UIMA Spring 2007

SPRING 2007

The

Experience

OF ART

EXHIBITIONS January 20 – April 15 February 3 – May 6 February 4 – May 13 April 25 – Sept 30 May 11 – June 8 June 23 – October 7

Dark Matters: Max Klinger’s Print Cycle “On Death” and Other Ruminations Paul Pfeiffer: Morning After the Deluge Picturing Eden Plains Indian Drawings: The Gerald and Hope Solomons Collection Master of Fine Arts 2007 From Manuscript to Printed Book

EVENTS January 6 January 26 February 9 February 15 February 18 February 22

1:00-3:00 p.m. View & DO: A Family Art Activity 5:00-7:00 p.m. Know the Score LIVE! 7:30 p.m. Music at the Museum: “An Evening with Britten” 7:30 p.m. Writer-in-Residence Reading 2:00 p.m. Music at the Museum: “Baroque!”

4:00 p.m. Lecture: Adriana Mendez, “Through the Green Threshold: Naturalists and Novelists on the Trail of Paradise”

February 23 March 2 March 3 March 8 March 25 March 29

7:00-9:00 p.m. Lecture: Kathleen Edwards, “Elizabeth Catlett” and reception 5:00-7:00 p.m. Know the Score LIVE! 1:00-3:00 p.m. View & DO: A Family Art Activity.

7:30 p.m. Gallery Talk: David Herwaldt, Picturing Eden 12:00-4:00 p.m. Family Day 4:00 p.m. Lecture: Nick Yablon, “Trouble in Eden: Fantasies of Ruin on the American Urban Frontier, 1825-37”

March 30 April 1 April 6 April 19 April 22 April 26 May 6 May 11 June 10

7:30 p.m. Gallery Talk: J. Sage Elwell, “Dark Matters” 2:00 p.m. Dan Knight: The Whitman Suite 5:00-7:00 p.m. Know the Score LIVE! 7:30 p.m. Writer-in-Residence Reading 2:00 p.m. Music at the Museum: “Lieder and Mélodie” 5:00-7:00 p.m. Horowitz Volunteer Reception 2:00 p.m. Music at the Museum: “Quintets in the 20th Century” 3:00-5:00 p.m. M.F.A. Reception 2:00 p.m. Dan Knight: The Kandinsky Suite Premiere

DONOR EVENTS January 21 February 3 May 4 June 2

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2:00-4:00 p.m. Curator’s Circle Reception, Kathleen Edwards, “Recent Acquisitions” 8:00-11:00 p.m. Donor Preview for Picturing Eden (sponsored by Art After Hours) 1:00-9:00 p.m. Elliott Society Fairfield gallery tour (limited to 50 people) 6:00 p.m. Director’s Circle

Welcome to our new UIMA Magazine. It seems that nearly every issue has a different format. The Magazine constantly evolves and improves, just as the Museum itself continually morphs into new forms as we respond to our changing environment. Far worse indeed would be an institution which just plods along in its routine.

So, join us for the ride.

Howard Creel Collinson Director

UIMA ADVISORY BOARD

MEMBERS COUNCIL

Nancy Willis, Chair

Nick Hotek,

Ronald Cohen

Kristin Summerwill, President-Elect

Gerald Eskin

James Hayes, Past President

Robert Fellows

Charlie Anderson, Chair, Volunteer Committee

Bruce Gantz

Kumi Morris, Chair, Events Committee

Susann Hamdorf

David Bluder

James Hayes

Lowell Doud

Myrene Hoover

Deb Galbraith

Ann January

Angela Gartelos

Dorothy Johnson

Susann Hamdorf

Elisabeth Foxley Leach

Tom Langdon

Richard Levitt

Sugar Mark

James Lindberg

Ruth Markham

Mary Keough Lyman

Amy Nicknish

Lynette Marshall

Linda Paul

Linda Paul

Jack Piper

President

Alan Swanson LaDonna Wicklund

Front Image:

Ruud van Empel World #1, 2005 Silver dye bleach, (Cibachrome) print, Dibond, plexiglass Courtesy of TZR Galerie, Bochum, Germany

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ByEmilyGrosvenor PICTURING EDEN February 4 – May 13 133 photographs by 37 contemporary artists explore an earthly Paradise.

Picturing Eden was organized by George Eastman House International Museum of Photography and Film.

Become a UIMA member before January 31 and join us for the Members’ Opening, February 3, 8:00-11:00 p.m.

GALLERY TALKS AND LECTURES Thursday, February 22, 4:00 p.m.

Adriana Mendez “Through the Green Threshold: Naturalists and Novelists on the Trail of Paradise” Professor Mendez is in the Department of Spanish and Portuguese, and Director of Caribbean, Diaspora and Atlantic Studies. Professor Mendez’ talk is a collaboration of the Obermann-Stanley Fellow Program, International Programs, Interdisciplinary 18th and 19th Century Colloquium, 18th and 19th Century Fauna and Flora Series, and the UIMA. Thursday, March 8, 7:30 p.m.

David Herwaldt David Herwaldt, instructor and M.F.A. candidate in the UI School of Art and Art History, on Picturing Eden in the gallery.

Thursday, March 29, 4:00 p.m.

Nick Yablon “Trouble in Eden: Fantasies of Ruin on the American Urban Frontier, 1825-37” Assistant Professor Yablon is in the Department of American Studies. His talk is a collaboration of International Programs, Interdisciplinary 18th and 19th Century Colloquium, and the UIMA.

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The little girls in Dutch artist Ruud van Empel’s photographs are not of this world—although the photograph’s titles may suggest that they are. At once disarming and disturbing, they stand innocently in various wooded environments—tropical jungles and fairytale forests—and stare at the viewer with leaden, glass eyes. Two of them wear pristine white dresses unsullied by the dirt of the forest. And yet they challenge the viewer because they obviously belong where they are—whereas the viewer decidedly does not.

From the eerily doll-like figures that inhabit Van Empel’s “World” series, one of which graces the cover of this magazine, to the distinctly geometric, formal gardens captured by Lyle Gomes, the images of paradise presented in the University of Iowa Museum of Art’s spring 2007 exhibition Picturing Eden remind us of the catch that always exists with paradise: every paradise is a personal one.

