Maryland Institute College of Art
The Maryland Institute College of Art is a private art and design college in Baltimore, Maryland. It was founded in 1826 as the Maryland Institute for the Promotion of the Mechanic Arts, making it one of the oldest art colleges in the United States. MICA is a member of the Association of Independent Colleges of Art and Design, a consortium of 36 leading US art schools, as well as the National Association of Schools of Art and Design; the college hosts pre-college, post-baccalaureate, continuing studies, Master of Fine Arts, Bachelor of Fine Arts programs, as well as young peoples' studio art classes. The Maryland Institute for the Promotion of the Mechanic Arts was established by prominent citizens of Baltimore, such as Fielding Lucas Jr. John H. B. Latrobe, Hezekiah Niles and Thomas Kelso. Other leaders and officers in that first decade were William Stewart, George Warner, Fielding Lucas Jr. John Mowton, Dr. William Howard, as well as James H. Clarke and D. P. McCoy, Solomon Etting, Benjamin C.
Howard, William Hubbard, William Meeter, William Roney, William F. Small, S. D. Walker, John D. Craig, Jacob Deems, William H. Freeman, Moses Hand, William Krebs, Robert Cary Long, Jr. Peter Leary, James Mosher, Henry Payson, P. K. Stapleton, James Sykes and P. B. Williams; the General Assembly of Maryland incorporated the Institute in 1826, starting in November of that year, exhibitions of articles of American manufacture were held in the "Concert Hall" on South Charles Street. A course of lectures on subjects connected with the mechanic arts was inaugurated, a library of works on mechanics and the sciences was begun; the school operated for a decade at "The Athenaeum" at the southwest corner of East Lexington and St. Paul Streets facing the second Baltimore City/County Courthouse between North Calvert and St. Paul Streets; this first Athenaeum was destroyed by fire on February 7, 1835 along with all of its property and records. The fire was caused by a bank riot due to the financial panic following the collapse of several Baltimore banks.
In November 1847, Benjamin S. Benson and sixty-nine others, issued a call for a meeting of those favorable to the formation of a mechanics' institute, which resulted in the reopening of the Institute on January 12, 1848; the first annual exhibition was held followed by two more. The 1948 officers were John A. Rodgers – president, Adam Denmead – first vice president, James Milholland – second vice president, John B. Easter – recording secretary, Samuel Boyd – treasurer; the Institute was reincorporated by the state legislature at their December session in 1849 and was endowed by an annual appropriation from the State of Maryland of five hundred dollars. In 1849, the Board of Managers extended the usefulness and broadened the appeal of its programs to ordinary citizens by opening a School of Design and an additional Night School of Design was extended two years in the new hall and building, under William Minifie as principal of the reorganized Institute. Classes resumed in rented space over the downtown Baltimore branch of the U.
S. Post Office Department in the "Merchants Exchange"; the City Council in 1850 passed an ordinance granting the Institute permission to erect a new building over a reconstructed "Centre Market", laying the cornerstone on March 13, 1851, with John H. B. Latrobe, son of national architect Benjamin Henry Latrobe. In 1851, the Institute moved to its own building, built above the old Centre Market on Market Place between East Baltimore Street and Water Street alongside the western shore of the Jones Falls. Centre Market continued to be known in the city as "Marsh Market" after the former Harrison's Marsh from colonial times; the building covered an entire block and had two stories built on a series of brick arches above the market, with two clock towers at each end. The second floor with the Institute, housed classrooms, offices and studios and one of the largest assembly halls/auditorium in the state. During this period the Institute added a School of Chemistry, thanks in part to a bequest from philanthropist George Peabody, B.& O. Railroad President Thomas Swann, along with a School of Music.
