Kemper Art Museum Spring 2014 FYI

SPRING 2014

FYI

Yael Bartana, still from Mary Koszmary (Nightmares), 2007. 16mm film transferred to video, 10:50 min. Courtesy of Petzel Gallery, New York; Annet Gelink Gallery, Amsterdam; Sommer Contemporary Art, Tel Aviv; and Foksal Gallery Foundation, Warsaw.

New Exhibitions IN THE AFTERMATH OF TRAUMA Contemporary Video Installations p6

ON THE THRESHOLDS OF SPACE-MAKING Shinohara Kazuo and His Legacy p8 Teaching Gallery

WANTING WOMEN Expressions of Desire and Difference in Images of Women from the 15th Century to Today p10

Contents Director's Note

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Spotlight Series

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Collection Update

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Education Update

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Calendar

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Membership

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Upcoming Exhibitions & Visitor Information p15

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Yto Barrada, Landslip, Cromlech de Mzora, 2001.

C-print mounted on aluminum, 23 5/8 x 23 5/8".

Mildred Lane Kemper Art Museum, Washington University in St. Louis. University purchase with funds from Helen Kornblum, 2013.

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Director’s Note

As we welcome a new year and look forward to the next exhibition season at the Museum, the importance of our members and visitors comes to mind.

With many museums today being accessed online and through social media such as Facebook, Twitter, and Pinterest, I am reminded of one of the fundamental missions of museums: the collection of actual objects. Even in the digital age, appreciating works of art is an experience that cannot be replicated within the virtual domain. So while the Kemper Art Museum’s online presence plays an increasingly significant role—our Twitter following tops 25,000—I am equally pleased that our membership numbers climbed continuously during the last year.

Women and the Kemper, the Museum’s special interest group, witnessed an unprecedented growth, now counting over 130 members and including a newly initiated Welcome Committee.

Similarly exciting is the energy of the Kemper Student Council and their activities; it is rewarding to see student involvement increase through membership and events. We are deeply grateful to all of our patrons for their active and vital involvement that stimulates our innovative exhibitions and programs, and we hope that membership will continue to flourish in the coming year.

Among other vital contributions, Museum supporters help us build our ever-expanding permanent collection. Under the leadership of Anabeth Weil, the Art Collection Committee approved this past fall the addition of three works by Rashid Johnson and Yto Barrada. These acquisitions strengthen our ability to provide an educational experience for students at Washington University as well as for the St. Louis community, such as our recently formed relationship with the Anti-Defamation League of St. Louis, which helps forge connections between area youth and art that might otherwise not occur.

Museum support also takes the form of collaborations with scholars in various fields, bringing intellectual resources from across campus to a public forum within the galleries. This semester we are excited to offer two faculty-curated exhibitions: by Seng Kuan, assistant professor of architectural history in the Sam Fox School of Design & Visual Arts, and Rebecca Messbarger, professor of Italian and Women, Gender, and Sexuality Studies in Arts & Sciences. Seng’s exhibition, On the Thresholds of Space-Making: Shinohara Kazuo and His Legacy, introduces audiences to a little-known chapter of postwar Japanese architecture and will significantly expand US exposure to this seminal architect of international importance. Rebecca’s Teaching Gallery exhibition, Wanting Women, is designed to complement her course on women in literature from the fifteenth century to today; it offers the opportunity to explore the representation of women in a wide range of Western artworks selected from the permanent collection. Our third exhibition this semester, In the Aftermath of Trauma: Contemporary Video Installations, was curated by myself and is the first exhibition at the Kemper to closely consider the medium of video art.

Featuring the work of five artists from around the world, these installations use the semidocumentary format to raise questions of history and memory, including how to represent the unrepresentable. It is my genuine hope that all of these exhibitions will generate meaningful and provocative discussions about who we are as subjects in today’s world.

Exhibitions such as the ones this season would not be possible without the dedication of our many supporters, in particular that of the Kemper family. Their ongoing commitment to the Museum allows us to bring high quality art, exhibitions, scholarship, and education programs to the St. Louis community. We are proud to be able to serve the students of the Sam Fox School of Design & Visual Arts, the entire campus of Washington University, and our regional, national, and international visitors. I very much look forward to seeing you, and all of our visitors, in the Museum’s galleries this spring.

With best wishes, Director’s Note

Sabine Eckmann, PhD William T. Kemper Director and Chief Curator

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Spotlight Series

Friday, March 21, 2014, 5p

FRANZ SERAPH VON LENBACH Portrait of Prince Otto von Bismarck (1884–90) James A. van Dyke, associate professor of modern European art, Department of Art History and Archeology, University of Missouri–Columbia

Franz Seraph von Lenbach, Portrait of Prince Otto von Bismarck, 1884–90.

Oil on canvas, 46 x 36 5/8 ". Mildred Lane Kemper Art Museum, Washington University in St. Louis. Gift of August A. Busch, 1929.

While many art institutions today emphasize the collection of modernist avant-garde art and its contemporary progeny, Portrait of Prince Otto von Bismarck engages the social historian of art precisely because it is not a modernist work of art. Made by one of Munich’s so-called painter princes, the antithesis of an avant-garde artist, the portrait recalls the existence of thousands of painters outside the modernist tradition who have largely been forgotten by art history but who constituted the majority of the German artistic community before 1945. One of several distinct types of portraiture of Bismarck produced by Franz Seraph von Lenbach in the 1880s and 1890s, the painting draws attention both to how state authority was represented for a bourgeois clientele in imperial Germany and to how such images articulated or embodied political and social tensions. Donated to Washington University

by August A. Busch in 1929, the picture and its magnificent frame raise questions about the political ideology of a prominent segment of the German-American community after the First World War and just before the rise of Hitler.

Thursday, April 10, 2014, 5p

YTO BARRADA Landslip (2001) and Tunnel (2002) Ila Sheren, assistant professor, Department of Art History & Archaeology in Arts & Sciences Yto Barrada’s photographs Landslip, Cromlech de Mzora and Tunnel— Disused Survey Site for a Morocco–Spain Connection come from a larger series dealing with international, continental, and cultural boundaries (Le Détroit, 1998–2006). In this series, Barrada produces photographic documentation of the city of Tangier, located along the Strait of Gibraltar, which divides Europe and North Africa. Although Tangier is only twenty-six miles from Tarifa, Spain, that distance fails to capture the magnitude of the divide—the linguistic, cultural, and political distance that seperates the two cities. Barrada photographs landscapes, domestic interiors, and individuals to define this multivalent place, but never directly depicts the physical reality of the divide.

