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Museum Studies Exhibition Seminar Portfolio
- 1. Quastler The Life and Work of G Gertrude Quastler The Life and W Work of Gertrude Quastler The L Life and Work of Gertrude Quast Restrike: The Life and Work of Ge Gertrude Quastler The Life and W
- 2. 3. Research 4. UAG 5. Library of Congress 6. Graphic Design 7. Photography 8. Postcard 9. Flyer 10. Poster 11. Fonts 12. Labels 13. Object labels 14. Intro label 15. Other Panels 16. Title and Quotes 17. Exhibition Documents 18. Exhibition Blueprint 19. Transcriptions 20. The Exhibit 21. The Concept 22. Picking Objects 23. Gallery Layout 24. Installation 25. Final Thoughts Contents
- 4. 4 UAG Research Discovering the research conducted by Mary A. Schmidt author of the exhibition catalogue for the recent Quastler exhibit at the Westmoreland Museum of American Art. Speaking with collector Graham Shearing about his Quastler collection.
- 5. 5 Library of Congress Discoveries Biography and personal relationships Scope and visibility of her professional work
- 8. 8 EXHIBITION POSTCARD design Wood grain textures “Counterpoint” Gallery 1 “Beach” Gallery 3 “Sadness” Gallery 2 “Exodus” Gallery 4
- 9. 9 EXHIBITION FLYER design Rice paper texture Wood grain texture Anchor artworks
- 10. 10 EXHIBITION POSTER design *Pulling Quastler’s handwriting
- 11. King: Modest typewriter font. Used in exhibition quote panels. Neue Haas Grotesk: Bold, ‘50s European designer font. Produced for newsprint. Made popular by: “Zero Dark Thirty” (2012) movie poster, American Apparel and Instagram logos. Used in this portfolio’s headers. Baskerville Old Face Regular: Transitional style font designed in 1757 with pronounced serifs. Shown to increase “agreeability” among readers. Produced for the publication of Classical works of poetry and literature. Made Popular by: Northwestern University, and the “Canada” wordmark. Used in the exhibition’s object labels, theme labels, and marketing materials. FONTS 11
- 13. 13 Gertrude Quastler Dog , 1950 Papier-mâché, cloth, and acrylic 1986.1.12 Gertrude Quastler’s explorations into an array of media are renowned. Although primarily a woodcut printmaker, she also worked in silk screen printing, monoprints, and textile work, exhibited paintings in oil, watercolor and gouache, and created sculpture of wire and wood. Many of these techniques allowed Gertrude to serially produce her art quickly and fluidly. Despite quickly adapting to diversity and innovation in the United States, the creation of this papier-mâché sculpture exposes feelings of European nostalgia. The dog, a subject never before exhibited by Quastler, appears to be a stylistic representation of a collie owned by her family in Austria, as depicted in the photo below, one of a few childhood photos that remained in her possession at the time of her death. Although the use of papier-mâché may suggest a departure from previous techniques, the implementation of fiber is reminiscent of her early life and fashion design career in Vienna and Paris. What images of childhood nostalgia do you still carry with you? Gertrude Quastler Counterpoint #2, 1951 Ink and paper 1985.01.009 One of two editions, Counterpoint is Gertrude’s most renowned woodblock print. This version initially began to gain exposure with its 1952 publication in the American magazine Perspectives USA as a visual aide for an article about fellow printmaker, William Lieberman. In 1954, the image captured the attention of LIFE magazine, where it was subsequently adopted for an article about the revival of Woodcut printing in North America. A copy of this print was acquired by the Museum of Modern Art in New York in 1952. A second, slightly different production of this print can be viewed in the Rotunda Gallery.
- 15. 15 Restriking Poetry Like the visual arts, the written word has pervaded every aspect of Gertrude Quastler’s life. Handmade creations such as handwritten birthday poetry, and woodcut printed greeting cards were among her favorite gifts to give. In casual correspondence with friends, intimate letters to her husband Henry, and professional contact with galleries and buyers, Gertrude commonly chose old-world pen and ink over typeface and phone call. This affinity with the literary crafts extended far into the lives of her friends. Gertrude and Henry held weekly poetry gatherings, inviting many of their closest friends from the University of Illinois, along with renowned Shakespearean scholar, Charles Shattuck, to sketch and paint social works of art inspired by open readings in their Urbana home. We invite you to continue in Quastler’s tradition and “restrike” poetry inspired by Quastler’s works of art. Simply use the materials provided to reimagine her artistic vision through your own words and experiences. When you are done, tack your completed poem near the work or works that inspired you. Uncovering Quastler Research for this exhibition was conducted in both the archives of the University Art Gallery and the Library of Congress in Washington D.C. Although the UAG’s holdings include dozens of letters of correspondence between Mary A. Schmidt, author of the Westmoreland Museum of American Art’s Quastler retrospective catalogue, and various friends of the late artist, the largest quantity of Quastler’s personal documents exist at the Library of Congress. These documents include letters of submission (and rejection) to and from various galleries and museums, birthday and holiday cards, poetry, love letters, family photographs and much more. These artifacts open a window into the life and context of the artist, her professional goals as well as her personal relationships, and provide an unedited autobiography written and read in her own handwriting. Various facsimiles of these documents are on view throughout this exhibition. We invite you to search through these letters and files as we have and discover the artist on terms invisible through her art work alone. Theselabelsweremodifiedforexhibition
- 18. 18
- 19. 19 “Maps are not funny We want to pin That gigantic [view] To a definite point in the landscape That way it looks more like a game And that does good To our haunted souls” Transcriptions
- 21. 21 Concept
- 23. 23 GalleryLayout
- 24. INSTALLATION 24
- 25. Final Thoughts From scouring the Library of Congress for a “Big Idea” to the deinstallation of the final print, Restrike: The Life and Work of Gertrude Quastler has been an enlightening and educational pre- professional adventure. The success of the show is due to our teachers and mentors Janet McCall, Isabelle Chartier, and Annika Johnson, as well as my Documentation group members Katherine, Ryan, Deanna, and Danny, and my curatorial teammates Mariah, Michaela, and Sarah. Special thanks to Graham Shearing; The Fine Foundation; the Office of the Chancellor, the School of Arts and Sciences; and the History of Art and Architecture Department of the University of Pittsburgh. The show was co-sponsored by the European Union Center of Excellence/European Studies Center EUCE/ESC.