Night classes for Design are added for men who work during the day, but would like training in Architecture and Engineering at night. In 1854, a Day School of Design opened for women—one of the first US arts programs for women. In 1860, the Day School for men opened, in 1870, the Day school became co-ed. For 79 years the Institute remained in the location above the Centre Market, its "Great Hall", large enough to accommodate 6,000, attracted many famous speakers and lecturers, it hosted events and shows related to the Arts, as one of Baltimore's largest halls, it hosted important events to the city and the region. In 1852, it hosted both of the National political conventions to nominate presidential candidates Winfield Scott and his opponent Franklin Pierce. During the American Civil War, the Institute served as an armory for the Union and
Museum of Contemporary Art, Chicago
The Museum of Contemporary Art Chicago is a contemporary art museum near Water Tower Place in downtown Chicago in Cook County, United States. The museum, established in 1967, is one of the world's largest contemporary art venues; the museum's collection is composed of thousands of objects of Post-World War II visual art. The museum is run gallery-style, with individually curated exhibitions throughout the year; each exhibition may be composed of temporary loans, pieces from their permanent collection, or a combination of the two. The museum has hosted several notable debut exhibitions including Frida Kahlo's first U. S. exhibition and Jeff Koons' first solo museum exhibition. Koons presented an exhibit at the Museum that broke the museum's attendance record; the current record for the most attended exhibition is the 2017 exhibition of Takashi Murakami work. Its collection, which includes Jasper Johns, Andy Warhol, Cindy Sherman, Kara Walker, Alexander Calder, contains historical samples of 1940s–1970s late surrealism, pop art and conceptual art.
The museum presents dance, theater and multidisciplinary arts. The current location at 220 East Chicago Avenue is in the Streeterville neighborhood of the Near North Side community area. Josef Paul Kleihues designed the current building after the museum conducted a 12-month search, reviewing more than 200 nominations; the museum was located at 237 East Ontario Street, designed as a bakery. The current building is known for its signature staircase leading to an elevated ground floor, which has an atrium, the full glass-walled east and west façades giving a direct view of the city and Lake Michigan; the Museum of Contemporary Art Chicago was created as the result of a 1964 meeting of 30 critics and dealers at the home of critic Doris Lane Butler to bring the long-discussed idea of a museum of contemporary art to complement the city's Art Institute of Chicago, according to a grand opening story in Time. It opened in fall 1967 in a small space at 237 East Ontario Street that had for a time served as the corporate offices of Playboy Enterprises.
Its first director was Jan van der Marck. In 1970 he invited Wolf Vostell to make the Concrete Traffic sculpture in Chicago; the museum was conceived as a space for temporary exhibitions, in the German kunsthalle model. However, in 1974, the museum began acquiring a permanent collection of contemporary art objects created after 1945; the MCA expanded into adjacent buildings to increase gallery space. In 1978, Gordon Matta-Clark executed his final major project in the townhouse. In his work Circus Or The Caribbean Orange, Matta-Clark made circle cuts in the walls and floors of the townhouse next-door to the first museum. In 1991, the museum's Board of Trustees contributed $37 million of the expected $55 million construction costs for Chicago's first new museum building in 65 years. Six of the board members were central to the fundraising as major donors: Jerome Stone, Beatrice C. Mayer and family, Mrs. Edwin Lindy Bergman, the Neison Harris and Irving Harris families, Thomas and Frances Dittmer.
The Board of Trustees weighed architectural proposals from six finalists: Emilio Ambasz of New York. According to Chicago Tribune Pulitzer Prize-winning architecture critic Blair Kamin, the list of contenders was controversial because no Chicago-based architects were included as finalists despite the fact that prominent Chicago architects such as Helmut Jahn and Stanley Tigerman were among the 23 semi-finalists. In fact, none of the finalists had made any prior structures in Chicago; the selection process, which started with 209 contenders, was based on professional qualifications, recent projects, the ability to work with the staff of the aspiring museum. In 1996, the MCA opened its current museum at 220 East Chicago Avenue, the site of a former National Guard Armory between Lake Michigan and Michigan Avenue from 1907 until it was demolished in 1993 to make way for the MCA; the four-story 220,000-square-foot building designed by Josef Paul Kleihues, five times larger than its predecessor, made the Museum of Contemporary Art Chicago the largest institution devoted to contemporary art in the world.
