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Domenic J. Iacono Director, SUArt Galleries Many of you may know that the SUArt Galleries is an organization of four distinct divisions: the main campus galleries, the Warehouse Gallery, the Louise and Bernard Palitz Gallery in New York City, and the University Art Collection. While the exhibition programs receive a great deal of attention, the Art Collection is also a very active entity. Acquiring new work for the permanent collection, such as the Hamilton Armstrong collection of prints, the Emilio Sanchez collection of paintings, prints, and drawings, or the Robert Menschel collection of photographs, keeps our registration staff busy all year long. Additionally, the collection is used continually for our exhibition programs, student and scholarly research, to enhance the cultural atmosphere of the campus and the offices of faculty and staff, and for our traveling exhibition program. During the last year Syracuse University exhibitions have been seen around the country in other University and civic museums. We also lend individual works from our collection to other museums for their exhibition programs. We believe the artwork on campus, especially the murals and sculpture that are displayed in public areas, are an important component of the collection and we pay special attention to their care and upkeep. This past year we had Ben Shahn’s mosaic mural The Passion of Sacco and Vanzetti conserved to make sure it will survive another 44 years. Considered by many to be the most important public work (read more about the mural in our Collection section) on the campus, the Shahn mural is composed of glass and stone tesserae (tiles) attached to resin fiber panels by a special epoxy adhesive. Miotto Mosaic Art Studios, internationally known specialists in mosaic installation and repairs, spent several weeks repairing and cleaning the mural. Its appearance and stability is better than ever! The collection also plays an important role in the teaching programs of numerous classes on campus. During the year we create small exhibitions that display specific works for the History of Art faculty and their classes in our study gallery. You may remember having taken an introductory art history course that covered prehistoric art to the Renaissance or Baroque to Contemporary Art. Rather than just seeing art from those periods projected on a screen, students visit the gallery and see original works of art. Prehistoric, Greek, and Roman sculpture and pottery, paintings or prints by Cranach, Durer, Raimondi, Rembrandt, Piranesi, Goya, Delacroix, Whistler, Picasso, and Rauschenberg help students see and understand media, scale, and other issues not easily comprehended by looking at a projected image. This effort of creating small displays specifically for classroom use has been expanded and in recent years a larger portion of our exhibition footprint has been devoted to these ‘class’ displays. Notes continued on page 5 cover: Robert Rauschenberg, Lotus Bed I, 2008 Published by Universal Limited Art Editions

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SUArt IN NEW YORK Made possible through the generous support of alumna Louise Palitz and her husband Bernard, the second floor of Syracuse University Lubin House is the home of the Louise and Bernard Palitz Gallery. For more information, visit

Artist Seong Moy

at the opening reception for The Prints of Seong Moy

JanuaRy 25 to June 17 2011 Keliy Anderson-Staley: [hyphen] Americans Spring 2012 Exhibitions:

th December 15,62011 – February 2012 flooR galleRy 9, biRd libRaRy


Suart galleRieS

Orange Pulp

SchaffeR aRt building

Before the internet and television, Americans in search of escape turned to pulp magazines. February 13 – April 2012 With racy covers and 12, gruff prose, they took readers to worlds inhabited by gangsters, ghosts, and aliens. They also gave rise to “pulp culture.” Orange Pulp explores these magazines and the worlds they created.

2011 Wynn Newhouse Awards April 16 – June 7, 2012

clockwise from top: image graphic for Orange Pulp: The Pulp Magazine and Contemporary Culture; artist Seong Moy at the opening reception for The Prints of Seong Moy, Keliy Anderson Staley, Miguel, 2010; exterior view of Lubin House

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Pressing Print chronicles the recent decade of artwork published by the renowned American printmaking workshop Universal Limited Art Editions [ULAE]. The exhibition assembles new print works created by the 20th century masters of American Art and emerging artists recently selected to collaborate at Universal. More than just a survey of artwork published since 2000, Pressing Print is a specific examination of ULAE’s ongoing commitment to innovative approaches and techniques in contemporary printmaking.