This ground-breaking exhibition mounted by the George Eastman House International Museum of Photography and Film, the world’s first photography museum, stops at the University of Iowa as part of a three-year tour. Curated by Deborah Klochko, Picturing Eden presents 133 works by 37 artists from six countries whose views of Eden are both distinctly personal and rooted in the mythologies of what we call paradise. The exhibition explores the ways in which photographers around the world have re-imagined and interpreted the idea of paradise through their own distinct lens.

“Picturing Eden is about perceptions of the garden as an Eden—not a natural environment but a manipulated, fabricated place,” curator Klochko says in the exhibition catalogue. The result is a stunning selection of black-and-white and color photography

Jo Whaley Harvest, the Fall, 1992 Chromogenic development print Courtesy of Robert Koch Gallery, San Francisco, California

that shows the breadth of contemporary photography, offering visitors a snapshot of photographers who are working at the forefront of their medium.

At the heart of Picturing Eden is the idea of the garden as a place planted and pruned by man—a site for contemplation, communion with nature, and of aesthetic bliss. Native Americans have no Eden in their creation stories, as writer and historian Rebecca Skolnik reminds us in the exhibition catalogue.

Their constantly evolving relationship to nature had no roots in the story of humans being expelled from the garden. But many other cultures around the world do. For Judeo-Christian cultures especially, the garden is both a symbol of innocence and a space which humans prune to recreate a paradise lost.

This is the point of embarkation of Picturing Eden.

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About the exhibition The exhibition presents four themes, each of which suggests a different relationship humans have towards paradise: Paradise Lost, Paradise Recreated, Despairing of Paradise, and Paradise Anew.

Greta Anderson Bat Garden, Sydney, 2002 Chromogenic development (Lamda) print Courtesy of Artist

Maggie Taylor Girl with a Bee Dress, 2004 Computer generated color inkjet print Courtesy of Artist and Laurence Miller Gallery New York, New York

Paradise Lost The first theme of Picturing Eden presents a series of subjects that hint at beginnings and endings—the garden, and the people expelled from it. In Vincent Serbin’s black and white photographs, x-rays and replicas of early humans laid over images of nudes suggest a deep connection to evolutionary predecessors. In two other photographs, Serbin’s female nude takes wing and emerges from a reclined man with the progression of the moon while in another, a winged male prepares to draw the curtain across the viewer’s gaze.

The image of the snake as an ominous Biblical motif and as natural part of the world play a role in these photographs, which together present a world that humans are cast out of. In Josephine Sacabo’s The Serpent, the snake is but a harmless ink tattoo on the ankle of a far more imposing female leg, but in Untitled and Invocation by photographer Adam Fuss, a picture of a snake weaving circles through a still swath of water gains new meaning when set next to an image of a baby swimming in yellow liquid.

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Ruud Van Empel Study in Green #18, 2004 Silver dye bleach (Cibachrome) print, Dibond, plexiglass Courtesy of TZR Galerie, Bochum, Germany

Matthias Hoch Paris #28, 1999 Chromogenic development print Courtesy of Dogenhaus Galerie, Leipzig, Germany and Rena Bransten Gallery, San Francisco, California

Paradise Recreated “Paradise Recreated” presents a selection of artists whose photographs recognize the divinity of the man-made garden and how our ideas of the garden have changed alongside our ideas of paradise. In Greta Anderson’s photographs of a Sydney Bat Garden, the image of a path through a tropical woods seem almost too bright, too manicured.

The photograph Bare Trees and Topiary, Longwood Gardens, Kennett Square, PA, from John Pfahl’s series of famous gardens around the world, juxtaposes the precision mechanics of a topiary garden against the backdrop of a line of gnarled deciduous trees, a contrasting image of natural and man-made beauty.

At the heart of Picturing Eden is the idea of the garden as a place planted and pruned by man—a site for contemplation, communion with nature, and of aesthetic bliss.

The photographers of this section are all working to capture the artifice of the manicured garden, perhaps none so successfully as Michael Kenna.

Kenna’s ethereal photographs of gardens in England,

France, and Russia exhibit the excessive lights and darks of a lunar landscape. The pruned trees of his photographs appear as abstract geometric forms, an architecture of wood and leaves.

Despairing of Paradise Something is off in the photographs in “Despairing of Paradise,” an aspect of the exhibition that looks at the theme of expulsion from the garden.

Insects, giant individual bugs or swarming in a plague, inhabit many of these photographs. In Simen Johan’s untitled series, images of childhood innocence—a boy digging in a dirt heap or a girl sitting on the dock of a pier—are made gruesome and uncomfortable by those persistent prehistoric creatures, cockroaches, and a swarm of flies. In both cases, the children seem oblivious to the insects that share the frame. The world of Lori Nix’s photography is also teeming with insects: ants, a praying mantis, dragonflies. But in her pictures, the insects seem to be acting out their own dramas in scenes where the only proofs of human existence are the sidewalk, a tricycle, a white picket fence—all images of suburbia.

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Ruud van Empel Untitled #1, 2004 Silver dye bleach (Cibachrome) print, Dibond, plexiglass Courtesy of TZR Galerie, Bochum, Germany

Camille Solyagua Wing Study #10, 1999 Gelatin silver print Courtesy of the artist

In other photographs, such as those of Matthias Hoch, man-made structures contain nature. In two pictures from his Paris series, a row of trees is boxed inside metal cages from the trunk to the tips, in another, arteries of interlocking highways squeeze in lone patches of green, which thrive nonetheless. Whether in the funereal arrangements of Michael Parekowhai or Binh Danh’s images of U.S. soldiers in Vietnam superimposed on leaves from that country, human consciousness of death lurks in all of these photographs.

Paradise Anew The theme of “Paradise Anew” often finds Eden in the patterns of nature. Some images, which capture the patterns created by tree limbs or those that emerge from a stack of gathered twigs or a close-up of grass, look like views through a microscope.

A paradise is discovered in a gnarled, tangled branch of an

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apple tree in Terri Weifenbach’s Lana Series, or in a view of the temple pond in Edward Dimsdale’s series, where light and shadows turn it into something like a drip painting.

Sometimes paradise looks completely fabricated but somehow paradise is still like the world it seeks to present, as in the photographs of van Empel.

The Gardening Photographer As gardeners toil to recreate paradise, a divine artistic moment can occur in the moment of selection—the yanking of a weed or the planting of a tree. In that sense, the photographers in Picturing Eden have much in common with the gardener. Even Ansel Adams, after all, spurned the parking lot behind him for an image of the majestic peaks of Yosemite.