Rather, the series offers an oblique view of the nature of migration and exile. Permeating the works is a tension between negative space and possibility: Tunnel frames an abandoned survey site for a project that would have connected Tangier with Spain, while Landslip juxtaposes a gaping divide in the foreground with a pastoral field in the background.

This Spotlight talk will explore how Barrada’s photographs suggest gaps, rupture, and connectivity, leading the viewer to question the nature of artificially constructed boundaries as well as the natural forms that divide human populations.

Yto Barrada, Tunnel—Disused Survey Site for a Morocco–Spain Connection, 2002.

C-print mounted on aluminum, 39 3/8 x 39 3/8 ". Mildred Lane Kemper Art Museum, Washington University in St. Louis. University purchase with funds from Helen Kornblum, 2013.

Spotlight Series

About the Spotlight Series

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The Mildred Lane Kemper Art Museum’s Spotlight Series features essays and talks on the Museum’s permanent collection with the aim to enhance enjoyment of and accessibility to the collection through new scholarship. Researched and authored by a curator, educator, professor, or graduate student, Spotlight essays focus on a chosen work to provide deeper analysis and stimulating points of discussion. In conjunction with each essay, a public talk is offered in the gallery space, providing visitors the opportunity to look closely at and discuss the work with the respective scholar.

SPOTLIGHT SERIES TALKS ARE ACCOMPANIED BY ESSAYS PUBLISHED ON THE WEB kemperartmuseum.wustl.edu/spotlightessay

Collection Update

New Acquisitions This past fall the Museum’s Art Collection Committee approved the acquisition of works by internationally renowned contemporary artists Rashid Johnson and Yto Barrada, adding to the permanent collection visually compelling and conceptually pointed artistic positions that engage with questions of race, identity, territory, and boundaries.

Rashid Johnson’s painting Express (2013) recalls some of the works recently displayed at the Kemper Art Museum as part of the artist’s solo exhibition Rashid Johnson: Message to Our Folks.

The painting was made using red oak flooring, which he branded using custom-made branding irons replicating the crosshairs of a gun sight, palm trees, and other geometric shapes. The crosshairs appear repeatedly in Johnson’s work, a nod to pioneering rap group Public Enemy, which used the symbol on its albums and merchandise as a reference to unfair targeting of black Americans in an unjust society. The act of branding the wood panels carries with it sinister connotations stemming from its connection to slavery and the subsequent adoption of the act in initiation rites of historically black fraternities as a sign of collective unity. Gestural splatters of black wax and gouged areas in the surface of the wood constitute multiple layers of markmaking that reflect Johnson’s ongoing dialogue with the history of modernist abstraction.

Yto Barrada’s photographs Landslip, Cromlech de Mzora (2001) and Tunnel—Disused Survey Site for a Morocco–Spain Connection (2002) come from her series titled Le Détroit (1998–2006). Taken in the artist’s hometown of Tangier, the coastal city facing Europe across the Strait of Gibraltar, her photographs capture not the exoticized city depicted in tourist brochures but a more downtrodden Tangier. In both Landslip and Tunnel the artist employs diagonals as metonyms for separation and division of space, offering compelling, if indirect, examinations of the spatial tension that marks the boundary between Morocco and Spain and the experiential conditions of the refugee in our contemporary world.

Rashid Johnson, Express, 2013. Branded red oak flooring, black soap, and wax, 72 1/2 x 48 1/2 x 2 1/2". Mildred Lane Kemper Art Museum, Washington University in St. Louis. University purchase, Parsons Fund and Bixby Fund, 2013.

The purchase of these photographs by Yto Barrada was made possible with funds from Helen Kornblum. Her ongoing support has significantly helped to strengthen the Museum’s acquisition of contemporary photography by women.

Art on Campus Established in May 2010, Art on Campus is a campus wide percent-for-art program through which artists are commissioned to produce new public artworks in connection with eligible capital projects on the Danforth Campus and select off-campus locations. One of the main goals of the program is to build a renowned collection of site-specific art by nationally and internationally recognized artists to reflect the University’s stature and the diversity of both its community and its intellectual activity.

Jaume Plensa, Ainsa I, 2013. Installation view, Jaume Plensa à Bordeaux, Bordeaux, France, 2013. Stainless steel and limestone, 126 x 84 5/8 x 149 5/8 ". Mildred Lane Kemper Art Museum, Washington University in St. Louis. University purchase, Art on Campus fund, Olin Business School, 2013. © Jaume Plensa, courtesy of Galerie Lelong, New York. Photo by Thomas Sanson, © Ville de Bordeaux.

commissioned for an artwork connected to the renovation of Samuel Cupples Hall II, which will be installed to the south of this historic building.

These three Art on Campus works will be the subject of a joint program of Women and the Kemper and the Women’s Society of Washington University, Monday, March 24. See p14 for details.

Collection Update

Several Art on Campus projects are under way and scheduled for completion in 2014 on the Danforth Campus. Commissioned in conjunction with the Olin Business School’s expansion project, Spanish sculptor Jaume Plensa’s Ainsa I is planned for installation as part of the new Knight Hall and Bauer Hall building complex. This ten-foot-tall seated figure is made up of a filigree of stainless steel letters taken from nine different alphabets. American painter, photographer, and installation artist Spencer Finch has been commissioned for an artwork for the interior atrium of the newly renovated Karl D. Umrath Hall. Finch’s proposed work, titled East Meets West, involves two large-scale light boxes with abstract imagery related to the theme of the Gateway City.

Turkish-born Ayşe Erkmen creates innovative sculptures that engage with the specific conditions of a given site as she seeks to overcome the conventional opposition between art and everyday life. She has been

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In the Aftermath of Trauma: Contemporary Video Installations January 31–April 20, 2014 Barney A. Ebsworth Gallery, Saligman Family Atrium, May Department Stores Foundation Foyer

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he history of the 20th and early 21st centuries is one that is scarred by incomprehensibly violent events with far-reaching effects. It is an era of world wars, totalitarian mass terror, social and ethnic cleansing, revolutions, civil wars, radical uprootings, and terrorism. In the Aftermath of Trauma: Contemporary Video Installations presents the work of five video artists from around the world who employ their medium to explore individual and collective memories of such traumatic experiences.

