Between 1949 and 1983, the Newark Museum published, usually four times a year, short articles on the fine arts, the decorative arts and the natural sciences. Known originally as The Museum. New Series, it was later renamed The Newark Museum Quarterly in the 1970s. Each issue was devoted to a specific aspect of the various collections within the Museum, thus allowing the curator (or the guest writer) to explore in detail the diverse topics that are represented in those collections. In some cases, these pamphlets remain the most thorough review of those topics or collecti
In the fine arts, for example, Curator Edith Bishop wrote about “Three Early New England Portraits” and “Newark Portraits,” both in 1949, focusing on paintings by Joseph Badger, John Singleton Copley, Ralph Earl, Rembrandt Peale and Oliver Tarbell Eddy. In 1965, Curator William Gerdts recruited Samuel A. Roberson to help him write an entire issue devoted to The Greek Slave by Hiram Powers, which they entitled “… so undressed, yet so refined …”
Quarterlies in the decorative arts ranged from “Bridal Gowns” and “Costumes from 1790 to 1837” to European and American ceramics, silver and glass. Curator Ulysses Dietz wrote one of the last quarterlies, entitled “Century of Revivals,” which examined “Nineteenth-Century American Furniture in the Newark Museum.”
Birds and insects; shells and fossils; minerals, crystals and gems; all received their due by the natural science curators who were in charge of those collections. Emphasizing the relationship between the Museum’s science collections to the State’s physical environment, they also explored “Life on Harbor Buoys,” “Embattled Marshlands” and “The Pequannock Watershed.”
The Newark Museum’s collections are global in scope, including “Japanese Prints” (both traditional and contemporary), “Japanese Sculpture and Painting,” “Japanese Netsuke and Ojima,” as well as “Textiles and Costumes of India” and “Temple Sculpture from India.” In both the 1950s and the 1960s, the African art collection was reviewed by a curator and a renowned expert in the field. Curator Edward Hunter Ross highlighted “American Indian Material” in 1958 and the “Arts of the Pacific” in 1963. “Latin American Antiquities” was the subject of one quarterly, and “Southwest Easel Painting” was the subject of another.
In 1951, the Newark Museum acquired the Eugene Schaefer Collection of Classical Antiquities, and the curator at the time, Elsbeth Dusenbury, wrote about its amazing ancient glass collection, as well as its “Greek Vases, Jewelry, Terracotta and Other Objects.” Her successor, Susan Auth, studied the Museum’s “Coptic Art” in 1978.
Among the more unusual quarterlies were: “Make Believe and Whimsy: European and American Dolls,” “What’s a Hat?” and “Carpenter and Blacksmith: The Pioneer Builders of America,” all written by Margaret E. White, the decorative arts curator at that time. The librarian Barbara Lipton wrote on “Newark Long Ago,” examining 19th-century photographs in the Museum’s collection, as well as “Whaling Days in New Jersey.” For the 70th anniversary of the Newark Museum, one quarterly examined the life and work of John Cotton Dana and another celebrated his lasting influence on the institution that he helped to create.
These Newark Museum Quarterlies (originally entitled The Museum. New Series) are now available on-line as PDFs. They are all cataloged as well in Newark Public Library’s on-line catalog, which hosts the Museum’s Library’s collection. Researchers may search by author, title or subject. Please check out the complete run by series titles under both Museum. New Series. and Newark Museum Quarterly at http://tinyurl.com/l7aflkg or http://tinyurl.com/m6kqhzy.
– William A. Peniston, Ph.D.. Librarian
A tale of two necklaces.
For a couple of decades now, I’ve been collecting jewelry for the Museum, inspired by my 1997 project, The Glitter & The Gold: Fashioning America’s Jewelry, which was about Newark’s great jewelry industry.
We have the greatest collection of Newark-made jewelry in any museum in the world, which is wonderful, as far as it goes. Since that show, however, I’ve been thinking about ways to expand the Museum’s jewelry collection to put the Newark-made things in a larger context.
Two gifts this year have enriched our collection of jewelry greatly, and both came in from people who know the Museum and care about its mission. This is the kind of gift that comes from the heart, and as such has a special meaning for me as a curator.
