Asirondack History Museum hosts a. talk by Dr. Maeve Kane, August 27, 2026, 7PM.~A War Against Vegatables, A War Against Women~

 

A War Against Vegetables, A War Against Women: Haudenosaunee Women's Experiences of the Revolution by Dr. Maeve Kane Thursday, August 27 at 7 PM When George Washington ordered the "total destruction and devastation" of Haudenosaunee (Iroquois) territories in 1779, the offensive was to that date the largest and most expensive campaign of the American Revolution. What became known as the Sullivan-Clinton campaign aimed squarely at the agricultural heart of Haudenosaunee women's diplomatic power, cultural status, and national identity by burning cornfields and felling orchards. Continental soldiers constructed an American identity for themselves by destroying what they called Haudenosaunee women's "homes of contentment," and despite this, Haudenosaunee women preserved their nations over the course of the war. $8 Admission/Members Free Doors open at 6:30 ­ Maeve Kane is an associate professor in the Department of of History at the University at Albany, State University of New York, where she is also the director of graduate studies. Kane received her PhD in American History from Cornell University. Her first book, Shirts Powdered Red: Haudenosaunee Gender, Trade, and Exchange Across Three Centuries argues that Haudenosaunee (Iroquois) women used the Atlantic world of goods to shape their communities’ engagement with settler colonialism and reject colonialist constructions of civility and savagery.  https://maevekane.net/ Adirondack History Museum Essex County Historical Society 7590 Court Street, Elizabethtown, 12932 www.adkhistorymuseum.org

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Keys Art : Peter McGough, and Clintel Steel ~ReWritten History~ Opening Saturday August 22, 6-8 PM

Keyes Art is pleased to present Rewritten Histories, a two-person exhibition of paintings by Peter McGough and Clintel Steed. The exhibition pairs two artists who treat art history as raw material, filtering inherited images and narratives through personal experience to author new ones.    Peter McGough (b. 1958, Syracuse)    Peter McGough Rewrites history through duration and in-scription. From 1980–1995, with David McDermott, he lived as a Victorian gen-tleman in a candle-lit townhouse without electricity, making art only with obso-lete 19th-century techniques. That project of lived anachronism continues in his colored pencil works on paper. In Reflections on the Self, 2025, a Jungian dia-gram of Persona, Ego, and Shadow faces a profile whose brain is mapped with profanity, prayer, and panic — the inner world rendered as both diagram and di-ary. Roaming the Anthropological Museum in Napoli, 2023, places a musta-chioed dandy in a checkered suit before Greco-Roman sculpture, his head re-placed by a black-figure kylix depicting explicit homoerotic ritual. McGough in- serts queer desire directly into the museum’s classical record. Emporium of Dis-sidence, 2024, centers a flapper amid a field of multicolored chromosome-like forms, while A Crashing Bore, 2025, stages two Edwardian gentlemen before Hokusai’s Great Wave, the pun in the title undercutting the sublime. McGough uses historical style as camouflage, then detonates it with humor, sexuality, and self.    Clintel Steed (b. 1977, Salt Lake City)    Collapses myth and modernity in paint. In Two figures with two birds, 41 x 34 in, acrylic on paper, a blue-faced woman and a dark-skinned man cradle doves against a backdrop of ochre, red, and arching forms that recall Roman frescoes and Byzantine icons. Steed’s figures are fractured and rebuilt in thick, gestural fields — identity shifts across a single face, color refuses to stay contained. His Untitled, 45 x 32.5 in, pushes this further: two interlocking bodies in hot pink, green, and electric purple confront the viewer against a fractured landscape of lime and red. Birds reappear as witnesses — a hummingbird, a sandpiper — while Steed’s urgent facture turns classical coupling into a contemporary question of survival, race, and tender-ness. For Steed, “painting your truth” means letting ancient motifs and present-day urgency occupy the same canvas.    Outside the Cycle    Crucially, both McGough and Steed work outside of trends or current art fads. Steed’s thick impasto and art-historical collisions are not responsive to market aesthetics; they’re compelled by a private urgency to reconcile Rubens, Egyptian murals, and Black fatherhood on the same surface. McGough’s decision in the 1980s to abandon electricity and embrace cyanotype had nothing to do with fashion and everything to do with survival — a way to make work that could out-last the decade’s hype. Today, his colored pencil drawings ignore the speed and finish of digital painting in favor of slow, obsessive handwork. Neither artist chases the contemporary. They build their own timelines, and invite history to catch up.    Rewritten Histories    Both artists start with borrowed forms — couples, allegories, museum artifacts, master prints — and make them answer to their own lives. Steed fractures the canon with impasto and color shifts, pulling Egyptian murals and Rubens into a present tense of Black experience and parenthood. McGough inhabits the ar-chive through slow rendering and period drag, then rewires it with mordant wit and queer inscription. 45 Main Street | Sag Harbor, NY 11963 #keysart#sunstormfineartmagazine.com #fineartmagazineblog.blogspot.com#artfunnow#artfunhamptons #artfunhistory#artfunnew,

