Spring 2012 Exhibition Gallery Guide

Out of theShadows Spring 2012 Gallery Guide

The Rise of Women in Art Part II

MIAMI UNIVERSITY

ARTMUSEUM

MIAMI UNIVERSITY

ARTMUSEUM The art museum is accredited by the American Association of Museums.

Cover images (clockwise, from top): Judy Dater (American, b. 1941) Vickie Singer, 1986 Photograph, 20" x 16" Gift of Clive Getty, 2011.1 San Ildefonso Pueblo, New Mexico Wedding Vase, ca. 1910 Earthenware with pigment, 10" x 7" (diam.)

Gift of Edna M. Kelly, 2006.94 India Embroidered textile with mirrors, 1920s Cotton and glass, 28" x 28 1/4" Gift of Orpha Webster, 1973.T.3.26

Miami University ARTMUSEUM 801 South Patterson Avenue Oxford, OH 45056 www.muohio.edu/artmuseum (513) 529-2232 artmuseum@muohio.edu Museum Gallery Hours: Tuesday-Friday 10:00 a.m.-5:00 p.m.

Saturday 12:00 p.m.-5:00 p.m.

Sunday-Monday CLOSED Construction of the Miami University Art Museum in 1978 was made possible by private contributions to Miami University’s Goals for Enrichment capital campaign in the mid1970s. A major gift for the building came as a bequest from Miami alumnus Fred C. Yager, class of 1914. Walter Netsch, the museum’s architect, Walter I. Farmer, class of 1935, and Orpha B. Webster generously donated extensive art collections and were instrumental in developing early support for the museum.

Art Museum Staff: Robert S. Wicks, Ph.D., Director Jason E. Shaiman, Curator of Exhibitions Cynthia Collins, Curator of Education Laura Henderson, Collections Manager/ Registrar Mark DeGennaro, Preparator Sherri Krazl, Coordinator of Marketing and Communications Sue Gambrell, Program Coordinator Debbie Caudill, Program Assistant/Security Scott Kissell, Photographer Curatorial Interns Caroline Buck and Janée Peters

Part I of Out of the Shadows: The Rise of Women in Art, exhibited in the Fall, 2011, was organized around figurative, landscape and abstract works of art. The current exhibition (Part II) centers on photography, textiles and material culture, shifting attention from the subject matter to the object. This transition emphasizes that the creation of a work of art is more than an adherence to popularized topics explored during a specific period.

Attention to women as creators of the objects places greater emphasis on what distinguishes the role of women as artists.

Is there a difference in how women compare to men when producing a work of art? Are there reasons why women are more synonymous with the production of certain art forms and utilitarian objects, such as quilts or baskets? As creators of fine art, women were commonly denied access to important aspects of training that would provide them with equal standing among male artists. In the context of most traditional arts women learned from mothers and grandmothers in a familial environment that promoted a sense of continuity. However, through this process even the creation of traditional arts is often studied through the lens of gender identity.

No defined system of responsibility for creators of art or utilitarian items can be applied to all cultures. Therefore, each art form (traditional or fine) must be viewed within the context of the maker in diverse social constructs and at different times in history. In Africa, for example, men are the weavers, while in Central America women produce the

The Rise of Women in Art Part II

textiles. Appalachian pottery production in the United States is historically male-dominated, yet within Native American tribes and pueblos women are the primary makers of ceramic vessels. In photography, Frenchman Joseph NicĂŠphore NiĂŠpce produced the first photographic image, while American Margaret Bourke-White is recognized as the forerunner of photojournalism.

The accomplishments of women in art represent a complex journey towards both gender identity and equality. Additionally, the long road that women have traveled in the name of art has resulted in cultural, political, economic and educational shifts that express significant contradictions to many stereotypes.

Through an objective study of objects in relation to the maker, historians now view women as artists in their own right. Where women once sat in the shadows of men, they now stand among the primary and important creators of art and cultural identity around the world.

