UIMA Spring 2012

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Collectible Cover series 1 of 2 SPRING 2012

TA B L E O F C O N T E N T S 4



From the Director


New Acquisition •Winiama Mask


Talking to Catherine Hale


UIMA@IMU •Sackler Loan •Teaching Highlights


Student Engagement


Lectures •Elliott Society •Levitt Craft Lecture


Portraits of Iowa


Ed-Spread •Class Act Comics Conference •Senior Living Communities •Art of India


Collection News


Museum Party! Recap


Figge Bus Trip First Fridays


From the University of Iowa Foundation


Honor Roll

Collectible Cover 1 ofimage 2 Cover

Byron Burford (American, 1920–2011) Variations on Mildred, No. 1 (detail), 1970 Silkscreen, 11 1/2 x 17 5/8 in. Purchased with the aid of funds from the National Endowment for the Arts and matching funds from the University of Iowa Foundation, 1971.37

This print will be on display at the Eye on UI Faculty exhibition. Learn more on page 21.

MUSIC THAT'S BEEN CATCHY FOR 300 YEARS. Conversations that provoke thought. Stories that reveal the artist’s inner secrets. And live performances of the world’s greatest music. Iowa’s only true Classical station. Listen with all your heart.

LOCATIONS & HOURS University of Iowa Museum of Art Temporary offices at Studio Arts Building: 1375 Highway 1 West/1840 SA Iowa City, IA 52242-1789 319.335.1727 uima.uiowa.edu

Temporary locations:

Iowa Memorial Union, third floor UIMA@IMU 125 North Madison St., Iowa City 319.335.1742

Figge Art Museum 225 West Second St. Davenport, IA 52801 563.326.7804

Levitt Center for University Advancement One West Park Rd., Iowa City 319.335.3232

On-campus visual classroom featuring an expansive installation from the Museum’s permanent collection.

Gallery space and storage for 11,000 pieces from the UIMA’s permanent collection, located one hour east of Iowa City.

A selection of art from the UIMA’s African art collection. Open by appointment only. Call for more information.

Black Box Theater On-campus space for UIMA special exhibitions.

Free admission for University of Iowa students, faculty, and staff with UI ID cards and UIMA donors with their Donor Courtesy Cards.

Support www.uifoundation.org/uima

Hours: Tuesday through Saturday, 10 a.m.–5 p.m. Thursday, 10 a.m.–9 p.m. Sunday, 12–5 p.m. Sign up to receive our e-newsletter at uima.uiowa.edu. Sponsored by INVISION Architecture

Museum Merchandise Shop for UIMA merchandise online at book.uiowa.edu Connect Find us on Facebook Facebook.com/UIMuseumofArt Follow us on Twitter Twitter.com/UIMuseumofArt Scan with a QR Reader to connect online

Free admission Hours: Tuesday, Wednesday, and Friday, 10 a.m.–5 p.m. Thursday, 10 a.m.–9 p.m. Saturday and Sunday, 12–5 p.m.

The UIMA Magazine is sponsored by Hands Jewelers: William Nusser and Elizabeth Boyd Edited by Erika Jo Brown | Written by Erika Jo Brown and Marianna Gunn Design and layout by Rodrick D. Whetstone Copyright 2012

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EXHIBITIONS February 18–April 1

Zeno Writing by William Kentridge: Black Box Theater, IMU

April 17–June 3

Hako (Box) by Hiraki Sawa: Black Box Theater, IMU

Spring semester

Eye on UI Faculty: Second Floor North Reading Room, UI Main Library

February 2–June 17

ART|IOWA: Inspired by Landscape: Old Capitol Museum exhibition


Video Classrooms: Studio Arts, UI Main Library, and Art Building West


UIMA@IMU: Third Floor, IMU

PUBLIC PROGRAMS Sunday, January 29

Student Bus Trip, Figge Art Museum, leaves Studio Arts at noon, leaves Figge at 5 p.m.

Thursday, February 2

ART|IOWA opening, Old Capitol Museum, 5–7 p.m.

