Live Stream: Illustrated Talk on Saul Steinberg with The Parish Art Museum

LIVE STREAM ILLUSTRATED TALK ON SAUL STEINBERG WITH
CHIEF CURATOR ALICIA G. LONGWELL, PARIS-BASED PHOTOGRAPHER DANIELA ROMAN, AND STEINBERG SCHOLAR ANDREEA MIHALACHE
FRIDAY, MAY 22, 5 PM

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Saul Steinberg (Romanian-American, 1914–1999), Untitled, 1980. Colored pencil, pastel, pencil, crayon and rubber stamp on Strathmore folded in half. Gift of The Saul Steinberg Foundation. © 2019 Artists Rights Society (ARS), New York
Saul Steinberg (Romanian-American, 1914–1999), Untitled, 1980. Colored pencil, pastel, pencil, crayon and rubber stamp on Strathmore folded in half. Gift of The Saul Steinberg Foundation. © 2019 Artists Rights Society (ARS), New York

 

WATER MILL, NY 5/7/2020—Alicia G. Longwell, Ph.D., The Lewis B. and Dorothy Cullman Chief Curator at the Museum, will give a livestream illustrated talk on Saul Steinberg, Friday, May 22, 5pm, joined by Paris-based photographer Daniela Roman who is the artist’s niece, and Steinberg scholar Andreea Mihalache, Ph.D., Assistant Professor, School of Architecture, Clemson University. As a special feature, the live program will include excerpts from the 26-minute film Saul Steinberg’s Line, directed by Roman and Thierry Fontaine. The film, a portrait of Steinberg and tribute by French cartoonists, is intercut with drawings by the artist as well as footage of him drawing and creating masks. The public is invited to join the live stream talk—part of the Museum’s Friday Nights Live! series—and take part in a live chat following the presentation. Log in information is at parrishart.org.

“Steinberg’s universal language continues to have enormous relevance for us today and I look forward to this opportunity to talk with two who are deeply knowledgeable about his life and work,” said Longwell. 

Steinberg, who lived and worked in Springs, East Hampton, for nearly half-century, is acclaimed worldwide for giving graphic definition to the postwar age through works exhibited nationally and internationally in museums and galleries, and six decades of covers and drawings published in The New Yorker. The artist reveals his unique perception of the world in whimsical depictions of birds, cats, and other real and imagined creatures, quirky abstract portraits, offbeat scenes of quotidian life, and animated architectural drawings. 

Last fall, The Saul Steinberg Foundation gifted 64 works by the artist to the Parrish Art Museum. The acquisition spans 45 years (1945-1990) and features Steinberg’s signature drawings in watercolor, pen and ink, pencil, crayon, and other media—plus rarely shown work: wooden assemblages, wallpaper, and fabric. Forty-nine works by Steinberg are featured in the exhibition Saul Steinberg: Modernist Without Portfolio, part of the Museum’s 2019-2020 overarching exhibition What We See, How We See.

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About Saul Steinberg

Saul Steinberg (1914–1999) crafted a rich and ever-evolving idiom that found full expression through his parallel yet integrated careers. In subject matter and styles, he made no distinction between fine and commercial art, which he freely conflated in an oeuvre that is stylistically diverse yet consistent in depth and visual imagination. The son of a manufacturer of decorative boxes, Steinberg grew up in Bucharest. In 1933 he moved to Milan to study architecture and in 1936 began contributing to the Italian humor newspaper Bertoldo. The promulgation of anti-Semitic racial laws in 1938 led him to seek refuge elsewhere, finally arriving in the U.S. in 1942. Through an agent in New York, his drawings had already begun to appear in U.S. periodicals; his first drawing in The New Yorker was published in October 1941.In 1946, Steinberg was included in the critically acclaimed Fourteen Americans show at The Museum of Modern Art, exhibiting with Arshile Gorky, Isamu Noguchi, and Robert Motherwell. In 1959 he purchased a house in Springs, near Amagansett, where he began to spend more time after the mid-1960s. He was embraced by the artistic community and the house became a refuge from his busy New York City life. 

About Alicia Longwell

At the Parrish Art Museum, Alicia Longwell has pursued a special interest in the history of the art and artists of Eastern Long Island. She has organized numerous survey exhibitions, including Malcolm Morley: Painting, Paper, Process (2012), Dorothea Rockburne: In My Mind’s Eye (2011), Sand: Memory, Meaning and Metaphor (2008); and North Fork/South Fork: East End Art Now (2004) and has curated solo exhibitions on the work of artists Barbara Bloom, Marsden Hartley, Frederick Kiesler, Alan Shields, Esteban Vicente, and Jack Youngerman, among others. Longwell has authored many publications for the Parrish including Jane Freilicher and Jane Wilson: Seen and Unseen (2015); William Glackens (2014, contributing essay); William Merritt Chase in the Collection of the Parrish Art Museum, 2014; Angels, Demons, and Savages: Pollock, Ossorio, Dubuffet (2013; contributing essay), and many others Longwell received her Ph.D. degree from the Graduate Center, City University of New York, where her dissertation topic was John Graham, the subject of a critically acclaimed retrospective she organized for the Parrish Art Museum in 2017. 

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Friday Nights Live! Live-Stream Talk

Alicia Longwell with Daniela Roman and Andreea Mihalache, Ph.D.

Friday, May 22, 5 pm 

Friday Nights are made possible, in part, by Presenting Sponsor: Bank Of America
Additional support provided by The Corcoran Group, and Sandy and Stephen Perlbinder. 

 

About the Parrish Art Museum

Inspired by the natural setting and artistic life of Long Island’s East End, the Parrish Art Museum illuminates the creative process and how art and artists transform our experiences and understanding of the world and how we live in it. The Museum fosters connections among individuals, art, and artists through care and interpretation of the collection, presentation of exhibitions, publications, educational initiatives, programs, and artists-in-residence. The Parrish is a center for cultural engagement, an inspiration and destination for the region, the nation, and the world. 

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