Hauser & Wirth Announces Independent Non-Profit Institute Devoted to Art Historical Scholarship and the Preservation and Accessibility of Artists’ Archives

Thursday, November 29, 2018
Hauser & Wirth Announces Independent Non-Profit Institute Devoted to Art Historical Scholarship and the Preservation and Accessibility of Artists’ Archives

To pursue its mission, the Institute will create a study center for the preservation, expedient cataloguing, and digitization of primary research materials for direct study and free online public access to these resources.

Image: Hauser & Wirth Institute
Inaugural Initiatives Include Franz Kline Paintings Catalogue Raisonné, a Spring 2019 Symposium, and Three U.S. Fellowships 

New York... Iwan Wirth, President and Manuela Wirth, Co-Founders of Hauser & Wirth, and Marc Payot, Partner and Vice President, announced the establishment of Hauser & Wirth Institute, an independent non-profit 501(c)(3) private operating foundation dedicated to supporting art historical scholarship and to preserving and advancing the legacies of modern and contemporary artists through enabling greater public access to their archives for research.

To pursue its mission, the Institute will create a study center for the preservation, expedient cataloguing, and digitization of primary research materials for direct study and free online public access to these resources. It will seek to nurture innovation and substance in art historical research through the funding of fellowships in partnership with artists’ estates, foundations, and educational institutions. Another core activity of the Institute will be the production of online catalogues raisonnés and print publications that advance the highest academic standards in order to strengthen the field of modern and contemporary art history. The organization will also present public programs, including exhibitions of archival material and symposia that engage scholars, archivists, artists, collectors, curators, estate managers, gallerists, and the general public in dialogues about the obligations and opportunities inherent in archive stewardship. 
 
The activities of Hauser & Wirth Institute will include both projects connected with artists represented by Hauser & Wirth and artists who are unaffiliated with the gallery. 

The Institute is under the leadership of Executive Director Jennifer Gross, formerly Chief Curator and Deputy Director of deCordova Sculpture Park and Museum in Lincoln, Massachusetts. Previous to her work at deCordova, Gross served as Curator of Modern and Contemporary Art at the Yale University Art Gallery in New Haven, Connecticut; Curator of Contemporary Art at the Isabella Stewart Gardner Museum in Boston, Massachusetts; and Founding Director of the Institute of Contemporary Art at Maine College of Art in Portland, Maine.

Hauser & Wirth Institute is governed by a Board of Directors with guidance provided by an independent Advisory Board of artists, advisors to artists’ estates, scholars, and archivists. 

Hauser & Wirth Institute
“The work of Hauser & Wirth Institute is a natural extension of our gallery’s support of living artists and the noteworthy estates and foundations we have represented for over 25 years,” Iwan Wirth said. “The art world has accelerated and globalized its exhibition and publishing activities so dramatically. In creating the Institute, we hope to make resources available to support similar growth in the areas of art historical research and the sharing of essential knowledge that fuel a richer understanding of art, artists, and the creative processes central to the history of culture for future generations. We are honored to have the opportunity to create an organization to do this work, and so grateful to our Advisors for joining in the effort.” 

Jennifer Gross commented, “We are thrilled to launch this unique and ambitious initiative at a time when there are fewer and fewer resources available to afford scholars the time and access needed for primary document research. It is a great privilege to care for and process archival materials. Even as the art world has become interested in these resources, it is critical to support public conversation about best stewardship and most effective and appropriate practices and partnerships. Technology should be enabling the sharing of intellectual and visual resources, but the speed at which the art world is operating now can preclude adequate attention to this work. We aim to broaden the art historical conversation to reflect the diversity of aesthetic and cultural values at hand today.” 

 
Inaugural Projects of Hauser & Wirth Institute include the following: 

Franz Kline Catalogue Raisonné 
Hauser & Wirth Institute will produce an online catalogue raisonné of Franz Kline Paintings, 1950–1962, in cooperation with the Estate of Franz Kline. The Institute has provided funding to the Archives of American Art, Smithsonian Institution, to catalogue and digitize the Franz Kline archive in order to realize this project, and enable for the first time unrestricted online access to this material at Archives of American Art for educational purposes. 

These two initiatives are intended to enrich scholarship on Franz Kline and increase public knowledge of his work and contributions to art history. Franz Kline Paintings, 1950–1962 will provide researchers and the public free and open access to this definitive resource on Kline’s paintings from a watershed period in the career of this eminent American abstractionist. 

Franz Kline Paintings, 1950–1962 is being developed under the direction of Kline scholar Robert Mattison, Marshall R. Metzger Professor of Art History and Chair of the Department of Art at Lafayette College. Mattison’s scholarship on American modernism has included such artists as Arshile Gorky, Grace Hartigan, Robert Motherwell, Robert Rauschenberg, and Theodoros Stamos. Dr. Mattison earned PhD and MFA degrees from Princeton University, an MA from Williams College Graduate Program in the History of Art, and a BA from Middlebury College. 