Smith College of Art Announces Emma Chubb is appointed Director of Curatorial Affairs

 

Smith College Museum of Art Announces Emma Chubb as Associate Director of Curatorial Affairs photo credit: Patrick Montero

NORTHAMPTON, MA — The Smith College Museum of Art (SCMA) has appointed Emma Chubb as Associate Director of Curatorial Affairs. Chubb, who is the Charlotte Feng Ford ’83 Curator of Contemporary Art, will continue in this capacity while also leading the museum's curatorial division. Overseeing exhibitions, acquisitions, collections research, and strategic curatorial initiatives will be among Chubb’s responsibilities in her new role.  “Emma brings to this role exceptional scholarly depth, a thoughtful and ambitious curatorial vision, and a genuine talent for fostering collaboration across the museum and the college. As Associate Director of Curatorial Affairs, she will be instrumental in shaping the future of SCMA’s curatorial program and furthering the museum’s longstanding commitment to excellence in teaching, research, and meaningful public engagement,” said Jessica Nicoll, Director and Louise Ines Doyle ’34 Chief Curator of the Smith College Museum of Art. Emma Chubb is the inaugural Charlotte Feng Ford ’83 Curator of Contemporary Art at SCMA and a scholar specializing in contemporary art from Morocco. Her initiatives include Amanda Williams: An Imposing Number of Times (2020–22), Younes Rahmoun: Here, Now (2024–25)—the first retrospective dedicated to one of North Africa's most significant contemporary artists—and the establishment of SCMA's Artist-in-Residence Program. She is also the organizing curator for Don't mind if I do (2026) and Composing Color: Paintings by Alma Thomas from the Smithsonian American Art Museum (2026–27). Her academic credentials include a PhD in art history, with a certificate in Middle East and North African Studies from Northwestern University, and a BA in Art History and French from Haverford College. This appointment follows the nearly decade-long tenure of Aprile Gallant, who is stepping down from the Associate Director of Curatorial Affairs position. Gallant will remain at SCMA as the Mary Walcott Keyes 1931 Curator of Prints, Drawings, and Photographs, dedicating her efforts to scholarship and major research projects. Gallant’s leadership expanded the museum's curatorial expertise by appointing curators of Asian and Contemporary Art and overseeing a dynamic program of exhibitions, acquisitions, and collection initiatives. Her work has established a strong foundation for the department’s continued growth. With Chubb’s appointment, SCMA continues a series of leadership transitions that have strengthened its senior team, underscoring the museum’s ongoing commitment to organizational excellence in support of its mission as a teaching museum for Smith College.  About the Smith College Museum of Art As a teaching museum at Smith College, SCMA is dedicated to connecting people to art, ideas, and each other by engaging people with firsthand experiences of art, artists and museum practice; collecting, researching, presenting and preserving an expansive collection of art in the service of learning, teaching, and critical dialogue; and by fostering an inclusive and accessible environment that welcomes diverse perspectives and inspires imagination. Except for select holidays, SCMA and the SCMA Shop are open to the public year-round, Tuesday through Sunday, 11 a.m.–4 p.m. The museum is located at 20 Elm Street at Bedford Terrace, Northampton, MA. In SCMA’s galleries and classrooms, visitors experience a world-class collection of art spanning ancient times to the present and encompassing the arts of Africa, the Americas, Asia, and Europe. The Cunningham Center for the Study of Prints, Drawings and Photographs houses and hosts the study of a comprehensive collection of works on paper.  SCMA’s commitment to broad public access is supported by the Art Bridges Foundation’s “Access for All” grant initiative, alongside a generous gift from Smith College alumnae Jan Fullgraf Golann ’71 and Jane Timken ’64, which has enabled the museum to eliminate all admission fees and expand community programming. An accredited member of the American Alliance of Museums and a founding member of Museums10, a regional cultural collaboration, SCMA is also a member of the College Art Association and the New England Museum Association. #smithcollegemuseum#fineartmagazineblog.blogspot.com #sunstormfineartmagazine.com#artfunchange#artfunnow#artfunhistory#artfunculture