Pictured above (clockwise): Top: Margaret Bourke-White (American, 1904-1971) Maiden Flight of the U.S.S. Akron, 1931 Silver gelatin photograph, 15" x 21" Miami University Art Museum purchase, 2006.35 Left: Nazareth, Palestine Doilies, late 19th century Cotton, 4" (diam.)

Gift of Mrs. Orton Stark, 1975.T.8.21 Right: Acoma Pueblo, New Mexico Jar, ca. 1980 Earthenware with pigment, 15" x 15" (diam.)

Gift of Edna M. Kelly, 2006.187

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The Focal Point of Women Photography found its beginnings in the 1820s through the efforts of French inventor Joseph Nicéphore Niépce (1765-1833) and a succession of other prominent male photographers, including Louis-Jacques-Mandé Daguerre (1787-1851).

Although women were employed to assist these early photographers, no women are known to have invented any photographic apparatus. However, by the 1840s several women were working in the industry and were gaining recognition for their production of daguerreotypes and calotypes. The earliest of these pioneering women include British photographers Anna Atkins, Constance Talbot and Julia Margaret Cameron.

As time progressed and the popularity of photography became established in major countries around the world, women photographers increased in number. This was also partially due to the development of faster and cheaper methods, especially the 1850s paper albumen print format known as the carte de visite and the larger cabinet cards. Many women assisted their husbands, while studios owned and operated by females became popular.

By the early 20th century, photographic processes and equipment were decreasing in cost

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Barbara Hershey (American, 1943-1992) Night Eyes, Spirit Series, 1988-1989 Photograph, 22" x 28" Gift of Daniel Hershey, 1997.410

Mrs. Chas. (Mary) Waldack (American, b. ca. 1849; active in Cincinnati 1885-1890) Unidentified young woman, 1881-1893 Cabinet card, 6 3/8" x 4 1/4"

and size, allowing photographers to work outside of the studio. American photographers such as Doris Ulmann, Dorothea Lange, Marion Post Wolcott and Margaret BourkeWhite captured the devastation and triumphs of the human spirit with steadfast honesty. Other early 20th century photographers, including Imogene Cunningham and Helen Levitt turned their attention to the collective nature of people, capturing the raw, non-objective quality of humanity. In Europe, Viennese photographer Trude Fleischmann produced portraits of artists and intellectuals, while Italian-born Tina Modotti worked with Edward Weston in Mexico documenting the work of muralists Diego Rivera and José Clemente Orozco.

Prior to the 1960s, the subjects captured on film by women were not restricted to women photographers alone. However, the 1960s and 1970s were breakout decades for female photographers and other visual artists concerned with controversial topics relevant to women, sexuality and gender identity. Diane Arbus and Annie Leibovitz both directed their attention to photographing celebrities and fashion during the 1960s. In the 1970s, Nan Goldin, Judy Dater, Cindy Sherman and Barbara Kruger gave visual form to the belief that certain social issues relating to women could be expressed only from the female perspective. The 1970s also was the time for African American photographers, such as Carrie

Weaving Women into History Cindy Sherman (American, b. 1954) Untitled #117, 1983 Color C-print, 43 1/4" x 32 1/2" Gift of James H. and Frances R. Allen, 2002.45

Mae Weems and Lorna Simpson, to explore issues of race and equality, stemming from the work of earlier visual artists Alma Woodsey Thomas and Elizabeth Catlett.

During the last few decades, photography has not only shifted from a purely celluloid process to one of digital and mixed media, but has also delved deeper into social issues through psychologically charged imagery. Photographers such as Anna Gaskell and Hannah Starkey are exploring what appear to be genre studies on the surface, but in fact are sophisticated images that question issues of social status and identity. Whereas early photographers were struggling to gain recognition for their craft beyond simply capturing reality, contemporary photographers are challenging our notions of what separates reality from art.

China (late Qing Dynasty, 1662-1911) Mandarin Square, ca. 1875 Silk and metallic threads, 10 3/4" x 11" Gift of Dr. Robert E. Gregg and Mrs. Ella Virginia Gregg

When considering women and textiles, images of ladies darning socks, quilting large blankets or crafting intricate lace come to mind. Although some of these endeavors are stereotypes for women, the vast world of textiles is a complex network of production based on cultural and social identities.

