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Celebrating the historic Prime House with The Church's Tempus Fugit exhibition.
A selection of photos, and exhibit description to be found below.
The Church thanks the 400+ people who attended.
L: Anselm Kiefer (b.1945), Uber uns der Gestirne Himmel, in uns das moralische Gesetz (The starry heavens above us, and the moral law within), 1980, Photography with acrylic and emulsion
R: Francesco Clemente (b.1952), Rapture, 2003, Watercolor on paper
L: Downstairs, Ellen Phelan, Francesco Clemente, Mark Heming
R: Judy Hudson, Actor, 2016, Watercolor on paper
L: Francesco Clemente (b.1952), Untitled, 1985, Pastel on paper
R: August Rodin (1840-1917), Nude Seated Woman, n.d., Watercolor over pencil on paper and
Reclining Woman, n.d.,Pencil and watercolor on paper
L: Mark Heming (1907-1999). Untitled, n.d., Oil on paper
R: Ellen Phelan (b.1943), Beth and The Poet, 1987, Gouache on paper
L: Three Photographs by Pierre Bonnard (1878-1947, all titled Marthe, 1901and Ellen Phelan (b.1943), The Poet, 1985, Watercolor on paper
R: Diane Arbus (1923–1971), Retired man and his wife at home in a nudist camp one morning, N.J., 1963, Gelatin silver print
L: Harry Callahan, three Pierre Bonnard photos, Ellen Phelan, Francesca Woodman, Ralph Gibson
R: Gustav Klimt, 1862-1918, Female Nude Facing Front with Raised Arms, 1917-1918, Pencil on crew wove paper
L: Jorg Immendorf, 1945-2007, Anbetung des Inhalts (Adoration of the Content), 1985, Oil on paper
R: Ralph Gibson (b. 1939), Untitled (Crotch, Vagna), c. 1990, Gelatin silver print
L: Gustav Klimt, 1862-1918, Floating Old Man, 1901, Pencil on paper
R: Gustav Klimt, 1862-1918, Floating Women, 1901, Blue crayon on heavy brown paper
L: Howard Kanovitz (1929-2009), Study for Nude Greek, 1965, Graphite on paper
R: Pierre Bonnard (1867–1947), La Toilette, c.1919, Pencil on paper
L: Cindy Sherman (b.1954), Untitled #86, 1981, Color photograph and Richard Dienbenkorn (1922–1993), Untitled, 1963, Ink and gouache on shiny paper
R: Eugene Von Bruenchenhein (1910–1983), Untitled, c. 1940, Gelatin silver print
R: Ralph Gibson, (b. 1939), Untitled (Foot), 1990, Gelatin silver print
C: Louise Dahl-Wolfe (1895–1989), Dappled Nude, c.1940, Gelatin silver print
L: David Seltzer (b.1947), Le Mani, 1997, Gelatin silver print
L: Wendy Artin (b. 1963) Michalia and Alex, 2002, Watercolor and Nia, 2002, Sepia Ink on paper
R: Alice Neel (1900–1984), Two Cats, 1942, Pencil on paper
L: Two Photographs by George Hoyningen-Huene (1900–1968), Untitled, n.d. and
Katherine Wetzel (b.1946), Photo of Elizabeth King’s sculpture Pupil: pose from Attention’s Loop, 1997, Gelatin silver print
R: Harry Callahan (1912–1999), Eleanor, Chicago, 1947, Gelatin silver print
L: Ralph Gibson (b.1939), Untitled (Breast), c.1995, Gelatin silver print
R: Francesca Woodman (1958-1981), Untitled, Antella, Italy, 1977-1978, Gelatin silver print
L: Bill Brandt (1904–1983), Hampstead, London, 1945, Gelatin silver print and
Bill Brandt (1904–1983), Campden Hill, London, 1953, Gelatin silver print
R: André Kertész (1894-1985), Untitled, n.d., Photography
TEMPUS FUGIT: AN EXHIBITION
Ahead of its formal opening, The Church held an exhibition of works on paper in the historic Prime House from 12-5pm every day from Friday, September 18, to Sunday, September 27, 2020.
The works included in Tempus Fugit: An Intimate Exhibition of Collected Works on Paper in the Prime House are drawn from the personal collection of Eric Fischl and April Gornik, who have been collecting since the 1980s. The 40 works in the show depicted the human figure—nude and clothed, from drawings to watercolors to photographs—by artists active in the 20th and 21st centuries. They included Cindy Sherman, Francesco Clemente, Pierre Bonnard, Auguste Rodin, Gustav Klimt, Diane Arbus, Bill Brandt, Francesca Woodman, Alice Neel and Richard Diebenkorn among many others.
This exhibition was made possible by the transitional moment of the sale of the Prime House, a historic 18th century residence in the village of Sag Harbor. Empty of furniture, it gave the public a window in time to see its construction, becoming perfect setting for a show of delicate works on paper - a fugitive medium that is notoriously sensitive to time and light. The timing of the show was therefore limited by a number of factors, including the medium of work shown and the logistics of the sale of the house. This made the exhibition all the more precious and meaningful in the odd, dislocated and fraught moment in history, during a global pandemic, national unrest and a much anticipated presidential election. The exhibition offered the opportunity to step back from current affairs and look closely at how artists, over more than a century, have focused on the human form and created images that are sensuous, poignant, and funny.
The Colonial-era Prime House is a landmark building in the village of Sag Harbor. Originally built in 1795, the house is named for Nathaniel Prime who was the Pastor of the nearby Presbyterian Church and served as the manse for the Presbyterian church for many years. This 2-story, 3-bay structure is typical of the vernacular Federal style popular from 1780 to 1820 when the United States of American was a new nation and searching to establish its own cultural identity. The house has period molding and fireplaces, wood beamed ceilings and 200-year-old floors. It was previously owned by celebrated Jazz musician Hal McKusick (1972-2017) and stage and screen actor Hurd Hatfield (1951-1972).
– Sara Cochran, Executive Director and Chief Curator of The Church