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CincyArtMuseum #throwbackthursday Take a good LOOK @Sublime Beauty this Sat.@2pm. #FREE. RSVP req. 721.ARTS https://t.co/ZlEpWc6JRx http://t.co/xrLflVLmfu 12 hour ago via Twitter CincyArtMuseum RT @FOTOFOCUSCINCY: "Field Guide: Photographs by Jochen Lempert" opens @cincyartmuseum on October 17, 2015. #FotoFocus #FFspotlight http:/… 8 hour ago via Twitter
Cincinnati Art Museum #throwbackthursday Take a good look at Raphael's "Portrait of a Lady with a Unicorn" this Saturday, 2pm, during "InDepth". #FREE. RSVP required. Reserve online or by calling (513) 721.ARTS. http://www.cincinnatiartmuseum.org/visit/plan/calendar/details/1916-in-depth-sublime-beauty #tbt Photo Info: (Reverse) "A young woman looking toward El Greco's Crucifixion with scene of Toledo. Photo by A.L. Horvath. Second Floor galleries, 1946". Courtesy of the Mary R. Schiff Library and Archives. 12 hour ago via Facebook



Film Screening: "America's Pop Collector"

May 31, 2015 - 02:00 pm to 04:00 pm

Fath Auditorium

America's Pop Collector

Robert C. Scull—Contemporary Art At Auction

Directed by John Schott and E.J. Vaughn


FREE & Open to the Public

Parking is only $4, FREE for Art Museum Members


As part of the Art Museum's ongoing Moving Pictures film series, please join us on Sunday, May 31, for a rare public screening of a classic art-world documentary.



Schott and Vaughn’s vérité account centers on the historic 1973 auction at Sotheby Parke Bernet of fifty works from the private collection of New York taxi tycoon Robert C. Scull, who had been buying pieces from living artists like John Chamberlain, Jasper Johns, Robert Rauschenberg, and Andy Warhol since the 1950s. This was the first auction of contemporary art from a single private collection, coming at a time when movements like Pop and Minimalism were still regularly ridiculed in the press. The unprecedented prices that Scull’s collection would bring—over $2.2 million, or roughly $11 million today, amounts previously reserved for Old Masters—dramatically transformed the market for contemporary art.


Shot and recorded by Alan and Susan Raymond (the filmmakers behind the pioneering documentary series An American Family), America’s Pop Collector portrays Scull’s interactions with dealer Leo Castelli, collector Sam Wagstaff, as well as artists like Rauschenberg and a young Robert Mapplethorpe. Beginning with the intense media scrutiny that preceded the event, the film chronicles the inner workings of the auction house during preparations, Scull’s daily life running his cab company, protests from feminists and labor groups, and the packed auction itself.


The filmmakers’ fly-on-the-wall approach lends an anthropological air to its portrait of the New York art world at a pivotal moment of change; Schott has written that the film was intended as “an experiment in ‘writing art history with a camera.’”


Sober in its analysis yet also tender and searching in relation to its subjects, America's Pop Collector feels prescient when viewed today. More than a mere snapshot, the film allows us to see how contemporary art and its exchange first became theatricalized in the public imagination, and augurs our present situation.



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