Emily Grosvenor is a graduate journalism student at the University of Iowa

UIMA WRITERIN-RESIDENCE READING SERIES

The UIMA is proud to host a series of writers-in-residence throughout the year. Each author is provided a stipend and a sun-drenched, quiet workplace in the Museum for three months. Established in collaboration with the UI’s Nonfiction Writing Program, these young writers are obligated only to be creative and to give one public reading from their work alongside established authors from the University of Iowa’s famed writing programs.

FEBRUARY 15 7:30 p.m.

Nick Kowalczyk with Russell Valentino and John D’Agata Nick Kowalczyk is a first-year student in Iowa’s Nonfiction Writing Program. A former newspaper reporter and a book publicist, Nick’s work has appeared in The Kansas City Star, Kansas City Voices, and Men’s Edge magazine. He grew up in the Cleveland area.

Russell Valentino is associate professor of Russian and comparative literature at the University of Iowa, with numerous publications, grants, and awards. He teaches in the MFA Translation program at the UI. John D’Agata is assistant professor of English and Nonfiction Writing at the University of Iowa. He was named “one of the most significant U.S. writers to emerge in the past few years.” His publications include Halls of Fame (2003, Graywolf Press), and editing of the anthology, The Next American Essay (2002, Graywolf Press). D’Agata currently serves as editor of lyric essays for the Seneca Review.

Nick Kowalczyk

APRIL 19 7:30 p.m.

Riley Hanick with Robin Hemley and Patricia Foster Riley Hanick, UIMA Writer-in-Residence, was born in Iowa City and graduated from Kenyon College in 2001. He worked as an Americorps volunteer, house-painter, security guard, and bookseller before joining the NWP in 2005.

Robin Hemley is the author of seven books of fiction and nonfiction and is Director of the Nonfiction Writing Program at Iowa. His most recent books are Turning Life into Fiction (Graywolf, 2006) and Invented Eden (Nebraska, 2006).

Patricia Foster is the author of All the Lost Girls and Just Beneath My Skin, editor of Minding the Body and Sister to Sister, and co-editor of The Healing Circle. She is a Professor in the M.F.A. Program in Nonfiction Writing and is currently working on a book of short stories, Liberation, and a nonfiction book, Smart Girls.

Riley Hanick

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Spring 2007

Exhibitions DARK MATTERS: MAX KLINGER’S PRINT CYCLE “ON DEATH” AND OTHER RUMINATIONS January 20 – April 15 Anchored by 19th and 20th century prints by Blake, Klinger, Redon, Picasso, and Guston, the exhibition explores the shadows and hollows of existence through artistic reflections on the themes of temptation, abandonment, and death. Curated by J. Sage Elwell, doctoral candidate in the UI Department of Religious Studies.

March 30, 7:30 p.m.

Gallery Talk: J. Sage Elwell, “Dark Matters”

Max Klinger Der Tod als Heiland (Death as Savior), plate 10 from “Vom Tode, Erster Teil (About Death, First Part),” 1889 Etching, aquatint and chine colle Gift of Friends of the Museum

PAUL PFEIFFER: MORNING AFTER THE DELUGE February 3 – May 6 Pfeiffer’s 20-minute video projection from 2003 manipulates Cape Cod sunsets and sunrises into a hypnotic image, altering perspectives of sun, horizon, water, and time.

Lent by Tom and Kitty Stoner.

PLAINS INDIAN DRAWINGS: THE GERALD AND HOPE SOLOMONS COLLECTION

Paul Pfeiffer Still from Morning After the Deluge, 2003

April 25 – September 30

Single channel DVD projection (c)Paul Pfeiffer. Courtesy Tom and Kitty Stoner.

Thirty extraordinary drawings range in date from 1865 to 1910 and record scenes of hunting and warfare, courtship and domestic activity from a Native American perspective. Drawn on account book and ledger paper provided by non-native soldiers and settlers, they are often called “ledger drawings.” The artists have been identified as from the Cheyenne, South Cheyenne, Crow, Kiowa, Arapaho, and Sioux nations. The collection is a promised gift from Gerald and Hope Solomons.

MASTER OF FINE ARTS 2007 May 11 - June 8 Works by recent M.F.A. graduates of the School of Art and Art History.

Old White Woman ledger “Cheyennes Indians on there [sic] way home from the Sioux Tribes at Dakota,” 1880-1890 Pencil, colored pencil, ink Promised gift of Gerald and Hope Solomons

May 11, 3:00-5:00 p.m.

Opening Reception FROM MANUSCRIPT TO PRINTED BOOK June 23 - October 7 100 medieval manuscripts and leaves from the UIMA and University Libraries collections point to characteristics of their production, use, illumination, script, and status as medieval cultural symbols and economic artifacts. Among these rarely seen objects are devotional books, books of hours, papal prophecies, English charters, a Gutenberg Bible leaf, and several medical classics. Curated

by David E. Schoonover, Curator of Rare Books, University of Iowa Libraries, and Kathleen C. Kamerick, Lecturer, Department of History.

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Book of Hours of the Blessed Virgin Mary Late 15th C. Franco-Flemish school MsC 542, Special Collections Department, University of Iowa Libraries, Iowa City, Iowa

Upcoming

Exhibitions INTERRUPTED LIFE: INCARCERATED MOTHERS IN THE UNITED STATES

I AM: PRINTS BY ELIZABETH CATLETT

August and September 2007

Selections from the Museum’s recently acquired archive of prints by this outstanding Iowa alumnus.

Women are the fastest growing segment of the U.S. prison population. Eight installations examine the impact of incarceration on women and their families. Organized

by WAKEUP/Arts, New York, Director and Curator, Rickie Solinger.

UI SCHOOL OF ART AND ART HISTORY FACULTY SHOW October 13 – December 14, 2007 Recent works by faculty in the School of Art and Art History

LAYLAH ALI: NEW DRAWINGS October 20, 2007 – January 6, 2008 Organized by the Pennsylvania Academy of the Fine Arts

REDUTOPIA: DESIGNANDCONTROLIN PROPAGANDAOFTHESOVIETEMPIRE January 20 – April 20, 2008 Spring 2008 will see the entire Museum of Art devoted to the first North American exhibit of an outstanding collection of Soviet and Czechoslovakian propaganda art. Rare posters from the Russian Civil War, Stalinistera posters and photomontages, and a unique selection of Soviet cartoons highlight this sweeping panorama of the 20th century.

