Portland Museum of Art gets images selection that ‘puts us at another level’

The Portland Museum of Art has obtained a assortment of far more than 600 images, which include operates by entire world-popular 20th-century photographers, that the museum thinks will remodel it into a destination for the artwork variety.

The gift from photographer, philanthropist and collector Judy Glickman Lauder includes photos by Berenice Abbott, Diane Arbus, Richard Avedon, Margaret Bourke-White and Gordon Parks.

“This assortment puts us at a further level,” reported Mark Bessire, museum director. “We’ve usually performed (pictures), but this just leverages the function we are performing and lets us consider off. This (assortment) could have absent everywhere, but it is coming here.”

Glickman Lauder, who could not be arrived at for an interview, has households in Cape Elizabeth and on Good Diamond Island and a longstanding affiliation with Rockport’s Maine Media Workshops. She serves on the museum’s board of trustees and is a effectively-identified photographer in her individual appropriate, with function hanging in outstanding museums around the planet, which include the Whitney Museum of American Artwork in New York Town and the J. Paul Getty Museum in Los Angeles.

She is supplying the PMA the selection, which incorporates some of her have function, as a “promised present,” which suggests a pledged donation at some specified upcoming date, despite the fact that the museum currently has the selection on web site. The museum declined to say how a lot it is worthy of.

Libby Bischof, a background professor at the University of Southern Maine who specializes in the history of photography and has co-authored a guide on Maine pictures, was enthusiastic to find out about the donation past week.

“Six hundred photographs from artists of this caliber will be extremely significant not just to the museum but to the condition,” explained Bischof, who occurred to be sitting down in USM’s Glickman Family members Library, named for a earlier donation of far more than $1 million from Glickman Lauder and her late husband, Albert Glickman. (A number of several years right after Glickman died, she married Leonard Lauder, also a philanthropist and art collector.)

The point that Glickman Lauder and many others, like Maine art patrons Paula and Peter Lunder, selected “to situate their substantial own collections of deeply vital and impactful perform in a point out that’s intended so considerably to them and so substantially to American artwork signals to other patrons, collectors and practitioners that Maine is a area where by their do the job can also reside,” said Bischof, who also serves as govt director of the Osher Map Library and Smith Center for Cartographic Training at USM. “It genuinely seeds that work and Maine’s ongoing importance in American pictures.”

The museum sees the selection, along with an eventual expanded campus many thanks to its purchase of the previous Children’s Museum & Theatre of Maine, as vital to its long term advancement.

“Glickman Lauder’s reward permits the museum to feel broadly about the future chapter of PMA heritage, particularly about how we can develop open up experiences with artwork, develop and diversify our collection, and open up new and dynamic group-centered areas that welcome our myriad communities,” museum spokesman Graeme Kennedy wrote in an email.


Museum readers will have a likelihood to see a variety of the photos in October, when the museum is scheduled to mount a main exhibition, “Presence: Pictures from the Judy Glickman Lauder Assortment.” It previously showed some of these is effective about a dozen several years in the past, Bessire stated, but because then the collection has “probably doubled in size, and it is however growing.”

The exhibition will be curated by Anjuli Lebowitz, the museum’s freshly employed, inaugural Judy Glickman Lauder Associate Curator of Images.

Anjuli Lebowitz, the new Judy Glickman Lauder Affiliate Curator of Pictures, demonstrated at her residence, states, “For a long time, the verdict was that images was not art,” but Glickman Lauder was not worried with that discussion. Brianna Soukup/Staff members Photographer

Glickman Lauder began gathering photos in the 1970s, Lebowitz said, a time when the market place for photographs was exploding as collectors endeavored to make a respected self-discipline.

“Matching photos to specific creative actions was a main concept at the time for the reason that they have been attempting to justify photography as art. Due to the fact of its mechanical character, with photography, there was normally a massive dangle-up about irrespective of whether or not it could be art,” Lebowitz discussed. “For a prolonged time, the verdict was that photography was not artwork.”

One of the items Lebowitz finds so persuasive about this collection is that Glickman Lauder was not anxious with that debate. Numerous collectors at the time were searching only for the “best” shots, Lebowitz explained.