The physical structure is said to reference the modernism of Mies van der Rohe as well as the tradition of Chicago architecture. The museum opened at its new location June 21–22, 1996, with a 24-hour event that drew more than 25,000 visitors. For its 50th anniversary in 2017, the museum unveiled a $16 million renovation by architects Johnston Marklee, which redesigned 12,000 square feet within the existing footprint of the original Joseph Paul Kleihues design; the museum operates as a tax-exempt non-profit organization, its exhibitions and operations are member-supported and funded. The board of trustees is composed of 6 officers, 16 life trustees, more than 46 trustees; the current board chair is Michael O'Grady. The museum has a director, who oversees the MCA's staff of about 100. Madeleine Grynsztejn replaced 10-year director Robert Fi
Rhode Island School of Design
Rhode Island School of Design is a fine arts and design college located in Providence, in the U. S. state of Rhode Island. It has been ranked among the best educational institutions in the world for art and design. Founded in 1877, it is located at the base of College Hill; the two institutions share social and community resources and offer joint courses. Applicants to RISD are required to complete RISD's two-drawing "hometest", it includes, on the Fall 2015 term, about 470 faculty and curators, 400 staff members. About 2,014 undergraduates and 467 graduate students enroll from all over the United States and 57 other countries, it offers 17 graduate majors. RISD is a member of the Association of Independent Colleges of Art and Design, a consortium of thirty-six leading art schools in the United States, it maintains over 80,000 works of art in the RISD Museum. The Centennial Women were a group formed to raise funds for a separate Women's Pavilion showcasing women's work at the 1876 Centennial Exposition.
In a little over a year the RI women raised over $10,000 with spectacles such as: a recreation of the burning of the Gaspee that drew a crowd of 9000, the writing and publication of a monthly newspaper, Herald of the Century, an art exhibition. The Women's Pavilion at the 1876 Centennial highlighted women's "economic right to self-sufficiency" and included exhibits from founded design schools, displays of new patents by women entrepreneurs, a library containing only books written by women; the Rhode Island Centennial Women submitted their newspaper, Herald of the Century, to this Women's Pavilion's library. At the end of the World's Fair, the RI Centennial Women had $1,675 left over and spent some time negotiating how best to memorialize their achievements. Helen Adelia Rowe Metcalf proposed that the group donate the money to found what would become the Rhode Island School of Design, this option was chosen by a majority of the women on January 11, 1877; the school was incorporated in March 1877 and opened its doors the following fall at the Hoppin Homestead in downtown Providence, RI.
Metcalf directed the school until her death in 1895. Her daughter, Eliza Greene Metcalf Radeke took over until her death in 1931; the Rhode Island General Assembly ratified "An Act to Incorporate the Rhode Island School of Design" on March 22, 1877, "or the purpose of aiding in the cultivation of the arts of design". Over the next 129 years, the following original by-laws set forth these following primary objectives: The instruction of artisans in drawing, painting and designing, that they may apply the principles of Art to the requirements of trade and manufacture; the systematic training of students in the practice of Art, in order that they may understand its principles, give instruction to others, or become artists. The general advancement of public Art Education, by the exhibition of works of Art and of Art school studies, by lectures on Art. RISD is annually ranked as a top design school in the United States. U. S. News & World Report ranked RISD first amongst Fine Arts programs, above Yale University and the School of the Art Institute of Chicago.
In 2015 and 2016 RISD was ranked 3rd by the QS World University Rankings amongst Art & Design programs. Within subdivisions of Fine Arts, the school was ranked 1st in graphic design and industrial design; the RISD film program was ranked 5th in USA Today's 10 Best Schools for Pursuing a Film Degree. Its undergraduate architecture program ranked 7 in DesignIntelligence's ranking of the Top Architecture Schools in the US for 2017. Concentrations at RISD do not confer a degree. History, Philosophy + the Social Sciences Theory and History of Art and Design Literary Arts + Studies Nature–Culture–Sustainability Studies Computation and Culture Drawing The RISD Museum houses a collection of fine and decorative art objects; the first public galleries opened in 1893. RISD has teams in two sports and basketball; as might be considered fitting for an arts school, the symbolism used. The hockey team is called the "Nads", their cheer is "Go Nads!" The logo for the Nads features a horizontal hockey stick with two non-descript circles at the end of the stick's handle.
