5 research outputs found
Recommended from our members
Honoring the Legacy: an Exhibition of Works Presented by ART CART: SAVING THE LEGACY
The story of ART CART: SAVING THE LEGACY is one of tenacity, resilience and positive aging where art, education, health, and aging intersect to provide a model for society (www.artsandcultureresearch.org/artcart ). In the mid-2000s the Research Center for Arts and Culture (RCAC) conducted the only research on professional visual artists age 62 and over in the New York City metro area. ABOVE GROUND1 found that 61% of professional visual artists age 62+ have made no preparation for their work after their death; 95% have not archived their work; 97% have no estate plan; 3 out of every 4 artists have no will and 1 in 5 have no documentation of their work at all.2 Yet, in many respects they are a model for society, maintaining strong social networks and an astonishing resilience as they age. ART CART is a response to this research, begun by six women faculty in higher education from the arts, education, health and aging. We all valued interdisciplinary, inter-generational education and saw too little of it in our practice. We saw advantages for our students to gain a grounding in both creativity and aging, learn basic health prevention principles, and take these lessons back to a variety of disciplines from social work and occupational therapy to art education, art history, arts administration, museum studies, art therapy, oral history, and dance education. We saw a model of experiential learning where students could put what they learned into immediate practice. For artists, we saw a way to keep their work from their greatest fear: the dumpster. We saw a mechanism to help them get organized, urge them to sign, date, and document their work, archive their digital records at Columbia University, obtain wills and estate plans,3 while participating fully in an inter-generational team where an artist, an artist-selected working partner and student fellows worked together towards the same goals. ART CART began with six artists and twelve students at Columbia University in 2010. By 2016, it operates both in New York City and Washington, DC, with 18 artists and 18 fellows. Alumni artists post-ART CART have secured lifetime achievement awards, grants, studio space, sales, gallery representation, exhibitions and a rejuvenated appreciation of their work across generations. And they are still documenting their work
Recommended from our members
Harriet FeBland: Catalog of Works and Images
Celebrating four decades and 55 solo exhibitions, FeBland exhibits world wide in major invitationals. 10 museum collections include Library of Congress, Smithsonian Institute; State of Hawaii "Art In Public Places" and Grounds For Sculpture Museum, etc. She is past President of both NY Artist Equity and American Society Of Contemporary Artists and served as Secretary for the American Art Committee at the United Nations from 1978-81. Born and educated in N.Y. she later lived abroad in England and France for 11 years. The Harriet FeBland Art Workshop was founded upon her return where for 30 years she taught advanced painting and construction sculpture.
A New York Native, she was born and educated in NYC. (Pratt Institute, N.Y. University) and left to live abroad to continue her studies independently. She remained in England and France for 11 years where she actively participated in European art circles gaining an international reputation early in her career. Her works were exhibited at the Alwyn Gallery and Drian Galleries in London and the Musee d'Art Moderne, Paris. In England she married and had two sons, eventually returning to the U.S. to teach at New York University and elsewhere.
In 1962 she founded the Harriet FeBland Art Workshop in New York City and Westchester County, N.Y.S. presenting master classes in construction and painting. This continued until 1993 with invitations to give workshops at Bennington College; College of New Rochelle; Chelsea School of Art, London University UK; Iona College and elsewhere around the Country.
While gaining a reputation as an innovative constructionist-sculptor/painter FeBland was featured in museum and gallery exhibitions with Joseph Cornell (exhibiting boxes); with Hans Vans de Bovendkamp (monumental sculptures); with Marisol, showing major constructions; and Louise Nevelson, exhibiting FeBland wall-relief constructions, and with other artists of comparable stature.
The Encyclopedia of Polymer Science and Technology credits her as one of several artists who introduced plastics and electricity as an art form and notes she coined the term "constructions" at the start of her
career to describe her style of sculpture/painting which has now become an established part of the art lexicon.
Always concerned with artist's affairs, the artist is past President of New York Artists Equity Association and a three time elected President of the American Society of Contemporary Artists (ASCA) where she is now President-
emeritus. She has also served as Secretary for the American Art Committee, United Nations 1978-81 and lives and works in New York City. During 2009 she received the outstanding achievement award from the Agnes K.
Haverly Foundation which included the special digitally restored film "Harriet FeBland" they produced and sponsored for TV in 1983. It included a full color brochure of her recent work they then redistributed to museums
throughout the U.S.
FeBland's art can be seen in numerous major collections and 8 museums both here and abroad including: State of Hawaii "Art In Public Places" Hilo HW; John Kluge Art Collection, CA; Library of Congress, Smithsonian Institute, Washington D.C.; Grounds For Sculpture Museum, Hamilton N.J.; Art Center, New School For Social Research, NYC; Cincinnati Art Museum, Ohio; Agnes K. Haverly Foundation ,FL; and public and private collections.
In 2015 "ArtCart the Legacy" chose her as one of 10 NY artists to permanently archive her art career, history and work in great detail at Columbia University Archives New York for future historians.
For more information see: Who's Who in American Art; Who's Who In The World; Who's Who In America;
Archives of American Art: Smithsonian Institute; and other bibliographies.
Types of work include: box constructions, sculpture, drawings, fiber art. graphics, paintings, totems, wall constructions
Recommended from our members
Harriet FeBland: Catalog of Works and Images
Celebrating four decades and 55 solo exhibitions, FeBland exhibits world wide in major invitationals. 10 museum collections include Library of Congress, Smithsonian Institute; State of Hawaii "Art In Public Places" and Grounds For Sculpture Museum, etc. She is past President of both NY Artist Equity and American Society Of Contemporary Artists and served as Secretary for the American Art Committee at the United Nations from 1978-81. Born and educated in N.Y. she later lived abroad in England and France for 11 years. The Harriet FeBland Art Workshop was founded upon her return where for 30 years she taught advanced painting and construction sculpture.
