The Poet Seva Nekrasov and Artists of Unofficial Moscow

Erik Bulatov: Sevina Sineva (Seva's Blue),1979
Nov 11, 2009 - May 30, 2010
DuBrow Gallery

Seva (Vsevolod) Nekrasov (1934-2009) was the youngest and probably the most talented of the generation of poets and artists grouped around Lianozovo—one of the earliest and most important centers for underground culture in the Soviet Union. His entire life was closely connected with the arts and the artists of “unofficial Moscow” and his poetry often reflected upon the visual works of his friends. And vice versa, artists found inspiration in his poetry, producing works clearly based on his verses. This exhibition, entitled Seva’s Blue Horizon (which is a rough translation of an anagram: Sevina Sineva), commemorates through poetry and art the entire generation of early Soviet underground culture that is now vanishing by the day.

Organized by Julia Tulovsky, Assistant Curator of Russian and Soviet Nonconformist Art

The exhibition and related programs are supported by the Avenir Foundation Endowment Fund.



Erik Bulatov

Sevina Sineva (Seva's Blue),1979

Oil on canvas

Collection Zimmerli Art Museum at Rutgers

Norton and Nancy Dodge Collection of Nonconformist Art from the Soviet Union

© 2009 Artists Rights Society (ARS), New York / ADAGP, Paris

Photo Jack Abraham


Dark Dreams: The Prints of Francisco Goya, A Selection from the Collection of the Arthur Ross Foundation

The Sleep of Reason Produces Monsters (El sueño de la razón produce monstruos)
Sep 02, 2008 - Dec 14, 2008
Voorhees Gallery

Francisco Goya (1746-1828), the great Spanish painter of insightful portraits and prestigious royal commissions, ranks among the world’s masters of graphic art. This exhibition of 99 prints from the Arthur Ross Foundation, New York, presents the dramatic range of the artist’s rich imagination, from nightmarish visions to images of biting humor. Los Caprichos (1799), the artist’s first major series of eighty etchings with aquatint, depicts fantastic witches and goblins, as well as scenes satirizing various human foibles, social classes and customs, political conditions, education, and religion in the Spain of his day. Goya revisited the themes of mocking the follies of human behavior and conjuring various dark creatures in a later series of eighteen prints, called Los Disparates (“Follies,” also known as Los Proverbios or “Proverbs”), created between 1819 and 1824, but published decades after the artist’s death. Also included in this exhibition is a rare lithograph from Goya’s Bulls of Bordeaux series (1825). The enlightened approach and visual power of these prints helped to establish Goya as one of the first truly modern artists.  

The exhibition is complimented by a small display of prints by Pablo Picasso and Enrique Chagoya, selected from the Zimmerli's collection, to show the inspiration and legacy of Goya's art on later artists.

Co-organized by Marilyn Symmes, Director of the Morse Research Center for Graphic Arts and Curator of Prints and Drawings, and Christine Giviskos, Associate Curator of European Art. 

Dark Dreams: The Prints of Francisco Goya, A Selection from the Collection of the Arthur Ross Foundation is sponsored by Goya Foods.


Francisco Goya (Spanish, 1746–1828)
The Sleep of Reason Produces Monsters (El sueño de la razón produce monstruos)
Plate 43 from Los Caprichos (H. 78)
Collection Arthur Ross Foundation, New York
Photo Eric Vogel with Tono Radvany for Shootdigital, New York

Pop Art and After: Prints and Popular Culture

Reverie by Roy Lichtenstein
Sep 02, 2008 - Dec 14, 2008
Voorhees Gallery

Since Andy Warhol’s Campbell Soup can images first appeared in the 1960s, Pop Art has remained a pervasive force in contemporary art. Numerous artists have created bold, colorful pictures inspired by everyday reality and the American Dream: advertising, comics, food, mass-produced consumer goods, the media, political turmoil, and sexy nudes. Pop artists revolutionized printmaking by incorporating photography and commercial processes. Ranging from humorous to arrestingly serious, or ordinary to glamorous, this exhibition of sixty prints explores the interaction of popular culture and printmaking across four decades.