In the Aftermath of Trauma: Contemporary Video Installations

The artists included in the exhibition employ the so-called semidocumentary video format, provocatively hovering between fact and fiction, history and memory, while using cinematic projection spaces. Engaging with trauma as a belated response, they probe ways of comprehension that go beyond the dichotomy of head-on confrontation versus denial or repression to suggest a more nuanced and complex relationship between the original event and its present recollection.

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Israeli artist Yael Bartana’s activist and performative film Mary Koszmary (Nightmares) (2007) focuses on the semifictive Jewish Renaissance Movement in Poland, which calls home 3.3 million Jews, approximately the same number that died during the Holocaust. British artist Phil Collins’s marxism today (prologue) (2010) engages with contemporary perspectives on Marxism through personal accounts of life in communist East Germany and after its demise following reunification. Chilean-born artist Alfredo Jaar’s May 1, 2011 (2011) estranges the role of political media images to remember historical events: employing an image that suggests the killing of the militant al Qaeda leader Osama bin Laden by US military forces, the work triggers memories while withholding a visualization of the actual event.

Indian artist Amar Kanwar’s complex multichannel installation The Lightning Testimonies (2007) investigates the experience of sexual violence, using disparate narratives that tell the story of thousands of women who were abducted and abused since the 1947 partition of the Indian subcontinent into Islamic Pakistan and Hindu India. In Bomb Ponds (2009), Cambodian artist Vandy Rattana focuses on the stories and memories of contemporary witnesses of the bombing of neutral Cambodia during the Vietnam War. The themes and aesthetic forms of these videos are deeply invested in the human subject and its status in today’s world. The time of memory and the time of history in these videos confound a direct relationship between subjectivity and history, memory and the real.

The exhibition is curated by Sabine Eckmann, William T. Kemper Director and Chief Curator.

Exhibition catalog A fully illustrated color catalog, published by the Mildred Lane Kemper Art Museum, accompanies the exhibition.

Featuring an essay by Sabine Eckmann with contributions

by Rakhee Balaram, Svea Bräunert, and Ila Sheren, the publication provides an examination of the contemporary aesthetics of the semidocumentary video and an in-depth consideration of each artist’s work within the context of their artistic practices overall. The catalog will be available in January 2014 through the University of Chicago Press and on site at the Kemper Art Museum shop.

Exhibition support Support for In the Aftermath of Trauma: Contemporary Video Installations is provided by James M. Kemper, Jr.; the David Woods Kemper Memorial Foundation; the William T. Kemper Foundation; the Missouri Arts Council, a state agency; the Hortense Lewin Art Fund; Anabeth and John Weil; Elissa and Paul Cahn; Ken and Nancy Kranzberg; and members of the Mildred Lane Kemper Art Museum.

Related Events

OPENING CELEBRATION Friday, January 31, 2014

• Member Preview, 6–7p • Public Reception, 7–9p Lectures Witnessing, Recalling, and Recording: On Trauma and Video Art Saturday, February 1, 2014 1p gallery talk, Kemper Art Museum 1:30p lecture, Kemper 103 Sabine Eckmann, William T. Kemper Director and Chief Curator

Bunny and Charles Burson Visiting Lecture: Alfredo Jaar Monday, February 10, 2014 6p reception, Kemper Art Museum 6:30p lecture, Steinberg Auditorium Alfredo Jaar, artist, featured in the exhibition In The Aftermath of Trauma: Contemporary Video Installations

Representation and Trauma in Contemporary Art: Examining Four Perspectives in Work by María Magdalena Campos-Pons, Alfredo Jaar, Aziz & Cucher, and Allora & Calzadilla Monday, April 7, 2014 6p reception, Kemper Art Museum 6:30p lecture, Steinberg Auditorium Lisa D. Freiman, director, Institute for Contemporary Art, Virginia Commonwealth University and Venice Biennale Curator 2013

Above: Phil Collins, stills from marxism today (prologue), 2010. HD video projection with 5.1 surround sound, 35 min. Courtesy of Shady Lane Productions and Tanya Bonakdar Gallery, New York.

Left: Vandy Rattana, stills from Bomb Ponds, 2009. Single-channel video, 23 min. Courtesy of the artist.

Directors’ Dialogue Exploring Contemporary Video Art Friday, February 28, 2014 5:30p reception, Kemper Art Museum 6p program, Kemper Art Museum and Contemporary Art Museum St. Louis Sabine Eckmann, William T. Kemper Director and Chief Curator of the Mildred Lane Kemper Art Museum, Lisa Melandri, director of the Contemporary Art Museum St. Louis (CAM). This exclusive event will feature a conversation about how to look at, interpret, and experience contemporary video art using as a point of departure the exhibitions In the Aftermath of Trauma: Contemporary Video Installations at the Kemper Art Museum and Street Views: Takeshi Murata at CAM. Space is limited; registration is required. Free for members of the Kemper Art Museum and CAM; $10 for nonmembers.

Please register online at http:// guestlistapp.com/events/191064.

Member code/discount: member.

Questions may be directed to Allison Taylor, manager of education at the Kemper Art Museum, at 314-935-7918 or allison.taylor@wustl.edu.

Panel Discussion Terror, Trauma, and Memory

Monday, February 3, 2014, 5–8p Maria Ojascastro, regional artist Using In the Aftermath of Trauma: Contemporary Video Installations as a foundation, Ojascastro invites individuals whose lives have been touched by tragedy to use mixed media and encaustic collage to explore their journey. When trauma is too great to express verbally, art can often be an appropriate means for healing and strength. Participants will manipulate preprinted images and text to transform a book into a vehicle for personal expression. Both beginners and advanced learners are welcome to join this opportunity for creativity in a safe and relaxing atmosphere.

Free for members of the Kemper Art Museum and COCA/Interchange Teachers; $10.00 for all others. To register, please contact Allison Taylor, manager of education at the Kemper Art Museum, at 314-935-7918 or allison.taylor@wustl.edu.