Friday, February 3

First Friday, hotelVetro, 5–7 p.m.

Saturday, February 18

Zeno Writing opening, Black Box Theater, 12–5 p.m.

Thursday, March 1

Mark NeuCollins gallery talk, Black Box Theater, 7:30 p.m.

Friday, March 2

First Friday, hotelVetro, 5–7 p.m.

Tuesday, March 27

Levitt Craft Lecture, Ron Fondaw, W151 Pappajohn Business Building, 7:30 pm

Thursday, March 29

Student Bus Trip, Figge Art Museum, leaves Studio Arts at 5 p.m., leaves Figge at 9 p.m.

Friday, April 6

First Friday, hotelVetro, 5–7 p.m.

Saturday, April 7

Hako opening, Black Box Theater, 12–5 p.m.

Friday, May 4

First Friday, hotelVetro, 5–7 p.m.

Friday, June 1

First Friday, The Mansion, 5–7 p.m.

Friday, July 6

First Friday, TBD, 5–7 p.m.

Friday, August 3

First Friday, Stella restaurant, 5–7 p.m.



Wednesday, January 25

Elliott Society, David Riep, The University Club, 5 p.m.

Friday, February 10

Curator’s Circle, Catherine Hale, The University Club, 7 p.m.

Thursday, February 16

Zeno Writing preview, Black Box Theater, 7–9 p.m.

Thursday, April 5

Hako preview, Black Box Theater, 7–9 p.m.

Wednesday, April 11

Elliott Society, Timothy Barrett, The University Club, 5 p.m.

Wednesday, April 18

Elliott Society, Laura Capp & Cheryl Jacobsen, The University Club, 5 p.m.

Thursday, April 26

Volunteer Reception, The University Club, 5–7 p.m.



These days our dedicated curators and staff literally have to “think outside the box” and explore new ways of presenting the Museum collection to students and the public. Although our ability to display traditional media, such as oil paintings and photography, has been severely curtailed since the Great Flood of 2008 and during the current federal appeal process, we are determined to create first-rate exhibitions in unorthodox spaces. In 2011, two new screen walls were introduced on campus in order to display video art, from early 20th century silent short films to videos from the 1980s by William Wegman (starring his dog, as usual). Needless to say, with our current video-obsessed society, these offerings have been wellreceived. This year, we plan to raise the bar and offer more ambitious video artwork. The timing of our new video series couldn’t be better. At the most recent Cannes Film Festival, world film ‘luminaries’ celebrated the 150th anniversary of the birth of the great French motion picture pioneer George Méliès by unveiling a newly discovered color version of his seminal work, Le voyage dans la lune (1902). Méliès was not fully appreciated for most of his life, but he is now seen as one of the most significant artists in this field, and his work has influenced a great many cinematographers and artists over the last century. One of those people is William Kentridge, the renowned South African mult-media artist whose work is being featured by the UIMA at the beginning of 2012. His films tip their hats to Monsieur Méliès and his oeuvre. In a recent interview, Kentridge described the similarity of their work. “The Méliès films are about life in the studio. To gather the energy to begin an image or continue with it, walking and stalking an image.” Kentridge’s own work exhibits an explicit, fragile quality, detailing the passage of time. His work is not only fascinating to experience, but relevant to the education of budding artists at the university. As Kentridge put it, “Transformation always has to do with understanding the world as process rather than as fact.” We are fortunate and honored to be able to borrow Kentridge’s masterpiece Zeno Writing from the Des Moines Art Center, and will feature this work in the Black Box Theater in February 2012. In our new Visual Classroom in Art Building West, we plan to present the work of a number of Cuban artists in a series entitled Video Cubana. This grouping of video works by artists living in Cuba will provide a fascinating and different take on life for our audiences here in Iowa. This presentation will precede the Latino Midwest symposium, a series next autumn about Latin culture in our region organized by a number of University groups. Naturally, this is only the tip of the proverbial iceberg, and I hope you will join me in taking part in the exciting and diverse opportunities offered by the UIMA in 2012. Happy New Year to you all of you, and I look forward to seeing you at a Museum event soon.