The basketball team is known as the "Balls", their slogan is, "When the heat is on, the Balls stick together." The Balls' logo consists of two balls next to one another in an irregularly shaped net. Lest the sexual message of these teams and logos be lost, the 2001 creation of the school mascot, ended any ambiguity. Despite the name, Scrotie is not a representation of a scrotum, but is a 7-foot tall penis, with scrotum and testes at the bottom. RISD has stated that Scrotie is only an "unofficial" mascot, yet Scrotie is featured prominently on the school's official website. In 2016, the school reported that the 2009 incarnation of the mascot had been deemed not appropriate for younger fans, so the mascot would return to its earlier, "more cartoonish" appearance. Founded in 1878, the RISD Library is one of the oldest independent art college libraries in the country, its more than 145,000 volumes and 380 periodical subscriptions offer unusual depth and richness in the areas of architecture, art and photography.
The collection provides strong historical and contemporary perspectives, materials in landscape architecture, ceramics and jewelry support upper-level research. The library is noted for it
Princeton University is a private Ivy League research university in Princeton, New Jersey. Founded in 1746 in Elizabeth as the College of New Jersey, Princeton is the fourth-oldest institution of higher education in the United States and one of the nine colonial colleges chartered before the American Revolution; the institution moved to Newark in 1747 to the current site nine years and renamed itself Princeton University in 1896. Princeton provides undergraduate and graduate instruction in the humanities, social sciences, natural sciences, engineering, it offers professional degrees through the Woodrow Wilson School of Public and International Affairs, the School of Engineering and Applied Science, the School of Architecture and the Bendheim Center for Finance. The university has ties with the Institute for Advanced Study, Princeton Theological Seminary and the Westminster Choir College of Rider University. Princeton has the largest endowment per student in the United States. From 2001 to 2018, Princeton University was ranked either first or second among national universities by U.
S. News & World Report, holding the top spot for 16 of those 18 years; as of October 2018, 65 Nobel laureates, 15 Fields Medalists and 13 Turing Award laureates have been affiliated with Princeton University as alumni, faculty members or researchers. In addition, Princeton has been associated with 21 National Medal of Science winners, 5 Abel Prize winners, 5 National Humanities Medal recipients, 209 Rhodes Scholars, 139 Gates Cambridge Scholars and 126 Marshall Scholars. Two U. S. Presidents, twelve U. S. Supreme Court Justices and numerous living billionaires and foreign heads of state are all counted among Princeton's alumni body. Princeton has graduated many prominent members of the U. S. Congress and the U. S. Cabinet, including eight Secretaries of State, three Secretaries of Defense and three of the past five Chairs of the Federal Reserve. New Light Presbyterians founded the College of New Jersey in 1746; the college was the religious capital of Scottish Presbyterian America. In 1754, trustees of the College of New Jersey suggested that, in recognition of Governor Jonathan Belcher's interest, Princeton should be named as Belcher College.
Belcher replied: "What a name that would be!" In 1756, the college moved to New Jersey. Its home in Princeton was Nassau Hall, named for the royal House of Orange-Nassau of William III of England. Following the untimely deaths of Princeton's first five presidents, John Witherspoon became president in 1768 and remained in that office until his death in 1794. During his presidency, Witherspoon shifted the college's focus from training ministers to preparing a new generation for secular leadership in the new American nation. To this end, he solicited investment in the college. Witherspoon's presidency constituted a long period of stability for the college, interrupted by the American Revolution and the Battle of Princeton, during which British soldiers occupied Nassau Hall. In 1812, the eighth president of the College of New Jersey, Ashbel Green, helped establish the Princeton Theological Seminary next door; the plan to extend the theological curriculum met with "enthusiastic approval on the part of the authorities at the College of New Jersey".
Today, Princeton University and Princeton Theological Seminary maintain separate institutions with ties that include services such as cross-registration and mutual library access. Before the construction of Stanhope Hall in 1803, Nassau Hall was the college's sole building; the cornerstone of the building was laid on September 17, 1754. During the summer of 1783, the Continental Congress met in Nassau Hall, making Princeton the country's capital for four months. Over the centuries and through two redesigns following major fires, Nassau Hall's role shifted from an all-purpose building, comprising office, dormitory and classroom space; the class of 1879 donated twin lion sculptures that flanked the entrance until 1911, when that same class replaced them with tigers. Nassau Hall's bell rang after the hall's construction; the bell was recast and melted again in the fire of 1855. James McCosh took office as the college's president in 1868 and lifted the institution out of a low period, brought about by the American Civil War.