The pearl and diamond choker was made in the early 1900s, probably in New York City, for a young socialite, the only daughter of a powerful politician. It is an iconic form of the period, meant to be worn tight against the neck, the soft warm color of the natural pearls contrasting with the bright sparkle of the platinum-set diamonds. Although we own a Newark-made choker of gold and enamel with semi-precious stones, this is the first necklace of this type to enter our jewelry collection, and it represents the sort of high-end jewelry worn by a very small part of American society. The donor of this piece (who shall remain anonymous for now) is a descendant of the original owner, and gave it to the Museum because he knew we needed something like this to round out our collection.
The other necklace is brand new, made by an artist I know well named Biba Schutz, who works in New York City. It is made of oxidized silver set with “jewels” of hot-formed black glass, a process that the artist learned during a fellowship at the Corning Glass Works in upstate New York. I was talking to another artist friend about this necklace, and how much I liked it, over lunch one day. Two days later he called and offered to pay for it, because he knows the artist and loves what we’ve been doing with modern jewelry here in Newark. I was terribly touched by this, because I knew that his gesture came from the heart.
We give because we care. Or, at least, that’s when we give most generously.
– Ulysses Dietz. Chief Curator and Curator of Decorative Arts
The American Art collection at the Newark Museum, numbering more than 12,000 paintings, sculptures, works on paper and multimedia art, is one of the finest in the country. Surveying four centuries, the Museum’s American holdings include important Colonial and Federal portraits, a superb collection of Hudson River landscape paintings, a pioneer assemblage of American folk art, and works by American Impressionists and American Modernists. Its core strength in American modernism is the direct result of the Museum’s commitment to collect the works of living artists. As John Cotton Dana put it, “Art has always flourished where it was asked to flourish, and never elsewhere. If we wish for a renaissance of art in America, we must be students and patrons of endeavors which seem humble but are in truth of the utmost importance.”
When Caroline Bamberger Fuld, the sister of the department store magnate Louis Bamberger and the wife of his partner Felix Fuld, offered $10,000 to buy paintings for the opening of the new museum building on Washington Park in 1926, Dana asked Arthur F. Egner, a collector of modern American art and chairman of the Board of Trustees, and Holger Cahill, an art critic in New York and an art adviser to Dana and his Newark institutions, to “form a good nucleus for a collection which would in due course grow to a fair and well-rounded exposition of the paining art, as presented in the last few years, by American paintings.” Together they purchase 20 paintings by 16 artists, including Guy Pene Du Bois’ “The Corridor,” Robert Henri’s “Mary Gallagher,” Jerome Myers’ “Italian Procession,” John Sloan’s “Picture Shop Window,” and Niles Spencer’s “The Cove,” all of which are on view in the critically acclaimed galleries “Picturing America,” in the north wing of the Newark Museum.
Of this remarkable collection of paintings that formed the core of the Museum’s American art collection, Arthur F. Egner wrote: “Here is a group of paintings acquired during the past year (1926). We consider them to be honest, capable works, characteristic of certain leading tendencies in contemporary American painting. We believe that the public will enjoy them and study them with interest and that their makers are worthy of whatever recognition or encouragement they may receive at our hands.”
– William A. Peniston, Ph.D.. Librarian
In 1938 Sophronia Anderson died.
Born and raised in Newark, she was the only child of museum trustee John F. Anderson and she bequeathed a number of personal objects to the museum, including a charming folk portrait of her father as a little boy.
More importantly, she made the museum her sole beneficiary, which resulted in an endowment of $100,000 specifically to build the museum’s collections. The Sophronia Anderson Bequest Fund, as it has always been called, generates what is today a modest amount of income that the museum spends on acquisitions. The fund was first used to purchase art in 1940, when the museum bought Yasuo Kuniyoshi’s painting Milk Train.
Since that historic first purchase, every single collecting area in the museum has benefited from Miss Anderson’s generosity. The $6000 per year the museum receives from that bequest has resulted in the acquisition of millions of dollars in art for New Jersey’s largest and finest museum and has helped the Newark Museum achieve national importance because of its global collections.