Thursday, March 6, 2014 6p reception, Kemper Art Museum 6:30p panel discussion, Steinberg Auditorium Svea Bräunert, postdoctoral fellow at the University of Potsdam, Germany Sabine Eckmann, William T. Kemper Director and Chief Curator of the Mildred Lane Kemper Art Museum Tonya Edmond, associate professor of social work at the George Warren Brown School of Social Work Erin McGlothlin, associate professor of German in Arts & Sciences and interim director at the Center for the Humanities This interdisciplinary panel, comprised of scholars from the fields of Holocaust Studies, Cultural Studies, and Social Work, will expand upon the discourse on trauma as it is explored in the exhibition In the Aftermath of Trauma: Contemporary Video Installations in relation to contemporary video art and documentary practices. Presentations and discussion will elucidate how past violence affecting trauma is interpreted and studied in these different areas of expertise. The panel will focus on three decisive historical moments: the Holocaust, terrorism, and postcolonialism.

Film Screenings

Gallery Talk

Friday, February 7, 2014, 8p Hannah Arendt (2012), directed by Margarethe von Trotta Introduced by Erin McGlothlin, associate professor of German in Arts & Sciences and interim director at the Center for the Humanities Steinberg Auditorium

Wednesday, April 2, 2014, 5p Sabine Eckmann, William T. Kemper Director and Chief Curator, discusses works in the exhibition.

Workshop Don’t Judge a Book by Its Cover

Top: Alfredo Jaar, May 1, 2011, 2011 (installed). Two LCD monitors and two digital prints, 15 1/2 x 19 1/4" each (framed). Courtesy of Galerie Lelong, New York; Galerie Thomas Schulte, Berlin; and the artist, New York. Official White House photograph by Pete Souza.

Friday, March 7, 2014, 8p Beyond 9/11: Portraits of Resilience (2011), directed by Kira Pollack Steinberg Auditorium

See Calendar (pp12–13) for the full range of programs

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On the Thresholds of Space-Making: Shinohara Kazuo and His Legacy January 31–April 20, 2014 Garen Gallery

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n the Thresholds of Space-Making surveys the work of Shinohara Kazuo (1925–2006), one of Japan’s most influential architects of the postwar generation. A mathematician turned architect, Shinohara achieved cult-figure status with his series of sublimely beautiful, purist houses designed over a thirty-year period, from the mid-1950s to the 1980s.

Shinohara was also a rigorous polemicist, and through both writings and architecture he scrutinized and reframed fundamental architectural conventions, such as public / private, body / space, and openness / enclosure. His slogan “A house is a work of art” encapsulates his belief in the potential of quotidian design. His resistance to a technological approach to architectural design, one that had dominated Japan’s architectural profession since the 1920s, caused him to break away from established forms of the singlefamily house ubiquitous in Japan’s postwar suburbia.

On the Thresholds of Space-Making: Shinohara Kazuo and His Legacy

The exhibition includes original drawings and sketches rarely seen outside of Japan. These items are augmented by period photographs of Shinohara’s building projects as well as by reproductions of select models of his houses. A featured work is his House in White (1964– 66), one of his most iconic, in which he rearranges a familiar design palette—a square plan, a pointed roof, white walls, and a symbolic pillar—to give the main room almost oceanic spaciousness through abstraction. The architect’s formalism—his basic explorations of geometry and color—lend his work a poetic quality that fuses simplicity and surprise, the ordered and the unexpected.

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Also showcased in the exhibition is the enduring legacy of Shinohara’s work through projects by younger Japanese architects whom he influenced: Ito Toyo (b. 1941); Nishizawa Ryue (b. 1966) of the firm SANAA; and Ishigami Junya (b. 1974). By juxtaposing Shinohara’s work with that of subsequent generations of architects, we see a clear lineage that constitutes a highly energized collective of creative talent. These architects pushed the frontiers of architectural design, unrivaled in their intellectual rigor and stylistic coherence in contemporary global practice.

On the Thresholds of Space-Making: Shinohara Kazuo and His Legacy is curated by Seng Kuan, assistant professor of architectural history in the Sam Fox School of Design & Visual Arts.

Support for the exhibition is generously provided by the Sam Fox School of Design & Visual Arts and College of Architecture; the Japan Foundation; the Graham Foundation for Advanced Studies in the Fine Arts; and members of the Mildred Lane Kemper Art Museum.

Related Events OPENING CELEBRATION Friday, January 31, 2014 • Member Preview, 6–7p • Public Reception, 7–9p Gallery Talk Wednesday, February 19, 2014, 5p Seng Kuan, assistant professor of architectural history in the Sam Fox School, discusses works in the exhibition.

Japanese Film Series Thursday, February 13, 2014, 6p Double Suicide (1969), directed by Shinoda Masahiro Steinberg Auditorium Above: Shinohara Kazuo, Great room (hiroma), House in White, Suginami Ward, Tokyo, 1964–66. Photo by Murai Osamu, c. 1966. Courtesy of Tokyo Institute of Technology Museum.

Left: Shinohara Kazuo, Interior, Repeating Crevice, Ota Ward, Tokyo, 1969–71. Photo

by Taki Koji, c. 1971. Courtesy of Tokyo Institute of Technology Museum.

Below: Shinohara Kazuo, Tanikawa House, Naganohara, Nagano Prefecture, 1972–74. Photo by Taki Koji, c. 1974.

Courtesy of Tokyo Institute of Technology Museum.

This film is adapted from a Bunraku puppet play (featuring the music of famed composer Toru Takemitsu), a paper merchant sacrifices family, fortune, and—ultimately—life for his erotic obsession with a prostitute. The film’s antirealist strategies and modernist spaces, designed by Awazu Hiroshi, challenge conventional notions of film and theater.

Thursday, February 20, 2014, 6p

to Kill, director Suzuki Seijun uses elaborate visual tableaus to explore the world of Japanese assassins.

Thursday, February 27, 2014, 6p Summer Wars (2009), directed by Mamoru Hosoda Steinberg Auditorium A teenage math whiz unintentionally plunges the virtual world into chaos by solving a numerological riddle that makes the global network vulnerable to attack. The exuberantly colorful online world resembles the superflat designs of pop artist Murakami Takashi, whose work is strongly influenced by contemporary media culture.

The Japanese Film Series is cosponsored by the Department of Film and Media Studies in Arts & Sciences.

Lecture Cannon Design Lecture for Excellence in Architecture and Engineering: Tsukamoto Yoshiharu Friday, March 28, 2014 6p reception, Kemper Art Museum 6:30p lecture, Steinberg Auditorium Tsukamoto Yoshiharu, architect at Atelier Bow-Wow, featured in the exhibition On the Thresholds of SpaceMaking: Shinohara Kazuo and His Legacy.