These works illustrate the impact that Jasper Johns, Robert Rauschenberg, Kiki Smith and Carroll Dunham have had on contemporary art and process, evident through the work of artists Tan Van Tran, Amy Cutler, Jane Hammond, and more. Ultimately, the 52 works selected for the exhibition exemplify why Universal Limited Art Editions has been, and continues to be, a transformative force in contemporary art.

clockwise from top: Suzanne McClelland, Annunciation, 2001; Richard Tuttle, Step by Step, 2002; Ed Ruscha, Bow-Tie Rivet (Bow-Tie Landscapes), 2003 Published by Universal Limited Art Editions

FROM THE DIRECTOR Another wonderful use of the collection is in conjunction with the Graduate Program in Museum Studies. This past December we opened an exhibition that was developed by students in the Advanced Curatorship class guided by Professor Edward (Teddy) Aiken. Called Engineered Perspectives: Railroad Culture in the Modern World the display featured more than 30 images from the collection that relate to the topic. Whether the purpose of the artwork chosen was to entertain the viewer, to provide cultural commentary, or to call attention to the railroad’s impact on the economic climate, each one inevitably has an effect on the way our audience views and understands the railroad in modern society.

O. Winston Link S1A Switcher and Crew, Shaffers Crossing, VA, 1958 Gift of Roy Zider

Later this spring we will again present the work of graduating Master of Fine Arts students. The annual MFA exhibition showcases the multiple disciplines practiced in the School of Art and Design, and Transmedia, and also the musical talents of students in the School of Music who will perform live in the SUArt Galleries during the run of the MFA show. (Check our website for their schedule of performances.) Last year’s exhibition was a particularly strong show and a version of that show traveled to the Dumbo Art Center in New York City and also to the Arcade Gallery in San Pedro, CA. This year’s students are sure to present work that is just as compelling. Another great opportunity for working with students developed last year when we participated with an iSchool class on a Mobile Application Development and Design Project. A group of very talented iSchool and art school (Department of Industrial and Interaction Design) students worked on a smart phone ‘app’ that will allow users to learn about exhibitions and artwork at the Galleries. Led by Professors Carlos Caicedo and Denise Heckman, these students helped design a mobile application that gives users information on activities at the Galleries as well as visual and written information about some of the most important works of art on the Syracuse University campus. While the major hurdles of designing and developing the app were achieved, the students will be fine-tuning the product before it is released to the public. Our upcoming exhibition schedule, lectures, events, and highlights from the permanent collection are key components of the app. (Check our website for updates.) We are very excited about the feature exhibition this spring, Pressing Print: Universal Limited Art Editions 2000-2010. We have worked with ULAE on a number of projects and this exhibition will feature the work of emerging artists on the art scene as well as some of the most well known artists working in print media. Robert Rauschenberg, Helen Frankenthaler and James Rosenquist may be some of the best known, but the work of newcomers Jason Middelbrook, Amy Cutler and Zachary Wollard have emerged over the past ten years as particularly engaging printmakers. Curated by our Assistant Director, and a printmaker himself, Andrew Saluti brings knowledge of the various media and trends in the print world to this display of more than 50 images. This exhibition explores ULAE’s studio and printing environment and the innovative techniques their master printers employ to help artists achieve their vision.



FROM THE DIRECTOR The Warehouse Gallery is presenting the work of Tianjin-based Chinese artist Deng Guo Yuan until early February. His work is steeped in traditional Chinese landscape painting but also displays a profound knowledge of modern and international contemporary aesthetics. This is the artist’s first solo museum exhibition to travel to the United States, and while the show originated at the Tianjin (China) Academy of Fine Arts Museum and then traveled in modified form to Bucknell University and the Provenance Center in New London, CT, additional site-specific works are included in the Syracuse display.

