The Pollock-Krasner House and Study Center’s public programs are supported in part by grants from the New York State Council on the Arts, with the support of Governor Andrew Cuomo and the New York State Legislature, the Suffolk County Office of Cultural Affairs, the Stony Brook University Research Foundation, the Pollock-Krasner Endowment Fund and the Herman Goldman Foundation.
Spring Lecture Series
Art in Focus at Stony Brook Southampton Library
Co-sponsored by the Pollock-Krasner House and Study Center and the Stony Brook Southampton
Library, this series offers personal perspectives on two visionary artists and a wide-ranging
exhibition that looks back to a turbulent decade in the art world.
Tuesday evenings at 7 pm. Admission is free.
Stony Brook Southampton Library, 239 Montauk Highway, Southampton
Made possible by support from the John H. Marburger III Fund of Stony Brook University
FOCUS: The Watermill Center, A Laboratory for Creative Process
Director, The Watermill Center / Byrd Hoffman Watermill Foundation
An inside look at Robert Wilson’s remarkable facility and its international program
FOCUS: That Eighties Show
Charles A. Riley II
Director, Nassau County Museum of Art
A private tour of Charlie’s current exhibition, studded with art stars of the 1980s
FOCUS: Lee and Me
Director Emerita, Guild Hall of East Hampton
A preview of Ruth’s intimate memoir of her relationship with Lee Krasner
Summer Art Workshops at the Pollock-Krasner House
Thursdays, Fridays and Saturdays, 10 - 11:30 a.m. in July and August.
Designed for people of all ages, these programs include a tour of the house and studio, a film of Pollock at work, and a hands-on painting session. Registration is required, and space is limited.
Thursdays and Fridays: Action Painting with Karyn Mannix.
Call 631-329-2811 or email email@example.com to register.
Saturdays: Family art Workshop with Joyce Raimondo.
Register online at imaginearted.com, click on Families.
JOHN H. MARBURGER III MEMORIAL LECTURE AT GUILD HALL
Sunday, July 28 at 3 pm. Admission is free, no reservations required.
The John Drew Theater of Guild Hall, 158 Main Street, East Hampton
Co-sponsored by Guild Hall and the Pollock-Krasner House and Study Center
Made possible by the John H. Marburger III Fund of Stony Brook University
Marie-Josée and Henry Kravis Chief Curator of Painting and Sculpture
The Museum of Modern Art, New York
Re-Thinking Modern Art: A Preview of the Museum's New Collection Galleries
At the Museum of Modern Art’s founding in 1929, its director Alfred H. Barr, Jr. envisioned it as a laboratory: a site of interdisciplinary connection and curatorial experimentation. Looking to Barr and to the museum’s evolution in the ninety years since then, MoMA will open its newly-expanded campus in 2019, increasing not only its gallery spaces but also the creative potential within them. Taking into consideration today’s immense pool of knowledge on art and artists worldwide, how do we continue to build and present a contemporary collection of modern art?
Ann Temkin received her BA from Harvard University and her PhD in the history of art from Yale University. Formerly the Muriel and Philip Berman Curator of Modern and Contemporary Art at the Philadelphia Museum of Art, she joined the Museum of Modern Art in 2003 as Curator and assumed the role of Chief Curator of Painting and Sculpture in 2008. During her tenure, she has focused especially on the acquisitions program of the Department of Painting and Sculpture, and on reimagining the museum’s collection galleries.
LICHTENSTEIN LECTURE SERIES HOSTED BY THE ARTS CENTER AT DUCK CREEK
Sundays in July and August at 5 pm. Admission is free, no reservations required.
The John Little Barn at Duck Creek, 127 Squaw Road, East Hampton
Made possible by a generous contribution from Dorothy Lichtenstein
Jackson Pollock: Back in the Studio
Distinguished Visiting Professor
NYU Institute of Fine Arts
Dead Men Walking: Alberto Giacometti’s Gaunt Figures
Biographer, Art Historian and Psychoanalyst
Roleplay: The Artist as Curator
Professor of Art History
Kean University of New Jersey
The Art of Jean Dubuffet, Jackson Pollock, Alfonso Ossorio and Mark Tobey
Jackson & Life & Helen & Time
Author and Critic
Book singing to follow.