Pistol Opera (2001), directed by Suzuki Seijun Steinberg Auditorium In this sequel to, and remake of, his 1967 gangster film classic Branded

Shinohara Kazuo, Japanese Room, Umbrella House, Nerima Ward, Tokyo, 1959–61. Photo by Murai Osamu, 1961. Courtesy of Tokyo Institute of Technology Museum.

See Calendar (pp12–13) for the full range of programs

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Teaching Gallery

Wanting Women: Expressions of Desire and Difference in Images of Women from the 15th Century to Today January 31–April 14, 2014 Teaching Gallery Mythic, idealized, religious, sexualized, romantic, misogynist, even feminist—images of women are inevitably laden with the freight of cultural and visual conventions surrounding the feminine, some as ancient as artistic representation itself. Wanting Women draws together a selection of Western depictions of women in a variety of media over seven centuries, culled from the Museum’s collection, with the aim of interrogating historical and cultural constructions of femininity as well as counterreactions and responses. Among the diverse range of aesthetic practices on view are such works as 17th-century Dutch painter Jacob G. Cuyp’s Portrait of a Lady, whose pious modesty contrasts with the presentation of female nudity in Romare Bearden’s Black Venus from 1968. A classic image of Eve tempting Adam in the 16th-century engraving after Dutch artist Lucas van Leyden is juxtaposed with American artist William Fett’s brilliantly colored Surrealist-inspired painting of the same subject from 1989. These are complimented by an array of images across time and Western cultures, from the 19th-century Spanish painter Vincente Palmaroli y Gonzales’s vision of a young girl hiding her book from a priest in The Interrupted Reading, to Martha Rosler’s six-minute video Semiotics of the Kitchen that enacts a form of radical defiance against women’s domestic oppression characteristic of 1970s American feminism.

Teaching Gallery

“What do women want?” Sigmund Freud famously asked. A play on words, the title of this exhibition is meant not only to evoke the whole field of inquiry engendered by Freud’s question but also to underscore the ambiguity at the core of the representation of women. Signifying both lack and desire, the double meaning of “wanting” plays on the notion of absence—what is represented reflects not “real” women as much as products of the (male) imagination—and the notion of (woman’s) desire in relation to social and cultural conventions of authority and agency. The wide range of works on view offers new ways of considering recurrent themes throughout the history of the representation of women, including birth and motherhood; feminine beauty, virtue, and corruption; the female body; and the relation of the object to the owner of the gaze.

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This Teaching Gallery exhibition is curated by Rebecca Messbarger, professor of Italian and Women, Gender, and Sexuality Studies, in conjunction with her course “Divergent Voices: Italian Women Writers” in Washington University’s Department of Romance Languages and Literatures in Arts & Sciences in spring 2014.

Top: Romare Bearden, Black Venus, 1968. Collage of printed, colored, and painted papers pasted on paper, 29 3/4 x 40 3/16 ". Mildred Lane Kemper Art Museum, Washington University in St. Louis. University purchase, Charles H. Yalem Art Fund, 1994. © Romare Bearden Foundation / Licensed by VAGA, New York.

Above: Jacob G. Cuyp, Portrait of a Lady, c. 1640–50. Oil on cradled panel, 35 x 27 5/8 ".

Mildred Lane Kemper Art Museum, Washington University in St. Louis. University Purchase, Parsons Fund, 1924.

Related Events OPENING CELEBRATION Friday, January 31, 2014 • Member Preview, 6–7p • Public Reception, 7–9p Gallery Talk Wednesday, February 12, 2014, 5p Rebecca Messbarger, professor of Italian and Women, Gender, and Sexuality Studies in Arts & Sciences, discusses works in the exhibition.

See Calendar (pp12–13) for the full range of programs

Diversity and Inclusion Partnership with the Anti-Defamation League The fall 2013 exhibition Rashid Johnson: Message to Our Folks provided the ideal backdrop for a program highlighting issues of diversity and inclusion in collaboration with the Anti-Defamation League (ADL) St. Louis, which provides a wide array of educational programs promoting values of justice and fair treatment of all citizens. ADL St. Louis has partnered with many area cultural organizations, including the Missouri History Museum and the Saint Louis Art Museum, but this is their first collaboration with the Mildred Lane Kemper Art Museum. Tabari Coleman, project director of the ADL’s A World of Difference Institute, praises the new partnership for creating a “platform to encourage dialogue using art as a catalyst for self-reflection.” High school-age students from Covenant House Missouri, Hazelwood’s Door to Success, MaplewoodRichmond Heights, Principia, and Soldan International Studies High School have already taken advantage of this unique learning opportunity.

Rashid Johnson’s conceptually loaded and visually compelling photographs, paintings, and sculptures investigate the construction of identity and challenge entrenched ways of thinking about the black experience in America. Through conversation during interactive exhibition tours, students explored African American cultural icons, stereotypes, and notions of escapism, as well as the ways that community, history, and personal experience contribute to how the students see themselves.

After students explored the exhibition, ADL facilitator Kenny Murdock led them through a series of classroom activities meant to broaden their understanding of key topics such as the bias of language and other concepts relating to prejudice and discrimination. To transform these concepts into something tangible, Murdock asked participants to draw images on a transparency to represent their gender, race, religion, culture, and citizenship. Holding their transparencies up to their faces, students noticed not only the ways that these aspects of identity could affect how they interact with each other and the world at large, but also the limitations of noticing only these characteristics.

Related Events Teacher Workshop: Unusual Materials, Methods, and Media

Monday, February 24, 2014, 5–8p This educator’s educator’sworkshop workshop explores relationship This explores thethe relationship between between artist’s subject and materials. an artist’s an subject matter and matter materials.

Beginning in the Beginningpermanent in the Museum’s permanent collection Museum’s collection gallery, teachers will gallery, teachers examine a variety of works, some examine a variety will of works, some pulled from the Museum’s pulled from the Museum’s incorporating vaults, incorporating unusualvaults, materials or methods.unusual materials or methods. from theclassroom, gallery to the the Moving from the gallery Moving to the Museum’s Museum’s classroom, the exploration will continue exploration will continue with a hands-on project crafted with nontraditional a hands-on project crafted from nontraditional from materials.

Refreshments are provided; materials. Refreshments are is registration is required. Free forprovided; membersregistration of the Kemper required.

Free for members of the Kemper Art Museum; Art Museum; $10.00 for nonmembers.

To register, please $10.00 for nonmembers.