Noriko Ambe Edges of Current, 2011

Later this semester we will be showing the work of Noriko Ambe, a Japanese artist living in New York City. In her first US museum solo show, Ambe will create a new site-specific installation in the main gallery reflecting on Japan’s tragic earthquake and tsunami through the use of video projections, and her signature large scale paper cutouts that evoke waves. Nature plays an important role in Ambe’s work, and it points to larger issues, such as the natural forces determining our global landscape, and the relationship between nature and humans throughout time. At the Palitz Gallery this spring we will be exhibiting work from the Special Collections Research Center and the University Art Collection that pertain to ‘pulp’ art. The Lubin House display is based on an exhibition that was seen on campus last year at the SUArt Galleries and on the 6th floor of Bird Library in the Special Collections gallery. Named for the cheap and abundant wood pulp that publishers began using after 1850 to print reading materials for a mass audience, pulp magazines sported eye-catching covers and included detective, adventure, western, horror, romance, and science fiction stories. According to co-curator Sean Quimby, Director of Special Collections Research Center, “This was literature tailored to specific tastes, intended to entertain in predictable ways.” He notes that “even while the form of the pulp magazine died by 1960, the concept of pulp lives on in glossy photo-dense magazines, paperback novels, comic books, and film.” Gary Shaheen, a senior vice president at the university’s Burton Blatt Institute and a lifelong collector of pulp magazines, co-curated the exhibit. After the Pulp show we will be exhibiting the winning entries from the 2011 Wynn Newhouse Foundation competition. The program provides grants to talented fine artists with disabilities as defined by the Americans with Disabilities Act. Top artists, curators, and critics shared Wynn’s belief that many disabled people have unique insights and skills that can enhance their ability to create exciting art. Last year’s exhibition displayed the work of Williard Boepple, Bill Shannon and Tom Shannon. Wynn Newhouse was a prominent and avid art collector who lost functional use of one hand in an industrial accident as a young man. By mid life, he was diagnosed with multiple sclerosis. Wynn passed away in 2010.


SUArt Galleries

Syracuse University Main Campus, Syracuse, NY THE PERMANENT COLLECTION GALLERIES September 8, 2011 – May 13, 2012 The Gallery of American Art: Taking Measure: The American Landscape 1850-1955 In the Print Study Room: Building Blocks: Architectural Prints in the Syracuse University Art Collection In the Photography Study Room: Art in the Detail: Photographs from the Syracuse University Art Collection In the Study Gallery: February 14- May 13, 2012 Arts and Ideas II (HOA 106, Renaissance to the present) Dada and Surrealism (HOA 462, European Art Between the Wars) THE WEST GALLERIES Pressing Print: Universal Limited Art Editions 2000-2010 February 2 – March 18, 2012 MFA 2012 April 5 – May 13, 2012

Jane Hammond Tabula Rosa, 2001

THE EAST GALLERIES Emilio Sanchez: No Way Home Images of the Caribbean and New York City December 1- March 18, 2012

Palitz Gallery

Lubin House, New York, NY

Keliy Anderson-Staley: [hyphen] Americans December 15, 2011 – February 9, 2012 Orange Pulp: The Pulp Magazine and Contemporary Culture February 13 – April 12, 2012 The 2011 Wynn Newhouse Awards April 16 – June 7, 2012

The Warehouse Gallery 350 East Fayette Street, Syracuse, NY

Deng Guo Yuan November 11, 2011 – February 12, 2012 NORIKO AMBE: INNER WATER March 1 – 13, 2012 Left: Installation view: Deng Guo Yuan, 2011 Right: Norman Saunders Ten Story Detective, January 1941

WINDOWS PROJECTS Elisabeth Meyer: Black Night/White Night November 11, 2011 – February 12, 2012 CHAZ GRIFFIN: HISTORY OF SILENCE March 1 – 13, 2012

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programs and events

Left: An evening with Robert Stackhouse and Carrol Mickett, lecture in conjunction with Sources and Structures: The Art of Robert Stackhouse Right: Artist Robert Stackhouse

Top left: Graduate Assistant Jaimeson Daley addresses families during a SUArt Kids event Top right: Children creating sculpture in response to Sources and Structures: The Art of Robert Stackhouse Bottom: Cantus Novus concert in the exhibition A Magnificent Obsession: Selections from the Hamilton Armstrong Collection of Prints


