Posts Tagged art
Dennis Hoyt is a wood sculptor who lives in Oregon and specializes in automotive art. He starts with a large trunk from a native basswood tree and carves until, as he puts it "finds a car." At this year's Automotive Fine Art Society exhibit in the Pebble Beach Concours d'Elegance, Hoyt exhibited "Seven," a tribute to Michael Shumacher's seven Formula 1 racing World Championship titles.
Schumacher started his career with Benetton and the suggested rear of the car is reminiscent of the United Colors of Benetton brand in 1994, the same year he won his first World Championship. The rest of the intricately carved sculpture dynamically turns into a red Formula 1 car, which illustrates his years with Ferrari up to his seventh World Championship title in 2004. Hoyt captures the flow, rhythm and harmony of Schumacher's driving and the performance of Formula 1 racing. As Hoyt says, "he found Schumacher and his car in the wood."
Monumental Enterprise: Our Artifacts, an Exhibit, a Digital Story, a Partnership
As we digitize the collections of The Henry Ford, we try to find and tell complete stories—for example, we don’t just digitize the race car, but also trophies it won, and photos from some of its most famous races. Because of our broad collecting approach and the resultant depth of our collections, we uncover these stories all the time.
Sometimes fate and/or current events help us out. Though The Henry Ford is an independent institution, we do maintain a warm relationship with Ford Motor Company and often work together on projects. Recently we discovered a series of items in our collection that played a big role in Ford Motor Company’s history, both nearly 90 years ago and again just six years ago.
The items include a number of paintings, magazine advertisement proofs created from those (and other) paintings, and correspondence that formed an impressive ad campaign. The campaign itself consisted of 16 ads that ran in the Saturday Evening Post and other magazines in 1924 and 1925. The ads, two-page spreads that contained both visually arresting artwork and a significant amount of text, explained the backstory of the Ford company at a time when, as Marc Greuther, Chief Curator and Curator of Industry and Design at The Henry Ford, states, the company was at “a certain kind of pinnacle” with their signature product, the Model T, but “the product is slipping.”
As fascinating as it is, this ad campaign might have disappeared into relative obscurity if it hadn’t been rediscovered by Ford Motor Company’s new President and CEO, Alan Mulally, in 2007. In a recent interview with Fast Company, Mulally said, “I was looking for a compelling vision, a comprehensive statement to deliver that strategy.” This ad campaign from the previous century provided just the fundamental sense of purpose that Mulally was after, and allowed him to create a new strategic vision that was embraced across Ford Motor Company.
As we discussed this backstory with Ford Motor Company, both organizations were extremely interested in highlighting the ad campaign. Marc Greuther conducted a one-on-one interview with Alan Mulally about the impact the earlier campaign had on today’s Ford Motor Company (you can view clips from that interview here and here). As discussions continued between our institutions, the Ford Motor Company Fund generously provided a grant to conserve and reframe some of the materials, as well as create videos covering the conservation process and interviews. We made plans to highlight some of the newly conserved paintings within our Driving America exhibit. The new exhibit was officially unveiled on June 24, with Alan Mulally and other luminaries (including Apple co-founder Steve Wozniak, who checked in at the Museum on Foursquare) in attendance.
The interactive kiosk within this section of the exhibit was updated to include new video clips featuring Marc Greuther’s interview with Alan Mulally, as well as additional analysis of the campaign by Marc. It also now features an electronic collections set containing all of the paintings, ad proofs, and correspondence connected to the campaign, as well as other related materials.
In case you’ve ever wondered what it takes to pull this kind of historical story together, in both physical and digital formats, here are some of the groups that played a role:
It certainly took a lot of time, effort, and funding to put this all together, but we hope you’ll agree that the resulting exhibit in Driving America within the Museum—as well as the digital assets, available to anyone around the world—are worth it. Let us know what you think.
Ellice Engdahl, Digital Collections & Content Manager at The Henry Ford, is always trying to integrate the physical and the digital.
correspondence, art, paintings, 21st century, 20th century, technology, research, Henry Ford Museum, Ford Motor Company, Driving America, digitization, by Ellice Engdahl, advertising, #Behind The Scenes @ The Henry Ford
Objects in museum collections often tell rich stories—but sometimes you have to search for them.