Curated by Diana Davies, UI Director of International Programs

Gustav Klucis SSSR je údernou brigádou proletariátu celého svĕta (The USSR is the Stakhanovite brigade of the world’s proletariat), 1931

October 20, 2007 – January 6, 2008

MASTER OF FINE ARTS 2008 May 9 – June 8, 2008 Works by recent M.F.A. graduates of the School of Art and Art History

Links Together, 1996 Lithograph Edwin B. Green Art Acquisition Endowment Fund

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Elizabeth Catlett: A Legacy For Iowa February 23, 7:00-9:00 p.m.

Curator Kathleen Edwards will present a lecture on Elizabeth Catlett, followed by a reception

ByNicoAlvarado-Greenwood To describe the sculptor and printmaker Elizabeth Catlett as “one of the most celebrated African American artists alive” would not be an exaggeration: she is the recipient of accolades so grand they are usually reserved for royalty. The city of Berkeley, California, has proclaimed an Elizabeth Catlett Week; Cleveland, for its part, has an Elizabeth Catlett Day. New Orleans has made her an honorary citizen, and it would be tedious to list the many institutions that have granted her honorary degrees. Oprah Winfrey (who owns four Catletts) named the artist to her roster of twenty-five “Legends,” alongside such figures as Toni Morrison and Coretta Scott King, and the International Sculpture Center awarded her its Lifetime Achievement in Contemporary Sculpture Award. To say nothing of the work itself, which graces museums and public spaces around the world.

For My People: Singing Their Songs, 1992 Lithograph Edwin B. Green Art Acquisition Endowment Fund

At the age of ninety-one, Catlett is indeed one of the most celebrated African American artists alive—and yet she has lived in Mexico for the past sixty years. In August of this year, UIMA Curator Kathleen Edwards traveled to Cuernavaca to meet her.

Cuernavaca’s commercial district is at the bottom of a valley; its residential areas climb the slopes.

Catlett and her now-deceased husband, the artist Francisco Mora’s home and studios sit behind a whitewashed wall and an iron gate. Catlett and Mora each worked on the property (Catlett remains very active in her studio), which abounds with tropical gardens and fruit trees. Edwards found the artist inside, comfortably dressed and looking younger than her years, and the two began a days-long conversation against the backdrop of Catlett’s large and vigorous body of work.

Elizabeth Catlett found her subject early in her career. While in graduate school at the University of Iowa she studied with famed regionalist Grant Wood; the encounter left an indelible mark.

Having absorbed the lessons of modernism and abstraction, Catlett “experienced an aesthetic awakening,” Edwards says, “when Grant Wood encouraged her to base her work on what she

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Catlett’s studio, Cuernavaca, Mexico, August 2006

knew best. As Catlett has conveyed, what she knows is black people, particularly black women—the nuances of their bodies and their stories.” Catlett was among the first recipients of an M.F.A. in visual arts from Iowa in 1940.

For My People: A Second Generation, 1992 Lithograph Edwin B. Green Art Acquisition Endowment Fund

In 1946, Catlett went to Mexico City on a fellowship.

Mexican artists at the time were developing a new sense of national identity, exemplified in the sweeping public murals of Diego Rivera, José Clemente Orozco, and Davis Alfaro Siquieros. Their art was politically engaged, formally radical, and deeply populist. In such a charged atmosphere, Catlett’s work grew to encompass both the struggles of African Americans in her home country and those of the large underclass in the country she would soon adopt. She became an active member of the Taller de Gráfica Popular—the Workshop for Popular Graphic Art, or TGP. It was a vocation and an education.

“Mexico and the TGP have a long history of printmaking in the service of social change,” Edwards says. The collective was “committed to giving a voice to ideas serving the underserved. It championed the rights of ordinary people.”

By the time the United States government declared the TGP a “Communist Front Organization” and banned its members from entering the country, Catlett had already made a life for herself in Mexico. She and Mora had married and had three children (all boys, all of whom are now involved in the arts). Her prints had begun to address the lives of Mexicans as well as African Americans, and she and her colleagues at the TGP were thinking even further. Melanie Herzog, in her book Elizabeth Catlett: An American Artist in Mexico, quotes Catlett as saying “We were concerned not only with problems in Mexico; the problems of whatever oppressed people, colonial or semicolonial, were of concern to us.” Edwards 14

Malcolm X Speaks for Us, 1969/2004 Screenprint Edwin B. Green Art Acquisition Endowment Fund

Torture of Mothers, 1970/2003 Lithograph Edwin B. Green Art Acquisition Endowment Fund

All art by Elizabeth Catlett is © Elizabeth Catlett/Licensed by VAGA, New York, NY

says: “I think that Elizabeth’s primary position is to speak for the outsider from the outside.”

In 1962 Catlett became a Mexican citizen, because, as she said, “I’m a social and political person, so I wanted to be a citizen.... I made a life in Mexico.” (She regained her U.S. citizenship in 2002.)

The fruits of those years are many. For the University of Iowa Museum of Art, they include twenty-seven prints that Edwards selected for the Museum from Catlett’s collection of her own work; among them are the last impressions of several of her prints. The prints will join two other major pieces in the University’s collection of Catlett’s work: a famous linocut print called Sharecropper, acquired by the Museum several years ago and a statue, Stepping Out, which will be in the entry lobby of the renovated Iowa Memorial Union.

The recent acquisition is supported by the Edwin B. Green Acquisition Endowment. As a result of previous discussions with the UI Foundation and the College of Liberal Arts and Sciences, Ms. Catlett will in turn donate the entire purchase price of the prints to the University of Iowa Foundation to create a scholarship fund in the School of Art and Art History. The Elizabeth Catlett Mora Scholarship Fund will benefit either undergraduate or graduate printmaking students who are African American or Latino.

After studying her work and after this memorable visit, Edwards says “Catlett’s work is full of love and tenderness and also, in a way, of sorrow for the past and fear for the future.” One of Catlett’s most vocal supporters is Oprah Winfrey, who says of her work that it “represents the indomitability and resilience of our people both in its portrayal of what we’ve survived and in its promise of what greatness lies ahead.”

UIMA curator Kathleen Edwards with Ms. Catlett in Mexico.

“I think that Elizabeth’s primary positionistospeakfortheoutsider from the outside.”

