February 2013

Wolfsonian Fellow Laura Sivert

January 11 2013

“I was very excited to be able to look at so much rich material in both the object collection and the library—a lot of it not available elsewhere, even in reproduction. It is so amazing that someone decided to collect all of this,” says Laura Sivert, who was a fellow in residence for much of January. During her fellowship, Sivert explored materials related to the visual culture of the Tennessee Valley Authority (TVA) in its early years. She also looked at the visual dissemination of governmental projects as a nation-building tool in mid-twentieth-century America and elsewhere.

Sivert is a Ph.D. candidate in art history at The Pennsylvania State University. Her research at The Wolfsonian informed her in-progress dissertation, Powering a Nation: The Cultural Landscape of the Tennessee Valley Authority, 1933–1945.  “Primarily, I am looking at the TVA and the way the project was portrayed and promoted itself in media. What attracted me to this topic is that the representation changed and the venues changed,” she says. “The TVA visually morphed from a job-creating, land-saving, modernizing enterprise into a war power project through propaganda, ephemera, and posters. What interested me was the ways in which a government program was aestheticized by both inside and outside forces.”

The Great Depression hit the Tennessee Valley hard. The TVA was created in 1933 to provide relief through the building of infrastructure, primarily dams, and as a result to offer jobs, affordable energy, navigable waterways, and to improve the agricultural terrain. Sivert explains that a good deal of existing scholarship explores the socioeconomic and ecological impact of the TVA, but not much scholarly attention has been paid to the project’s visual culture. This lack is surprising given that “the TVA produced, published, and widely disseminated images. By enlisting renowned photographers and artists to describe its modernizing goals, the project was able to reach citizens of the Tennessee Valley, the country, and other nations,” she says.

Leonard Lauder on Collecting Postcards

January 15 2013

“I collect not to possess, but to conserve and to discover,” says Leonard Lauder, whose collection of turn-of-the-century Austrian postcards is the source for Postcards of the Wiener Werkstätte: Selections from the Collection of Leonard A. Lauder. The exhibition, on view at The Wolfsonian through April 21, showcases approximately three hundred and fifty postcards out of a series of nearly one thousand. Lauder collected the cards over the course of about twenty-five years, eventually amassing almost the entire series. He recently donated the postcards to the Neue Galerie New York, which organized the exhibition. The Wolfsonian augmented the traveling exhibition with a large selection of Wiener Werkstätte textiles, decorative arts, and printed materials. 

Lauder describes the postcards as “wonderful and vibrant.” He characterizes his first encounter with a Wiener Werkstätte postcard as a seduction in his essay “My Vienna Modern,” published in the exhibition’s catalogue. Lauder spotted the postcard in a shop window in Vienna in the 1970s: “The array of colors and the rhythmic patterns of elegant ease are still imprinted in my mind.” As he began to learn about the postcards, he “was captivated by the romance of a Vienna past.”