Now On View
Oct. 9, 2015 Jan. 10, 2016
New Hampshire artist Maxfield Parrish (1870-1966) was arguably the most popular American artist in the early decades of the 20th century. High quality color prints of his paintings and illustrations, in the form of advertisements, magazine covers, calendars and art posters, could be found in millions of American homes. By harnessing the power of the print, Parrish ensured his images became rooted in the imaginations of multiple generations, leaving an indelible mark on American visual culture. This exhibition offers a large selection of vintage prints featured on mass-produced calendars, as well as three original Parrish oil paintings.
Image Credit: Maxfield Parrish, Edison Mazda Lamp Works Calendar featuring Dawn, 1918. Lithographic reproduction of original oil painting, printed by Forbes Lithography Co. Private collection. Photograph: David Putnam.
Maxfield Parrish: The Power of the Print is sponsored by Skinner Auctioneers & Appraisers, the Jack and Dorothy Byrne Foundation, and an anonymous donor.
Read the exhibition press release.
Sept. 11, 2015 Dec. 14, 2015
On September 11, 2001, award-winning photojournalist James Nachtwey stood with his camera a short distance from New York City's crumbling Twin Towers. His photographs are among the most iconic and compelling visual accounts we have of that day. Many of those images, along with pictures taken in Afghanistan before and after 9/11 and in Iraq afterward are the focus of Witness to History. The exhibition will reveal war's tragic effect on combatants and civilians, and includes highly personal images of American soldiers and their families, as well as photographs of Iraqi civilians and their families. The Currier worked directly with Nachtwey to acquire many of the photographs in the exhibition.
Witness to History: James Nachtwey—Afghanistan, Ground Zero, Iraq is sponsored by The Botnick Family Foundation, M. Christine Dwyer & Michael Huxtable, Dorothea & David Jensen, John F. Swope, Nike & David Speltz, Camera Commons LLC, Eleanor Briggs, Next Step Bionics & Prosthetics, Peg & Tom Gaillard, and the David & Kathleen Murray Charitable Fund of NHCF.
Read the exhibition press release.
Explore related resources.
James Nachtwey, Afghanistan, 1996 (printed 2014), digital chromogenic print, Currier Museum of Art, Manchester, New Hampshire. Museum Purchase: The Henry Melville Fuller Acquisition Fund, 2014.22.1. James Nachtwey.
Sept. 9, 2015 Feb. 19, 2016
We've all heard the saying, "Don't judge a book by its cover" but is it inevitable? Book covers protect, advertise, entice and repulse. They can be ripped off, altered, changed and adorned. With the advent of digital books, self-publishing and print on demand, the relationship of text to book binding and cover design has become increasingly complex.
Explore the variety of book bindings and coverings dating from the 1700s to 2015 in this Currier Library and Archives focus exhibition, on view through February 2016. Consider the purpose of the cover as a marketing tool, introduction to the content and work of art in itself in more than 30 books from the Currier Reference Library and Archives collection. These unique and beautiful bindings come from a range of creators: anonymous designers, design firms and artists including Rockwell Kent, Jean Tinguely and Charles Robinson. We invite you to judge these books by their covers!
Check out some images of the installation.