Important works by American painters and sculptors, Native American, Asian, ancient Mediterranean and African artists have entered the museum by way of Miss Anderson’s bequest fund, as well as decorative arts objects of all periods and media, from silver to quilts and ceramics. Scores of natural history specimens were acquired with Miss Anderson’s generosity through the purchase of the Francis G. Himpler fossil collection in 1961. All in all nearly 1400 objects have been purchased in the past 74 years because of one woman’s love for this institution.
– Ulysses Grant Dietz, Chief Curator, Curator of Decorative Arts
On October 1, Great Balls of Fire will open in the main galleries of the Newark Museum. This exciting exhibit explores the cutting edge of planetary science with comets, asteroids and meteors.
It is an excellent topic for an exhibit: for thousands of years we have been amazed by “shooting stars” and the graceful tails of comets as they swept across the nighttime sky. In ancient times we noticed lights moving slowly through the stars, called them planets and named them after the gods.
Ever since Galileo first spotted Jupiter and its moons in his small telescope we have wondered where planets come from and how our Solar System formed. After many years we have surveyed the major planets and moons with telescopes and spacecraft. Now we are probing even deeper, examining the smaller objects orbiting the Sun in order to understand the Solar System and its origins.
The small objects include asteroids, which are chunks of rock and iron. These are the “leftovers” from the formation of planets. Most are in the asteroid belt between Mars and Jupiter, but they can be found throughout the Solar System. They range in size from about 30 feet to 400 miles.
Comets are thought of as “dirty snowballs”. Comets range in size from 300 feet to 19 miles. These icy bodies spend most of their time in deep space but when they come close to the Sun, the ices turn to gas and release tremendous amounts of dust. This forms the graceful long tails for which comets are famous.
Deciphering a Comet
This summer the European Space Agency’s Rosetta spacecraft made an impressive rendezvous with a comet. Like its namesake, the famous Rosetta Stone, the probe will decipher the nature of comets in a unique way. Instead of flying past it for a brief glimpse, Rosetta is the first to orbit a comet and study it long-term.
Even more exciting is the small lander onboard spacecraft. It is named Philae after the location of an obelisk used to interpret the Rosetta Stone. For the very first time, it will set down on the comet’s surface to study it up close, determine its chemical composition and drill beneath its surface. The landing is currently scheduled for November 11.
Over the next several months Rosetta and Philae will ride the comet along its orbit as it approaches the Sun. This will be a spectacular trip astronomers have long yearned for.
Probing the Asteroid Belt
Meanwhile NASA’s Dawn mission is on an amazing journey through the asteroid belt in hopes of capturing the earliest moments of the Solar System’s formation. Dawn reached its first target, the asteroid Vesta, in July 2011. It orbited Vesta for a year making an in-depth study that revealed the asteroid to be much more complex than originally thought. Two enormous craters were discovered at its south pole. These impacts were so powerful that its surface folded at the equator, leaving behind massive troughs that circle the asteroid.
Careful study of Vesta reveals that is has a core, mantle and crust. Some speculate that Vesta is not just a mere asteroid but a remnant from the formation of the planets – exactly what astronomers hoped to find.
The mission gets even more amazing in the spring of 2015. Dawn will reach Ceres, the largest object in the asteroid belt and the only dwarf planet we know of in the inner Solar System. This will be our very first up-close look at a dwarf planet – a tantalizing taste of what is to come when the New Horizons spacecraft reaches Pluto next summer.
Wish Upon a Star
You don’t have to fly out to a comet or an asteroid to explore the Solar System. If you go outside on a clear dark night, you may see a piece of one of these objects. A “shooting star” is not really a star at all but a hunk of an asteroid or a speck of dust from a comet.
You can see a meteor in the sky just about any night if you are patient. It is said that nearly 100 tons of meteoritic material enters the Earth’s atmosphere every day. Much of this is fragments of asteroids. Most of these burn up and never reach the Earth’s surface. A few are large enough to reach the ground as meteorites. And in some cases we can have spectacular events such as the detonation of a 65-foot wide asteroid over the city of Chelyabinsk, Russia in February 2013. One of the largest impacts in recorded history also took place in Russia back in 1908. An object exploded in the air near the Tunguska River flattening 800 square miles of forest. This explosion was powerful enough to destroy a large city.
