The Frances Lehman Loeb Art Center

The Frances Lehman Loeb Art Center The Frances Lehman Loeb Art Center at Vassar College. Link in bio: linktr.ee/theloeb
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The Frances Lehman Loeb Art Center was founded in 1864 as the Vassar College Art Gallery. Vassar was the first college or university in the country to include an art museum as part of its original plan. The current 36,000 square foot facility was designed by Cesar Pelli and named in honor of the new building’s primary donor Frances Lehman Loeb, a member of the Class of 1928. The Lehman Loeb Art Ce

nter’s collections chart the history of art from antiquity to the present and comprise over 22,000 works, including paintings, sculptures, drawings, prints, photographs, textiles, and glass and ceramic wares. Teaching students and working as an important tangible complement to the curriculum is the main focus of the collection. Notable holdings include the Warburg Collection of Old Master prints, an important group of Hudson River School paintings given by Matthew Vassar at the college’s inception, and a wide range of works by major European and American twentieth century painters. The design of the galleries and the storage facilities are geared to ease of presentation for groups of faculty and students. This is particularly true of the Project Gallery where faculty can request works of art from storage at short notice and have them installed for class use. Often multiple classes from different disciplines present work in this space thereby offering unexpected but revealing comparisons among different cultures and eras. While the Department of Art is the Lehman Loeb Art Center’s primary client, classes from other disciplines as diverse as Drama and Film, Botany, Classics, and Hispanic Studies make regular use of the broad collections. Designed by Cesar Pelli and opened to the public in November 1993, the Frances Lehman Loeb Art Center is a distinguished addition to a campus internationally known for its fine buildings. Called "a symphony of architecture" by the New York Times, the Frances Lehman Loeb Art Center comprises a new museum, home to one of the finest teaching collections in the nation, as well as the renovated collegiate-gothic building, Taylor-Van Ingen Hall, home of the art department and the art library. The entrance to the Frances Lehman Loeb Art Center is the Blanchette Hooker Rockefeller, class of 1931, Entrance Pavilion, a glass hexagon visible from just inside the college's main gate. A symbol of the art center, the pavilion is connected to Taylor-Van Ingen Hall by a buttress screen, creating a forecourt for the complex. The pavilion and glass-walled passageway leading to the exhibition areas offer views of the campus. The Hildegarde Krause Baker, class of 1911, Sculpture Garden, the Briarcombe Sculpture Courtyard, and the entry forecourt were designed by landscape architect Diana Balmori and recently renovated to a design by Michael Van Valkenburgh Associates.

Last week to see Bunmei Kaika: Political Landscape in Early Modern and Modern Japan — on view through June 7th.This exhi...
06/01/2026

Last week to see Bunmei Kaika: Political Landscape in Early Modern and Modern Japan — on view through June 7th.

This exhibition traces how artists captured the sweeping shifts in Japan's culture and physical landscape during a tumultuous era; from American "gunboat diplomacy" to rapid Westernization under Emperor Meiji. Woodblock prints from the period circulated sensationalized images that celebrated imperial power, reported on battlefields abroad, and fed a modernizing nation's imagination, all while cleverly navigating government regulations and prohibitions.

Featuring works by Hiroshige, Hokusai, Kunisada, Yosh*toshi, Kiyochika, and Ogata Gekkō, drawn largely from the Loeb's permanent collection. Don't miss it before it closes.

📍 Frances Lehman Loeb Art Center, Vassar College, Poughkeepsie, NY

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1. Kobayashi Eisei (古林 栄成), Japanese, "Enlightened Nobility List," 1877
woodblock print (oban tate-e triptych); ink and color on paper, Gift of Frances Beatty Adler, class of 1970, and Allen Adler, 2008.19.6

2. Utagawa Hiroshige (Japanese, 1797–1858), "Tsuchiyama: The Suzuka Mountains in the Rain from the series Fifty-Three Stations of the Tōkaidō," 1845, woodblock print (nishiki-e); ink and color on paper, 9 x 13 3/16 in. (22.9 x 33.5 cm), Gift of Celia Faulkner Clevenger, class of 1958, 1987.21.8

3. Utagawa Hiroshige III (三代目 歌川 広重), Japanese, 1843 - 1894, Yamanaka Kitarō, Japanese, "View of Ginza Kyobashi Stone Gas Lamps," 1880, woodblock print (nishiki-e); ink and color on paper, Gift of Justine Lewis Keidel, class of 1937, 1987.20.17

Join us this Tuesday, June 2nd at 5pm ET for a live JASA webinar featuring Curator, Monique D'Almeida, in conversation w...
06/01/2026

Join us this Tuesday, June 2nd at 5pm ET for a live JASA webinar featuring Curator, Monique D'Almeida, in conversation with Chelsea Foxwell, Professor of Art History at the University of Chicago. ⁠

Together they'll explore "Bunmei Kaika: Political Landscape in Early Modern and Modern Japan" examining how Japan's radical shift in national identity during the 19th and early 20th centuries was reflected and disseminated through prints of the era.⁠

The exhibition is on view through June 7th! Register for the webinar here https://us02web.zoom.us/webinar/register/WN_qCfqB1-ESKK7qd6kviTi9g?utm_source=ig&utm_medium=social&utm_content=link_in_bio #/registration


Kobayashi Kiyochika (Japanese, 1847–1915), “Picture of the Fierce Battle at Asan, Attacking Across the Ansong River,” (detail) woodblock print (nishiki-e); ink and color on paper, Gift of Frances Beatty Adler, class of 1970, and Allen Adler, 2008.19.16

05/19/2026

“Twist Barbie: Lynn Spigel Dreams of a Plastic Feminism” broadcasted on Screen 3 in the “Women’s Work” exhibition, is from the public access collective Paper Tiger Television’s first twenty years of operation.