To register, pleaseat contact contact Allison Taylor, manager of education, 314-935-7918 Allison Taylor, manager of education, at 314-935-7918 or or allison.taylor@wustl.edu. allison.taylor@wustl.edu.

Community Day community day

Saturday, March 22, 2014, 11a–3p Saturday, March 22, 2014, 11a–3p Day the Museum is For the spring Community For the spring Community the Museum partnering with the JapanDay America Societyisof partnering withopen-house the Japan America Society St. Louis.

St. Louis. This celebration willofoffer This open-house celebration for willall offer interactive interactive art experiences ages including art experiences for all ages a traditional a traditional Japanese tea including ceremony, ikebana Japanese tea ceremony, ikebana demonstrations demonstrations (Japanese flower arrangement), (Japanese flower arrangement), Kamishibai Kamishibai (Japanese storytelling), and a(Japanese Hina Doll storytelling), and a Hina Doll presentation.

Community presentation.

Community Day is funded in part by Day is funded in part by a grant fromofthe Women’s a grant from the Women’s Society Washington Society of Washington University.

University.

See Calendar calendar (pp12–13) (pp12–13) for for the thefull fullrange rangeof ofprograms programs

Staff Announcement

Photo by Whitney Curtis.

The Mildred Lane Kemper Art Museum is pleased to announce the hiring of Abby Frohne as the manager of marketing, communications, and visitor services. Abby comes to the Museum from the Saint Louis Art Museum, where she spent the past six years as marketing coordinator. She earned her BA in communications from the University of Missouri–St. Louis, and is currently working on an MA in media communications at Webster University.

Please join us in welcoming the newest member of the Kemper Art Museum staff.

Education Education Update Update

Meaningful engagement with issues of diversity, inclusion, and social responsibility are coming to the forefront of museum education initiatives on a national scale. The new partnership between ADL St. Louis and the Kemper Art Museum speaks to this larger professional interest in social engagement as well as to the Museum’s mission of “inspiring social and intellectual inquiry into the connections between art and contemporary life.” This program about art, identity, community, prejudice, and history attests to the vital role art and museums can play in catalyzing much-needed conversation amongst visitors and the community at large.

Left: Allison Fricke, assistant educator, leads a group through the exhibition Rashid Johnson: Message to Our Folks. Photo by Allison Taylor / Kemper Art Museum.

Education Update

Above: A drawing done as part of the activities of the AntiDefmation League (ADL) St. Louis partnership program, fall 2013.

Photo by Michael Hesse / Kemper Art Museum.

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Spring 2014 Calendar

Calendar

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OPENINGS

Friday, January 31, 2014 In the Aftermath of Trauma: Contemporary Video Installations On the Thresholds of Space-Making: Shinohara Kazuo and His Legacy Wanting Women: Expressions of Desire and Difference in Images of Women from the 15th Century to Today

OPENING CELEBRATION

Friday, January 31, 2014 • Member Preview, 6–7p • Public Reception, 7–9p

MFA Open Studios

Saturday, January 25, 4–8p Lewis Center, 721 Kingsland Ave. See p14 for details

Lecture

Saturday, February 1, 1p Witnessing, Recalling, and Recording: On Trauma and Video Art

Sabine Eckmann, William T. Kemper Director and Chief Curator 1p gallery talk, Kemper Art Museum 1:30p lecture, Kemper 103

Workshop

Monday, February 3, 5–8p Don’t Judge a Book by Its Cover

Maria Ojascastro, regional artist See p7 for details

Friday Nights@ the Kemper

Friday, February 7, 6p

6p Gallery talk by Allison Taylor, manager of education, on the Kemper Art Museum’s perma nent collection 7p Live music by Armadillo 8p Film screening of Hannah Arendt (2012). Introduced by Erin McGlothlin, associate professor of German in Arts & Sciences and interim director at the Center for the Humanities

Lecture

SAVE THE DATE

SUMMER 2014 OPENING CELEBRATION

Friday, May 9, 2014 • Member Preview, 6–7p • Public Reception, 7–9p

Monday, February 10, 6p Bunny and Charles Burson Visiting Lecture: Alfredo Jaar

Alfredo Jaar, artist 6p reception, Kemper Art Museum 6:30p lecture, Steinberg Auditorium

Gallery Talk

Wednesday, February 12, 5p

Rebecca Messbarger, professor of Italian and Women, Gender, and Sexuality Studies in Arts & Sciences, on Wanting Women: Expressions of Desire and Difference in Images of Women from the 15th Century to Today

Japanese Film Series

Thursday, February 13, 6p

FOR MEMBER EVENTS SEE P14

Double Suicide (1969) Steinberg Auditorium See p9 for details

Gallery Talk

Wednesday, February 19, 5p

Seng Kuan, assistant professor of architectural history in the Sam Fox School, on On the Thresholds of SpaceMaking: Shinohara Kazuo and His Legacy

Japanese Film Series

Thursday, February 20, 6p Pistol Opera (2001) Steinberg Auditorium See p9 for details

Teacher Workshop

Monday, February 24, 5–8p Unusual Materials, Methods, and Media

See p11 for details

Japanese Film Series

Spotlight Series Talk

Friday, March 21, 5p

James A. van Dyke, associate professor of modern European art, Department of Art History and Archaeology, University of Missouri–Columbia, on Portrait of Prince Otto von Bismarck by Franz Seraph von Lenbach See p4 for details

Community Day

Saturday, March 22, 11a–3p See p11 for details

Lecture

Friday, March 28, 6p Cannon Design Lecture for Excellence in Architecture and Engineering: Tsukamoto Yoshiharu

Thursday, February 27, 6p Summer Wars (2009) Steinberg Auditorium See p9 for details

Tsukamoto Yoshiharu, architect, Atelier Bow-Wow 6p reception, Kemper Art Museum 6:30p lecture, Steinberg Auditorium

Directors’ Dialogue

Gallery Talk

Friday, February 28, 5:30p Exploring Contemporary Video Art

Sabine Eckmann, William T. Kemper Director and Chief Curator of the Mildred Lane Kemper Art Museum, and Lisa Melandri, director of the Contemporary Art Museum St. Louis See p7 for details

Panel Discussion

Thursday, March 6, 6p Terror, Trauma, and Memory

Svea Bräunert, postdoctoral fellow, University of Potsdam, Germany; Sabine Eckmann, William T. Kemper Director and Chief Curator, Mildred Lane Kemper Art Museum; Tonya Edmond, associate professor, George Warren Brown School of Social Work; and Erin McGlothlin, associate professor, Arts & Sciences and interim director at the Center for the Humanities See p7 for details

Friday Nights@ the Kemper

Friday, March 7, 6p

6p Gallery talk by Allison Taylor, manager of education, on the Kemper Art Museum’s perma nent collection 7p Live music by The Woo Daddies 8p Film screening of Beyond 9/11: Portraits of Resilience (2011)

All events are free and held at the Kemper Art Museum unless otherwise indicated. The calendar is subject to change; please visit kemperartmuseum.wustl.edu/ calendar for the current event information.