When comets get close to the Sun they release gas and dust. This is left behind and if the Earth passes through this debris we get a higher number of meteors as the bits of dust burn up in our atmosphere. This is a meteor shower. Alas you will not find any meteorites lying around after a meteor shower – these tiny bits all burn up.
We do have a couple of meteor showers coming up this fall. The Orionids come to a peak on October 22 (best between midnight and 5:30 a.m. on the morning of the 22nd). The Geminid meteor shower is one of the best of the year. Bright moonlight will spoil part of the shower but we should have a good view from about 9 p.m. on Dec 13 until moonrise around 1 a.m. on the morning of December 14.
Whether asteroid, comet or meteor, these diminutive members of the Solar System are fascinating objects in their own right and may be the key to greater understanding of our planetary system and its inner workings.
More than just satisfying our curiosity, greater awareness of these objects and how they threaten Earth will help us protect our planet and the life on its surface. Your chances of perishing in a cosmic impact are higher than winning the lottery: about 1 in 700,000. We need only to look at a dinosaur fossil to realize the peril of ignoring these fascinating objects.
In addition to Great Balls of Fire, the Dreyfuss Planetarium is featuring a new show about comets, asteroids and meteors called Firefall. There will also be a family festival, Astrofest, to celebrate the exhibition on Saturday, October 18.
– Kevin Conod, Manager, Dreyfuss Planetarium
“Were it to become the fashion to patronize American artists, designers and craftsmen and to give them a free hand instead of insisting on conformity to the ancient ways as interpreted by the ignorant rich, we would have a larger art demand in America; the supply would raise prices and wages; art study would be encouraged; more men of genius skill and training would come here from abroad; and we would begin our own Renaissance.” – John Cotton Dana, The Gloom of the Museum, 1917.
The 2014 New Jersey Arts Annual, Ready or Not, was set out to activate unconventional areas in the Museum, in addition to the display of artworks in the rotating exhibition gallery spaces. Incorporating different artworks in sections that do not typically display or present art, several of artists in this year’s Arts Annual were invited to create site-specific works for this show. They observed various parts within the Museum’s structure as an “empty canvas,” and created works that responded specifically to the Museum’s architecture and environment. Treating the Museum’s physical space as a medium was the point of departure when I started planning this particular aspect of the exhibition, and the blogs that will follow this one will present more artists whose work, be it performance, sculpture, installation art, painting or time-based media, is everywhere but in the galleries. Corridors, stairwells, ceilings and other “none-gallery” spaces, which are often left empty and shun from artistic presence, became part of the curatorial premise for this exhibition so as to extend the dialogue between art and space. The artworks’ placement and location involved intriguing curatorial discussions between the artists and myself, regarding the work’s visibility and its relation to and transformation of the location it is consuming.
Outdoors, in Horizon Plaza, Dahlia Elsayed created a temporary installation, We Would Begin Our Own. Selecting this particular spot to display her work was a way to activate this site through Elsayed’s poetry. By erecting 29 yellow, bright flags attached to the fence surrounding the plaza, Elsayed repurposed the use of the fence in this public, outdoor space. Each flag is inscribed with a word or a phrase the artist appropriated from the Newark Museum’s founder John Cotton Dana’s notable essay The Gloom of the Museum (1917). Located right by the Museum’s entrance and visually prominent, these flags greet both visitors and pedestrians on Washington Street or Central Avenue. Elsayed, who often incorporates words and text in her artwork, reconfigured Dana’s essay and through this form of concrete poetry, shared her admiration to the site and the city. She explains: “In this poem, I reshape his [Dana] words to create something between a Newark artists’ manifesto, a love letter to a city, and a statement of solidarity with the institution that he profoundly shaped.” The brightness of the flags as well as their shape is reminiscent of a construction zone, alerting the viewer’s attention to their content and the site when read either as complete phrases or word by word.
