Hofstra Museum of Art: Drawing Matters

Drawing Matters January 25-June 17, 2022 | Emily Lowe Gallery

Cover Images: Wolf Kahn (American, born Germany, 1927-2020), Two Islands, 1961, pastel on paper, 13.5 x 16.5 in., Hofstra University Museum of Art, gift of Geoffrey Gates, HU73.4 Benjamin West (American, 1738-1820), Man Throwing Stone, c. 1785-1800, red chalk on paper, 10.25 x 12 in., Hofstra University Museum of Art, gift of Milton M. Gardner, HU89.41 Mark Fiedler (Fiedler Marciano Architecture), Millerton House – In Process, 2019, reproduction of sketchbook pages (detail), 24 x 36 in., courtesy of the architect © 2022 Hofstra University Museum of Art All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior permission of the Hofstra University Museum of Art.

Drawing Matters January 25-June 17, 2022 Emily Lowe Gallery

Funding for this exhibition has been provided by the New York State Council on the Arts, with the support of Governor Kathy Hochul and the New York State Legislature.

Abraham Walkowitz

(American, 1878-1965) Number 10, 1916 India ink on paper, 11.5 x 9 in.

Hofstra University Museum of Art Gift of Gladys and Julius Reiner, HU75.16

4

Foreword Inspiration for an exhibition can come from unexpected sources. The idea for this exhibition came while I was working on programming related to the exhibition Environmental Impact in 2019. The Museum had arranged a viewing of the documentary Chasing Coral, and I met with Hofstra Professor Jason Williams in the Biology Department about leading the Q&A session after the film screening.

While there, we went into the lab, where I discovered that they were hand-drawing specimens seen under the microscope. I was amazed! I had assumed that some type of digital photography was used, but I learned that the minute differences in microscopic specimens could best be represented by line drawings. After much thought and discussion with faculty, I realized how often drawing is used in other academic disciplines. It soon became apparent that drawing was widely used across the curriculum, and the Drawing Matters exhibition began to take shape.

Thank you to the Hofstra University faculty and Fiedler Marciano Architecture for being receptive to this idea and “Zooming” in for some great conversations and sharing of ideas. In particular, the following individuals made valuable contributions to the formation and development of the exhibition: Mark Fiedler, Fiedler Marciano Architecture Professor James W. Lee, Department of Fine Arts, Design, Art History, Hofstra University Martin Marciano, Fiedler Marciano Architecture Assistant Professor Edward M. Segal, Department of Engineering, Fred DeMatteis School of Engineering and Applied Science, Hofstra University Professor Jason D. Williams, Department of Biology, Hofstra University My appreciation also goes out to artists Bobbi Angell and Patricia Luppino for lending their botanical drawings.

Museum exhibitions are a collaborative process, from the initial idea to the opening reception. I am extremely grateful for the unwavering support and trusty assistance of the Museum staff, both through the pandemic and as we reopened the galleries to the public.

Karen T. Albert Director, Hofstra University Museum of Art

5

Curator’s Statement A drawing is simply a line going for a walk. – Paul Klee

George Romney (English, 1734-1802) Warriors with Horses, undated Bistre, pen and ink over pencil drawing 4.25 x 7.25 in.

Hofstra University Museum of Art Gift of Milton M. Gardner, HU78.135

I have long had a fascination with and love of drawings. Whether the smooth glide of graphite across paper or the rasp of charcoal catching a textured surface, drawings are tactile. They reveal the hand of the artist; often including erasures and overdrawing, they uncover the development of a composition and the working process of an artist. Drawings are one of the most accessible and immediate forms of art. Unlike other media, the act of putting pencil to paper is one with which most people are familiar. The necessary materials are readily available and accessible.

The Hofstra University Museum of Art collection contains more than 200 drawings, about 4% of the permanent collection. Drawing Matters presents 24 collection drawings completed in a wide variety of styles, both representational and nonobjective, including figurative, landscape, and abstract imagery. Twentieth century American artists created the majority of the works in the collection, but examples from the 18th and 19th centuries are also included. Within this group, a range of media is represented: pencil, charcoal, pastel, ink, bistre, and chalk on paper. Many of the works are mixed media, using traditional drawing materials in combination with watercolors, gouache, or other pigments.

