River Crossings: Contemporary Art Comes Home

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River Crossings: Contemporary Art Comes Home

50.00

Hardcover
10 x 11 inches, 120 pages
91 color, 17 black-and-white images

ISBN 978-0-9888557-9-3

$50

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The unique and groundbreaking presentation of important contemporary art rarely seen in the traditional environs of the Hudson River Valley, the Thomas Cole National Historic Site and Olana, Frederic Edwin Church’s Persian-inspired mansion, showcased the work of contemporary American artists such as Chuck Close, Cindy Sherman, Maya Lin, Martin Puryear, and Gregory Crewdson, some of the 30 artists who participated in this landmark show. Stephen Hannock, celebrated luminist painter and one of the exhibition’s co-curators, believes that this was “a terrific opportunity to open up contemporary art, as well as these historic properties, to audiences who [saw] firsthand these shared artistic concerns.”

The works of art selected for the exhibition were shown at the two venues to encourage visitors to experience both distinguished properties and the grandeur of their surroundings, and presented a complete overview and understanding of these contemporary works in a location where many art historians believe American art was born. The accompanying publication, River Crossings: Contemporary Art Comes Home, provides readers with a lavish record of this extraordinary and innovative exhibition, and offers unique and highly informative perspectives on the continuity of the American artistic tradition in one of the nation’s most historic locations.

In addition to an impressive plate section of more than 60 works with brief artist biographies and descriptive narratives for the individual works, this comprehensive presentation features noteworthy, exceptional contributions. Stephen Hannock’s preface details the development of this remarkable exhibition, while co-curator Jason Rosenfeld reveals in his essay the exhibition’s importance relative to historical perception as he considers Cole’s and Church’s support of contemporary art in their time. Cultural historian Maurice Berger considers the realities of race and gender from the nineteenth-century Hudson River Valley to the present, and Marvin Heiferman, curator and writer, examines photography in the exhibition and its connections to Church’s work and his use of the medium. Award-winning architectural and landscape photographer Peter Aaron generously provided the stunning installation, exterior, and landscape photographs, a gorgeous complement to this outstanding catalogue.