RSS Feed

Paper + People is a blog about the Smith College Museum of Art’s collection of over 18,000 prints, drawings, and photographs. Here you will find a diverse array of posts written by museum staff, students, scholars, and other paper enthusiasts about anything pertaining to the collection.

Any works you see featured here are available to view by appointment.

  • Wednesday, February 21, 2018

    STUDENT PICKS | Hijacked Art

     

    Unknown. Turn On Your Loved Ones, 1967 or before. Screenprint in color on paper. Purchased. SC 2011:38-113

    Hijacked Art explores the Western canon through contemporary prints. In this exhibition, there are prints that echo American Gothic, Goya’s Los Caprichos, Piet Mondrian’s famous compositions, and Andy Warhol’s Campbell's Soup Cans. The exhibition title is drawn from the fact that the contemporary artists in this show have interpreted the work of deceased artists who cannot condemn or laud the appropriation of their work. Together, these prints show how artists can reference these masterworks while acknowledging the systems of oppression they are tied to.

    Comments

  • Thursday, February 1, 2018

    Remembering Patrick Nagatani

    Guest blogger Zoe Dong '18J recently graduated from Smith College with a major in studio art. She was a Student Assistant in the Cunningham Center for the Study of Prints, Drawings, and Photographs.

    This fall, Japanese-American photographer and collage artist Patrick Nagatani passed away on October 27, 2017 after a struggle with colon cancer.  A nationally respected photographer with work held in museums across the country, Nagatani’s work dealt with themes of science, nuclear power, Japanese-American history, and New Mexican culture. He represented and explored these themes through otherworldly images, saturated prints and flat collages that were magical and sometimes unnerving. Though Nagatani’s work can be subtle and humorous at times, his political commentary is sharp and this pairing of social critique with fantasy is thoroughly engaging.

    Nagatani was born in 1945 in Chicago to two Japanese-American parents. Both his mother and father were held in Japanese internment camps during World War II, and his extended family’s hometown was Hiroshima; he was born just days after the city was decimated by the atom bomb. Much of Nagatani’s work speaks to that same horrible legacy of nuclear war that America enacted on Japan, a power the country holds the possibility to enact still. Although he was never technically trained in photography, Nagatani started creating photographs when he was 31 and went on to receive an MFA from UCLA. He was a professor of photography at the University of New Mexico from 1987 to 2007.

    The work of Nagatani’s that initially spoke to me was 'Effects of Nuclear Weapons', Bradbury Science Museum, Los Alamos National Laboratory, New Mexico (1990).To create this work, Nagatani overlaid several images on top of each other, but the word “collage” seems almost too trivial to apply here. Nagatani has placed Japanese children’s faces and the buckets that carry their ashes on top of a photograph of an American science museum; the exhibit coolly displays information about the scientific effects of nuclear war with no apparent mention of the actual loss of human life. It’s a tragic, biting accusation towards the American public and government who didn’t and still do not acknowledge the murders of a perceived “Other” from thousands of miles away by the power of nuclear bombs.

     

    'Effects of Nuclear Weapons', Bradbury Science Museum, Los Alamos National Laboratory, New Mexico, 1990. Ilfocolor print. Gift of Nicole Moretti Ungar, class of 1982, and Jon Ungar. SC 2007:60-39.

    This work is part of the series Nuclear Enchantment,which the Cunningham Center owns several works from. The series, through representations of different New Mexico landscapes, warns of the dangers of nuclear power and, occasionally with grim comedy, highlights the strangeness in America’s normalization of it.

    Simulation/Simulation, the Trestle, Nuclear Effects (Electromagnetic Pulses), Simulation Facility, Air Force Weapons Laboratory, Kirtland A.F.B. Albuquerque, New Mexico from Nuclear Enchantment, 1990. Ilfocolor print. Gift of Nicole Moretti Ungar, class of 1982, and Jon Ungar. 

    SC 2010:67-35.

    Said Nagatani in an artist’s statement, “Are we a society so blinded by the powers of science that we will continue to support a destructive industry rather than seeking alternative solutions? Many of the photographs in Nuclear Enchantment are of actual sites presided over by a cast of ancient mythic figures...I want them to remind us of the spiritual poverty of the technical age.” In some images he incorporates parts of work from the famed 19th century woodblock artist Hiroshige, noting that his art “commented on Japan's transition from ancient Shintoism to Westernization - a path that ultimately led to Hiroshima.”

    Golden Eagle, United Nuclear Corporation Uranium Mill and Tailings, Churchrock, New Mexico, 1990. Ilfocolor print. Gift of Nicole Moretti Ungar, class of 1982, and Jon Ungar. SC 2007:60-40.

    The Cunningham Center also owns the fascinating series Nagatani/Ryoichi Excavation,a surreal series that takes an elaborate, detailed look at what a fictional archaeologist’s findings might be. Nagatani worked on Hollywood productions, creating models for films such as Blade Runner and Close Encounters of the Third Kind. He used these model-making skills to create the intricate images that are so cunningly done they resemble fantastic hoaxes, shown as “evidence” of a secret, lost time when people worshiped cars. Of the project, Nagatani said “my interest [lies] in testing the realities that can exist within the realm of photography and physical documentation… I am interested in the potential of photography to tell a story.” The complexity of the narrative is striking, as is the technical and artistic skill in creating the images.

    Bentley, Stonehenge, Salisbury Plain, Wiltshire, England, from Ryoichi Excavations, 1987-2001. Toned gelatin silver print. Gift of Nicole Moretti Ungar, class of 1982, and Jon Ungar. SC 2006:56-26.

    Ryoichi's Flask and Journal, 1999. Chromogenic (Fuji Crystal Archive) print.  Gift of Nicole Moretti Ungar, class of 1982, and Jon Ungar. SC 2011:71-41a.

    Patrick Nagatani will be remembered as a gifted photographer and as a creative storyteller. His talent for creating fantasies with real political heft and thought was a unique one, and his confident, strange images reflect that.

    Take a look at his works in the Cunningham Center collection and visit to see for yourself.

     

    Sources:

    https://www.artforum.com/news/id=72325

    https://www.nytimes.com/2017/11/13/obituaries/patrick-nagatani-photographer-famous-for-collages-dies-at-72.html

    https://www.patricknagatani.com/

    Comments

  • Wednesday, January 24, 2018

    STUDENT PICKS | Flickers and Blinks: Confronting the Weight of Movement

     

    Arpita Singh. Indian, 1947-. This Could be Us, You, or Anybody Else. 2007. Etching and aquatint printed in color on heavyweight, slightly textured, white paper. Gift of Bridget Moore, Class of 1979. SC 2014:27-1. Click here for larger image.

    Movement is a point of change. When we move - in abstract or tangible ways, voluntary or forced - we engage with the changing of place, time, people, and culture. The artworks presented in this show reflect on this movement and the change it produces. As the viewer moves through this diverse display they also navigate several dichotomies: the singular/many, the imagined/ real, permanence/absence, and creation/destruction. While curating this collection I found myself resisting these dichotomies. What movement does best is connect these different points. We oscillate between oneness and multitude, between imaginaries and realities, hover indeterminately between permanence and absence, creation and destruction. Trying to take one piece in this collection to exemplify one or the other creates dissonance: they all contain echoes of their “opposite”. Knowing this, what does it mean to move? And how can the art presented here allow us to go beyond questions of dichotomy, and instead move toward realizations of the self?