Sean O’Harrow, Ph.D.

Above: Dr. O’Harrow with Robert Motherwell’s Elegy to the Spanish Republic, No. 126 (1965–75) Acrylic on canvas 77 3/4 x 200 1/4 in. Purchased with the aid of funds from the National Endowment for the Arts with matching funds and partial gift of Robert Motherwell, 1973.289 (detail)

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by Professor Christopher D. Roy, UIMA Research Curator of African Art The University of Iowa Museum of Art purchased a beautiful mask made by the Winiama people of Burkina Faso at the Sotheby’s auction in Paris on June 6, 2011. The mask is a small vertical plank with red, white, and black pigments that mark out geometric patterns, including two very large, round concentric eyes. The lower portion of the mask is the oval face, with a diamond-shaped mouth through which the performer was able to see while he danced. Above the face projects a vertical hook, which represents the bill of a hornbill. The center section, above the face, is a rectangle with two sets of zigzag lines, representing the path of the ancestors—the path that Winiama strived to follow during their lives to receive the blessings of God. Above the rectangular central section is a crescent shape with two more round concentric circles. The crescent represents the summer moon under which the young men and women of the village are initiated. All of the patterns of the mask together represent religious laws for the moral and ethical conduct of life, the same sorts of religious laws that in Christianity and Judaism are represented by the Ten Commandments. The object was collected in 1976 by a private New York collector named Thomas GB Wheelock. He purchased it in Ouagadougou from a local art dealer, who had acquired it in the village of Ouri, in central Burkina Faso. The Winiama people in the village of Ouri create masks like this one to represent the spirits of nature that watch over them and their families, and protect them from accidents, diseases, crop failure, and disasters of all kinds. All of these masks are worn by the young men of the families that own the masks. Each mask is owned by an individual senior male elder, and is intimately tied to the soul of the man who owns it. Each year the elder selects a young man from his own family to wear the mask in public performances. The performances reenact encounters between the ancestors and the spirits of the wilderness. The mask is worn with a thick costume made of hemp fiber, which is colored either black or dark red. Support for the purchase was provided by Mary Jo and Richard H. Stanley of Muscatine, Iowa 6


Professor Christopher D. Roy selected this mask for purchase because it represents an important example of the objects that he has been studying in Burkina Faso for the past 40 years. Prof. Roy and his family lived in the village of Ouri in 1983, and he has been visiting the same village for the past 30 years. All of Prof. Roy’s classes

visit the UIMA@IMU several times each semester to see the objects from the African art collection, and to study them for research papers. This semester, Prof. Roy’s undergraduate Introduction to African Art class has 280 enrolled students, each of whom has visited the African collection twice during the semester.

Above: Burkina Faso; Nunuma or Winiama peoples Mask Wood, pigments, and fiber 1 7 32 /4 x 11 /8 x 10 1/2 in. Purchased with funds from Mary Jo and Richard H. Stanley, 2011.27a–c

Talking to Catherine Hale

Catherine Hale joined the UIMA’s permanent curatorial staff in the Fall of 2011. As a specialist in African and non-Western art, she shares a bit about her background, inspiration, and exciting projects for the Museum’s future. What were you doing before you came to the UIMA? I’ve traveled widely for my research in the Ashanti Region in Ghana, West Africa, as well as Europe. I am currently completing my Ph.D. at Harvard in African art, so I’ve spent some time in Cambridge, MA. I’ve also spent a few semesters in Ottawa, Canada, where I taught courses on African art at Carleton University and curated exhibitions for the Carleton University Art Gallery and the Agnes Etherington Art Centre at Queen’s University. What does a curator do? I think that what a curator does depends on the individual, as well as the institution in which they are working. For me, curating is very much a collaborative process. I see my job as being a liaison between art objects and the varied audiences who are stakeholders in the museum and its collections. In other words, I try to figure out how we can think/talk about fascinating art forms from as many vantage points as possible. What inspires your curatorial ideas? People and places. You can appreciate an object’s form on its own merit, but knowing about its original cultural environment—especially in the field of African art—really enriches visitors’ understanding of diverse artistic traditions. This is always a major challenge in exhibitions of the so-called non-Western arts: how do you communicate an object’s original cultural context in a Western museum space? One of the things I am exploring right now is how to evoke context through different strategies of display. For example, in a

