The Ingalls Library collection includes approximately 1,200 currently received periodical titles. That is quite simply, an overwhelming number. This ongoing series features articles that discuss objects included in the museum’s collection of more than 46,000 objects, as well as articles written by museum staff members. Additionally, articles about the museum, its history and activities are noted.
Three works featured in Fred Wilson: Works 2004 – 2011, an exhibition on display at the Cleveland Museum of Art from December of 2012 to May of 2013, are pictured in the most recent issue of Border Crossings. Included in an extensive interview with Wilson are images of 2011's Murano glass chandelier To Die Upon a Kiss along with The Mete of the Muse (2004-7) and Oto Benga from 2008. Each sculptural work features strong black and white juxtaposition and addresses issues related the roles that museums and other cultural institutions play in the often complicated perpetuation of accepted perceptions about societal types and identities, particularly those related to race. In the article, Wilson, an artist of mixed Caribean and African American descent, discusses his self-described outsider youth in suburban Westchester, New York, the ways in which his work crosses the boundaries implied by the terms "artist" and "curator" and how his art has enabled him "to see the world anew."
The April edition ofThe Burlington Magazine features a write-up of the recently departed and highly successful Painting and the Modern Garden exhibition which closed at the Cleveland Museum of Art in January and was on view at Royal Academy of Arts, London at the time of the article's publication. The exhibition has since closed at the Royal Academy of Arts as well, ending its run at that institution on April 20th. The article shows the installation view of Water lilies (Agapanthus) comprised of three panels, one from each of the following: Cleveland Museum of Art, Saint Louis Art Museum and the Nelson-Atkins Art Museum, Kansas City. Also mentioned in the review is the exhibition catalog written by co-curators Ann Dumas (Royal Academy of Arts) and Cleveland Museum of Art's Curator of Modern European Art, William Robinson with contributions from (among others) Cleveland Museum of Art's recently appointed Chief Curator, Heather Lemonedes.
An article entitled The genesis of the Netherlandish flower piece: Jan Brueghel, Ambrosius Boschaert and Middelburg appears in the latest edition of Simiolus: Netherlands Quarterly for the History of Art. In it, one can find an image of Ambrosius Boscheart the Elder’s Flowers in a glass, an oil-on-copper workfrom 1606 found in the museum’s Dutch Painting Gallery. The vibrant color and intricately detailed composition of the small painting is used in the article to illustrate similarities with floral still-life paintings created by Jan Brueghel the Elder from right around the same time period. The author contends that these and other similarities in innovation are perhaps an indication that there may have been exchanges between the two artists despite the fact that they “worked in two separate territories that were at war with each other.”
The Journal of the History of Collection’s November 2015 edition features an article penned by Cleveland Museum of Art’s own Curator of Medieval Art, Stephen Fliegel. In the article, The dream of chivalry: Arms and armour and their appeal to the American collector of the Gilded Age, Fleigel looks at Victorian medievalism, a culturally pervasive mindset during the early part of the 20th century that influenced the Pre-Raphaelite Brotherhood, the Arts and Crafts Movement and Gothic Revival architecture, as a strong source of inspiration for an upsurge in the collection of arms and armour during the time period. The article discusses the collections of several prominent private collectors including William Randolph Hearst, Chicago’s George F. Harding and lifelong friend of J. Pierpont Morgan, William H. Riggs. Of particular interest is a section on institutional arms and armour collections that focuses on the Cleveland Museum of Art’s substantial acquisitions in arms and armour overseen by Frederic Alan Whiting, the museum’s first director. An image of the Armor Court at The Cleveland Museum of Art taken in 1916 appears on page 372 of the journal.