“Judy is also searching for ‘What are the best images?’ but she is also wanting for images that go her. She is not wanting to fill in gaps – ‘I will need one particular photograph from this artist and a single image from this movement’ – that’s not the problem. However, she has awesome pictures that are section of the canon, but she involved them mainly because they go her, mainly because she connects to them, and I assume that is a seriously distinctive strategy to forming a significant collection like this,” Lebowitz claimed.

Bessire underlined that position.

“One of the most enjoyable matters for us is that she is a photographer herself,” he claimed about Glickman Lauder. “It’s exciting to see what someone guiding the lens collects. A photographer brings to collecting a various eye and a distinct way of on the lookout at photography. Her eye goes to images. She’s incredibly democratic in her decisions. Just simply because a person is not nicely recognised does not suggest it’s not a stunning picture.”

The collection encompasses functions “by essential contributors to the medium’s history” whose names are considerably less common to the normal public, this sort of as Graciela Iturbide, Lotte Jacobi, Alma Lavenson and Ben Shahn, the museum claimed in a news release.

Maine Media Workshops + University President Mark Mansfield explained those and other photographers showcased in the collection as “the canon of photographic heritage.”


Bessire said the assortment centers on illustrations or photos shot by groundbreaking female photographers, photos of American civil legal rights struggles, pictures of the vogue and superstar worlds and pictures that depict the legacy of the Holocaust and of war. (Glickman Lauder is regarded for her have reserve, “Beyond the Shadows,” featuring images she shot more than 3 a long time of focus camps, camp survivors and the Danes who risked their life to help you save Danish Jews in the course of Entire world War II.)

Irving Bennett Ellis, father of philanthropist and collector Judy Glickman Lauder, designed this 9- by-7-inch, double-exposure gelatin silver print of Glickman Lauder’s mom, Louise Ellis, circa 1936. It is element of the Judy Glickman Lauder Collection. Picture courtesy of Luc Demers

In a release saying the present, the museum integrated many photographs that “really exhibit the strength of the collection,” Lebowitz stated. Just one displays a double exposure of Glickman Lauder’s mom, Louise Ellis, that was shot by her father, Irving Bennett Ellis, a physician and a famed photographer himself. Lebowitz explained it as an “incredible composite portrait exhibiting unique psychological states of Louise Ellis.”

A different is “American Gothic,” a photograph by the celebrated African American photographer and movie director Gordon Parks. It depicts Ella Watson, a charwoman at the federal Farm Security Administration place of work where by Parks was functioning at the time, in a pose modeled just after the Grant Wood portray of the identical identify. Instead of a pitchfork, Watson is revealed with a mop and a broom as a substitute of a farmhouse in the track record, there is an American flag.

“Judy has a really powerful social justice streak, and that photo is so renowned and so extraordinary and by just one of the most critical photographers of the 20th century, but I also enjoy that it was a collaboration with the topic, Ella Watson,” Lebowitz said. It’s just one of a series of just about 100 prints that Parks created with Watson. “And it so succinctly helps make the stage that we as a country can do improved. It reveals each enjoy of nation and a rightful criticism as perfectly,” she reported.

Photographed by Richard Avedon, Audrey Hepburn and Artwork Buchwald, with Simone D’Aillencourt, Frederick Eberstadt, Barbara Mullen and Dr. Reginald Kernan, at Maxim’s in Paris in August 1959. A gelatin silver print, 19½ by 29 inches. “Talk about a photograph with wow electricity,” said Portland Museum of Artwork Director Mark Bessire. Richard Avedon

A third, by trend photographer Richard Avedon, is shot at Maxim’s in Paris and shows actress Audrey Hepburn and humorist Art Buchwald.

“I believe it truly captures the spirit of the collector, as (Glickman Lauder) is quite exuberant and entertaining as effectively,” Lebowitz explained. “The existence of pleasure and question is really why the assortment is so particular, and why I’m so content it is here and that I’ve occur to Portland to perform with it.”

Lebowitz has labored in this kind of large city museums as the Philadelphia Museum of Art, the Metropolitan Museum of Artwork in New York Metropolis, and the National Gallery in Washington, D.C. A collection like that of Glickman Lauder has a substantially even larger effect on a scaled-down institution, she mentioned.

“Even 600 photographs can be swallowed up when you are talking about a greater spot that has 50,000 images. Below it can have pride of location,” she reported. “It genuinely is the star of the show.”

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