Out of the ordinary : Anne Ryan and collage

Anne Ryan (1889-1954) was an active member of New York’s vibrant avant-garde art community during the tumultuous period marked by World War II. Ryan participated in the famed 1951 “Ninth Street Show,” and was an early member of Betty Parsons’s legendary stable of artists. She is not widely known today, however, and her influence is rarely acknowledged. Ryan is primarily known for her abstract collages—works that are frequently linked to Abstract Expressionism.

Closer to life : the work of sari dienes

Like many of her female contemporaries, artist Sari Dienes’s contributions to the art historical dialogue have been largely overlooked in favor of her male counterparts. Often seen as a mentor and mother figure to neo-Dada artists Jasper Johns and Robert Rauschenberg, Dienes was an active member of the New York avant-garde circle surrounding composer/choreographer duo John Cage and Merce Cunningham in the 1950s and 1960s. These social relationships are central to the existing discourse on Sari Dienes, while her work remains little discussed. The fact that her dynamic, ever-changing style lacked aesthetic consistency was commonly lamented by notable figures such as Betty Parsons, however, I argue that Dienes’s diverse oeuvre is unified by her philosophies on art and life. The unification of art and life, denoted clearly by Dienes’s use of the found object, experimentation and chance happenings, and sensory experience, marks her as an innovator and catalyst in the neo-Dada movement as well as in other experimental art endeavors that took place in the aftermath of Abstract Expressionism.

Academie to atelier : the artistic education of American women in nineteenth-century Paris

This paper puts forth an alternate reading of the artistic climate in late nineteenth-century Paris than that which has traditionally been suggested. I propose that the expansion of creative opportunity during this time reveals a climate of communal support, consent, and progressive reform for women artists, rather than a struggle to undermine central (masculine) control, as many scholars have claimed. Specifically, I explore the work of American expatriates living in Paris, including but not limited to Cecilia Beaux, Anna Klumpke, Alice Kellogg, and Ellen Day Hale. The birth of the private academy in Paris offered women the chance to develop their artistic ability and assert their independence. The Académie Julian in particular provided a comparatively accepting and progressive environment where American women studying abroad could study from the nude model, receive proper training, and explore their full creative potential. Through an examination of a) these women’s self-portraits, and b) depictions of them painted by their contemporaries – both male and female – I further investigate the artistic education of American women in the highly-gendered cultural milieu of late nineteenth-century France.

“Let the American potter be a professional amateur" Laura Anne Fry and the American art pottery movement

"Artist Laura Anne Fry blended the concepts of professional and amateur, and helped raise the merit of ceramics in the United States. Fry influenced American art pottery with her contributions to Rookwood Pottery of Cincinnati—changing the course of the company. Her successful experiments with decorating techniques helped Rookwood become a national leader in art pottery, and eventually led to over a decade of controversy between Fry and Rookwood"