June 18 – July 24, 2004 Friday, June 18, 6:00 pm Antioch College’s Herndon Gallery presents Art After the Car: Works from the Collection of Terry and Eva Herndon (’57 & ’59), an exhibition of artworks exploring the impact of the automobile upon American culture and society. The show includes works, dating from the turn of the century to the present, by such well-known artists as Stuart Davis, Edward Keinholz and Nancy Reddin Keinholz, Dorothea Lange, Jacob Lawrence, Claes Oldenburg, Norman Rockwell, John Sloan and Wayne Thiebaud, among others. The exhibition, which continues Antioch College’s 150-year Anniversary celebration, opens Friday, June 18 with a slide presentation by Terry Herndon at 6:00 pm, followed by an opening reception from 7:00 – 9:00 pm. Admission is Free. Terry Herndon and Eva Warmbrunn Herndon met while attending Antioch College in the late 1950s. Their shared fascination with both cars and visual art has served as a basis for their art collection. Since 1978, they have worked to “build a collection of American art that shows how the country has changed as a result of the automobile.” The Herndon Collection currently includes 230 paintings, drawings, mixed media and sculptural works. Art After the Car presents a rich and varied selection of works from the Herndon collection, encompassing a range of stylistic periods and approaches to artmaking as well as the diverse ways in which cars have shaped American culture. Jacob Lawrence’s Street Scene (1985), for example, depicts police cruisers rounding up suspects in an urban neighborhood and alludes to the use of the automobile as a “jail on wheels.” Lucille Corcos’s painting, Wartime, Summer 1942 (1942) documents women’s changing status within an increasingly motorized society. Yvonne Jacquette’s expressionist Nightview near Dayton, Ohio II (1984) captures the lights of the city grid at night from an aerial perspective. Works by pop artists Claes Oldenberg and Mel Ramos celebrate the car’s iconic properties, while in other works, highways, junkyards, oil fields and parking lots are evidence of how the American landscape has been transformed by the “horseless carriage.” As Stuart Davis, whose work, Free (1924), is included in the exhibition, writes, “An artist who has traveled on a steam train, driven an automobile, or flown in an airplane doesn’t feel the same way about form and space as one who has not.” Art After the Car brings together a range of artistic perspectives upon one of the most defining inventions in human history. |
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