Secrets From The Vault

Rick Barton: A Curatorial Serial, Part I

Submitted by Rachel Federman on Sun, 04/19/2020 - 2:00pm

Exhibitions are often multiyear projects. With a monographic exhibition—one that focuses on a single artist—the subject, even when not alive, can come to feel like a significant presence in the life of a curator. As someone who has focused on artists who came to prominence in the second half of the increasingly historical twentieth century, I have been fortunate to “get to know” some of the late artists I have worked on, not only through research in libraries and archives, but also through conversations with the artists’ familes, friends, and acquaintances.

Rick Barton: A Curatorial Serial, Part III

Submitted by Rachel Federman on Mon, 06/01/2020 - 1:35pm

In the early days of 2018, I arrived in Los Angeles with appointments to see Henry Evans’s Peregrine Press papers at the Clark Memorial Library and a cache of over 700 drawings by Rick Barton at UCLA Library Special Collections. Although I had been assured that the drawings would be available, I worried that something might go wrong or that the drawings would not have been worth the trip.

Rick Barton: A Curatorial Serial, Part IV–Conclusion

Submitted by Rachel Federman on Fri, 07/10/2020 - 12:00am

In early 2018, I received the welcome news that UCLA Library Special Collections would consider lending drawings by Rick Barton to an exhibition at the Morgan. Moreover, more than 600 drawings that had not been located at the time of my visit were now available to view. My next opportunity to travel to Los Angeles would not arrive until October of that year. But in the interim, I made a number of crucial discoveries.

Robert Burns on Auld Lang Syne

Submitted by Carolyn Vega on Fri, 12/31/2010 - 10:32am

In the early 1790s the Scottish music collector George Thomson approached Robert Burns, asking for help in compiling and editing his Select Collection of Original Scotish Airs. Burns readily agreed (although with the proviso that his name not be attached to the publication), and the nearly 60 letters from Burns to Thomson that survive are filled to the brim with working and fair copies of some of Burns’s most famous songs.

One letter, written in early September of 1793, discusses in detail no fewer than 74 songs – and it is within this letter, buried nearly at the end, that we find his full text to Auld Lang Syne.

Shiva Ahmadi's Tower

Submitted by Rachel Federman on Mon, 07/27/2020 - 2:00pm

My attraction to Shiva Ahmadi’s Tower (2017) was immediate, but it is a challenging work in both its content and execution. In discussing it, I find it helpful to speak in terms of dualities: seduction and repulsion, translucency and opacity, chaos and control, background and foreground. Ahmadi has done this herself in quotations like the one above.

Slow Art: Helène Aylon

Submitted by Rachel Federman on Fri, 03/26/2021 - 11:00am

Helène Aylon’s mature career began in the late 1960s, when she was nearly forty years old and already a widow raising two children. In 1977 and ‘78, she was among ten women interviewed by the writer Gloria Frym for a volume called Second Stories: Conversations with Women Whose Artistic Careers Began After Thirty-Five.

Some terrible investment advice from Alexander Pope -- "Buy of South Sea Stock"

Submitted by Rebecca Filner on Thu, 11/04/2010 - 11:31am

The South Sea Bubble of 1720 is one of the most memorable economic bubbles in Britain. Founded in 1711, the South Sea Company was a British joint-stock company that had exclusive trading rights in Spanish South America. Rumors about the potential value of its South American trade stoked rampant speculation, with shares in the company -- offered at just over £100 in January 1720 -- rising to more than £1000 by August. However by the end of September the bubble had popped. Shares fell to £150 and thousands of people were ruined.