The artists represented in this exhibition include: Jim Dine, Red Grooms, Robert Indiana, Jasper Johns, Roy Lichtenstein, Claes Oldenburg, Eduardo Paolozzi, Mel Ramos, Robert Rauschenberg, Larry Rivers, James Rosenquist, Andy Warhol, and Tom Wesselmann. Selected primarily from the collection of the Jane Voorhees Zimmerli Art Museum at Rutgers, the exhibition also features a special loan from the Roy Lichtenstein Foundation.

Co-organized by Marilyn Symmes, Director of the Morse Research Center for Graphic Arts and Curator of Prints and Drawings, and Joan Marter, a Rutgers University art history professor

The exhibition catalogue received support from the Dorothy Dehner Foundation for the Visual Arts, Inc. and the International Fine Print Dealers Association, New York.

Roy Lichtenstein
Reverie, 1965
Published by Original Editions, New York
Private Collection
©Estate of Roy Lichtenstein

A Parallel Presence: National Association of Women Artists, 1889-2009

Virginia Snedeker: Self-portrait, 1933
Jan 17, 2009 - Apr 26, 2009
Voorhees Gallery

Founded in 1889 as the Woman’s Art Club, the National Association of Women Artists (N.A.W.A.) celebrates its 120th anniversary this year. N.A.W.A. is the oldest American women’s art organization in continuing existence, with thousands of artists having been members throughout its long history. This exhibition illustrates the ongoing engagement of N.A.W.A. members—and, by extension, women artists in general—with the many stylistic innovations and variations that have occurred within American art since the establishment of N.A.W.A. in 1889. 

One of many women’s cultural organizations formed in the nineteenth century, N.A.W.A.’s purpose was to help women artists counter the difficulties they faced in gaining recognition and equity with men in professional training, exhibition opportunities, and the marketplace. Significantly, the founding statement of the Woman’s Art Club insisted that art by women was equal in creative achievement to the work of men and that this would be understood only when women proved themselves in the public sphere. One of the motives behind the founding of the group was the wish to benefit all women artists (even those who did not join this group) by showing work by women in sufficient quantity to disprove the idea that women’s art was somehow inferior in quality to that of men. 

The exhibition includes work by approximately 80 artists, ranging historically from the last decade of the ninetheeth century to the contemporary. Among the artists included in the exhibition are Gertrude Vanderbilt Whitney, Theresa Bernstein, Bessie Potter Vonnoh, Blanche Lazzell, Dorothy Dehner, Louise Nevelson, June Wayne, Pat Adams, Faith Ringgold, Idelle Weber, and Martha Walker. Another component of the exhibition comprises documentary materials from the N.A.W.A. archives that are indicative of the organization’s activities over the years and include photographs, correspondence, exhibition catalogues and brochures, and related materials.

The exhibition includes significant works drawn from various public and private collections, with a major component derived from the National Association of Women Artists Collection at Rutgers. In 1992, the Zimmerli Art Museum became the recipient of this collection, which has steadily grown through donations from artists, collectors, and estates to a group of over 200 objects. 

On view at the UBS Art Gallery in New York from May 14 to July 31, 2009

Virginia Snedeker
Self-portrait, 1933
Oil on board
Collection Robert B. Taylor and Richard S. Snedeker
Photo Morven Museum and Garden, Princeton, New Jersey


Two Venetian Masters: Canaletto and Domenico Tiepolo Etchings from the Arthur Ross Foundation

Giovanni Domenico Tiepolo: Old Man with Turban
Sep 06, 2011 - Jan 08, 2012
Voorhees Gallery

This exhibition presents etchings by Canaletto (Antonio Canal, 1697-1768) and Giovanni Domenico Tiepolo (1727-1804), two of the great Italian artists who made Venice an artistic capital during the eighteenth century. Printmaking played an important but different role in each artist’s career. Canaletto worked almost exclusively as a painter and took up etching as a way to challenge himself technically and creatively. Domenico Tiepolo pursued etching to a much greater extent, making reproductive and original prints that both promoted the achievements of his artistic family and distinguished his own unique talents within it.