Typically, drawings were studies completed in support of a work in another medium such as a painting or sculpture. The drawings by Diego Rivera, George Romney, and Benjamin West are excellent examples of this practice. Artists can explore a wide range of compositional ideas and arrangements using the readily available (and inexpensive) tools of pencil or pen on paper to visually problem solve. Drawing Matters also includes drawings and maquettes (models) of sculptures by David Jacobs and Arthur Gibbons, which illustrate both artists’ use of sketching as a means of exploring ideas. The two full-scale sculptures are permanently installed on Hofstra’s campus. While artists continue to use drawings as explorations, during the 20th century, drawings rose to the stature of works of art in their own right. The drawings by Luis Cruz Azaceta, Jean Cocteau, Max Ferguson, Wolf Kahn, and Abraham Walkowitz are complete and finished works of art.

Drawing is an integral activity in the creative sectors but also is used in many disciplines to develop, document, explore, explain, and plan. It enables visualization and aids in the development of ideas. The action of drawing an object or illustrating an idea forces one to closely observe and really see, breaking down the object or idea

6

into digestible segments or parts in order to fully understand it. Drawing aids in the development of observational skills as it requires close and slow looking to draw what one sees.

In the natural sciences, drawing remains fundamental to understanding and communicating the details of specimens, whether botanical or biological. Joseph Stella (American, born Italy, 1877-1946) Botanical illustrations can be traditional line drawings, which depict the Self Portrait with Faces in a Crowd, 1944 details specific to the subject, or more interpretive colored pencil drawings. Pencil, gesso, and gouache on paper 28.125 x 36.75 in.

As stated by artist Bobbi Angell, “... line drawings show refined details Hofstra University Museum of Art and proportions that are not easily revealed in photographs.” Biological By exchange, HU92.71 specimen illustrations begin with hand-drawing the species, which are often viewed through a microscope. The line drawings are finalized and added to publications, advancing the knowledge about specific, and often new, species. This process is shown through the work of Professor Jason D. Williams on parasitic isopods. During the pandemic, we all became familiar with the illustration of the COVID-19 virus – the gray sphere with the projecting red spikes. Based on an electron microscopic image, the graphic reveals the cell structure displayed by coronaviruses. The image was created by illustrators at the Centers for Disease Control and Prevention to facilitate understanding of the virus and to educate the public.

In the fields of engineering and architecture, the development process utilizes drawing in many ways, such as to explore options, consider various alternatives, or communicate ideas. The initial sketches are often very rough, sometimes with input from many people, and are not considered finished works. They are ephemeral and often discarded. As the ideas become more fully realized, final drawings and models are completed. This process can be seen in the works on view by Fiedler Marciano Architecture.

Drawing is a form of communication, and it remains fundamental to understanding, translating, analyzing, and connecting the world around us. Images can transcend language barriers and enhance global understanding.

The Drawing Matters exhibition illustrates the importance of drawing by hand in the current technological age, where computer-aided design and photographic replication are so accessible.

Karen T. Albert Director, Hofstra University Museum of Art

7

8

Pat Adams

(American, born 1928) The Fall, 1981 Ink, acrylic, mica, crayon on paper, 31.75 x 21 in.

Hofstra University Museum of Art Gift of Eugene C. Goossen and Patricia Johanson, HU91.214

9

Botanical illustrations are traditionally and conventionally created in pen and ink to showcase new species described by botanists. Plants are also drawn for regional flora and field guides, with a focus on highlighting the distinctions between species. Photographs are commonly used in field guides also and are helpful for identification, but line drawings show refined details and proportions that are not easily revealed in photographs.

The skills used by botanical artists involve draftsmanship, working on pencil sketches to create a composition and using pen and ink for final presentation, and equally significant, involve a thorough knowledge of botany so that an artist can interpret the plant and compare it with a botanist’s description.

Artists use all the resources they can get – photographs, pickled flowers, verbal descriptions – but much of the main work is done from dried, pressed herbarium specimens, including making observations under a microscope for details of the plants. Leaves, stems, fruits – there is much to see. And flowers, of course, in need of much detail. As interesting and beautiful as a flower may be on the surface, the inner reproductive parts are significant in definition of a species and are fascinating to observe and draw. An individual flower from a specimen can often be rehydrated for dissection under a microscope.

For orchids in particular, the flowers have elaborate and unusual reproductive structures that have evolved to attract insects that are essential for pollination, leading to fruit and seed production.

Bobbi Angell November 2021

10

Bobbi Angell

(American, born 1955) Myrmecophila thomsoniana, 1998 Ink on paper, 10 x 14 in.