During his two decades of service, he overhauled the curriculum, oversaw an expansion of inquiry into the sciences, supervised the addition of a number of buildings in the High Victorian Gothic style to the campus. McCosh Hall is named in his honor. In 1879, the first thesis for a Doctor of Philosophy Ph. D. was submitted by James F. Williamson, Class of 1877. In 1896, the college changed its name from the College of New Jersey to Princeton University to honor the town in which it resides. During this year, the college underwent large expansion and became a university. In 1900, the Graduate School was established. In 1902, Woodrow Wilson, graduate of the Class of 1879, was elected the 13th president of the university. Under Wilson, Princeton introduced the preceptorial system in 1905, a then-unique concept in the US that augmented the standard lecture method of teaching with a more personal form in which small groups of students, or precepts, could interact with a single instructor, or preceptor, in their field of interest.
In 1906, the reservoir Lake Carnegie was created by Andrew Carnegie. A collection of historical photographs of the build
Kraal is an Afrikaans and Dutch word for an enclosure for cattle or other livestock, located within an African settlement or village surrounded by a fence of thorn-bush branches, a palisade, mud wall, or other fencing circular in form. It is similar to a boma in central Africa. In Curaçao, another Dutch colony, the enclosure was called "koraal" which in Papiamentu is translated "kura". In the Afrikaans language a kraal is a term derived from the Portuguese word curral, cognate with the Spanish-language corral, which entered into English separately. In Eastern and Central Africa, the equivalent word for a livestock enclosure is boma, but this has taken on wider meanings. In some Southern African regions, the term Kraal is used in scouting to refer to the team of Scout Leaders of a group; the term refers to the type of dispersed homestead characteristic of the Nguni-speaking peoples of southern Africa. Although from the period of colonisation, European South Africans and historians referred to the entire settlement as a kraal, ethnographers have long recognised that its proper referent is the animal pen area within a homestead.
Modern ethnographers call the several human dwellings within a homestead houses. Folds for animals and enclosures made specially for defensive purposes are called kraals. Animal pound Potgieter, D. J. Standard Encyclopedia of Southern Africa. Cape Town: Nasionale Opvoedkundige Uitgewery ISBN 978-0-625-00322-8. Südafrikas Norden und Ostküste. Dormagen: Reisebuchverlag Iwanowski. 2006. P. 521. ISBN 3-933041-18-X. Brockhaus Enzyklopädie. 21. Auflage. Mannheim: Brockhaus F. A. 2006 ISBN 3-7653-4115-0. The New Encyclopædia Britannica. 15th ed. Chicago: Encyclopædia Britannica, Inc. 2007 ISBN 978-1-59339-292-5
Robert Smithson was an American artist who used photography in relation to sculpture and land art. Smithson was born in Passaic, New Jersey and early on lived in Rutherford. In Rutherford, William Carlos Williams was Smithson's pediatrician; when Smithson was nine his family moved to the Allwood section of Clifton. He studied painting and drawing in New York City at the Art Students League of New York from 1955 to 1956 and briefly at the Brooklyn Museum School, his early exhibited artworks were collage works influenced by "homoerotic drawings and clippings from beefcake magazines", science fiction, early Pop Art. He identified himself as a painter during this time, but after a three-year rest from the art world, Smithson emerged in 1964 as a proponent of the emerging minimalist movement, his new work abandoned the preoccupation with the body, common in his earlier work. Instead he began to use glass sheet and neon lighting tubes to explore visual refraction and mirroring, in particular the sculpture Enantiomorphic Chambers.