A few months ago, The Henry Ford’s staff came upon an intriguing object in our collection—a late 19th century painting of the Michigan Cavalry Brigade Monument in Gettysburg, Penn. In this painting, the figure of a soldier at the top of the monument gazes out over the field where this famed Civil War unit fought fiercely on July 3, 1863, helping to assure Union victory on the final day of the Battle of Gettysburg.
We thought this painting would be a perfect choice for our upcoming Civil War Remembrance Weekend in Greenfield Village! The theme of this year’s display of objects from The Henry Ford’s collection was Michigan Soldiers in the Civil War. And 2013 is the 150th anniversary of the battle of Gettysburg.
Yet we knew virtually nothing about the painting—how could we tell its story to our visitors? The signature of the artist provided an intriguing clue. It read “Jessie C. Zinn/Gettysburg Pa.” But who was Jessie Zinn? And why did she choose this subject to paint?
Our search for answers to these questions took us from internet sources like Ancestry.com to places like Gettysburg and Williamsport, Penn., and Dallas, N.C. Along the way, we found helpful librarians and museum curators who provided information and gave us further leads for our search. To our great surprise, one of these leads put us in contact with Jessie’s grandson, Lawrence Lohr! Even more surprising, Mr. Lohr lived only about 30 miles from The Henry Ford.
It was exciting for The Henry Ford’s staff when Mr. Lohr paid us a visit to view his grandmother’s painting in mid-April. We had managed to learn quite a bit about Jessie in the previous couple of months. But Mr. Lohr shared photos of Jessie and rich stories that could only have come from family.
Here are some of the things we learned about Jessie Zinn.
Jessie had a very personal connection to the Battle of Gettysburg—she was born on a farm near the town the day after the battle! From 1868 through 1876, Jessie’s father ran a store in Gettysburg. The Zinn family then lived on an Adams County, Penn., farm for a few years, returning to Gettysburg by the late 1880s. Jessie moved to Dallas, N.C., in September 1890, where she served as head of the art department at Gaston College for Girls. Here, Jessie met Luther Lohr, a professor at the college, whom she married in July 1891 in Gettysburg. Luther then attended the Lutheran seminary in Gettysburg, graduating in 1894.
In the early 1900s, Jessie and her young family—children Minnie, Lawrence, Elida, and Edmund—lived in Williamsport, Penn., where Luther served as minister at St. John’s Lutheran Church. Jessie Zinn Lohr died in Williamsport in 1905 of a kidney ailment. Then Jessie came back “home” to Gettysburg, where she was buried in the family plot in Evergreen Cemetery.
But what of Jessie’s evocative painting of the Michigan Cavalry Brigade monument? A number of the surviving veterans of this brigade, also known as the “Wolverine Brigade,” were present at the dedication of the monument on June 13, 1889. Jessie Zinn likely created this painting of the monument soon after.
Did a proud Michigan Cavalry Brigade veteran ask the 26-year-old Gettysburg artist to paint it? Did Michigan veterans commission the artwork to hang in their local Grand Army of the Republic (G.A.R) Hall? And, if so, how did the client find out about Jessie’s skill as an artist? We don’t yet know. But we do know that Jessie painted one other Gettysburg battlefield scene of monuments near where Pickett’s Charge took place. And Jessie’s brother Merville ran the Gettysburg Hotel. Could a visiting Michigan veteran have seen that painting hanging in the hotel and then asked the Jessie to create one of the Michigan Cavalry Brigade monument? An interesting idea to ponder.
If you come to the Civil War Remembrance at Greenfield Village on Memorial Day weekend, you will see Jessie’s painting on exhibit in the Pavilion. And perhaps stand in the shoes of the unknown individual--Michigan Civil War veteran or not—who, by commissioning this painting, desired to have a tangible reminder of the valor and sacrifice of the Michigan Cavalry Brigade’s men to gaze upon.
Jeanine Head Miller is Curator of Domestic Life
Pennsylvania, 19th century, 1860s, women's history, veterans, paintings, Michigan, Civil War, by Jeanine Head Miller, art
Culture Lab Detroit is a catalyst for conversations and collaborations between Detroit's artists, designers, innovators, technologists and the larger design world. In other words Culture Lab Detroit was designed for all of us.