Courtesy of the artist

11

Luis Cruz Azaceta

(American, born Cuba, 1942) N.O. HEAD (Post Katrina), 2008 Permanent ink and Band-Aid on paper, 42 x 30 in.

Hofstra University Museum of Art Gift of Sharon Jacques, HU2012.44

12

Jean Cocteau

(French, 1889-1963) Jean Marais, 1946 Pencil on paper, 13.375 x 10 in.

Hofstra University Museum of Art Gift of Milton M. Gardner, HU80.22

13

Drawing in Process The drawing, though it can be, is not necessarily sacred. It might simply be a gesture, an extension of the visual mind, just a fragment that poses one question and leads to another, the annotation of a thought, not necessarily beautiful or fully formed.

The quality can be ephemeral, without preconception or pretension – light, facile, and in a way scientific in its longing to probe and prod, more often than not leading nowhere specifically, but slowly advancing nonetheless, one tiny step at a time.

Of course, the hand has a mind all its own, precocious, free-spirited, and perhaps most fundamentally, fallible. This genuine and most human proclivity to simply wander and stray, putting the rest to rest, can often inspire and transform a seemingly casual array of lines and tones into something more.

There is a certain mania to the compulsive practice of sketching, considering, discarding, adjusting, and sometimes starting over completely. A fraught process seemingly in free fall until at last it is not, until it strikes a chord and in that moment of resonance informs the design.

Gradually over time, things amass and fall together, the detritus of the process slips to the wayside, and we begin to dare the third dimension, the form and scale of the thing made manifest, building it and holding it – again in our hands. Does it fulfill our intent? Do we feel a charm?

Only when sufficiently enchanted do we dare the bold stroke, an act of confidence and conviction, the hard line. Unforgiving in its rectitude but strident in its determination to see the thing done, it is the pathway to actualization, the means to the end, practical in intent yet somehow still possessing the expression of that tentative first dance between mind and hand, an expression made possible by our faithful travel companion, the humble sketch.

Mark Fiedler Fiedler Marciano Architecture

14

Mark Fiedler

(Fiedler Marciano Architecture) Millerton House – In Process, 2019 Reproduction of sketchbook pages, 24 x 36 in.

Courtesy of the architect

15

The centuries-old tradition of botanical art – or, as I like to think of it, “plant portraiture” – has a strong foundation in the use of transparent to translucent watercolor pigments. But contemporary botanical artists have begun to diverge from this tradition, using so many different means to achieve an accurate portrayal of their subjects. It’s not uncommon today to see color botanical artworks in oil, pastel, colored pencil, egg tempera, and gouache, both alone and in combination. Regardless of the medium used, all botanical artists share a passion for observation and a love of detail. An accurate representation is the goal, and strong drawing skills are necessary to achieve that goal. Rare are the botanical artists who can proceed without a foundational drawing that can easily be erased and revised – I know of only one! – and bravely advance using their medium of choice.

For those who choose watercolor, it is not the loose or interpretive style of the watercolor floral painter.

The final details are applied using a “dry-brush” watercolor method. With this method, using small, round, pointed brushes, some barely thicker than a dog’s whisker, the artist applies the paint with little water using tiny brush strokes resembling pencil hatch marks, in a sense, drawing with brushes.

My own introduction to botanical art also began with watercolor. I persisted for over 12 years, trying to hone my watercolor skills, but found the medium difficult to master and stressful to execute. The brushes were like little unpredictable whips in my hand, and I would often find myself frozen in time and space before I could apply that first stroke of paint to my paper. I was much more confident with drawing and pencils vs. brushes. Drawing is a much more meditative practice for me, and I even enjoy the scratchy sound that pencils make on my paper as I work. After much soul-searching and feeling as though I were betraying the botanical art purists, I switched my focus to colored pencil, which has now become my medium of choice. Although my recent works are colored pencil drawings, I strive for a painterly look and the translucence that a skilled botanical artist can achieve in watercolor.

Patricia Luppino November 2021

16

Patricia Luppino

(American, born 1955) Tulip Fever, 2020 Colored pencil on paper, 15 x 13 in.

Courtesy of the artist

17

Howardena Pindell

(American, born 1943) Untitled #9B (Genesis II), 2007 Watercolor, acrylic, thread, ink, oil stick, color pencil, and museum board, 13 x 10.75 x 3 in.