 
Jason Rhoades Archive 
In cooperation with the Estate of Jason Rhoades, Hauser & Wirth Institute will catalogue, digitize, and create an online portal to the collected materials of the Jason Rhoades Archive. This initiative will enable free and open online access to this influential artist’s archive for the first time in order to encourage new scholarship and broader public knowledge of one of the most significant artists to emerge from Los Angeles since the 1960s, and to advance appreciation for his creative process and the broader cultural context in which he worked. 

Comprising some eighty- five linear feet of material, the Rhoades archive includes installation manuals the artist prepared for works such as ‘Swedish Erotica and Fiero Parts’ (1994), ‘My Brother/Brancusi’ (1995), ‘Tijuanatanjierchandelier’ (2006), and ‘My Madinah. In pursuit of my ermitage...’ (2004). It also contains slides, photographs, receipts, correspondence, drawings, notebooks, and audiovisual material, including notes dictated by Rhoades and recorded interviews with the artist. Once catalogued, the archive will be made accessible to researchers by appointment. 

Fellowships 
Hauser & Wirth Institute supports research fellowships for predoctoral, postdoctoral, and senior scholars. These archives-based fellowships promote meaningful, field-enriching research by established art historians and encourage a new generation of visual art scholars. e fellowships are intended to nurture art historical dialogue and advance the use of primary materials in scholarly and curatorial work in the eld of modern and contemporary art. 

Postdoctoral and Senior Scholar Fellowships 
Hauser & Wirth Institute Postdoctoral and Senior Scholar Research Fellowship Program supports nine to twelve months of archival research in the field of modern and contemporary art. A stipend of up to $50,000 is awarded to each recipient. In 2018, these Fellowships are awarded to:

Melissa Rachleff, Associate Professor of Arts Administration, New York University 
Billy Klüver and Julie Martin Archive 
Rachleff is researching and transcribing interviews Klüver and Martin recorded with artists and other noteworthy contributors active in the art community between 1945 and 1965. 

 

JENNIFER GROSS (Executive Director) is an art historian and curator who came to the Institute from deCordova Sculpture Park and Museum in Massachusetts, where she was the Chief Curator and Deputy Director of Curatorial A airs. Previous to her work at deCordova, Gross was the Curator of Modern and Contemporary Art at the Yale University Art Gallery, the Curator of Contemporary Art at the Isabella Stewart Gardner Museum, and the Founding Director of the Institute of Contemporary Art at Maine College of Art. Her curatorial projects have included Expanding Abstraction: New England Women PaintersEdward Steichen: Twentieth-Century PhotographerDrawing Redefined: Roni Horn, Esther Kläs, Joëlle Tuerlinckx, Richard Tuttle, and Jorinde VoigtIan Hamilton Finlay: Arcadian Revolutionary and Avant-Gardener; Richard Artschwager! and The Société Anonyme: Modernism for America. She has also written extensively on contemporary art, including the work of Richard Tuttle, Kristin Baker, Roni Horn, Josiah McElheny, Thomas Nozkowski, Jim Nutt, Richard Rezac, and Rachel Whiteread. 

Biographies of Advisory Board 

MARTINA DROTH is Deputy Director of Research, Exhibitions, and Publications, and Curator of Sculpture at the Yale Center for British Art, chair of the Association of Research Institutes in Art History, and co-editor of British Art Studies, a peer-reviewed online journal. Droth’s research focuses on nineteenth- and twentieth-century British sculpture, with an emphasis on interdisciplinary practice. Her exhibitions have included Things of Beauty Growing: British Studio Potery, co-curated with Glenn Adamson and Simon Olding, Sculpture Victorious: Art in an Age of Invention, 1837–1901Caro: Close Up, and Taking Shape: Finding Sculpture in the Decorative Arts. 

DARBY ENGLISH is the Carl Darling Buck Professor in the Department of Art History at the University of Chicago, where he teaches courses in modern and contemporary American and European art and cultural studies. English is associate faculty in the Department of Visual Arts and the Center for the Study of Race, Politics, and Culture. Since 2014, he has served as Adjunct Curator in the Department of Painting and Sculpture at the Museum of Modern Art. He is the author of How to See a Work of Art in Total Darkness, 1971: A Year in the Life of Color, and To Describe a Life: Notes at the Intersection of Art and Race Terror

CHARLES GAINES has since the 1970s earned wide respect and recognition for conceptually driven art spanning photography, drawing, music, and installation. Gaines’s projects include his text-based as well as grid-based works. His celebrated grid-based work is produced by both subdividing and layering images and forms following a process that adheres to and undermines a set of rules in order to explore issues around race and systems of representation. His work has been exhibited extensively, including at the Studio Museum in Harlem and the Hammer Museum in Los Angeles, which presented a major survey, Charles Gaines: Gridwork 1974–1989 in 2014/15, and as part of the exhibition Solidary & Solitary: The Joyner/Giuffrida Collection, which will appear at several museums, including the Baltimore Art Museum and the Berkeley Art Museum and Pacific Film Archive, through 2020. In November, an exhibition of Gaines’s work will open at Galerie Max Hetzler in Berlin, and 2019 will see his first exhibition with Hauser & Wirth, in Los Angeles. Gaines’s work is in the collections of the Studio Museum in Harlem, the Museum of Modern Art, and the Whitney Museum of American Art. 