A New York Native, she was born and educated in NYC. (Pratt Institute, N.Y. University) and left to live abroad to continue her studies independently. She remained in England and France for 11 years where she actively participated in European art circles gaining an international reputation early in her career. Her works were exhibited at the Alwyn Gallery and Drian Galleries in London and the Musee d'Art Moderne, Paris. In England she married and had two sons, eventually returning to the U.S. to teach at New York University and elsewhere.
In 1962 she founded the Harriet FeBland Art Workshop in New York City and Westchester County, N.Y.S. presenting master classes in construction and painting. This continued until 1993 with invitations to give workshops at Bennington College; College of New Rochelle; Chelsea School of Art, London University UK; Iona College and elsewhere around the Country.
While gaining a reputation as an innovative constructionist-sculptor/painter FeBland was featured in museum and gallery exhibitions with Joseph Cornell (exhibiting boxes); with Hans Vans de Bovendkamp (monumental sculptures); with Marisol, showing major constructions; and Louise Nevelson, exhibiting FeBland wall-relief constructions, and with other artists of comparable stature.
The Encyclopedia of Polymer Science and Technology credits her as one of several artists who introduced plastics and electricity as an art form and notes she coined the term "constructions" at the start of her
career to describe her style of sculpture/painting which has now become an established part of the art lexicon.
Always concerned with artist's affairs, the artist is past President of New York Artists Equity Association and a three time elected President of the American Society of Contemporary Artists (ASCA) where she is now President-
emeritus. She has also served as Secretary for the American Art Committee, United Nations 1978-81 and lives and works in New York City. During 2009 she received the outstanding achievement award from the Agnes K.
Haverly Foundation which included the special digitally restored film "Harriet FeBland" they produced and sponsored for TV in 1983. It included a full color brochure of her recent work they then redistributed to museums
throughout the U.S.
FeBland's art can be seen in numerous major collections and 8 museums both here and abroad including: State of Hawaii "Art In Public Places" Hilo HW; John Kluge Art Collection, CA; Library of Congress, Smithsonian Institute, Washington D.C.; Grounds For Sculpture Museum, Hamilton N.J.; Art Center, New School For Social Research, NYC; Cincinnati Art Museum, Ohio; Agnes K. Haverly Foundation ,FL; and public and private collections.
In 2015 "ArtCart the Legacy" chose her as one of 10 NY artists to permanently archive her art career, history and work in great detail at Columbia University Archives New York for future historians.
For more information see: Who's Who in American Art; Who's Who In The World; Who's Who In America;
Archives of American Art: Smithsonian Institute; and other bibliographies.
Types of work include: box constructions, sculpture, drawings, fiber art. graphics, paintings, totems, wall constructions
Recommended from our members
Harriet FeBland- ART CART Oral Histories
Harriet FeBland has always been a pioneer. As a women artist, Harriet has been a pioneer since she was at school. At that time, she was told be a teacher, “The boys need my attention more because you are gonna get married and they are gonna get out and make a living.” However, through hardworking, not only did Harriet win all the medals from that teacher, she was also elected by the boys to be the president of the “art squad” at her school. Harriet is also a pioneer in using new materials in her art creation. For instance, in her early career, when other artists were painting on canvas or paper, Harriet taught herself to paint on transparent surface — plexiglass. Moreover, she created the term “construction” to describe her work. Instead of following the tradition and naming her work as “sculpture”, Harriet gave it the name “Construction”, because when creating the work, Harriet would put things like wood and plexiglass together, rather than carving into wood or plaster. And now the term has been used widely by many people
Recommended from our members
Art Cart: Honoring the Legacy HD
The story of ART CART: SAVING THE LEGACY is one of tenacity, resilience and positive aging where art, education, health, and aging intersect to provide a model for society (www.artsandcultureresearch.org/artcart ). In the mid-2000s the Research Center for Arts and Culture (RCAC) conducted the only research on professional visual artists age 62 and over in the New York City metro area. ABOVE GROUND1 found that 61% of professional visual artists age 62+ have made no preparation for their work after their death; 95% have not archived their work; 97% have no estate plan; 3 out of every 4 artists have no will and 1 in 5 have no documentation of their work at all.2 Yet, in many respects they are a model for society, maintaining strong social networks and an astonishing resilience as they age. ART CART is a response to this research, begun by six women faculty in higher education from the arts, education, health and aging. We all valued interdisciplinary, inter-generational education and saw too little of it in our practice. We saw advantages for our students to gain a grounding in both creativity and aging, learn basic health prevention principles, and take these lessons back to a variety of disciplines from social work and occupational therapy to art education, art history, arts administration, museum studies, art therapy, oral history, and dance education. We saw a model of experiential learning where students could put what they learned into immediate practice. For artists, we saw a way to keep their work from their greatest fear: the dumpster. We saw a mechanism to help them get organized, urge them to sign, date, and document their work, archive their digital records at Columbia University, obtain wills and estate plans,3 while participating fully in an inter-generational team where an artist, an artist-selected working partner and student fellows worked together towards the same goals. ART CART began with six artists and twelve students at Columbia University in 2010. By 2016, it operates both in New York City and Washington, DC, with 18 artists and 18 fellows. Alumni artists post-ART CART have secured lifetime achievement awards, grants, studio space, sales, gallery representation, exhibitions and a rejuvenated appreciation of their work across generations. And they are still documenting their work