Hofstra University Museum of Art Gift of the artist, HU2012.51

18

Diego Rivera

(Mexican, 1886-1957) Untitled (Seated Man and Woman), c. 1950s Pencil on paper, 3.625 x 5.25 in.

Hofstra University Museum of Art Gift of Mr. Louis Shorenstein, HU90.10

19

No one would classify my drawings as art. I frequently draw, but I am a structural engineer, not an artist. I teach students across engineering disciplines and design new structures. I draw to observe, to communicate, and to abstract, and I have my students do the same. To design new objects in the world, it is critical to understand what already exists. Just as an aspiring author should read widely, an aspiring engineer needs to closely examine a range of precedent works. The act of closely drawing these precedents requires slowing down to account for all the different components that comprise even the simplest structures and to assess how these different components come together.

Drawing to communicate often takes the form of quick hand sketches to explain an idea. These drawings are not precious. Faint lines are covered by bolder lines and annotations fill the page.

These drawings are works in progress and are often part of a dialogue. More refined drawings come later, and for structural designers, these kinds of drawings are the primary deliverables. Structural engineers also calculate and write to express their ideas, but a drawing set is what the fabricators and contractors ultimately need in order to build.

Although these refined drawings are detailed, engineers also make many simpler drawings. The world and the objects in it are complicated. While it is often important to express this complexity, engineers frequently need to make assumptions and simplifications. Structural engineers may strip down full buildings and bridges into line diagrams. These line diagrams then help form the basis of analytical and computational models that engineers use to reasonably approximate the way that objects behave in the world. It may be that these line diagrams are the primary kinds of drawings that many non-engineers typically associate with engineers. Engineers calculate, so if they draw, the drawings must be part of their calculations. However, the reality is that engineers draw, even the same object, in a range of ways. While drawing, they move back and forth from the simple to the complex with a focus on seeing, explaining, and understanding.

Edward M. Segal, PhD, P.E. Assistant Professor, Department of Engineering DeMatteis School of Engineering and Applied Science Hofstra University

20

Alexander Rodchenko

(Russian, 1891-1956) Man in Tuxedo, c. 1923-1925 Ink, watercolor, and gouache on paper, 18.75 x 10 in.

Hofstra University Museum of Art Gift of Midwood Medical Services, HU92.45

21

Drawing confounds me. My first memories of drawing are of creating intricate maps (on the blank pages of my parents’ books) for distant visions I had yet to discover. For the artist, drawing maintains an ability to capture an environment that is known through touch, as well as through sight. Whether it is considered a noun or a verb, drawing is able to record the pulse of the studio. At times, deciphering the shifting moods (moments of frustration and doubt countered with curiosity and spontaneity) of the studio, drawing informs and translates the tension and urgency of one’s work. Much akin to a cartographer documenting and charting topographic landscapes, the artist searches with the aid of drawing for the structure, the logic, the empirical nature necessary to apprise a future body of work.

With all the rich and unvarnished materiality that arises from the visual dialogue of the abstract to the high-end technical frequency of a preparatory study or the painstaking methods of the conceptualist – drawing, due in part to its immediacy, molds and morphs itself into all surroundings. Incorporating a sense of grit process and virtuosity (to name but a few) our immediate settings are endlessly digested and revealed by the power and potential of organizing marks on a surface.

Excerpt from personal journal dated 1992 Professor James W. Lee Department of Fine Arts, Design, Art History Hofstra University

22

Isaac Soyer

(American, born Russia, 1902-1981) Scrub Woman, 1940 Charcoal on paper, 16 x 17 in.

Hofstra University Museum of Art Gift of Dr. Alfred Brotman, HU74.16

23

Biological illustration includes drawings made for taxonomic purposes, such as the description of new species. Here the biologist uses a device that attaches to a microscope in order to sketch the specimen being observed. Later, these images are cleaned up during a tracing process done either by hand with technical pens or through computer software. Regardless of the technology, drawing forces researchers to critically observe and is a crucial step in documenting morphological features that distinguish the new species from related ones. Although the process seems objective and involving little art, taxonomists cannot create exact copies of the specimens observed. In fact, this would not be optimal; instead, they often need to highlight the key features of the specimens. Thus, a bit of “artistic license” comes into play, especially in the ultimate production of figures for publication.

I try to keep the following guiding principles in mind when describing species: 1) View the material with fresh eyes and curiosity. You never know what new or modified features may be present.

2) A trained mind is primed, so learn from previous descriptions and carefully compare. However, always question what you are seeing and past interpretations of structures.