JOAN JONAS is a multimedia artist whose work was foundational to the performance art movement of the 1960s and laid the groundwork for the emergence of video art in the 1970s. Frequently combining elements of theater, dance, installation, projection, drawing, and sound, Jonas has explored female identity, the subjectivity of perception, and the formal boundaries of media. Jonas’s work has been exhibited around the world, with retrospectives at the Queens Museum of Art, New York; Stadtsgalerie Stuttgart, Stuttgart; Van Abbemuseum, Eindhoven; and Stedelijk Museum, Amsterdam, and, most recently, a major solo exhibition at Tate Modern in London. In 2015, she represented the United States at the 56th Venice Biennale. She is the recipient of numerous awards, including the 2018 Kyoto Prize for Art, and is the subject of the Joan Jonas Knowledge Base, an archive initiative of New York University. 

DAVID JOSELIT is Distinguished Professor of Art History at the Graduate Center, City University of New York, and an editor of October. His research, writing, and criticism on modern and contemporary art explore theories surrounding the circulation of images in an age of expanding media and increasing globalization. Joselit was curator of ICA Boston from 1983 to 1989. He is the author of After Art, Feedback: Television Against Democracy, American Art Since 1945, and Infinite Regress: Marcel Duchamp 1910–1941, and was a co-curator of Painting 2.0: Expression in the Information Age at the Museum Brandhorst in Munich. His forthcoming book, Heritage and Debt: Art in Globalization, will be released in 2020. 

ZOE LEONARD has since the 1980s used photography, sculpture, and installation to illuminate the remarkable in the mundane, and to question the nature and politics of subjective experience. Her work has been exhibited widely, including at the Museum of Modern Art, Fotomuseum Winterthur, the Wexner Center for the Arts, Chinati Foundation, Dia:Beacon, Documenta IX and XII, and in several Whitney Biennials. This year, Leonard is the subject of a mid-career retrospective that originated at the Whitney Museum of American Art and opened at the Museum of Contemporary Art, Los Angeles, in November. Leonard will also participate in the Carnegie International, 57th Edition, where she will present a new body of work. 

BARRY ROSEN is a curatorial consultant and advisor to Ida Applebroog and the estates of Eva Hesse, Allan Kaprow, Lee Lozano, and Dieter Roth. He was on the founding staff of the New Museum and in the course of his career has contributed to the realization of several significant exhibitions, including Eva Hesse: A Retrospective,
curated by Helen A. Cooper at the Yale University Art Gallery, and Eva Hesse, organized by Dr. Renate Petzinger and Elisabeth Sussman and on view at the San Francisco Museum of Art, Museum Wiesbaden, and Tate Modern. Rosen was the editor of Chihuly on Paper and Eva Hesse Diaries, and, with Petzinger, the co-editor of the two-volume catalogue raisonné of Eva Hesse’s paintings and sculpture. Rosen has been actively involved in several arts initiatives including an arts education program for elders in Seattle and a glassblowing studio for at-risk youth in Tacoma, WA, and on the Taos Pueblo. He is currently the board Chair of the Active Citizen Project, an urban farming program for low-income New Yorkers. 

DIETER SCHWARZ is an independent author and curator. From 1985 to 1990, he was Curator of Kunstmuseum Winterthur in Switzerland, and from 1990 to 2017, he served as the museum’s Director. He has organized numerous important exhibitions on modern and contemporary art, with a focus on recent German, Italian, and American work, including Roni Horn: Rare SpellingsMarisa Merz, Brice Marden: Work BooksVija CelminsThomas SchütteLuciano FabroGerhard Richter: Stripes and GlassFred Sandback: DrawingsRichard Tu le: KalliroosJoel Shapiro: Floor Wall Ceiling, and Richard Hamilton: Exteriors, Interiors, Landscape, People. Schwarz has written extensively on such artists as Robert Ryman, Robert Mangold, Gerhard Richter, Marcel Broodthaers, Richard Artschwager, and Agnes Martin. He sits on the Board of the Thomas Schütte Stiftung, the Fondation Félix Vallotton, and the Fondation Mattioli Rossi. 

FRANCINE SNYDER is the Director of Archives and Scholarship at the Robert Rauschenberg Foundation, and specializes in artists’ archives and archive collections found in museums and art centers. Prior to joining the Rauschenberg Foundation in 2015, she was Director of the Library and Archives at the Guggenheim Museum, where she led an assessment and reorganization of the museum’s library and archival resources. Her professional activities include serving on committees within the Society of American Archivists (SAA), SAA Museum Archives Section, Metropolitan New York Library Council, Art Libraries Society of North America, and New York City Digital Art History, and presenting nationally and internationally on artist’s archives and fair use. Snyder is a 2014 Archives Leadership Institute cohort.

 

Courtesy to Hauser & Wirth Institute

 

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