The New Museum Exhibition covers 400 years of history ~The Bowery : Devil's Mile~ opens September 24, 2026

 

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New Museum Exhibition Traces 400 Years of Cultural History on the Bowery  The Bowery: Devil’s Mile Opens September 24, 2026 The Bowery: Devil’s Mile is the first exhibition to trace the rich cultural history of New York’s oldest thoroughfare, illuminating the Bowery—now home to the New Museum—as one of the most infamous yet astonishingly underexplored streets in the world.   Known in the twentieth century as a notorious skid row, the Bowery has had many incarnations: a Lenape footpath; a home to farms and cattle drives; the site of racetracks and pleasure gardens; a center of popular entertainment with theaters, concert halls, tattoo parlors, and dime museums; and most recently, the spine of a thriving artist community. This exhibition is an introduction to the richness and complexity of the Bowery and its generative power and concentrated energy as a street, a neighborhood, and a state of mind. For centuries, the Bowery has been a place of transformation and invention, a gateway for immigrants, a refuge for drifters and dreamers. Described as “a democratic vortex” by Jacob Riis and “the great highway of humanity” by Theodore Roosevelt, the Bowery has been a place of openness and experimentation, vice and deviance, that was also once known as “Devil’s Mile.” On view from September 24, 2026, through January 31, 2027, the exhibition brings together artifacts and artworks stretching back centuries, from an 1830s hand pump fire engine to a nineteenth century dime museum attraction called the “Feejee Mermaid,” to Jacob Riis’s revolutionary images How the Other Half Lives revealing previously hidden interior views through newly invented flash photography. Underscoring the Bowery as a site of perpetual reinvention, the exhibition will reveal the Bowery’s rich evolution through archival materials, historical artifacts, and through the works of successive waves of artists of all stripes who have lived or worked there, from Abstract Expressionism to Pop, Beats to punks, street artists, and beyond, featuring works by Lynda Benglis, John Giorno, Nan Goldin, Adolph Gottlieb, Keith Haring, Eva Hesse, Robert Indiana, Brad Kahlhamer, June Leaf, Reginald Marsh, Martha Rosler, Bill Sullivan, Cy Twombly, and Tom Wesselman, among others. The Bowery: Devil’s Mile builds on twenty years of research including the New Museum’s own archive and oral history project: The Bowery Artists Tribute and the associated exhibition Come Closer: Art Around the Bowery, 1969–1989. The Bowery: Devil’s Mile is curated by Lisa Phillips, Director Emeritus, with Thalia Stefaniuk, Curatorial Assistant. The exhibition is accompanied by a fully illustrated catalog co-published by the New Museum and Delmonico Press with essays by Lisa Phillips and Thalia Stefaniuk, and reflections by Laurie Anderson, David Byrne, Sara Driver, Debbie Harry, Bob Holman, and Richard Price.     Sarah Morris, Director of Marketing and Communications, New Museum    press@newmuseum.org    212-219-1222 x 217 SUPPORT Major support is provided by the International Leadership Council of the New Museum, Donald Capoccia and Tommie Pegues, and an anonymous donor. Generous support is provided by the National Endowment for the Arts.   ABOUT NEW MUSEUM The New Museum is the only museum in New York City exclusively devoted to contemporary art. Founded in 1977, the New Museum is a center for exhibitions, information, and documentation about living artists from around the world. From its beginnings as a one-room office on Hudson Street, to the inauguration of its SANAA-designed flagship building in 2007, to the OMA-designed expansion of its home on the Bowery in 2026, the New Museum continues to be a place of experimentation and a hub of new art and new ideas.    Image: Weegee, The Foreman Of The Devils Was Peeved... because the assistant devils were not in costume, 1945. © Weegee / International Center of Photography #newmuseum#fineartmagazineblog.blogspot.com#sunstormfineartmagazine.com#artfunnew#artfunculture #artfunhistory#artfunnow#artfunnyc