3) Draw it as you see it. But “sometimes you have to lie to tell the truth”; not everything can be drawn at the same level of detail.

4) Strive to do better than past descriptions (match or raise the bar in terms of the illustrations), if you can.

No. 4 presents a trade-off because there are MANY new species that remain to be described and limited time/resources. Taxonomists typically do not have the luxury of spending extensive time on particular specimens; the planet is facing a biodiversity crisis in which species are going extinct before they can even be described.

Jason D. Williams, PhD The Donald E. Axinn Endowed Distinguished Professor in Ecology and Conservation Professor of Biology, Hofstra University

24

Jason D. Williams, PhD

(American, born 1972) Epicepon belema, new species, male allotype, 17 December 2019 Pencil on paper, 6.5 x 9 in.

Courtesy of the artist

25

photo photo xxxxxxxxx xxxxxxx

26

Exhibition Checklist Pat Adams

Luis Cruz Azaceta

Benny Andrews

Jean Cocteau

(American, born 1928) The Fall, 1981 Ink, acrylic, mica, crayon on paper 31.75 x 21 in.

Hofstra University Museum of Art Gift of Eugene C. Goossen and Patricia Johanson HU91.214 (American, 1930-2006) A Man, 1970 Ink on paper 18.25 x 12.125 in.

Hofstra University Museum of Art Gift of Mr. and Mrs. Howard Weingrow HU81.1

Bobbi Angell

(American, born 1955) Myrmecophila thomsoniana, 1998 Ink on paper 10 x 14 in.

Courtesy of the artist Tolumnia pulchella, 2003 Ink on paper 10 x 14 in.

Courtesy of the artist

(American, born Cuba, 1942) N.O. HEAD (Post Katrina), 2008 Permanent ink and Band-Aid on paper 42 x 30 in.

Hofstra University Museum of Art Gift of Sharon Jacques HU2012.44 (French, 1889-1963) Jean Marais, 1946 Pencil on paper 13.375 x 10 in.

Hofstra University Museum of Art Gift of Milton M. Gardner HU80.22

Jimmy Ernst

(American, born Germany, 1920-1984) Untitled, 1945 India ink on paper 11.5 x 8.75 in.

Hofstra University Museum of Art Gift of Dr. and Mrs. Joseph K. Tucker HU79.7

Max Ferguson

(American, born 1959) Violinist, 1982 Graphite on paper 16.5 x 14.75 in.

Hofstra University Museum of Art Gift of Mr. Michael Dinkes HU96.29

27

Mark Fiedler

(Fiedler Marciano Architecture) Millerton House – In Process, 2019 Reproduction of sketchbook pages Study model photographs Construction plan 24 x 36 in. each Courtesy of the architect

Arthur Gibbons

(American, born 1947) Study for SEE, 1980 Oil crayon on paper 13.93 x 10.875 in.

Hofstra University Museum of Art Gift of the artist HU80.113.1 Study for SEE, 1980 Oil crayon on paper 13.875 x 10.9375 in.

Hofstra University Museum of Art Gift of the artist HU80.113.2 Study for SEE, 1980 Oil crayon on paper 10.875 x 13.875 in.

Hofstra University Museum of Art Gift of the artist HU80.113.3 Maquette for SEE, 1980 Painted metal on wood base 8.25 x 34.75 x 14.75 in.

Hofstra University Museum of Art Gift of the artist HU2014.13

Nancy Grossman

(American, born 1940) Untitled (Figure), 1967 Ink and gouache on paper 13.75 x 16.75 in.

Hofstra University Museum of Art Gift of Carole and Alex Rosenberg HU88.111

David Jacobs

(American, 1932-2020) Maquette for Skater Gate, 1979 Aluminum 10 x 6.75 x 8 in.

Hofstra University Museum of Art Gift of Joan Jacobs HU2021.47 Log Book for Skater Gate, 1979 94-page notebook with hand notations, photographs, and drawings, 12 x 8.5 in.

Hofstra University Museum of Art Gift of Joan Jacobs HU2021.49

Wolf Kahn

(American, born Germany, 1927-2020) Two Islands, 1961 Pastel on paper 13.93 x 16.875 in.

Hofstra University Museum of Art Gift of Geoffrey Gates HU73.4

Mark Kostabi

(American, born 1960) Three Graces, undated Pen, ink, and washes on paper 20.75 x 16.125 in.