The Gallery as Classroom

SUArt, the University, and the Community When Charles Willson Peale opened the first nationally recognized museum in 1784, one of his primary goals was that the institution be a “national university, accessible ‘to both the learned and the unwise.’ He wanted to draw people from across all social classes, and crafted lectures and presentations that would be interesting and relevant to the widest range of people.”1 From the very beginning, the American museum has made education central to its mission. University museums and galleries pay particular attention to this role, stemming from institutions of higher learning where the core community is made up of students, educators, and academics. The Syracuse University Art Galleries is firmly rooted in the traditions of the museum as educator, and has long considered employing the gallery as a classroom: teaching through the exhibitions we curate and the encyclopedic collection we maintain. And, because the SUArt Galleries is a part of Syracuse University, we are fortunate to have at our disposal the ability and interest to collaborate with many departments, professors and students who share our educational ambitions. One such program geared toward the greater Syracuse community is SUArt Kids, a series carefully designed to engage children and their families with specific exhibitions and collections maintained at the SUArt Galleries. Not only an educational experience for our patrons and community, SUArt Kids also serves as an incubator for the students studying art education and museum studies- an opportunity for the future museum educator to try new methods and gain valuable experience through a hands on, practical exercise. The popularity of these events continues to grow every semester, and we are privileged to work with the talented students and faculty from the Art Education, History of Art and Museum Studies programs.

Left: Assistant Director Andrew Saluti explaining the electrotype process. Right: SUArt Director Domenic Iacono being interviewed for his exhibition Sources and Structures: The Art of Robert Stackhouse

The major focus of the University Art Collection is prints and works on paper. This spring, the Graduate Program in Museum Studies will present the course Print History and Process, taught jointly by SUArt assistant director Andrew Saluti and SUArt director Domenic Iacono. The class will examine the history and timeline of printmaking, detail each process through live demo, video, and lecture, and article the artists and workshops that helped to progress and popularize the medium. Comprised of classroom discussion, SU printmaking workshop demonstration and viewing prints in the Print Study Room at the SUArt Galleries, the class aims to educate the next generation of museum professionals, art historians and working artists about the art of the print. 1 Hansen, Liane, interview with David Brigham. Weekend Edition Sunday. National Public Radio. 13 July 2008. Radio




Collection Spotlight

THE PASSION OF SACCO AND VENZETTI Jaimeson Daley, Graduate Assistant, SUArt Galleries Ph.D. candidate, Art Education Many of those familiar with the Syracuse University campus know what it is if described to them, many more of us pass by it without realizing we’ve done so because it has become such an everyday fixture. The Passion of Sacco and Vanzetti has been an artistic centerpiece of this university since 1967. Its vivid colors and imagery describe an event in history that many consider to be the Trial of the Century: the case against Ferdinando Nicola Sacco and Bartolomeo Vanzetti, two Italian Anarchists who, in 1920, were arrested, and later tried, convicted and ultimately executed for a payroll robbery and associated double murder in Braintree Massachusetts. Charges of evidence tampering, coerced witnesses, and a biased trial judge caused an international uproar. Global furor only increased when Governor Alvan Fuller appointed a special Advisory Committee that “rubberstamped” the verdict. As a result, the episode became a pivotal moment in the evolution of Civil Rights in the United States and inspired people around the world to rally, write public appeals, or, in Shahn’s case, to make art that made the case unforgettable. The mural centers on the two enlarged figures of Sacco and Vanzettichained together yet standing proudly. The composition includes other key players in the trial: presiding Judge Webster Thayer, and members of the Governor’s Advisory Committee. The shadows of the men who were proven to be guilty overshadow all of the other figures, and their immovable expressions contribute to the work’s high emotional content. As a result, more than 84 years after their deaths, the lessons learned from the trial continue to inspire and are recognized as a pivotal event in nation’s history of striving to become a more democratic and equal society.

clockwise, from right: detail of left text panel, The Passion of Sacco and Vanzetti, detail of Governor Alvan T. Fuller, replacement mosaic tiles, view of the crew repairing tiles. detail of Steven Miotto making a repair. Below: Ben Shahn, The Passion of Sacco and Vanzetti, 1967



Shaffer Art Building Syracuse University Syracuse, NY 13244 E. P. 315.443.4097 F. 315.443.9225



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Wynn Bullock, Half an Apple, 1953 Emilio Sanchez Gift of Robert B. Menschel untitled [Looking west from my Studio], c1985

SUArt Galleries - Spring 2012  

Spring 2012 Newsletter

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