The Women of Atelier 17
Art Historian and Author
Book signing to follow.
ARTISTS ON FILM SERIES AT THE POLLOCK-KRASNER HOUSE
Hosted by Marion Wolberg Weiss, PhD.
Fridays in September at 7 pm. Admission is free.
Made possible by the generosity of our members.
VAN GOGH ON FILM: SEARCHING FOR THE REAL VINCENT
This year's fall film series honors the life and art of Vincent van Gogh, allowing international directors to ask the question, "Who really is Vincent van Gogh?" In this search, various cinematic styles are experienced, along with memorable characters, landscapes, locales and cultures. Yet, is the puzzle involved in van Gogh's existence and contribution to art ever solved? He himself said he loved a "mystery," and the series proves him right: the expressionistic Loving Vincent (the first fully painted animated film); the abstract/impressionistic Vincent: The Life and Death of Vincent van Gogh; the realistic Van Gogh; and the surrealistic At Eternity’s Gate. These works not only bring the painter to life, but illustrate compelling and provocative examples of how art and film become one.
Dorota Kobiela and Hugh Welchman, Loving Vincent, 2017 (95 min)
This Polish-UK co-production is a brilliant experiment featuring hand-painted images in oil on canvas, composed of 65,000 frames and executed by over a hundred painters. Yet regardless of the plot's expressionistic style, the characters seem like real people. The film’s technical experimentation recalls the work of Polish director Roman Polanski, which this series celebrated in 2017. The story (with voice-over by Saoirse Ronan, among others) traces van Gogh's beginnings, evolution and death, especially seeking the truth about his relationship with women and his suicide. But we are left with more questions than answers.
Van Gogh's Bedroom, 1977 (3 min)
While this short by local artist Christa Maiwald was made 42 years ago, and represents a different technological approach than Loving Vincent, it is still ahead of its time with an animated method called "keying" and the use of miniature and human scale. Moreover, the themes of the two films are coincidently similar: the actor playing van Gogh (Eli Wallach's son, Peter) is attempting to discover the hidden dimensions of the artist's bedroom. Thus, a search is an essential part of the action.
Paul Cox, Vincent: The Life and Death of Vincent van Gogh, 1987 (105 min)
Directed by Australian documentarian Paul Cox, this film about van Gogh's life is another kind of experimentation; we never see him, but hear him speak (voiced by actor John Hurt) as he reads his letters to his brother, Theo.
We must imagine what he may be like, just as we had to do in Loving Vincent. Clues are given in the form of his sketches and paintings alternated with abstract nature images and live- action scenes showing daily life. The movie has been called the "most profound exploration of an artist's soul ever to be put on film." (Village Voice)
Maurice Pialat, Van Gogh, 1991 (159 min)
Based on the last sixty-seven days of van Gogh's life, this French film is in many ways a more realistic view of the artist.
Hollywood techniques are often avoided and authentic ambience and details prevail. Tactics like flashbacks and transitions are also not included. Yet, there are episodes that are both realistic and dramatic. For example, the buildup to van Gogh's suicide is not part of the plot. We merely hear the sound of a gun.
It's a slice of life we see unfolding that keeps our attention. The film won the Cesar
Award for Best Actor.
Julian Schnabel, At Eternity's Gate, 2018 (96 min)
In his previous films, Basquiat and Before Night Falls, Julian Schnabel examined the lives of artists facing extremely difficult challenges as societal outsiders. Van Gogh is no exception.
Protagonist Willem Dafoe has also taken on roles about real people who face compelling challenges, most famously in The Last Temptation of Christ. As conceived by Dafoe and Schnabel, van Gogh is more ambiguous than insane, and kinder than usually perceived. However, the director gives him a somewhat surreal edge, with dramatic use of sound, a hand-held camera, long takes, camera pans and raked angles.