UIMA Curator Kathleen Edwards

Red Leaves, 1978 Lithograph Edwin B. Green Art Acquisition Endowment Fund

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R E V O DISC n i A C I AFR

Iowa

By Nico Alvarado-Greenwood

It is curious to find one of the country’s best African art collections in a state where two percent of the population is of African descent. When asked about this, Professor Christopher Roy of the University of Iowa’s School of Art and Art History says that is precisely why the collection is vital. “We have a relatively homogenous population, and we need the collection to help us understand other people’s brilliance and creativity.”

Since the UIMA Discover Africa program began in 2004, hundreds of middle schoolers have participated, learning about African art through the lens of social studies. The program is tailored to meet the needs of seventh graders, for whom the study of Africa is a standardized part of the curriculum in Iowa.

“Teachers’ plates are really full,” says Dale Fisher, UIMA Director of Education. “They’re required to teach social studies. They’re required to teach about Africa. But they’re not required to teach art.

Discover Africa is a way for them to cover the things they need to cover while bringing the visual arts into their lessons.”

The program is offered free to schools in Eastern Iowa. Fisher invites them to participate; for those that are interested, a teacher from the UIMA pays a visit to their social studies classes.

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Ladle Culture: Dan Country of origin: Liberia and Cote d’Ivoire Date: early-mid 20th century The Stanley Collection

“It’s a chance for me to get the kids thinking about art, how it functions in a different way,” says Fisher. “A fresco in a church in Italy is a religious work that expresses people’s spiritual concerns; so is an African mask.

Art is art the world over. It’s just used differently.”

Professor Roy agrees. “African

art generally has a role to play in the lives of the people. But the Western notion of art for art’s sake is ridiculous. Western art is certainly useful. Do you know what function a painting hung on a wall has? It communicates ideas, represents status, even acts as decoration.”

School bus drivers bring students to the Museum, where one of fortyfour docents leads them through the collection and initiates discussion around key pieces. A carved wooden figure, for example, its torso and arms bristling with nails, raises a fist that once held a spear. Its belly is prominent, a rectangular cavity hollowed out to hold bilongo— medicines such as the white clay closely linked to the world of the dead, or the head of a poisonous snake, or a fishing net. A specialized art object known as an nkisi nkonde, it is a late nineteenth-century power figure from Zaire, and was used to communicate with the dead through an intermediary. Each nail driven into the nkisi nkonde was an appeal to the spirit world.

Power Figure, nkisi nkonde Culture: Kongo The Stanley Collection

Or an elegant headdress from Mali, fairly glowing with years of handling, its long vertical lines sweeping up into a stylized representation of a female antelope carrying her child on her back. Their sparely rendered faces are those of people. The mother antelope is the chi wara, a halfhuman, half-animal creature who gave the art of agriculture to humanity in the stories of the Bamana people. The headdress was used in ritual dances during the sowing and harvest seasons, when a much-respected farmer would wear it during an energetic performance that mimed the mythical beast tilling the soil with its hooves.

The works provide a point of departure in the docent’s conversation with students: “Are there objects you believe are lucky? What is the difference between a belief and a superstition? Is the belief in supernatural powers specific to Africa, or do other cultures have similar beliefs?”

According to Fisher, the docents make the program. “Teachers and chaperones fill out evaluations, and the feedback is consistently very positive. That’s all due to the docents.” Extensive training in teaching strategies as well as content—docents spend three hours training for every hour spent teaching—ensure a thoughtful and informed presentation. They are, Fisher says, “a committed group of people.”

Alongside WOW (Widen Our World), the Museum’s longstanding outreach program directed toward third graders, Discover Africa has become a significant part of Iowa’s arts education landscape. As Professor Roy puts it, “Here we are in the middle of the prairies, and our students have a very, very fine collection to work with.”

Discover Africa is funded by a private foundation.

March 25 - Family Day, 12:00-4:00 p.m.

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VIEW & DO A Family Art Activity If you are one of the many families searching for educational opportunities and creative outlets for children and adults, the UIMA invites you to join us for View and DO, our Saturday afternoon art activity. These art activities will get you out of the house while providing educational and creative fun for you and your child or grandchild. View and DO family art activities offer the child-adult team a chance to explore historical ideas or design concepts through tours of the gallery and related activity, under the guidance of an educator and practicing artist. These classes are for young Museum visitors (age 7-10) with adult accompaniment.

View and DO activities are led by Molly Vadnais. Molly taught at Schaller-Crestland High School in rural Iowa before coming to the UI to pursue her Masters Degree in Art Education.

(PRE-REGISTRATION REQUIRED) Cost: $10 per child and adult team

January 6, 1:00-3:00 p.m.

Gesture vs. Geometry: Using a selection of abstract works from the collection, participants will be introduced to these very different styles of composition and learn to recognize and discuss the impact of each. After learning about the art, students will create two different art works, one based on gesture and spontaneity and one based on a more structured composition.

March 3, 1:00-3:00 p.m.

Natural Compositions: Touring the exhibit, Picturing Eden, participants will be introduced to the images of gardens and the outdoors. After their tour, they will go outside and collect pieces of “nature� to use in a collage art project.

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Photo by Mike Breazeale

EDUCATION PARTNERS As an academic Museum, education is our primary mission.

The visual arts are one of humanity’s basic means of understanding the world and we are pleased to be able to share our collections and exhibitions with educators and students from across Iowa.

Elementary and Secondary School Programs at the UIMA are fully funded by our community partners. A grant from a private foundation is matched by the following generous Education Partners:

Claudia L. Corwin, E. Anthony Otoadese, and Family Garry R. and Susann K. Hamdorf Thomas D. and Polly A. Lepic Mike and Joanne Margolin Rob and Paulina Muzzin Gordon B. and Faye Hyde Strayer Madeline M. Sullivan Gail P. and Frank J. Zlatnik

Business support for Elementary and Secondary School Programs at the UIMA is provided by:

“At U.S. Bank we are proud to support education programs at the UIMA. We think the Museum of Art is a great asset for eastern Iowa.”

Bart Floyd, President, USBank, Iowa City Market

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DAN KNIGHT The pieces that comprise both “The Whitman Suite” and “The Kandinsky Suite” are paintings in sound. Although the individual pieces in both Suites have a written framework, the pieces are tonal portraits—spontaneous expressions of sound, color, and texture—composed and fully realized in the moment they are performed.

Aural impressions of color, light, time, and place are used in an attempt to embrace the emotional essences of the works which inspired them.

Rather than seeking to be an “accompaniment” to Whitman’s words and Kandinsky’s paintings, the music and the spoken word/visual art which inspired that music into being become unified in a new and seamless whole.

April 1, 2:00 p.m.