recent exhibition of textiles, I layered cloths on the wall in a way that was intended to suggest the aesthetic of an African marketplace. How does African art fit into the Iowa City art scene? Long before coming to the UIMA, I heard about its amazing collections of African art, as well as the outstanding scholarship of Professor Christopher Roy. In many ways, Iowa City was synonymous with African art for me. I am looking forward to developing the art scene here and making sure African art continues to play a central role in our collections and programming. What are your curatorial plans? The UIMA has a long history of excellence. I’ve spent my first few weeks learning first-hand about the collections and related projects. One of my key priorities will be making African and other non-Western art available to as wide a public as possible. Coming onboard with the UIMA during this transitional period offers the opportunity to think beyond the traditional museum space and figure out how to display art objects in new ways. What are some objectives for the UIMA in the near future? One of my goals is to get the UIMA involved with exciting developments in the field of Geographic Information Systems (GIS). For example, Harvard University’s web-based mapping platform, WorldMap, makes it possible to “layer” a wide range of information. Above: Catherine Hale learns how to weave kente cloth in Adanwomase, Ghana, 2007.

In the case of Africa, one could view Livingstone’s 1870 map of the Congo simultaneously with the 2008 geopolitical borders of the same area, among other things. As a researcher, I can’t stress enough the value of being able to see connections between different types of chronological and spatial information within one source. If we could add a “layer” of thumbnail images of objects from our incredible African collections to WorldMap, viewers could observe the stylistic influence of exchange between different cultures or artistic variations within regions. A project like this has the potential to make our collections more accessible on a global level, drawing in researchers from a range of locations, while at the same time, offering a rich source of information for our University and public curricula.

CURATOR’S CIRCLE Catherine Hale Friday, February 10 7:00 p.m. The University Club Catherine Hale, UIMA Curator of African and Non-Western Art, will discuss Geographic Information System (GIS) technology and its potential for making the UIMA and its collections more accessible to researchers, scholars, and publics around the world.

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UIMA @IMU The UIMA@IMU’s spring semester re-installation continues to make connections between art objects and University curricula. UIMA curators have developed successful collaborations with UI faculty that encourage exhibitions and programs to serve as scholastic resources. Class visits reached an all-time high this year, with over 1,886 students from dozens of University departments and centers. One of this semester’s featured topics will be prints from the permanent collection by a variety of 19th century artists. Art by Goya, Blake, Gericault, Delacroix, Renoir, Cassatt, Degas, Munch, Toulouse-Lautrec, and Kollwitz will be on exhibit. The history of 19th century art can be complicated considering the number of styles and

movements developed during that period. The challenge for Nathan Popp, UIMA curatorial assistant, was to organize a coherent exhibition in a limited display space. His solution is to place the prints chronologically, salon-style, along a timeline installed on the gallery wall. Popp explains that “this approach permits us to display the maximum number of objects while visually maintaining a pedagogically art historical narrative.” In addition, coming this August, around 40 exquisite works from the Arthur M. Sackler Foundation, New York City, will be displayed as part of an ongoing partnership between the cultural organizations. The show, which will feature Chinese sculptures, ceramics, metalwork, and jewelry from the

Neolithic to early Ching dynasty, will run indefinitely. It’s a rare chance to view a top-notch collection from one of the world’s preeminent foundations for Chinese art. This loan is sponsored in part by Richard H. and Mary Lea M. Kruse. The UIMA@IMU allows individuals to interact with objects from the permanent collection in innovative ways. Its mission is to advance academic research, provide a visual component to complement text-based materials, and yoke together University departments and programs. Making an individual or group appointment provides an invaluable opportunity to handle and examine artworks normally off-limits to the public, an experience that inspires continued learning.