Crystalline structures and the concept of entropy became of particular interest to him, informed a number of sculptures completed during this period, including Alogon 2. In Smithson's eyes entropy was the second law of thermodynamics, which exploits the range of energy by telling us that energy is easier lost than obtained, he said. Smithson used the idea of entropy to explore ideas of decay and renewal and order, non-sites and earthworks, trying to find equilibrium between these opposites, his ideas on entropy branched out into culture, "the urban sprawl and the infinite number of housing developments of the post war boom have contributed to the architect of entropy". Smithson did not see entropy as a disadvantage. Smithson became affiliated with artists who were identified with the minimalist or Primary Structures movement, such as Nancy Holt, Robert Morris and Sol LeWitt; as a writer, Smithson was interested in applying mathematical impersonality to art that he outlined in essays and reviews for Arts Magazine and Artforum and for a period was better known as a critic than as an artist.
Some of Smithson's writings recovered 18th- and 19th-century conceptions of landscape architecture which influenced the pivotal earthwork explorations which characterized his work. He joined the Dwan Gallery, whose owner Virginia Dwan was an enthusiastic supporter of his work. In 1967 Smithson began exploring industrial areas around New Jersey and was fascinated by the sight of dump trucks excavating tons of earth and rock that he described in an essay as the equivalents of the monuments of antiquity; this resulted in the series of'non-sites' in which earth and rocks collected from a specific area are installed in the gallery as sculptures combined with mirrors or glass. In September 1968, Smithson published the essay "A Sedimentation of the Mind: Earth Projects" in Artforum that promoted the work of the first wave of land art artists, in 1969 he began producing land art pieces to further explore concepts gained from his readings of William S. Burroughs, J. G. Ballard, George Kubler; as well as works of art, Smithson produced a good deal of theoretical and critical writing, including the 2D paper work A Heap of Language, which sought to show how writing might become an artwork.
In his essay "Incidents of Mirror-Travel in the Yucatan" Smithson documents a series of temporary sculptures made with mirrors at particular locations around the Yucatan peninsula. Part travelogue, part critical rumination, the article highlights Smithson's concern with the temporal as a cornerstone of his work. Smithson's interest in the temporal is explored in his writings in part through the recovery of the ideas of the picturesque, his essay "Frederick Law Olmsted and the Dialectical Landscape" was written in 1973 after Smithson had seen an exhibition curated by Elizabeth Barlow Rogers at the Whitney Museum entitled "Frederick Law Olmsted's New York" as the cultural and temporal context for the creation of his late-19th-century design for Central Park. In examining the photographs of the land set aside to become Central Park, Smithson saw the barren landscape, degraded by humans before Olmsted constructed the complex'naturalistic' landscape, viscerally apparent to New Yorkers in the 1970s.
Smithson was interested in challenging the prevalent conception of Central Park as an outdated 19th-century Picturesque aesthetic in landscape architecture that had a static relationship within the continuously evolving urban fabric of New York City. In studying the writings of 18th- and 19th-century Picturesque treatise writers Gilpin, Price and Whately, Smithson recovers issues of site specificity and human intervention as dialectic landscape layers, experiential multiplicity, the value of deformations manifest in the Picturesque landscape. Smithson further implies in this essay that what distinguishes the Picturesque is that it is based on real land For Smithson, a park exists as "a process of ongoing relationships existing in a physical region" Smithson was interested in Central Park as a landscape which by the 1970s had weathered and grown as Olmsted's creation, but was layered with new evidence of human intervention. Now the Ramble has grown up into an urban jungle, lurking in its thickets are "hoods, hobos and homosexuals," and other estranged creatures of the city….
Walking east, I passed graffiti on boulders… On the base of the Obelisk along with the hieroglyphs there are graffiti. …In the spillway that pours out
Parrish Art Museum
The Parrish Art Museum is an art museum designed by Herzog & de Meuron Architects and located in Water Mill, New York, whereto it moved in 2012 from Southampton Village. The museum focuses extensively on work by artists from the artist colony of the South Shore and North Shore; the Parrish Art Museum was founded in 1897. It has grown into a major art museum with a permanent collection of more than 3,000 works of art from the nineteenth century to the present, including works by such contemporary painters and sculptors such as John Chamberlain, Chuck Close, Eric Fischl, April Gornik, Donald Sultan, Elizabeth Peyton, as well as by masters Dan Flavin, Roy Lichtenstein, Jackson Pollock, Lee Krasner, Willem de Kooning; the Parrish houses among the world’s most important collections of works by the preeminent American Impressionist William Merritt Chase and by the groundbreaking post-war American realist painter Fairfield Porter. The museum's current director is Terrie Sultan, who has written several publications related to noted artists.