In my next blog, I will discuss another site-specific work by Ariel Efron and Lucas
Vickers. Stay tuned.
– Shlomit Dror, Consulting Curator, American Art
The Newark Black Film Festival (NBFF), the longest-running black film festival in the United States, is celebrating its 40th anniversary this year with a blockbuster lineup of films and documentaries, including winners of the biennial Paul Robeson Awards. This year’s screenings include the 2013 Academy Award winners 12 Years a Slave and 20 Feet From Stardom, and a fun-filled schedule of youth films.
Since its introduction, the NBFF has provided a forum for writers, directors, producers, performers and film patrons who enjoy African American and African Diaspora cinema. The goal of the festival is to present programs that reflect the full diversity of the black experience both past and present, encompassing a wide range of forums and formulas from documentary to the avant-garde. In the past 39 years, NBFF has screened approximately 800 films to an audience of almost 180,000 adults and youth. Past films of note have included Ashes and Embers, Body and Soul, Do the Right Thing and Daughters of the Dust.
The NBFF started in 1974 with a touring black film festival that was put together by filmmaker Oliver Franklin who worked at the Annenberg Center for Communication, Art & Sciences at the University of Pennsylvania. The late Gus Henningburg, who was then the Executive Director of the Greater Newark Urban Coalition, learned about the festival and proposed it to the Newark Museum.
In 1976 when the touring festival was no longer available, the Museum made the decision to produce the Newark Black Film Festival and established a Selection Committee, whose volunteer members represented important institutions in the community.
In 1981, a Children’s Festival was added, which is now called Youth Cinema. In 1985, the Museum initiated the Paul Robeson Awards to honor excellence in independent filmmaking in five categories.
‘‘When we introduced the festival, few black filmmakers were successful in bringing their projects to the screen and those that made it, didn’t stay long,’’ said NBFF Chair Gloria Hopkins Buck, a charter member of the festival. ‘’The founders were sensitive to the need for creative expression and we did our best to make it happen. Challenges still exist but the quality of work and their artistic accomplishments on a global scale are changing the landscape.’’
‘’NBFF is a festival unique for its longevity,’’ said Rutgers professor and historian Dr. Clement Price, also a charter member, ‘’and the endearment in which it is held by patrons of more than a generation. It is also civic ritual that has witnessed the emergence of black film as a genre important to understanding multiple narratives about the human spirit.’’
Warrington Hudlin, President, Black Filmmaker Foundation said, ‘’The NBFF came into existence to fill the void left by movie theaters that were fleeing Newark and other inner cities throughout the United States. The real beneficiaries soon became the newly minted generation of young African American filmmakers who were graduating from film schools with films under their arms and looking for a place to screen them. And even today, if a filmmaker wants to put his or her film to a litmus test for authenticity, I say ‘screen it in Newark’.’’
Financial support for the festival from Bank of America for the past 14 years has allowed it to expand to venues beyond the museum, including NJ State Museum/Trenton, Rutgers/Camden and Monmouth Arts Council/Asbury Park.
‘’As the longest-running event of its kind in the U.S., the Newark Black Film Festival never fails to bring an impressive lineup of movies to the Newark area and beyond,’’ said Bob Doherty, Bank of America New Jersey president. ‘’Celebrating differences in culture, ethnicity and experience serves to create stronger, more vibrant communities.’’
The 2014 NBFF season began on June 25 with the documentary Freedom Riders. On July 2, the Museum screened 20 Feet From Stardom. 12 Years a Slave will be shown July 9 at CityPlex 12 Theatre. The film Big Words, will be shown on July 16 and Moms Mabley: I Got Somethin’ to Tell You will be screened July 23.
Winners of the 2014 Paul Robeson Awards will be honored at an award ceremony on July 30 at the Museum followed by the screenings at CityPlex 12 Theatre. Youth Cinema feature films will be screened both at the Museum and the Newark Public Library in July and August.
The complete festival schedule may be found at http://www.newarkmuseum.org/NBFF.html.
–Jerry Enis, Consultant