UIMA@IMU is sponsored by Richard H. and Mary Jo Stanley. To arrange an educational tour, please visit the online form at uima.uiowa.edu/education-tours or call (319) 335-1730. LEFT: Edgar Degas (French, 1834–1917) Au Louvre: La Peinture (Mary Cassatt at the Louvre), 1879 Etching, aquatint, drypoint, and electric crayon, 12th state impression 14 1/2 x 8 1/2 in. 8 UIMA Gift of Owen and Leone Elliott, 1966.6

RIGHT: Jean Baptiste Camille Corot (French, 1796–1875) Souvenir d’Italie (Souvenir of Italy), 1866 Etching 13 1/4 x 9 1/8 in. Edwin B. Green Art Acquisition Endowment, 1997.143


Zeno Writing, a 2002 video by South

African artist William Kentridge, will be on display in the Black Box Theater during the spring semester. Kentridge’s film re-imagines Italo Svevo’s 1923 novel Confessions of Zeno, a story which explores the protagonist’s struggles with personal weakness. In Kentridge’s characteristic style, Zeno’s streamof-consciousness autobiography is revealed through a poetic pastiche of archival footage and stop-motion animation that is altered and erased in a continuous process of transformation. Zeno Writing is at once local and universal; its themes of human failing and yearning after balance have global resonance, while also seeming to allude to South Africa’s challenges in the wake of the Apartheid era. In addition, The General, a print by Kentridge, will be displayed at the UIMA@IMU. The piece is a dynamic and direct comment on the corruption that frequently accompanies military power. Hiraki Sawa’s interest in Victorian doll

houses and play therapy inspired the video Hako (Box), an exploration of the Jungian concept of “sandplay.” LEFT: William Kentridge (South African, 1955– ) The General, 1993–1998 Drypoint with hand-coloring on handmade paper 47 1/4 x 31 1/2 in. Museum purchase with funds from Shawn Zeitz and Emily Gatsby, and the Print and Drawing Study Club, 2001.4 © William Kentridge

Sawa uses animation to create a lyrical dreamscape—a concurrent rumination on ideas of time and motion, innocence and alienation, and dislocation and displacement. Hiraki Sawa’s work has placed him at the forefront of a new generation of video artists. Carrie Mae Weems’s work addresses

themes of identity, race, gender, class, the legacy of slavery, and the African diaspora. The Africa series, from which this diptych originates, features images of “otherworld spirit lovers” that come from the Baule peoples, an Akan subgroup living in present-day Ghana and Ivory Coast. The Baule believe that mature members of society have partners who live in the Other World but intervene in their daily lives. With the help of a diviner and carver, such spirits can be embodied in wooden form, as here. Etched on the glass of the female figure’s photograph is the statement: “Made for him, she represented the perfect woman.” Similarly, the male photograph is covered with glass that is etched with the phrase: “Made for her, he represented the perfect man.” Acquiring Made for Him, Made for Her provides a valuable opportunity CENTER: Hiraki Sawa (Japanese, 1977– ) Still from Hako, 2006 Single channel DVD audio-video installation 4 minutes On loan from the James Cohan Gallery, New York © Hiraki Sawa

to strengthen the UIMA’s collection and initiate a dialogue with the African material, both historical and contemporary. Weems’ exploration of gender roles, identity, and the relationships between Africa and its diasporas promises to be a rich complement to our existing collections and an asset to future exhibitions and educational programming. Grant Wood completed about 20

paintings during the three months he lived in Munich, Germany, where he lived while the stained glass he designed for the Memorial Window of the Veterans Memorial Building in Cedar Rapids was manufactured. One of the paintings, Blue House, Munich, 1928, has been recently gifted to the Museum by Catharine Miller Ahmann and Edward J. Ahmann, Dorothy Miller Brecunier and Richard W. Brecunier, and Theza Lichtman Miller and Robert Scott Miller. The painting will be unveiled this spring at the UIMA@IMU during the annual Grant Wood Symposium sponsored by the UI School of Art and Art History.

