Yesterday and Today: Art and Design (Part II)
Fig. 1. On Reflection, Virtual B01 by Ori Gersht (1967–), 2014. Signed, titled and dated on gallery label on the back. Archival pigment print, 39 3/8 by 31 ½ inches. © Ori Gersht, courtesy of the artist and Yancey Richardson, New York. All objects illustrated are in the collection of Joseph Cunningham and Bruce Barnes. When thinking about bringing together art and design across a century, there are no better exemplars than the divine union of late nineteenth- and early twentieth-century decorative arts and postwar paintings and sculptures in the collection that Sydney and Frances Lewis donated to the Virginia Museum of Fine Arts. Suffice it to say that there are few museum experiences more remarkable than the exhibition of the fruits of their collecting of art and design. Fig. 2. Tile from The Pines frieze by Addison LeBoutillier ( 1872–1951), Grueby Faience Company, Boston, c. 1906. 6 inches square. The decoration is executed in the cuerda seca technique. Here, we return to analyzing how juxtapositions of art and design across time and place can inform our understanding of both disciplines. Fig. 3. Vase with flambe glazes by Hugh Robertson (1844–1908), Dedham Pottery, Massachusetts, c. 1896–1908. Tooled “Dedham Pottery/ HR.” Unless noted, all ceramic works are made of glazed earthenware and are marked on the underside. Height 8 ¾ inches. Fig. 4. Small scenic bowl or vase by Frederick Hurten Rhead (1880–1942), Jervis Pottery, Oyster Bay, New York, c. 1908–1909. Tooled “Briarcliff ” and “Jervis” in octagon. Height 4 inches. Flowers, fireworks, land, and sea Fig. 5. Untitled by David Klamen (1961–), 2005. Signed and dated on the back. Oil on linen, 36 by 62 inches. Courtesy of the artist and Gray New York. Ori Gersht is highly regarded for his extraordinary photographs of exploding floral