There were times in history, the Middle Ages and the Renaissance, for example, when men controlled the cloth industry. The male-dominated guild systems of Europe directed the production of fabrics and textiles because of economic benefits, while ensuring that the guild members gained consistent work.

An examination of textiles produced by indigenous cultures, as well as those outside of mainstream industrialized centers, explores gender roles and the importance of women in the production of traditional arts. Native American and Middle Eastern utilitarian textiles are almost exclusively made by women. However, in certain countries around the world, such as Africa, women and men share the responsibility, as women produce the thread while men weave the textiles.

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Weaving Women into History In other cultures, including the Kuna Indians of Panama, women create the iconic reverse appliqué molas that adorn their blouses.

In Indonesia, women remain the primary producers of batik textiles, a wax-resist dyeing process for decorating fabric.

Kuna Indians, San Blas Islands, Panama Mola, 20th century Cotton (reverse appliqué), 15 1/2” x 19 1/2 “ Gift of Dorothy Glos, 1996.154

Textiles are unique creations, like pottery, that possess specific patterns and colors to illustrate a tribal or community identity.

For example, African mudcloth is predominantly decorated with dark earth tones, traditionally displaying repetitive patterns.

(continued)

Mandarin Squares, from China, are small embroidered panels made of silk and metallic threads that were worn on men’s robes in Imperial China, each denoting civil or military rank.

The Kuna molas, like the Mandarin Squares, are panels attached to outer garments, but are decorated with vibrant geometric patterns or animal and human imagery. Even the designs of traditional quilts, the stitching and the process of appliqué illustrate regional characteristics.

In contrast to indigenous and traditional cultures around the world, industrialized nations have readily

The Material Culture of Women Material culture, the study of attitudes, values, and lifestyles through an investigation of tangible objects, has much in common with the visual arts. Art historians and anthropologists look beyond the mere surface of an object and examine how works of art inform the viewer about social customs, ways of life, advancements in technology, changes in religious beliefs, and more. Many objects, such as pottery, glass, jewelry, dolls and figurines, ceremonial and religious objects, baskets, furniture and functional items are viewed as much for their aesthetic appeal as for the function they serve in communities. Much of the work that is considered through the lens of material culture is, in fact, decorative and utilitarian.

Women create the majority of objects produced in indigenous cultures, including many items that are relevant to food production and food storage, such as traditional basketry and pottery.

Akan, Côte d’Ivoire, Ghana Comb, 20th century Wood, 7" x 2 3/4" x 3/8" Gift of Ralph and Barbara Bresler, 1982.162b

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Certain functional arts are clearly defined for use by women and are commonly associated with domestic environments. The form and function of objects for utilitarian purposes do not differ greatly from culture to culture. The primary difference is in the materials and the decoration. Comparisons between Native American and African baskets illustrate such connections. Pottery, however, is quite distinct in surface treatment between cultures. An assessment of Native American pueblo pottery from New Mexico and Arizona indicates a cohesive function of ceramic objects, while a distinct style of decoration can be observed from pueblo to pueblo.

employed women and children in the production of textiles. During and following the Industrial Revolution, women increasingly worked in textile mills, fulfilling the need for cheap labor and small hands to operate the equipment. This stereotype is not always the norm, as in the example of 19th century Mexico when men were the predominant textile workers.

In India, women did not make up the majority of handloom weavers until the 1920s. Because of wartime efforts during World War I & World War II, American women became the predominant workers in the textile

industry during the first half of the 20th century.

Although industrialization brought about innovations in the garment industry, such as the mass production of “ready-to-wear” clothes, a skilled seamstress could still make “made-to-measure” clothing. For those of meager financial means, the wife or mother, whose talents were often passed down to daughters, made clothing at home. Garments, much like other textiles, are common indicators of ethnic, cultural, religious and political identities.

