This is the last weekend to catch the wonderful Patricia Cronin: Harriet Hosmer, Lost and Found in the Herstory Gallery before it comes down to make way for Healing the Wounds of War: The Brooklyn Sanitary Fair of 1864. Much like Judy Chicago’s research and development of The Dinner Party, the historical erasure of significant women throughout history inspired contemporary artist Patricia Cronin to create her unique watercolor series illustrating the works of the nineteenth century American expatriate sculptor Harriet Hosmer, an artist who achieved major success during her time for her neoclassical depictions of historical, mythological, and literary figures, such as Zenobia and Medusa though little scholarship remains on her work today.
As she writes in the forward from her catalogue Harriet Hosmer, Lost and Found. A Catalogue Raisonée, Patricia Cronin began researching the history of sculpture in order maker her own, and “fell in love” not just with Hosmer’s work, but with the inspiring story of the free spirited, expatriate lifestyle she lead in Rome while sustaining a financial independence and prominent career that was unprecedented for a woman of the mid-nineteenth century. Working with a muted palette of watercolors as her medium, Cronin beautifully captures the light and detail of Hosmer’s marble carvings. In places where little historical record remains of a Hosmer sculpture, Cronin conjures a ghostly halo across the paper to make the point that no work left un, or under-documented by this important artist be left out or forgotten by history.
The exhibition Patricia Cronin: Harriet Hosmer, Lost and Found closes this Sunday! Themes from Cronin’s project will be taken out of the realm of the galleries and into the instruments of the Brooklyn Philharmonic this weekend, when members of the ensemble perform “Distant Partners, Distant Portraits,”a presentation of original compositions highlighting Harriet Hosmer, Lost and Found as part of Music off the Walls. A gallery talk on Cronin’s work and other works from the permanent collection that explore notions of artistic inspiration follows the program.
Sarah Giovanniello is the former Research Assistant at the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum, where she assists the Curator of the Center with exhibitions, a growing permanent collection that includes The Dinner Party by Judy Chicago, public programs, and projects related to feminism, feminist art, and the collection. Since 2008, she has worked on numerous exhibitions, including Kiki Smith: Sojourn, Healing the Wounds of War: The Brooklyn Sanitary Fair of 1864, Ghada Amer: Love Has No End, Reflections on the Electric Mirror: New Feminist Video, and Seductive Subversion: Women Pop Artists, 1958–1968. In 2009, she organized the mounting of Jen DeNike's TWIRL at the Museum for PERFORMA09. She has worked on numerous public programs, her favorites of which include making ourselves visible: a project in feminist space making with artists Liz Linden and Jen Kennedy, and the 2008 Emerging Scholars Feminist Art Symposium, Feminism NOW. As Research Assistant, she manages the Feminist Art Base and posts to the Brooklyn Museum blog on topics related to the Center's programs, projects, and exhibitions. Sarah holds an M.A. in Performance Studies from NYU and a B.A. from Bryn Mawr College.