The excerpts display the range of issues covered by the group, as well as its combination of an ultra low-budget, amateur aesthetic with innovative set design and use of montage and voiceover to provocatively critique everything from news coverage of global events to consumer culture and its relationship to women and people of color’s self-perception.

See this film and others in "Women’s Work: Organizing New York Independent Film & Video" on view through May 24.


“Twist Barbie: Lynn Spigel Dreams of a Plastic Feminism” (Paper Tiger #245, 1994), Original format: Analog video

Your zodiac sign, reimagined as a painting from our collection 🖼️.Should we do Part 2 👀?-Cover Image: "Madonna and Child...
05/18/2026

Your zodiac sign, reimagined as a painting from our collection 🖼️.

Should we do Part 2 👀?

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Cover Image: "Madonna and Child with Two Saints," attributed to Fiorenzo di Lorenzo, 1475–1485, tempera on panel, Gift of Charles M. Pratt, 1917.1.2

05/16/2026

One of the exhibition organizers and Associate Professor and Chair of Film at Vassar, Erica Stein, speaks to photographer, filmmaker, and songwriter/ musician, Bev Grant who became politically active through women’s movement demonstrations in the late 1960s.

As a member of New York Radical Women, she protested the 1969 Miss America Pageant (held in September 1968) and made a short film with Karen Mitnick Liptak about the protests, "Up Against the Wall
Miss America" (Newsreel #22, 1968) playing on Screen 2 in the gallery. Liptak and Grant joined the Newsreel collective, and "Up Against the Wall Miss America" became the first explicitly feminist Newsreel film and one of the first films to emerge from the women’s movement.

Photograph featured: Bev Grant (American, b. 1942), “New York Radical Women organizers at a planning meeting,” Southern Conference Educational Fund offices, New York City, Summer 1968, gelatin silver print © Bev Grant

“On the Belly of Courage , the Hand of Anxiety”  playfully captures Japanese citizens’ fears of Western invasion. Here, ...
05/15/2026

“On the Belly of Courage , the Hand of Anxiety” playfully captures Japanese citizens’ fears of Western invasion. Here, figures rest in various states of “courage” on top of a giant stomach, recognizable by the belly button below the shamisen player near the center of the right panel.

As censorship regulations loosened at the end of the Edo period, Japanese media increasingly addressed political issues and current events in woodblock prints and newspapers. Satirical prints called awate-e (hysteria pictures), caricaturizing the public’s trepidation over foreign relations and reactions to disaster in the cities of Edo and Yokohama, emerged at this time. While awate-e were a news medium, the genre was also intended to entertain—like political cartoons today. See this Japanese Woodblock print and others in “Bunmei Kaika: Political Landscape of Early Modern and Modern Japan” on view through June 7th.


Currently Unidentified, “On the Belly of Courage, the Hand of Anxiety,” 1864, woodblock print; ink and color on paper, Purchase, Betsy Mudge Wilson, class of 1956, Memorial Fund, 2025.22.2

05/14/2026

Monica J. Freeman created “Valerie”, a film portrait featuring sculptor, teacher, and printmaker Valerie Maynard at work at the Studio Museum of Harlem, where she was the first artist-in-residence.

Monica J. Freeman made "Valerie" while working with Nafisi Productions, a Black filmmaking collective founded by John Wise. She also programmed films, including "Valerie", for The Sojourner Truth Festival of the Arts, co-organized by Faith Ringgold in 1976. Freeman’s program, Focus on Film, is considered the first Black women’s film festival.

You have the opportunity to view this 15 minute film in full in our current exhibition, “Women’s Work: Organizing New York Independent Film & Video” on view through May 24. The exhibition reframes women’s work, showcasing and celebrating the organizing labor that enabled groundbreaking film, video, and community media collectives.

This new installation of works on paper from the Loeb’s collection pays homage to the importance of collage as a techniq...
05/13/2026

This new installation of works on paper from the Loeb’s collection pays homage to the importance of collage as a technique of modernist art, as well as the role of curator, art historian, and Vassar alum Margaret Miller ‘34 in historicizing collage in the mid-twentieth century.

In 1948 Miller organized “Collage” a retrospective exhibition surveying uses of the technique in twentieth-century art for MoMA. She recognized collage not just as a popular technique of modernist art, but understood it as a sign of the times—a direct and evocative gesture that artists used to respond to the violence and destruction of modernity.

05/11/2026

Step into the world of “Bunmei Kaika: Political Landscapes in Early Modern and Modern Japan” with Deknatel Curatorial Fellow Monique D’Almeida as she unpacks some of the main themes of the exhibition!

This exhibition illuminates a thriving print culture whose clever navigation of government regulations and prohibitions, playful and daring rendering of current events, and feeding of public interest cultivated the national imagination of a modernizing Japan during the Edo Period.

Make sure to stop by the Loeb to see “Bunmei Kaika” before it closes on June 7th!

Address

124 Raymond Avenue
Poughkeepsie, NY
12604

Opening Hours

Tuesday 10am - 5pm
Wednesday 10am - 5pm
Thursday 10am - 7pm
Friday 10am - 5pm
Saturday 10am - 5pm
Sunday 10am - 5pm

Telephone

+18454375237

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