THE WHITMAN SUITE Nominated for the 2006 Pulitzer Prize in Music. A suite for solo piano and spoken word, with music composed

by Steinway Artist Dan Knight, and words from Walt Whitman’s monumental works “Leaves of Grass” and “Specimen Days.” The only Eastern Iowa performance of this work in 2007.

June 10, 2:00 p.m.

THE KANDINSKY SUITE The United States premiére. A suite for solo piano, composed in August 2006 at the Tate Modern, London, by Steinway Artist Dan Knight. Inspired by the life and work of Wassily Kandinsky. Dedicated to the work’s patrons, Gary and LaDonna Wicklund.

Wassily Kandinsky Verdichtung (Compression), 1929 Oil on canvas Gift of Owen and Leone Elliott

MUSIC AT THE MUSEUM A Series of Intimate Concerts Produced by Shari Rhoads

February 9, 7:30 p.m.

An Evening with Britten

Britten’s masterful setting of the poetry of Rimbaud (Les Illuminations) is equally as beautiful as the serenade for horn, tenor, and strings, text

by Ben Johnson, Lord Byron, and Shakespeare.

Serenade for Tenor, Horn, and Strings: Dennis Willhoit, tenor; Patrick Creel, horn; Shari Rhoads, conductor Les Illuminations: Heather Youngquist, soprano; Shari Rhoads, conductor February 18, 2:00 p.m.

Baroque!

Students and UI faculty in a concert featuring the Leo La Fosse Baroque instrument collection: Oleg Timofeyez, Lisa Merrill, Mark Weiger, Shari Rhoads April 22, 2:00 p.m.

Lieder and Mélodie: Romantic Art Song of the 19th Century

Selections from Brahms, Schubert, Mendelssohn, Ravel, and Debussy will be performed in a matinee featuring UI students and alumni

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vocalists: Bryce Weber and Jonathon Struve, baritone; Quiliano Anderson, tenor; Heather Youngquist, soprano; Shari Rhoads, piano May 6, 2:00 p.m.

Quintets in the 20th Century

Explore a different perspective of the 20th century with Danner’s vaudeville, Caratini’s jazz influences, and Stravinsky’s beautiful memoriam written for Dylan Thomas.

Vaudeville Quintet (1988)....Greg Danner

UI Honors Woodwind Quintet: Megan Luljak, flute; Mark Fitkin, oboe; Cheryl Poduska, clarinet; Laura Hirschey, bassoon; Alissa Coussens, horn

Passages pour quintette de cuivres (1946)…Patrice Caratini Old Capitol Brass Quintet: Peter Gillette and Melissa Brobston, trumpets; Matthew Hellenbrand, horn; Arthur Haecker, trombone; Jake Kline, tuba

In memoriam Dylan Thomas……….Igor Stravinksy

UI graduate trombone quartet: Quiliano Anderson, tenor

S hape shifters: Students don different hats to add life to the Museum

By Emily Grosvenor

Nathan Popp hovers over a small-scale model of the University of Iowa Museum of Art exhibition space. From this bird’seye view, the space is his blank slate to manipulate at will.

He takes a tiny rectangle of white paper and pastes it on the side of one of the model’s walls. As assistant to the Museum curator, Popp is creating a first model of what will eventually be the Museum’s spring exhibition, Picturing Eden. “I’m trying to set it up in a way that will work aesthetically and will flow,” Popp says. He should know how flow can make or break a space.

Just a few months ago, Popp had a much different view of the Museum. The senior art history major worked as a guard at the Museum since January 2005, pulling goofy kids into line when they acted out and keeping the Museum from turning into a petting zoo. “People want to touch the Pollock but it usually works like the African masks that get the most unwanted attention,” he says. Along with his fellow guards, whom he calls “a great group of guys,” Popp educated Museum visitors on the protocol of looking at art. For many visitors, it is their first time to a museum.

He also became a consummate people-watcher, taking mental notes about how the set-up of an exhibition can affect how people experience the artworks. At the time he started the job, he was considering a career in the sciences. But after watching visitors interact with art and taking a few art history courses, his path was forever changed.

Popp’s story is not uncommon among the students who work part-time at the University of Iowa Museum of Art. For many of the college and high-school students who volunteer at the Museum or have part-time jobs there, regular contact with art changes their outlook on life.

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Amber Jansen, a senior double major in Art and English, started out as a volunteer in The Museum Store & Coffee Bar her freshman year.

“You get to meet a lot of local artists and a lot of really interesting people and you always have a great idea of what’s going on.”

Amber Jansen

Museum work is rarely a chore for these busy students.

Whether they are working behind the scenes to pull off the Museum’s regularly changing exhibitions or selling the artinspired gifts in the gift shop, the communion they have with the Museum’s solid and often surprising collection plays an enlightening role in their education.

Amber Jansen, a senior double major in Art and English, started out as a volunteer in The Museum Store & Coffee Bar her freshman year. By her sophomore year, she had been offered a paid position doing the same work and has been there ever since. For Jansen, the job puts her in the vortex of Iowa City’s artistic community. “You get to meet a lot of local artists and a lot of really interesting people and you always have a great idea of what’s going on,” she says.

Sometimes, the gift shop offers a rare chance for a rub with art history. Last summer, Jansen got a call from a relative of the man who had posed as a child for Grant Wood’s 1931 painting The Plaid Sweater, which hangs in the Museum’s permanent collection. “I was really surprised,” Jansen says. “He wanted a print of the painting.”

Nathan Popp hovers over a small-scale model of the University of Iowa Museum of Art exhibition space.

Photos by Daniel Wildberger

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When she gets a free moment, Jansen sneaks away from the register to look at one of her favorite artworks, A Drop of Dew Falling from the Wing of a Bird Awakens Rosalie Asleep in the Shade of a Cobweb. “The name alone is wonderful,” Jansen says.

Senior Art History major Whitney Day, who works as assistant to the Manager of Exhibitions and Collections, says she has benefited from a behind-the-scenes look at the Museum. For the fall 2007 semester, Day has been carefully cataloguing

Senior Art History major Whitney Day works as assistant to the Manager of Exhibitions and Collections

the Museum’s collections in a database that will help the Museum manage the rights to reproduce images of its artworks.

Day is attracted to the stories behind the art—which pieces from the African collection have human skin in them, or the pact that allowed the Elliott family, a prominent Museum patron, to purchase an unsigned Picasso during World War II. Just knowing how much care and work goes into presenting the main collection and the changing exhibitions has given her a broader perspective on curatorial work. “The paintings don’t hang themselves,” she says.