Hofstra University Museum of Art Gift of Dr. Monroe Kornfeld and Mrs. Edna Kornfeld HU2020.25

Richard Hayley Lever

(American, 1876-1958) Gloucester, Mass, 1914 Ink on paper 6 x 10.875 in.

Hofstra University Museum of Art Anonymous donation HU91.18

Patricia Luppino

(American, born 1955) Tulip Fever, 2020 Colored pencil on paper 15 x 13 in.

Courtesy of the artist Vogue, 2020 Colored pencil on paper 19 x 13 in.

Courtesy of the artist

Knox Martin

(American, born 1923) Untitled (Bull), 1953 India ink on paper 25.5 x 19.5 in.

Hofstra University Museum of Art Gift of Bernard Jacob and Phyllis Gangel-Jacob HU2005.2

28

Max Papart

(French, 1911-1994) Untitled (Equestrian), 1972 Ink on paper 7.75 x 8.5 in.

Hofstra University Museum of Art Gift of Andrew Rosenberg HU88.161

Howardena Pindell

(American, born 1943) Untitled #9B (Genesis II), 2007 Watercolor, acrylic, thread, ink, oil stick, color pencil, and museum board 13 x 10.75 x 3 in.

Hofstra University Museum of Art Gift of the artist HU2012.51

Diego Rivera

(Mexican, 1886-1957) Untitled (Seated Man and Woman), c. 1950s Pencil on paper 3.625 x 5.25 in.

Hofstra University Museum of Art Gift of Mr. Louis Shorenstein HU90.10

Norman Rockwell

(American, 1894-1978) Study for Old Man and Boy: Halloween, c. 1945 Charcoal on paper 14 x 12 in.

Hofstra University Museum of Art Gift of James Gaboda HU84.53

Alexander Rodchenko

(Russian, 1891-1956) Man in Tuxedo, c. 1923-1925 Ink, watercolor, and gouache on paper 18.75 x 10 in.

Hofstra University Museum of Art Gift of Midwood Medical Services HU92.45

George Romney

Joseph Stella

(American, born Italy, 1877-1946) Self Portrait with Faces in a Crowd, 1944 Pencil, gesso, and gouache on paper 28.125 x 36.75 in.

Hofstra University Museum of Art By exchange HU92.71

(English, 1734-1802) Warriors with Horses, undated Bistre, pen and ink over pencil drawing 4.25 x 7.25 in.

Hofstra University Museum of Art Gift of Milton M. Gardner HU78.135

Abraham Walkowitz

Isaac Soyer

Benjamin West

(American, born Russia, 1902-1981) Scrub Woman, 1940 Charcoal on paper 16 x 17 in.

Hofstra University Museum of Art Gift of Dr. Alfred Brotman HU74.16

(American, 1878-1965) Number 10, 1916 India ink on paper 11.5 x 9 in.

Hofstra University Museum of Art Gift of Gladys and Julius Reiner HU75.16 (American, 1738-1820) Man Throwing Stone, c. 1785-1800 Red chalk on paper 10.25 x 12 in.

Hofstra University Museum of Art Gift of Milton M. Gardner HU89.41

29

Jason D. Williams, PhD

(American, born 1972) Epicepon belema, new species, male allotype, 17 December 2019 Pencil on paper 6.5 x 9 in.

Courtesy of the artist Epicepon belema, new species, female holotype, 19 December 2019 Pencil on paper 8 x 10 in.

Courtesy of the artist

30

HOFSTRA UNIVERSITY SUSAN POSER President JANET A. LENAGHAN Interim Provost COMILA SHAHANI-DENNING Interim Senior Vice Provost HOFSTRA UNIVERSITY MUSEUM OF ART KAREN T. ALBERT Director KRISTEN DORATA Collection Manager JONATHAN FIDIS Communications Director JACKIE GEIS Senior Assistant to Director ALEXANDRA GIORDANO Assistant Director EILEEN MCKENNA Museum Educator JILL MELLOW Education and Public Programs Coordinator SARA SCHAEFER Museum Educator AMY G. SOLOMON Senior Museum Educator GRADUATE ASSISTANTSHIP Zacharoula Morfogen GRADUATE ASSISTANTS Celia Glime, Margarita Lopez UNDERGRADUATE ASSISTANTS Hannah Calista, Makayla Egolf, Corinne Hemmer, Angelina Olivo, Bella Palaia, Adallis Pantry, Josie Racette, Caitlin Treacy, Julisa Vargas 31