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Hidden from History

by Vicky A Clark

The life of Esther Phillips (1902– 83) would have languished in obscurity, at most a footnote in history, were it not for the dedication of a few friends and supporters. Her story, which intersects with ideas about women, class and mental health in the 20th century, is all too familiar. An obstinate, free-spirited woman, she …

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Strutting its stuff

by Matthew John Milligan

Unbalanced. Uncomfortable. Unnecessary. For a somewhat misinformed 30-year-old male, these descriptors came to mind when considering the high-heeled shoe. So when I sat down to write about a wildly popular exhibition coming to Pittsburgh this summer featuring these shoes in their historical context, you might understand my uncertainty. After all, my own “heel” collection is …

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The new Westmoreland

by Graham Shearing

Early in October, looking out over the view of Greensburg from the newly reconfigured Westmoreland Museum of American Art, someone remarked that a building’s foundations had been discovered recently in the old parking garage, which is being turned into a garden. In England, such work recently turned up the body of King Richard III, slain …

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The New Sound

by Douglas Heuck

Steve Hackman, 35, is an emerging phenomenon in the world of music, fusing classical and popular pieces. Hackman is creating and conducting his hybrid concerts with the Pittsburgh Symphony Orchestra Jan. 27 and March 9. A native of suburban Chicago, he has an undergraduate degree in piano performance from the University of Illinois Urbana-Champaign and …

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Changing times at Frick?

by Graham Shearing

The Frick Art and Historical Center is the creature of Miss Frick (Helen Clay Frick was always called that), the daughter of industrialist Henry Clay Frick, and it sprang into existence after the reclusive 96-year-old grand dame died at Clayton, her childhood home in Pittsburgh’s Point Breeze in 1984. Since 1970, there had been an …

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The business of art

by Valentine J. Brkich

It seems as if it should be relatively simple. If you’re an artist, you spend time in your studio, blending inspiration and long hours to create compelling works. When you have a reasonable body of work and the confidence to show it, you contact an art gallery, and voilà—your art hangs on the wall where …

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Arts Aligned

They’re situated on either side of Forbes Avenue in Oakland, almost appreciatively staring at each other in a figurative manner: A world-class university and a world-class art collection. On a daily basis, backpack-sporting college students and briefcase-toting college professors weave in and out of these historic institutions, along with the general public. But not until …

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An outside view

by Graham Shearing

“Embedded” is a strange word, which we have come to recognize nowadays as the term used for journalists and photographers permitted to report in war zones under military protection and some limitation. That was the experience of British photographer Mark Neville working in the Helmand Province of Afghanistan in 2011 as an official war artist, …

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Richard Mellon Scaife

by Graham Shearing

When Dick Scaife died last summer, there surfaced a rash of brief memoirs of a man most often described as “reclusive,” and, more ambivalently, “mercurial.” Before then, he had been shielded from close scrutiny by the code of Omertà, a protective silence, at least by his friends and close associates. This frustrated those less friendly …

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Robert Qualters: When Retrospection Gets Personal

by Graham Shearing

As we get older, as age begins to play tricks with our memories, as our surroundings change and the immediately familiar becomes obliterated, we come to rely on simple strategies like keeping a photograph album or simply hanging on to significant things. Many artists make memory their stock-in-trade, not simply as documentation, but rather by …

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A lens on life

by Graham Shearing

1. An old woman is seated in an upright armchair in a sparely furnished room. 2. A slightly younger man in a suit approaches from a room beyond. He is not perfectly in focus. She does not appear to be aware of him. 3. The man seems to pause and fixes his attention on the …

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New and newer

by Graham Shearing

The founding director of the Andy Warhol Museum, Mark Francis, recounts this story: A few weeks before the museum opened, Francis had taken the distinguished curator, Walter Hopps, on an advance tour of the completed building. (Hopps was instrumental in putting on Warhol’s first Pop Art show, in June 1962 at the Ferus Gallery in …

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The Carnegie International: 2013

by Graham Shearing

Let me say at the beginning that I adore the current Carnegie International, curated by Daniel Baumann, Dan Byers and Tina Kukielski. It has made me change my mind about a number of things I have held dear in the past. And, to me at least, it is already old hat, because for nearly two …

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The Formidable Frick

by Christine O'Toole

One hundred and twenty five years ago, the eastern side of Pittsburgh’s East End—its grand villas powered by electricity and surrounded by gleaming motorcars—was arguably the richest and most tech-savvy neighborhood in the country. Within a half-mile stretch between Point Breeze and Wilkinsburg dwelt a dazzle of shrewd self-made millionaires: Henry Heinz, the Carnegie brothers, …

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A purposeful re-hang

by Graham Shearing

A useful trick for carnegie museum of Art visitors is to read the label on the wall beside the art. In the lower corner is the accession number, for example, 96.1, which indicates the year in which the work was acquired, 1896, followed by the order in which the work was entered into the museum’s …

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The Arts Engine

by Christine O'Toole

On a cold spring night in April, arts traffic streamed along Penn Avenue in several frenetic directions. Downtown, patrons for the PSO’s performance of Bach’s beloved Brandenburg Concertos poured out of restaurants toward Heinz Hall, dodging ticket-holders for the sold-out “Book of Mormon” at the Benedum Center. Four miles miles east, the cheap end of …

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The Time of Arkus

by Graham Shearing

Leon Arkus was the fifth director (1968–80) of the Carnegie Museum of Art during its most transformational phase since the building of the museum in the late 19th century. The Scaife Wing and the Heinz Galleries came into being under his supervision, allowing The Carnegie to function as a contemporary museum of art as never …

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Inventing the Modern World

by Graham Shearing

World’s Fairs asks two questions of themselves: “Who are we?” and “Where are we going?” Sometimes they look backwards as well, perhaps a little wistfully. They also fall into the category of jamboree, a 19th-century slang word of American origin indicating a noisy assembly of people and things for a variety of purposes. Usually they …

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Gershwin in Pittsburgh

George Gershwin will be forever associated with New York City. This most American of composers derived his inspiration from Manhattan’s energy, skyscrapers, jazz, nightlife, and evolving Broadway-musical art form. Nevertheless, in the 1920s and ’30s Gershwin and his music traversed the nation, often ending up in Pittsburgh. New York musicals and plays of the time …

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Changing the Venerable

by Graham Shearing

Almost no building remains fit for its purpose forever, except perhaps a mausoleum. However great a museum or a gallery may be, there is always the lure of a new wing or a re-fit. Nothing remains the same, even in western Pennsylvania. Let’s look at how some of our institutions have faced, and continue to …

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The Gospel of Brass

by Justin Hopper

Pointing a handheld video camera at himself, James Gourlay made an eccentric sight on the streets of Pittsburgh, as the native of Scotland made tiny films literally “picturing” what it would be like to live in this city. The eminent tuba player, educator and brass band director was in town not quite two years ago …

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A New Pittsburgh Biennial

by Graham Shearing

The pittsburgh biennial, which you will have encountered before in smaller incarnations going back to 1994, is back with a vengeance. It now lasts six months, putting it on a par with The Carnegie International; it engages more artists (some of whom might be more valuably presented in that International); and it has no fewer …

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