Two years ago I attended an exhibition in Paris that examined the importance of the relationship between nature, culture, business, and the social fabric within a city. The exhibit began with a look at how a 16th century Spanish city was designed to incorporate and encourage creativity and growth and it ended by asking the same questions of a modern city: what are the ingredients of a thriving city and how to fill its spaces.
The exhibit was called The Fertile City. And that modern day city it examined was Detroit.
It was astonishing to travel to a European museum to see an exhibit that focused so heavily on the struggles of Detroit. But I soon realized it was fitting that anyone looking at the effects of a damaged urban landscape in the 21st century would study Detroit. We have so many open uncertain spaces, and yet so many assets, so much ripe potential.
Some of those open spaces are geographic. Some are economic. Some are social. But the thing is that's all changing. Bit by bit, this city that has captured international attention is starting to fill its voids, recognizing them as assets in a way that is uniquely Detroit.
Today's Detroit innovators are pioneers. Through their efforts they're carefully blazing the trail for a more culturally vibrant landscape. They are the new vanguard of Detroit. Each one is a piece of the puzzle - gardening here, sewing there, creating art over there. And hundreds more pieces have found a home at incubator sites like the Detroit Creative Corridor Center, the Russell Industrial Center, Ponyride or the Green Garage. These places give structure and a home to artists, innovators, entrepreneurs and technologists.
This is a world-class town filled with world-class people. Culture Lab hopes to connect and inspire the best problem solvers in Detroit with world-class artists, innovators and thinkers internationally as a way to increase awareness and the imprint of Detroit's creative community around the globe.
I hope you can join me in learning more about these new innovators and celebrating this surge of creativity and ideas on Thursday, April 18, at the College for Creative Studies for an evening of conversation and collaboration with my good friend David Stark. David is a world-renowned event designer, author, and installation artist. Joining David that evening will be Mark Binelli, Michael Rush, Toni Griffin, and Daniel Caudill. You can learn more about the event, hosted by Culture Lab Detroit, here.
Jane Schulak is the founder of Culture Lab Detroit. Jane believes that by sharing these experiences this will increase the awareness and the imprint of Detroit's creative community internationally.
I have always found John Brown to be an intriguing historical figure. Recently I studied a print in The Henry Ford's collection made by the popular printmakers Currier & Ives in 1870 featuring John Brown. This print has helped me to understand the connection between John Brown's actions and the emotions from over 150 years ago surrounding the Civil War in the United States.
In the years prior to the Civil War, Southern slave-owners stubbornly defended the necessity of slavery while vocal abolitionists continued to oppose it. For many people—especially in the North—slavery was still an abstract concept. But by appealing to emotions, different people during this time made thousands of Americans suddenly have a point of view.
One was John Brown, a long-time anti-slavery activist who took matters into his own hands. On October 16, 1859, he tried to steal government weapons in Harper's Ferry, Va., convinced that Southern slaves would follow him in a revolt. But he was caught and hanged for treason. Northerners honored him because he was willing to die for a cause. But it gave Southerners one more reason to prepare for war.
Currier & Ives of New York City published this hand-colored lithograph in 1870 based on the painting by Louis Ransom made soon after John Brown's death in 1859. This original painting was displayed in P. T. Barnum's American Museum in New York City during the spring and summer of 1863, the same year that Currier & Ives published their first lithograph on this subject. The second version of the lithograph, shown here, was made later but sentiment about Civil War heroes sold well and this scene continued to appeal to American popular taste of the 1870s.
The text printed below this lithograph includes "Meeting a Slave Mother and her Child on the steps of Charlestown Jail on his way to Execution. Regarding them with a look of compassion Captain Brown stooped and kissed the Child then met his fate." This did not actually happen the day John Brown was executed on December 2, 1859. Brown was surrounded by troops and the public had no direct access to him. This story was first published in the New-York Tribune on December 5, 1859. Although it was later revealed as untrue, it became a popular legend about John Brown.
The poet John Greenleaf Whittier included this story in his poem, "Brown of Ossawatomie" printed on December 22, 1859; as did James Redpath in his biography, The Public Life of Capt. John Brown, published in January 1860. Redpath wrote about John Brown's walk from jail to the gallows in his book on page 397:
"As he stepped out of the door, a black woman, with a little child in her arms, stood near his way. The twain were of the despised race for whose emancipation and elevation to the dignity of children of God he was about to lay down his life. His thoughts at that moment none can know except as his acts interpret them. He stopped for a moment in his course, stooped over, and with the tenderness of one whose love is as broad as the brotherhood of man, kissed it affectionately."