Women also have strong connections to art pottery in industrialized centers like Cincinnati, Ohio. Rookwood Pottery, founded in 1880 by Maria Longworth Nichols Storer, became known internationally for its unique glazing and beautiful decorations. Both men and women were employed at Rookwood to produce the highly sought-after ceramics, but while men were the makers of the vessels, the women mostly completed the decoration. Storer was not the only major female figure in pottery production in America. In fact, Cincinnati was home to her chief competitor, Mary Louise McLaughlin. The two women produced a creative rivalry, which helped place Cincinnati on the map for artistic production during the late 19th and early 20th centuries.

Not all material culture pertaining to women can be viewed in the context of women as the creators. Items such as combs, hair ornaments, hats, fans, jewelry, dolls and figurines were created specifically for women; however, men were historically the primary makers of these objects.

The importance of these items is what they express about how women are perceived in each culture. Like dresses and other textiles made for women, these and other material culture items are more than utilitarian. Each object has an aesthetic quality created by the maker that is relevant to himself or herself and the recipient.

Amy Hosapple (American, b. ca. 1835) Quilt (detail), 1854 Cotton, 71" x 89" Gift of George T. and Harriet Schmitt, 1985.30

Sara Sax (American, 1870-1949, working at the Rookwood Pottery Company, Cincinnati, OH, 1896-1931) Trillium vase, 1909 Ceramic, 8 1/8" x 3 1/2" (diam.)

Gift of Iris M. Lindemuth, 1987.15

Tlingit People, Pacific Northwest Container with lid Early 20th century Cedar bark, 4 1/2" x 5 1/2" (diam.)

Gift of Edna M. Kelly, 2006.280

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MIAMI UNIVERSITY

ARTMUSEUM Exhibition events | Spring 2012

Wednesday, January 25, 5:00-7:00 p.m.

Members Preview

Women & Art Film Series

Thursday, January 26, 5:00-8:00 p.m.

Public Opening Wednesday, February 8, 5:00 p.m.

The Art of Dress: Women’s Fashions at the Turn of the 20th Century Dr. Sara Butler, Professor, Department of Art, School of Fine Arts, Miami University Wednesday, February 15, 5:30 p.m.

Gallery Talk: The Focal Point of Women Jason Shaiman, Curator of Exhibitions, Miami University Art Museum Tuesday, February 21, 5:30-7:00 p.m.

As Good as the Guys: Women and Photography Catherine Evans, Curator of Photography, Columbus Museum of Art, Columbus, Ohio Thursday, March 22, 6:00-7:30 p.m.

Vickie Singer and the Contentious History of Mormon Polygamy Dr. John Charles Duffy, Visiting Assistant Professor, Department of Comparative Religion, Miami University Wednesday, March 28, 5:30 p.m.

Gallery Talk: Weaving Women into History Jason Shaiman, Curator of Exhibitions, Miami University Art Museum Tuesday, April 3, 5:30-7:00 p.m.

Gullah Culture and Sweetgrass Basketmaking Nakia Wigfall, Artist, Mt. Pleasant, South Carolina

Thursday, February 2, 7:00 p.m.

Artemisia (1997) Runtime: 95 minutes Rated: R

Thursday, March 1, 7:00 p.m.

Camille Claudel (1988) Runtime: 175 minutes Rated: R

Thursday, March 29, 7:00 p.m.

Georgia O’Keeffe (2009) Runtime: 89 minutes Not Rated

Thursday, April 26, 7:00 p.m.

Frida (2002) Runtime: 122 minutes Rated: R

Connect with us at: Wednesday, April 11, 5:30 p.m.

Gallery Talk: The Material Culture of Women Jason Shaiman, Curator of Exhibitions, Miami University Art Museum

arts.muohio.edu/art-museum MiamiUniversityArtMuseum MiamiUArtMuseum

Tuesday, April 17, 6:00 p.m.

ILLUMInations: Women Artists in the Venice Biennale Dr. Roy Johnston, artist/art historian, and Laura Henderson, Collections Manager/Registrar, Miami University Art Museum

Miami University ARTMUSEUM | 801 South Patterson Avenue | Oxford, OH 45056 | (513) 529-2232 | artmuseum@muohio.edu