RIGHT: Carrie Mae Weems (American, 1953– ) Made for Him, Made for Her (from the Africa series), 1993 Diptych: C-prints with etched glass in artistmade frames, A/P 1/2 39 1/2 x 19 1/2 in. Mark Ranney Memorial Fund, 2011.51 Courtesy of the artist and Jack Shainman Gallery, New York © Carrie Mae Weems u i m a . u i owa .edu


STUDENT ENGAGEMENT “Art and Science” Symposium

The Intermedia Moment

On March 2–3, the University of lowa’s Art History Society will host the 27th annual Graduate Art History Symposium in conjunction with the UIMA and Art History Department. The theme for this year’s symposium is “Art and Science.” Martial Guédron, University of Strasbourg, will deliver this year’s keynote address, “Science and Phantasmagoria in the Twilight of Enlightenment.” The UIMA’s painting, Commentary III by Jules Kirschenbaum, will be used to promote the symposium.

This spring, work by undergraduate students in introductory Intermedia classes will be featured in the UIMA’s Video Classroom in a project dubbed “The Intermedia Moment.” The Intermedia Program, an experimental offshoot of the School of Art & Art History, is going back to its historical roots.

The keynote will be given Friday evening in the newly re-opened Art Building West, followed by the keynote dinner. On Saturday, March 3rd, graduate student speakers from across the U.S. will present their latest research on a variety of topics in art history and related disciplines. Saturday’s session will conclude with the Iowa Prize Presentation, given each year to a University of Iowa graduate student from Art History or an associated field, selected by the members of the Art History Society. All events are open to faculty, graduate, and undergraduate students, members of the university community, and local residents. For more information, please contact tylerostergaard@uiowa.edu.



Above: Screenshot from a film by Danielle Andreadis-Rue

For the project, students have created works that follow the approach of cinema’s pioneers, Auguste and Louis Lumière. These brothers perfected a concise methodology—50 seconds long, a single shot, a fixed camera, and soundless. Students observed these guidelines in producing their black and white videos. Motion is defined by what happens within the frame. Limitations notwithstanding, the students were encouraged to explore comedy, drama, and documentary possibilities. In a second phase, the project was expanded to include additional film elements—up to three shots, incidental sound, color, and a maximum length of 100 seconds. “The Intermedia Moment” will be shown in the Video Classrooms at the Oasis Fix in Studio Arts and the Food for Thought Café in the UI Main Library. “The Intermedia Moment” was designed by Associate Professor Jon Winet, who also serves as director of the newly-launched Digital Studio for the Public Humanities. Adjunct Professor Mark NeuCollins (MFA, Intermedia 2006) and graduate students Derek Andes, Katie Hargrave, and Christopher Pickett led the undergraduate classes, working with Intermedia faculty Sarah Kanouse and Rachel Williams. Video Classrooms sponsored by Mary K. Calkin

The UIMA announced the inaugural student short essay contest last fall. Undergraduate and graduate students were invited to tell their stories about how the Museum has enriched their University education. The winning authors received free tickets to the elegant Museum Party! Bash. The UIMA congratulates: • James Lambert, English Ph.D. student • Trista Reis, undergraduate majoring in Art History • Kendra Greene, Book Arts graduate student As the envisioning process begins in regards to the new Museum of Art facility, let your voice be heard! Personal anecdotes and specific experiences are encouraged. Have you visited the new Visual Classroom with your class? Perused the permanent collection at UIMA@IMU in your off hours? Volunteered to be a gallery attendant at the Black Box Theater? Has a particular exhibition affected your own artmaking practice? Pass it on! Please email Erika Jo Brown, Manager of Marketing and Communications, at erikabrown@uiowa.edu, with your ideas.


In 2005, UIMA Chief Curator Kathy Edwards curated the nationally-acclaimed exhibition, Acting Out: Invented Melodrama in Contemporary Photography. The show explored the use of pathos to create relatable emotion in photography. Acting Out was inspired by a variety of genres, including film, television and stage acting, advertising, and literature. The exhibition, consequently, became a source of inspiration for University classes. John D. Freyer, SAAH Professor of Studio Art, is one of the many instructors who integrate the Acting Out catalog into his curriculum. Using the show’s images and text, Freyer’s Advanced Photography class has participated in a collaborative project for three years running. Student teams are asked to produce works that illustrate the melodramatic parameters exemplified in Edwards’ exhibition.