Three of the Museum’s youngest volunteers, just 14-yearsold, are Lelia Gessner, Abigail Lee, and Zoe Grueskin. As first-time volunteers, they spent a chilly evening in October running the coat check at the benefit fundraiser “The Museum Party!: Shaken not Stirred.”

Organizers had opened the Museum’s back entrance and lined the walkway with luminaries, creating a lighted path that pointed to the action. They also converted the Virginia A. Myers Print Study into a makeshift coatroom. For these three high-schoolers, taking coats at one of the swankiest parties of the year is a chance to experience the best of the local fashionistas. “You never can tell what people are going to wear until they open their coats,” says Grueskin.

The three had a grand time doling out compliments to the dazzling patrons as they arrived for the benefit. They point in unison to a sign that says “No Gratuities Please” when patrons try furtively to hand them some cash. Although they will use these hours as part of the service requirement for their involvement in the City High’s Interact Club, they say they will likely volunteer here again. “It’s a great place to see people looking their best,” Grueskin says.

Many of the artworks in the Museum also intersect nicely with what they are learning about consumer culture in their classes, they say, such as Big Boy that spins in one of the front rooms.

Whatever the reason students gravitate to the Museum, the burden of responsibility they carry and the energy they supply make them indispensable to the life of the Museum, as director Howard Collinson can attest.

“We provide training and actual work experience in the Museum for many different specialities within the field. It is a symbiotic relationship between our student employees and the full-time staff. We are their bridge to their professional future and they are our bridge to student life.”

Emily Grosvenor is a graduate journalism student at the University of Iowa

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VOLUNTEERS

Docent volunteers gather in the Nancy and Craig Willis Atrium for the annual Docent Coffee to kickoff the upcoming school year.

The ultimate volunteer, Marlene Stanford (The Museum Store and Coffee Bar manager), arranges merchandise.

Photo by Mike Breazeale

UIMA volunteers participate in many activities, from the training provided to become a docent to helping plan a fundraiser or other special event, or working in The Museum Store & Coffee Bar. We rely on our volunteers for their help and for the support that their efforts raise. Learn more about your Museum, connect with your community and share the joy of art with others.

To find out more about volunteering, call us at (319) 335-1727 or visit our website at www.uiowa.edu/uima.

Susan Horowitz Volunteer Reception This year, to thank the Museum’s volunteers, we are pleased to present our annual recognition event along with the presentation of the UIMA Awards. Our volunteers are invited to join us to celebrate our work together building a great Museum for Iowa.

Volunteers Jennifer Seifert and Sandra Goveia from the UI School of Law sell raffle tickets at The Museum Party! on October 14.

April 26, 5:00-7:00 p.m.

Nancy and Craig Willis Atrium The Susan Horowitz Volunteer Reception is made possible by a gift from Joel Horowitz, in memory of his wife Susan, community activist and Museum volunteer.

Photo by Dan Kempf Impact Photo / Joe Photo

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THE MUSEUM PARTY!

STUPENDOUS!

Members Council president Nick Hotek (left) and Museum Party! co-chairs Kumi Morris and Jack Piper pause only for a moment during the festivities.

If you didn’t make it to The Museum Party! on October 14, you missed a fantastic evening!

More than 200 people attended the “Shaken not Stirred” event. A humungous “thank you” goes out to all of the volunteers who helped make it so much fun (including the City High Interact Club and the Hammond Chapter of the Phi Alpha Delta Law Fraternity).

Very special thanks to our raffle donors: Hands Jewelers, Hudson River Gallery & Frame Co., and The Museum Store & Coffee Bar. Our sincere gratitude to the following restaurants whose donations of delicious hors d’oeuvres served at the event and the $100 gift certificates from each for the raffle were greatly appreciated: Atlas World Grill, Formosa Asian Cuisine and Sake Bar, Joseph’s Steakhouse, Linn Street Cafe, Motley Cow Café, One Twenty Six, Redhead, Restaurant Verdé, Takanami Restaurant, and Taste on Melrose.

Betsy Hickok performs.

Raffle drawing winners included Charlie Anderson, Lee Asseo, Greg Cilek, Marge Clancy, Terry and Carla Coleman, Madgetta and Claibourne Dungy, Jim Hayes, Carl Claus, Mary Jo Masteller, Paulina Muzzin, Drew Schiller, Keith Steurer, and Julie Tallman.

A crowded lounge atmosphere created the setting for the evening’s wonderful entertainment…Chris Dimond, Betsy Hickok, Tom Knapp, Dan Knight, Maggie Mowery, Connie Peterson, Keith Steurer, and Alan Swanson deserve a huge round of applause!.

The Members Council (especially Kumi Morris, Jack Piper, and Kristin Summerwill), did a super job planning and overseeing all of the preparations and the evening’s activities.

We could not have done it without all of you!

Thank you again.

Photos by Dan Kempf Impact Photo / Joe Photo

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SUPPORT THE MUSEUM Your donations support and sustain the creative excellence of the UIMA. As a donor of the UIMA you are invited to be an active participant with access to special member-only events and openings. These special benefits will provide you with unique insight and access to the Museum’s collections, special exhibitions, guest lectures, and other cultural presentations.

Donor courtesies are for all members of one household and are valid for one year.

CONTRIBUTORS Donations $25.00–$99.00

Donations in support of the UIMA at any level are greatly appreciated. Donors at this level receive the UIMA magazine to keep you informed of exhibitions, openings, lectures, seminars, concerts, and other Museum-related events DONOR LEVELS OF SUPPORT:

Basic Annual donation starting at $100.00

Contributor courtesies, plus: Invitations to events throughout the year Annual acknowledgement in Museum magazine Discounts at The Museum Store & Coffee Bar allow you to take full advantage of the relaxing riverfront view and exciting art-related products Two complimentary beverages from The Museum Store & Coffee Bar to enjoy in a quiet setting surrounded by works of art Exclusive travel opportunities (when available) allow members to explore art museums and cultural destinations both near and far Benefactor Annual donation starting at $150.00

Basic courtesies, plus: Participation in either The Elliott Society or Art After Hours (each sponsors at least three events per year). The Elliott Society, named for the UIMA’s founding donors, is for those who want to delve into art topics a bit more deeply, while enjoying a convivial group of collectors, artists, and enthusiasts. Art After Hours is the Museum’s unique group for young contemporaries created to introduce young professionals to the experience of art through programs, exhibition tours, and socials (donors at this level are admitted free to Art After Hours events).