By the late 1730s, Canaletto was famous throughout Europe for his remarkable view paintings (known as vedute) that captured Venice’s most famous landmarks and the city’s unique atmosphere, created by the interplay of light and water. The exhibition features his series of thirty-one etchings titled Vedute Alter Prese Da I Luoghi Alter Ideate (Views, Some Representing Actual Sites, Others Imaginary), in which Canaletto presents some of these Venetian sites, but also depicts landscapes of the nearby countryside along the Brenta river. His only major printmaking endeavor, these etchings are now considered landmarks in the history of printmaking for Canaletto’s fine technique and virtuoso handling of light and atmosphere.

Domenico Tiepolo, son of the great history painter Giovanni Battista Tiepolo (1696-1770) was a renowned printmaker, painter, and draftsman who managed to work in support of his father’s work while forging his own artistic identity. The exhibition includes a selection of prints from Tiepolo’s Raccolta di Teste, a remarkable series of etchings of male expressive heads. This well-established category of art was particularly prominent in eighteenth-century Venice and demonstrates Tiepolo’s formal and technical creativity within a prescribed artistic format. This series, published in 1774, showcases Tiepolo’s attention to pose, costume and physiognomy as well as his wide-ranging use of etching techniques. The exhibition also features examples of Tiepolo’s etchings of religious subjects invented by himself and his father.

Organized by Christine Giviskos, Associate Curator of European Art

The exhibition and related programs are made possible by the Arthur Ross Foundation, the Samuel H. Kress Foundation, the National Italian American Foundation (NIAF), The Gladys Krieble Delmas Foundation, the IFPDA Foundation, and donors to the Zimmerli’s Annual Exhibition Fund.


Giovanni Domenico Tiepolo
Italian (1727-1804)
Old Man with a Large Hat
Etching (DeVesme 126)
Arthur Ross Foundation, New York

Blocks of Color: American Woodcuts from the 1890s to the Present

Arthur Wesley Dow: The Derelict (The Lost Boat), 1916
Sep 01, 2009 - Jan 03, 2010
Voorhees Gallery

This presentation of over 100 prints surveys the use of the woodcut medium in the United States. The exhibition begins with a remarkable moment in the late nineteenth century when American artists, inspired by the arts and crafts movement and Japanese color prints, began experimenting with new ways to print in color. Rarely seen color woodcuts by Arthur Wesley Dow, an influential educational leader who promoted the art of the color woodcut, depict alluring Massachusetts landscapes in Japanese-inspired styles. Later artists experimented with the technique to create modernist imagery. Blanche Lazzell adapted cubism to render still lifes and the hills of West Virginia in brilliant yellows, oranges, greens, and blues. By the middle of the twentieth century, artists were transforming the woodcut to display bold colors and abstract forms.

Contemporary artists worked in the medium in unprecedented ways; they created large-scale color woodcuts featuring people, landscapes, geometric abstraction, or organic forms, in styles as varied as abstract expressionism and minimalism. Blocks of Color continues up to the present day with prints by 43 other artists, including Polly Apfelbaum, Richard Bosman, Francesco Clemente, Richard Diebenkorn, Jim Dine, Helen Frankenthaler, Donald Judd, Karen Kunc, Sherrie Levine, Michael Mazur, and others. Drawn primarily from the Zimmerli’s extensive print collection, this exhibition is also complemented by several key loans from regional collections.