Wednesday, April 2, 5p

Sabine Eckmann, William T. Kemper Director and Chief Curator, on In the Aftermath of Trauma: Contemporary Video Installations

Lecture

Monday, April 7, 6p Representation and Trauma in Contemporary Art: Examining Four Perspectives in Work by María Magdalena Campos-Pons, Alfredo Jaar, Aziz & Cucher, and Allora & Calzadilla

Shinohara Kazuo, Great room (hiroma), Umbrella House, Nerima Ward, Tokyo, 1959–61. Photo by Murai Osamu, 1961. Courtesy of Tokyo Institute of Technology Museum.

Lisa D. Freiman, director, Institute for Contemporary Art, Virginia Commonwealth University and Venice Biennale Curator 2013 6p reception, Kemper Art Museum 6:30p lecture, Steinberg Auditorium

Spotlight Series Talk

Thursday, April 10, 5p

Ila Sheren, assistant professor, Department of Art History & Archaeology in Arts & Sciences, on Yto Barrada’s Landslip (2001) and Tunnel (2002) See p4 for details From the exhibition In the Aftermath of Trauma: Contemporary Video Installations: Phil Collins, still from marxism today (prologue), 2010. HD video projection with 5.1 surround sound, 35 min. Courtesy of Shady Lane Productions and Tanya Bonakdar Gallery, New York.

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Left: Members of Women and the Kemper take a tour through the permenant collection with Allison Fricke, assistant educator. Photo by Whitney Curtis.

Below: Barbara Bindler. Photo by Whitney Curtis.

Member Events Opening Member Preview Friday, January 31, 2014, 6–7p Join fellow members for a preview of the spring semester exhibitions.

MFA Open Studios Saturday, January 25, 4–8p Lewis Center, 721 Kingsland Ave. Meet and engage with current MFA students while viewing their work. Light refreshments provided. Sponsored by Women and the Kemper.

Member Program In Conversation: Sabine Eckmann and Frauke Sewczyk Monday, March 17, 2014; 5:30p reception, 6p program This exclusive members-only event will feature Sabine Eckmann, William T. Kemper Director and Chief Curator, and Frauke Sewczyk, psychologist and trauma specialist, in conversation about Phil Collins’s marxism today (prologue) (2010) and Yael Bartana’s Mary Koszmary (Nightmares) (2007) featured in the exhibition In the Aftermath of Trauma: Contemporary Video Installations. Space is limited; registration is required. Members may register with Allison Taylor, manager of education at the Kemper Art Museum, at 314-935-7918 or allison.taylor@wustl.edu.

Women and the Kemper Study Sessions Art in Context: Three Inaugural Commissions for the Art on Campus Program at Washington University in St. Louis

Membership

Monday, March 24, 2014; 3:30p reception, Kemper Art Museum 4p program, Steinberg Auditorium Leslie Markle, curator for public art, will introduce the Art on Campus program by discussing three new commissions for the Danforth Campus. A walking tour will follow the talk to explore the projects at their respective sites. This is a joint program with the Women’s Society of Washington University.

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See Calendar (pp12–13) for the full range of programs

Unusual Materials, Methods, and Media Thursday, May 15, 2014; 10:30a reception, 11a program This study session led by Allison Taylor, manager of education, will explore the relationship between an artist’s subject matter and materials. Drawing from the Museum’s permanent collection, members will examine a variety of works, some pulled from the Museum’s vaults that incorporate unusual materials or methods.

Women and the Kemper Welcome Committee Events School of Medicine Arts Commission: Tour of Permanent Collection and Exhibition by Marilynne Bradley, BFA60 Thursday, February 6, 2014; 5:30–7p reception, 6p remarks Farrell Learning and Teaching Center, 520 S. Euclid Ave., 2nd floor This special exhibition of watercolors by WUSTL alumna Marilynne Bradley was selected by the School of Medicine Arts Commission, a student group dedicated to promoting the arts in the Washington University Medical School community. A shuttle bus to the tour will be provided at the cost of $8 per person.

Further details will be available at the time of registration. RSVP to Susan Colangelo at szcola113@gmail.com.

Art and Architecture Tour of Bellefontaine Cemetery Monday, May 19, 2014, 10a–12:30p Bellefontaine Cemetery, founded in 1849, is home to a number of architecturally significant monuments and mausoleums. Join cemetery director Nancy Ylvisaker for a tour to include graves of Washington Universityaffiliated notables Robert S. Brookings, George Warren Brown, Adolphus Busch, Gerti Cori, and Phoebe Couzins. A tour bus will depart from and return to the Danforth University Center. Seats are limited, and participants must ride the tour bus. Transportation cost is $8 per person. Please bring a check to the event made payable to Kemper Art Museum.

Reservations are limited to Women and the Kemper members. RSVP to Susan Colangelo at szcola113@gmail.com.

Q&A with Barbara Bindler New President of Women and the Kemper As a Washington University junior in 1963, Barbara Bindler took her first art history course in Steinberg Hall. Bindler returns to the east end of campus as president of Women and the Kemper effective January 2014. For the complete interview, visit kemperartmuseum.wustl.edu/news/9711.

Tell us about Women and the Kemper. How big is the group?

When we first started, there were maybe 50 members. Now we’re over 130. Susan Colangelo, founding president, and JoAnn Sanditz, past president, have done a phenomenal job of outreach and promotion. But the Kemper is such a jewel for the city. Once people come and experience a program here, the Museum just sells itself.

What sorts of events do you sponsor?

We do three or four study sessions each year, as well as our annual luncheon. The study sessions can be about an individual artist, such as Georges Braque, or about something else. Last spring, we took a fascinating “behind the scenes” look at the Kemper facilities. This spring, we’re going to examine unusual materials, methods, and media.

