Milton Avery's Vermont accompanies a summer, 2016 exhibition at the Bennington Museum which takes the first focused look at the work this prominent American modernist created based on six summers of intense activity in southern Vermont between 1935 and 1943. Avery regularly spent his summers traveling with his family in search of new material, and may have been drawn to Vermont by his friend Meyer Schapiro, one of the foremost art historians of the twentieth century. Noted for his simultaneous commitment to exploring the formal, abstract qualities of art and creating representational images drawn from his daily encounters with people and places, Avery captured his family's summer activities and his personal response to the Vermont landscape in works characterized by bold, gestural marks and bright, n-associative colors. Milton Avery's Vermont examines Avery's artistic process through pencil sketches executed en plein air, fresh watercolors based on his sketches, and major oil paintings.
JAMIE FRANKLIN has been curator at the Bennington Museum since 2005. His work has focused on American art of the early to mid-20th century, with a particular emphasis on the intersection of modernism and self-taught art. He has organized exhibitions and written books, essays and articles featuring artists and topics including Erastus Salisbury Field, Grassroots Art, Impressionism, Rockwell Kent, Anna Mary Robertson 'Grandma' Moses, and Alice Neel. His 2014 exhibition 'Alice Neel/Erastus Salisbury Field: Painting the People' was recognized by the Wall Street Journal as one of the most memorable exhibitions of the year. KAREN WILKIN is an independent curator and art critic based in New York. A specialist in 20th-century modernism, she has written monographs on David Smith, Anthony Caro, Stuart Davis, Kenneth Noland, Helen Frankenthaler, Isaac Witkin, Giorgio Morandi, and Hans Hofmann and organized exhibitions of their work internationally. Wilkin is the Contributing Editor for Art for the Hudson Review and a regular contributor to The New Criterion and the Wall Street Journal. Her book Anthony Caro: Interior and Exterior was published in 2011 and she was the overall editor of the series of 5 volumes published on Caro's work. She contributed to the monograph Wayne Thiebaud published in 2015.