The Morgan Library & Museum receives $2.5 Million dollar award to preserve illuminated medieval manuscripts digitaly.

 Preserving history at the Morgan Library & Museum see below details. 

| The Morgan Library & Museum Awarded $2.5 Million from the Lilly Endowment

The Morgan Library & Museum Awarded $2.5 Million from the Lilly Endowment’s Religion and Cultural Institutions Initiative to Make Medieval and Renaissance Manuscripts in the Collection Accessible to All Through Digitalization, Education, and Outreach   New York, NY (August 5, 2026) – The Morgan Library & Museum has received a $2.5 million grant from the Lilly Endowment's Religion and Cultural Institutions Initiative to support The Morgan Illuminated, a major project that will expand access to the Morgan's renowned collection of medieval and Renaissance religious manuscripts through a new digital portal, educational resources, and public programming. Hosted on the Morgan’s website, The Morgan Illuminated will provide free, cover-to-cover access to hundreds of the collection’s most significant illuminated manuscripts through a searchable digital portal, scheduled to launch in 2029. In addition to high-resolution images and robust search tools, the platform will feature educational resources and interpretive content exploring these manuscripts and the role of religion in shaping history, art, and culture. Through programming and research, which will launch prior to the digital portal, the project will also examine how the Morgan engages audiences with complex ideas related to religion and spirituality more broadly, encouraging dialogue and understanding about a variety of objects and related themes. #morganlibrarymuseum#fineartmagazineblog.blogspot.com #sunstormfineartmagazine.com#artfunlibrary#artfunhistory#artfunreading #artfunnow,=#artfunnyc

Hi All Fine Art Magazine Readers Happy 4th of July !! See what the Mellon Foundation ~Expaning America's History~ doing to Tell American Stories at 250 ~

We applaud the wealth and prestige behind the Mellon Foundation’s efforts that lay beyond personal aggrandizement and profit to support the broad American story of independence and values as stated in the Declaration of Independence 250 years ago. Jamie Forbes, Publisher, Fineartmagazineblog.bogspot & Sunstormfineartmagazine.com 

View in browser    Share email    Visit mellon.org  America’s History, Expanding At 250 years old, America’s story is still being written. Across the country, histories are being preserved, under-told stories are being shared, and people of all backgrounds are using the power of the arts and humanities to imagine a fuller picture of who we are.

In Focus Explore Our Country’s Untold Stories Our history is everywhere. It’s on the shores of Alaska, hand carved into totem poles. It’s in the walls of August Wilson’s home, rebuilt for a new generation. It’s in Philadelphia, where old reels of public radio and television are being carefully preserved. This month, explore six stories of how the fullness of our country and its people are being remembered and celebrated. Explore the special feature  In the News Mapping Our Shared History The National Preservation Atlas is the first-ever consolidated, public repository of information about the country’s historic places. Founder Sara Bronin explains how it was built. Read the article  Preserving the Voices of Indian Boarding School Survivors An oral history project led by the National Native American Boarding School Healing Coalition has recorded the stories of more than 360 boarding school program survivors from 19 states. Now, they’ll be preserved in the Library of Congress. Read more      TIME Names 25 Monuments that Define America In honor of America’s 250th birthday, TIME asked 25 experts to name a structure that represents America. Some of their selections may surprise you. Learn more

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