WAK members also have the opportunity to view local private collections.

This January, we’ll sponsor our annual open studio with the Sam Fox School’s Graduate School of Art. Students allow us to come see what they’re working on and talk to them about it. That’s a fabulous experience. It really gives you a feeling for what’s happening in the art world and with our young people.

Membership Program By joining the Mildred Lane Kemper Art Museum membership program, you become an essential part of furthering the Museum’s legacy—including its exceptional collection and innovative exhibitions, programs, and scholarship. The generous support of our members makes it possible for the Museum to remain free and open to the public. Members also enjoy a multitude of benefits and opportunities for engagement, including select events, programs, and special discounts. Memberships start at $60 per household (special rates are available for Washington University students, faculty, and staff).

Women and the Kemper Women and the Kemper (WAK) is a special interest group open only to Museum members. Participants in WAK learn about and encourage women’s participation in the visual arts through engagement with Museum programs and resources. Exclusive study sessions with curators and guest speakers as well as special events provide additional benefits and opportunities. Women and the Kemper is an excellent way to supplement your membership and engage with fellow Museum members.

Visit kemperartmuseum.wustl.edu/support for additional details and to join or renew your membership today.

Upcoming Exhibitions Opening Friday, May 9, 2014 Moving Parts: Time and Motion in Contemporary Art

Inside the Palace of Fine Arts: Cosmopolitanism at the 1904 World’s Fair

Curated by Meredith Malone, associate curator

Teaching Gallery Curated by Mia Laufer and Orin Zahra, PhD students in the Department of Art History & Archaeology in Arts & Sciences

A lampshade unfurled and dangling from the ceiling, a palimpsest of posters ripped and torn, a map eaten away by rain—spanning half a century, the artworks in this exhibition explore aesthetic engagement with time, movement, and duration. The artists featured in Moving Parts: Time and Motion in Contemporary Art include William Anastasi, Robert Breer, Moyra Davey, Spencer Finch, Man Ray, Rivane Neuenschwander, Dieter Roth, and many others. Divided into three thematic sections— Actual and Perceptual Movement, Process and Change, and Arrested Time and Sequence—the exhibition places several recent acquisitions by the Kemper Art Museum in the context of rarely seen works from the permanent collection, along with select experimental films and works from private and public collections. Drawing connections across decades and among a variety of mediums, the works on display heighten our perceptual experience of the world and the objects in it by destabilizing conceptions of space and the experience of time through distinct and often subtle means.

As part of STL250, a regionwide celebration of the 250th anniversary of the founding of St. Louis, Inside the Palace of Fine Arts: Cosmopolitanism at the 1904 World’s Fair gathers together a selection of artworks from the Museum’s permanent collection that were on view at the 1904 Louisiana Purchase Exposition along with related works. Featuring such artists as Jean Charles Cazin, Narcisse Virgile Diaz de la Peña, Joseph Pennell, and James McNeill Whistler, this exhibition explores the role of the World’s Fair in relation to local aspirations to turn the city into an international cultural center.

2014 MFA Thesis Exhibition Curated by Karen K. Butler, associate curator This exhibition will feature thesis projects by 26 Master of Fine Arts students in Washington University’s Graduate School of Art, part of the Sam Fox School of Design & Visual Arts.

The 2014 MFA candidates are: David Baker, Steve Byrnes, Nathan Childs, Shayna Cohn, Alyse Cole, Joshua Cornelis, Evan Crankshaw, Seth Czaplewski, Kathryn Douglas, Sean FitzGibbons, Raleigh Gardiner, Liz Guilmet, Adam Hogan, Cassie Jones, Christy Kirk, Marianne Laury, Cole Lu, Chris Lujan, Ashley Milow, Whitney Polich, Jessie Shinn, Rosalynn Stovall, Daniel Stumeier, Christopher Thompson, Gillian Tobin, and Sopearb Touch.

Map

Information Location and Parking Located near the corner of Skinker and Forsyth Boulevards, the Kemper Art Museum is directly west of Forest Park on the Danforth Campus of Washington University in St. Louis.

Parking on campus costs $1/hour at visitor spaces during the week and is free after 6p and on weekends. The Museum is easily accessible from the MetroLink Skinker Station; convenient bike racks are also available.

Tours Kemper Art Museum tours offer an open and informative way to explore our special exhibition and permanent collection galleries for your group, organization, class, or family and friends.

For more information or to schedule a free docent-led tour please contact the education department at kemper-ed@wustl.edu or 314-935-5624.

Newman Money Museum

Please call 314-935-9595 or visit newmanmoneymuseum.org for more information.

Contact 314-935-4523 | kemperartmuseum@wustl.edu kemperartmuseum.wustl.edu facebook.com/kemperartmuseum twitter.com/kemperartmuseum

Hours 11a–5p Daily 11a–8p First Friday of the month Closed Tuesdays, University holidays

Visitor Information

At the Mildred Lane Kemper Art Museum, an exceptional art collection and innovative exhibitions come together in an open and dynamic learning environment. A descendant of the first art museum west of the Mississippi River, the Kemper Art Museum continues to build on its legacy of promoting critical thinking and visual literacy within Washington University and the regional community while developing exhibitions and scholarship with worldwide impact. Free and open to the public, the Kemper Art Museum is a stimulating and unique site to experience art, culture, and education in St. Louis.

The Newman Money Museum, housed on the lower level of the Kemper Art Museum building, features items from the numismatics collection of Eric P. Newman of St. Louis. His lifelong study of the history of money for circulation involves its changing artistry and economic significance.

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NONPROFIT ORG. U.S. POSTAGE

PAID

ST. LOUIS, MO PERMIT NO. 2535

Mildred Lane Kemper Art Museum Campus Box 1214 One Brookings Drive Saint Louis, MO 63130

FYI

SPRING 2014 New Exhibitions IN THE AFTERMATH OF TRAUMA Contemporary Video Installations ON THE THRESHOLDS OF SPACE-MAKING Shinohara Kazuo and His Legacy January 31–April 20, 2014 Teaching Gallery

WANTING WOMEN Expressions of Desire and Difference in Images of Women from the 15th Century to Today Amar Kanwar, The Lightning Testimonies, 2007. Installation view, Marian Goodman Gallery, New York, 2010. Eight-channel digital color and black-and-white video with sound, media player, 32:31 min. Courtesy of the artist and Marian Goodman Gallery, New York.

January 31–April 14, 2014