John Brown was a hero to many abolitionists during the Civil War and this legend surrounding him helps to explain what he represented to them. The Currier & Ives print version made in 1870 of "John Brown, The Martyr," attests to the continuing importance of this legend in the era following the Civil War.
Cynthia Read Miller, Curator of Photographs and Prints, is continually fascinated with the museum’s over one million historical graphics.
Civil War, by Cynthia Read Miller, archives, art, African American history
The following post was originally posted on Herman Miller's Discover blog on Dec. 13, 2012. We're pleased to share this story here on The Henry Ford's blog. Many thanks to our friends at Herman Miller for their permission to post this for our readers to enjoy. - Lish Dorset
By Mindy Koschmann
In a 1980 interview with Ruth Bowman for the Archives of American Art, Ray responded to a question about her chosen vocation:
“I never thought of myself as an artist and couldn’t bear the word.”
She objected to the generality of the label, but her comments about her interdisciplinary approach to art and design provide an intriguing contrast:
"It was natural for me not to separate them, you know—now you study history, now you study dance, now you study music, or now you study pottery or whatever it is— it all seemed to be one thing."
Of Ray’s many artistic pursuits—painting, film, textiles, fashion, and furniture design—perhaps the most personal was her proclivity for making interesting arrangements with found objects. Of her curious habit, she said:
“Almost everything that was ever collected was an example of some facet of design and form. We never collected anything as just collectors, but because something was inherent in the piece that made it seem like a good idea to be looking at it. “
It’s always a good idea to revisit the work of Charles and Ray Eames, especially in light of the 100th anniversary of Ray’s birth on Saturday, Dec. 15, 2012. We celebrate Ray’s life and work as a painter, collector, and designer.
Laser artist and maker Mike Gould these past weeks has set up shop in the lobby of the JW Marriott Hotel in Grand Rapids, Mich., as part of the city’s three-week ArtPrize 2012 event. Mike received one of MAKE magazine’s editor’s choice awards during Maker Faire Detroit in July.
He exhibited his work in the Plaza in Henry Ford Museum. He brought with him and displayed some of the equipment he’s made and collected throughout his exploration of creating art with light. He also very generously shared with visitors his journey and love of the craft.
Visitors to Maker Faire Detroit were able to get their hands on some of Mike’s early DIY laser light equipment.
At ArtPrize 2012, Mike talks to daytime visitors to the JW Marriot Hotel, but starts his Stratus 10 exhibit – for obvious reasons - after sundown. The display is very visible from the outside, Mike said. “You can see it from across the river, from the walk bridge and when you’re driving by on the highway.”
Mike has a link to a live photo stream of his display, and his display is featured in a recent Mlive.com compilation video called ArtPrize 2012 in Motion.
Check out Mike’s website for more cool images as well as the ArtPrize 2012 page profiling him and his work.
History Mystery: Carl Bennett Linder, Portrait Painter to the Ford Family
As they’ve demonstrated before, being a curator often involves some sleuthing – see how a simple search uncovered the puzzling life of a 20th-century portrait painter for our curator of decorative arts.
Recently, while searching through our painting collection for portraits of Henry and Clara Ford, I came across two created in 1926 by an artist named Carl Bennett Linder. Displayed at Henry and Clara Ford’s Fair Lane home, these portraits came to Henry Ford Museum in 1951, following Clara’s death. A search of our collections database revealed that we actually own nine canvases by Mr. Linder – all portraits of the Ford family. Curious, I searched the Ford family papers, where I found letters and receipts spanning from 1924 to 1936 for an even larger group of paintings of the extended Ford family: Henry and Clara’s son, Edsel, and his wife, Eleanor; the Ford grandchildren; and even a portrait of Mrs. William Clay, Eleanor Ford’s mother. Mr. Linder was apparently a favorite artist of Henry and Clara, as he produced several portraits of them over the years. Continue ReadingIllinois, New York, Europe, 20th century, 1940s, 1930s, paintings, immigrants, Clara Ford, by Charles Sable, art