The Museum was founded in 1897 by Samuel Longstreth Parrish, a successful attorney and Quaker who began collecting art in the early 1880s and who established the museum to house his collection of Italian Renaissance painting and copies of classical and Renaissance sculpture. Designed by noted architect Grosvenor Atterbury and constructed in 1897 in downtown Southampton at 25 Jobs Lane, the Museum was incorporated the following year as the Art Museum of Southampton. One of the impetus for founding the museum in an artist colony where William Merritt Chase founded the Shinnecock Hills Summer School of Art; the original building was expanded twice, in 1902 and 1913. After his death in 1932, the collection and building were bequeathed to the Village of Southampton but, without Parrish’s guiding vision, the Museum ceased to thrive, it wasn’t until the 1950s, under the direction of the newly elected president of the board of trustees, Rebecca Bolling Littlejohn, that the Museum enjoyed its own renaissance.
Recognizing the importance of this country’s contribution to the arts, Mrs. Littlejohn launched a campaign to strengthen the Museum’s holdings of American art, with special attention to artists associated with eastern Long Island such as Thomas Moran, Childe Hassam, Thomas Doughty. Upon her death, the Museum became the beneficiary of more than 300 paintings and watercolors from her personal collection, which included work by Martin Johnson Heade, Asher B. Durand, John H. Twachtman, John Sloan, a remarkable collection of thirty-one paintings by American Impressionist William Merritt Chase. In 1981, further depth was added to the collection when nearly 200 works of art by the prominent American painter and longtime Southampton resident Fairfield Porter were donated by his wife Anne and by the artist’s estate. Building from the strength of these collections, the Museum now traces the evolution of American art from its roots in an emerging landscape tradition through the liberating influences of European modernism and the development of the New York School to the stylistic diversity of contemporary art, focusing its exhibitions and acquisitions on American painting of the twentieth and twenty-first centuries, with special attention to artists who have lived and worked on Long Island’s East End and their influence on the national and international art world.
Once home to Jackson Pollock, Willem de Kooning, Roy Lichtenstein, among many others, today’s residents, full-time or seasonal, include Chuck Close, Ross Bleckner, April Gornik, Eric Fischl and Emilia Kabakov, Donald Sultan. The museum had long had a significant amount of its collection in storage, it 2000 it acquired the neighboring Rogers Memorial Library for an annex after the library moved to a new building on the edge of town. The library was acquired for $1.1 million from more than $3 million donated by Carroll Petrie for the acquisition and renovations. The buildings were still considered too small for the collection. In 2012 as part of the move to Water Mill the library was sold for $2.875 to Ajax Holding LLC. which has plans to convert the building commercial space and to restore it. The original Parrish structure is to undergo renovations designed by architect David Rockwell to become the new Southampton Center; the museum encountered opposition to its plans to modernize and enlarge its historic Jobs Lane complex.
Recognizing the need to grow and to provide for a modern facility with appropriate climate control, the Board of Trustees decided to embark on a new project to design and construct a purpose-built building. In 2005 the Museum purchased a 14-acre site in Water Mill, New York for $3.8 million on the site of a former tree nursery adjacent to the Duck Walk Vineyards winery 23 miles from the original location on Jobs Lane, Southampton. Following extensive research of more than 65 architect candidates, Pritzker Prize winners Herzog & de Meuron were engaged to develop a new building for the site. Construction costs were estimated at $80 million; the original plan Herzog plan called for an $80 million village 62,974 square foot museum consisting of 30 modest, low-slung buildings, The buildings were to resemble the studios of area painters. However, in the Financial crisis of 2007–2008 and the museum downsized to be less than a third of the original budget; the new structure is designed as a gigantic barn 95 feet wide.
It has poured concrete walls. The building's footprint is 34,000 square feet, it has a 6,000 square foot porch as well as multi-purpose spaces. Inside, the single-floor museum is structured in a simple way, with public functions to the west