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Art Behind the Scenes Curatorial

From the Vault: Rubber Stamp Portfolio, 1977

Tom Wesselmann (American, 1931–2004), Shiny Nude, from the Rubber Stamp Portfolio, 1976, published 1977. Rubber stamp print, printed in color. Image: 5 7/8 × 5 11/16 in. (14.92 × 14.45 cm); sheet: 8 × 8 in. (20.32 × 20.32 cm). Gift of Virginia M. and J. Thomas Maher III M1994.263.1. © Estate of Tom Wesselmann/Licensed by VAGA, New York, NY.
Tom Wesselmann (American, 1931–2004), Shiny Nude, from the Rubber Stamp Portfolio, 1976, published 1977. Rubber stamp print, printed in color. Image: 5 7/8 × 5 11/16 in. (14.92 × 14.45 cm); sheet: 8 × 8 in. (20.32 × 20.32 cm). Gift of Virginia M. and J. Thomas Maher III M1994.263.1. © Estate of Tom Wesselmann/Licensed by VAGA, New York, NY.

As the Collections Manager of Works on Paper, one of my duties is to facilitate the movement of the prints, drawings and photography in the collection for exhibitions, rotations, loans and viewings for researchers in the Herzfeld Study Center.

Our works on paper storage vault is organized into logical, easy-to-use groupings by size, century, nationality and then by artist’s last name (OK; it’s highly organized).

While pulling a print to go on view in the galleries, I stumbled upon a print by Carl Andre from a portfolio that I have never worked with before.

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Art

To be an artist at Yale in 1964…

View of Chuck Close painting of Nancy Graves from standing in front of Graves' "Object Disguised 4 Times”, Milwaukee Art Museum Gallery #27

One of the highlights for visitors to the Milwaukee Art Museums is Chuck Close’s 1968 portrait of Nancy Graves, with its incredible, photo-realistic virtuosity and its huge scale amplifying every facial imperfection in a disquieting, surreal way.

Visitors may not realize that the subject of the painting, Nancy Graves, was a celebrated artist in her own right.

Best known for her early sculptures of highly realistic camels (in a conceit that turned the museum into the zoo), she later incorporated banal objects like children’s toys into Alexander Calder’s and David Smith’s high modernist language of constructed sculpture. Graves was also a painter, and one of her paintings, Object Disguised 4 Times, 1982, is on view in the new installation of the contemporary art galleries.