Curator’s Circle Annual donation starting at $250.00

Benefactor courtesies, plus: Opportunity to attend a special presentation by a curator or a reception with an exhibiting artist Patron Annual donation starting at $500.00

Curator’s Circle courtesies, plus: Discount on rental of spaces within the Museum to hold your own meeting, social gathering, or function (when space is available) Director’s Circle Annual donation starting at $1,000.00

All courtesies, plus: Opportunity to attend the annual Director’s Circle gathering organized around a special event at the Museum Sponsor Annual donation starting at $5,000.00

Director’s Circle courtesies, plus: Opportunity to sponsor an exhibition or program (contact Museum for full benefits)

For information on supporting the Museum, call (319) 335-1727 or visit our website at www.uiowa.edu/uima.

Or you may contact Pat Hanick, University of Iowa Foundation, (319) 335-3305, or visit www.givetoiowa.org.

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The Elliott Society and Art After Hours: UIMA supporters at the Benefactor level ($150) and above have the opportunity to join either The Elliott Society or Art After Hours. The Elliott Society is for those who want to delve into art topics a bit more deeply, while enjoying a convivial group of collectors, artists, and enthusiasts. Art After Hours is the Museum’s unique organization created to introduce young professionals to the experience of art through programs, exhibition tours, and socials.

The Elliott Society For those of you who are familiar with the Print and Drawing Study Club…the concept has gone in another direction. In order to satisfy more hungry appetites for learning about art, the group now studies not only prints and drawings, but all areas of the UIMA’s permanent collection. For those of you at the Benefactor level and above, you may opt to join this new group and attend three to four events each year, including lectures, trips, and artist’s studio visits. Contributions and dues also provide substantial support for the collection at the UIMA. Art After Hours is the unique group created for young contemporaries to introduce them to the experience of art through programs, exhibition tours, and socials. In the past this group has hosted opening receptions and lectures. Art After Hours is for individuals and families between the ages of 21 and 45 who share an interest in cultivating the arts and enjoy fun, cutting edge events. Donors can attend these events for free. Watch for announcements of upcoming events to be listed on the UIMA website.

DONOR EVENTS January 21, 2:00-4:00 p.m.

February 3, 8:00-11:00 p.m.

May 4, 1:00-9:00 p.m.

June 2, 6:00 p.m.

Curator’s Circle Reception, Kathleen Edwards, “Recent Acquisitions” Donor Preview for Picturing Eden (sponsored by Art After Hours) Elliott Society Fairfield gallery tour (limited to 50 people) Director’s Circle

From the Director of Development Something truly special is happening at the University of Iowa Museum of Art. In case you haven’t noticed, the UIMA is in the process of “moving to the next level.” You have only to skim through this wonderful “UIMA Magazine” to sense the momentum. Each page reveals yet another exciting aspect of the energized environment; stunning exhibitions, devoted volunteers, new art acquisitions, dynamic activities, and the beat goes on.

Pat Hanick Director of Development UI Museum of Art University of Iowa Foundation (800) 648-6973 ext. 768 pat-hanick@uiowa.edu

The UI Museum of Art is making waves because of your support—people like you who believe art matters and show it through their annual support, private contributions, and volunteer service for the UIMA. Your gifts are the lifeblood of the Museum and keep moving it forward. You only need to step inside the Museum to see first hand the impact your support is making.

We want the UIMA to maintain its BIG MO and ask you to continue playing an important part in advancing the Museum. Please renew—or better yet, increase—your support of the Museum through membership (319-335-1727), volunteerism (www.uiowa.edu/uima), and private gifts (www.givetoiowa.org/uima). With you by our side, we can reach for the stars.

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THE MUSEUM STORE & COFFEE BAR Sale:January19&20

Call the Store at (319) 353-2846 or email uima-store@uiowa.edu

KSUI 91.7 FM

Know The Score Live!

Hosted by Joan Kjaer Occasional Fridays, 5:00–7:00 p.m.

Join us at the Museum or listen live on KSUI 91.7 FM. KSUI’s Joan Kjaer presents a mix of music, chat, and discussion covering the arts and humanities. From the world famous to local favorites, her guests bring Know the Score to life at the Museum.

January 26 Celebrate Scandinavian art and culture with the Maia Quartet, the Director of the Danish Immigrant Museum in Elkhorn, Iowa, flutist Gro Sandvick, and UI faculty members Alan Sener from Dance and Jon Winet from the School of Art and Art History. Also the UI Theater’s production of “Into the Woods” with director Alan MacVey.

March 2 Versailles—the place, the era, the play. David Schwiezer, director of “Versailles,” explains his vision of a day in the life of King Louis XIV. The play opens March 1 and Schweizer and others will entertain the audience with text, court dances, music, and conversation. Kathleen Edwards, curator at the UIMA, will introduce the new exhibit Picturing Eden.

April 6 Strindberg’s “Ghost Sonata,” with appearances by theatre director Kevin Harris and the Maia Quartet. Explore the play in relation to Scandinavian music in this collaboration between the Theatre department and the Quartet (in a yearlong exploration of Scandinavian art and culture).

Joseph Chukwu (Nigerian) Mammy Wata (detail), 1970s Gift of Pamela Brink, RN, PhD

> > > Museum Hours: Wed., Sat. & Sun.: 12 Noon–5:00 p.m.

Thurs. and Fri.: 12 Noon–9:00 p.m.

Individuals with disabilities are encouraged to attend all University of Iowa sponsored events. If you are a person with a disability who requires an accommodation in order to participate in these programs, please contact the Museum of Art in advance at (319) 335-1727.

The University of Iowa prohibits discrimination in employment and in its educational programs and activities on the basis of race, national origin, color, creed, religion, sex, age, disability, veteran status, sexual orientation, gender identity, or associational preference. The University also affirms its commitment to providing equal opportunities and equal access to University facilities. For additional information on nondiscrimination policies, contact the Coordinator of Title IX, Section 504, and the ADA in the Office of Affirmative Action, (319) 335-0705 (voice) or (319) 335-0697 (text), the University of Iowa, 202 Jessup Hall, Iowa City, Iowa 52242-1316.

150 North Riverside Drive 100 Museum of Art Iowa City, Iowa 52242-1789 (319) 335-1727 www.uiowa.edu/uima