Heat Waves in a Swamp: The Paintings of Charles Burchfield
October 4, 2009 - January 3, 2010
- Charles Burchfield An April Mood 1946-1955 Watercolor and charcoal on joined paper. Whitney Museum of American Art, New York. Purchase, with partial funds from Mr. And Mrs. Lawrence A. Fleischman. Photo by Geoffrey Clements.
- Charles Burchfield Freight Cars under a Bridge 1933 Watercolor. The Detroit Institute of Arts, Detroit, Michigan. Gift of Dr. and Mrs. George Kamperman. Photograph © 1995 The Detroit Insitute of Arts.
- Charles Burchfield Sun and Rocks 1918-50 Watercolor and gouache on paper. Albright-Knox Art Gallery, Buffalo, New York. Room of Contemporary Art Fund, 1953.
- Charles Burchfield Glory of Spring (Radiant Spring) 1950 Watercolor on paper. Collection Parrish Art Museum, Southampton, New York. Gift of Mr. and Mrs. Alfred Corning Clark, 1959.6.6. Photo by Gary Mamay.
- Charles Burchfield The Insect Chorus 1917 Opaque and transparent watercolor with ink, graphite, and crayon on off-white paper. Munson-Williams-Proctor Arts Institute, Museum of Art, Utica, New York. Edward W. Root bequest, 1957.
- Charles Burchfield Two Ravines 1934-1943 Watercolor on paper. Hunter Museum of American Art, Chattanooga, Tennessee, Gift of the Benwood Foundation. Photo by James Madden, 204 Studios.
Heat Waves in a Swamp will be the first major Charles Burchfield exhibition to be mounted on the west coast and the first in New York for more than twenty years. Arranged chronologically, it approaches Burchfield’s work with a new perspective facilitated in part by the curatorial sensibilities of Robert Gober. Working with Hammer coordinating curator Cynthia Burlingham, Gober has augmented a large selection of watercolors with the inclusion of extensive biographical material that continually infuses Burchfield’s own thoughts about his work and artistic practice. An obsessive collector, organizer, and archivist, Burchfield left a treasure trove of well-maintained sketches, notebooks, journals, and doodles spanning his entire career. This material is now part of the Burchfield Penney Art Center at Buffalo State College, which houses more than twenty five thousand objects by this visionary American artist. The exhibition will travel to the Whitney Museum of America Art in New York and the Burchfield Penney Art Center.
Although aware of the art of his time, Charles Burchfield spent his working life immersed in his own local environment in upstate New York, trusting and then challenging his creative instincts, often looking backwards in order to go forward, and steadfast in his belief of “the healthy glamour of everyday life.” His paintings vibrate with color and sound like visual symphonies where the humming of insects, rustling leaves, bells, moonbeams, and vibrating telephone lines are woven together to reveal the beauty and power of the American landscape. Side by side with his journals and notes these paintings explore both physical and psychological terrain. Edward Hopper, fellow artist and close colleague, once said that Burchfield’s work "is most decidedly founded, not on art, but on life, and the life that he knows and loves best.”
The Man and His Art
The exhibition begins with work Burchfield created in 1916 while living in Salem, Ohio and follows his career with special attention to transformative and often reflective moments in his life and work. For example, drawings from a 1917 sketchbook entitled “Conventions for Abstract Thoughts” represent human emotions with semi-abstract shapes that would appear in his work for years to come. This is followed by an entire room dedicated to the 1930 Burchfield exhibition at MoMA, which was the first solo artist exhibition in the museum’s young history. About half of the twenty-seven watercolors originally featured in the MoMA show will be exhibited alongside the correspondence between Burchfield and then-MoMA curator/director Alfred Barr. This early period of Burchfield’s career also features a room with wallpaper from his time as a wallpaper designer combined with watercolors of industrial landscapes from the same period.
More than a decade later, Burchfield returns to his early expressionistic watercolors for inspiration. He begins to make monumental pieces created by literally transforming a number of small-scale watercolors from 1916-1918 -- pasting large strips of paper around the early watercolors to increase their size and reworking these new compositions into unusually large ecstatic watercolor visions. This return to his roots results in an explosion of color and the exhibition culminates in the late, transcendental watercolors of the 1950s and 1960s. These monumental paintings are accompanied by a central vitrine containing some of the 10,000 handwritten journal pages that Burchfield kept throughout his life, from a young teenager until his death from a heart attack in 1967. These rich and complex journals demonstrate the extent to which this artist was continually immersed in rigorous self-reflection and the documentation of his artistic process.
The exhibition is accompanied by a 184-page, fully-illustrated catalogue edited by Cynthia Burlingham and Robert Gober with essays by Robert Gober, critic Dave Hickey, Hammer Deputy Director Cynthia Burlingham, Burchfield Penney Art Center Head of Collections and the Charles Cary Rumsey Curator Nancy Weekly, and Burchfield Penney Art Center Research Assistant Tullis Johnson. Published by Prestel, the catalogue will be a major scholarly addition to the study of Burchfield and includes illustrations of both paintings and historical material from the Burchfield Penney Art Center in Buffalo.
The exhibition is made possible by The Joy and Jerry Monkarsh Family Foundation.
Major support is provided by the LLWW Foundation and Lynda and Stewart Resnick. It is also realized through the generosity of The Horace W. Goldsmith Foundation, George Freeman, The Straus Family Fund, Rosette Varda Delug, Booth Heritage Foundation, The Fran and Ray Stark Foundation, and the Robert Lehman Foundation.
The catalogue is published with the assistance of the Wyeth Foundation for American Art.
This exhibition is organized by the Hammer Museum in collaboration with the Burchfield Penney Art Center, Buffalo State College.