Organized by Christine Giviskos, Associate Curator of European Art, with Marilyn Symmes, Director of the Morse Research Center for Graphic Arts and Curator of Prints and Drawings


Arthur Wesley Dow 

The Derelict (The Lost Boat), 1916

Color woodcut

Collection Zimmerli Art Museum at Rutgers

Museum Purchase, the Brother International Corporation Japonisme Art Fund

How We Live Now: Picturing Everyday Life in Children's Book Illustations

Dec 05, 2009 - May 23, 2010
Duvoisin Gallery

From the 1960s onward, technical improvement in image reproduction and growing social awareness combined to produce a growing number of children’s books that reflect the diversity of American people and ways of life. Selected illustrations from the Zimmerli Art Museum’s collection exemplify this trend. Roger Duvoisin’s painterly gouache illustrations for It’s Time Now (1969) casually capture the feeling of street life in the city. John Thompson’s realistic black and white illustrations for The Liquid Trap (1976), a short novel for young readers, provide a more literal portrait of a girl’s visit with her family in the south. Barbara Beirne, E. B. Lewis, and Stephen T. Johnson were inspired by young people from their neighborhoods, rather than professional models, to create vibrant and authentic images of young people engaged in sport activities. Illustrations by Catherine Stock depict subjects ranging from a small boy’s relationship with neighbors, Miss Viola and Uncle Ed Lee (1999), to the unexpected pregnancy of a teen-aged girl in Doll Baby (2000). Books related to the illustrations are on view in the gallery, along with hands-on activities for visitors.

Organized by Gail Aaron, Assistant Curator of Original Illustrations for Children’s Books

Catherine Stock

Original illustration for Miss Viola and Uncle Lee

Watercolor on paper.

Gift of the artist, © Catherine Stock

Used by permission of Simon and Schuster Children's Publishing Division

Photo Peter Jacobs

Lalla Essaydi: Les Femmes du Maroc

Lalla Essaydi
Jan 30, 2010 - Jun 06, 2010
Voorhees Gallery

Born in Morocco into a conservative Muslim family and educated in Europe and the United States, Lalla Essaydi is poised at the intersection of two cultures. She is one of several contemporary Islamic women artists whose subjects are informed by feminist perspectives and personal experience. Her work has garnered increasing acclaim in Europe and America; in 2011 she will be the subject of a mid-career survey at the North Carolina Museum of Art. 

Lalla Essaydi: Les Femmes du Maroc comprises 17 large scale photographs selected from the artist’s most recent series. The title of the series, Les Femmes du Maroc, is adapted from Eugene Delacroix’s iconic painting, Les Femmes d’Algiers of 1834. The painting by Delacroix, while based on his actual travels in North Africa, is a fictive vision of languorous women in an opulent harem. Paintings like these, which coincided with the nineteenth-century European occupation of much of the Arab world, fostered a view of the Middle East as a sensual paradise of sexually available women, rich colors, and exotic tastes. Essaydi takes these Orientalist paintings of the nineteenth and early twentieth century as a point of departure for her own de-colonializing enterprise. She drains the paintings of color, removes all male figures, drapes the women and all surfaces in white fabric, and sets everything within a shallow stage-like space. All visible surface—backdrops, floor, drapery, skin—are inscribed with Arabic calligraphy. These texts are subversive on several levels. In Islamic cultures calligraphy is a male art form, used primarily to transcribe the Q’uran and other sacred literature; however, in Essaydi’s work, the texts—musings on personal freedom, cultural and individual identity, memory and communication taken from her personal journals—are applied with henna, a tradition associated with women. Her transformations of the original paintings reverberate with the historical past while revealing the colonial and gendered perspectives of historic and contemporary Orientalism.

Organized by the DeCordova Sculpture Park +  Museum, Lincoln, Massachusetts, and funded by a generous grant from the Lois and Richard England Family Foundation

Coordinated by Donna Gustafson, Liaison for the Mellon Program and Assistant Curator of American Art, Zimmerli Art Museum

Lalla Essaydi
Les Femmes du Maroc: Moorish Woman, 2008
Chromogenic print mounted to aluminum and protected with Mactac luster laminate
Lent by the artist
Courtesy Edwyn Houk Gallery, New York, NY and Howard Yezerski Gallery, Boston, MA