After the results are framed and hung on the classroom walls, Edwards critiques the pieces during annual in-class visits. This year, she noted that she was “particularly impressed by the intelligent playfulness of the images Freyer’s students created.” Success in the professional photography world is more than taking innovative photographs, though. Freyer knows it is just as important to expose his students to the business side of having an arts career. Through Edwards and the UIMA, both undergraduate and graduate students are given the unique opportunity to communicate with the professional art world. After giving feedback on the work, Edwards provides useful insight about sending work to galleries or museum curators based on her extensive past experience. Throughout the years, many students have decided to generously donate their pieces to the UIMA. This project presents one of the many ways the UIMA can be integrated into class structures. While the Museum provides a site for investigation and practicum in the immediately associated fields of Studio Art and Art History, it also provides material, contextual, and facility resources to academic departments and other entities within the University, in disciplines such as Pedagogy and Education, Anthropology, Architecture, World History, Journalism, American Studies, Cinema and Comparative Literature, and Theatre Arts. UIMA pieces serve as visual partners to text-based syllabi and combine hands-on practice with multimedia environments. The Museum is a rich learning resource for students, teachers, and the wider community. Left: Lemonade, Fall 2009 Inkjet print, 20 x 13 in. Gift of the Advanced Photography Class, UI SAAH Producer: Jennifer Novak Director: Chris Mortenson Director of Photography: Allison Plummer Lighting: Cathy Kovach Storyboards/Location Scout: Adam Hascall Postproduction/Master Printer: Jessica Leavengood 310.2011

Right: Candy Girl, Spring 2009 Inkjet print, 16 x 24 in. Gift of the Advanced Photography class, UI SAAH Producer: Amanda Smith Director: Anna Vollstedt Director of Photography: Aynslee Joyce Lighting: Jared Harrison Locations Manager: Caitlyn Alexander Production Designer: Emily Smith Digital Image Editor: Daniel Rolling Master Printer: Molly Maddigan u i m a . u i owa .edu 309.2011


E L L I OT T S O C I E T Y Timothy Barrett 14th through 18th Century Paper— New Research Results Wednesday, April 11 Social 5:00 p.m., Talk 5:30 p.m. The University Club

Laura Capp and Cheryl Jacobsen Visible Language: Arts, Humanities, and Hand Lettering in the Middle Wednesday, April 18 Social 5:00 p.m., Talk 5:30 p.m. The University Club

In 2006, the UIMA supported Timothy Barrett’s grant application to the Institute for Museum and Library Services for a major new research project. In 2007, the grant was funded and now, five years later, we have an entirely new picture of how the best early European papers were made. Join Barrett, director of the Oakdale Paper Production and Research Facility, as he shares some of the latest findings. A display of handmade papers and one-of-a-kind artists’ books will be on hand, and questions from the audience will be warmly encouraged.

Laura Capp and Cheryl Jacobsen, both instructors at the Center for the Book, will co-present a discussion on calligraphy as a nexus between the humanities and arts.

Barrett, an internationally-recognized master craftsman and historian, joined the UI Center for the Book as its paper specialist in 1986, and served as its director between 1996 and 2002. As the founding director of the papermaking facilities, he has worked as an innovative practitioner, scholar, and teacher. In 2009, he was awarded a MacArthur Fellowship, also known as a “genius grant,” for his efforts. Barrett is author of the volume Japanese Papermaking: Traditions, Tools, and Techniques, which was a groundbreaking resource for conservators. He received a B.A. from Antioch College in 1973 and undertook training in papermaking

“... Barrett, an internationally-recognized master craftsman and historian ...” at Twinrocker Handmade Paper, the Saitama Prefecture Paper Industry Research Station in Japan, and Western Michigan University. Barrett continues to teach courses on hand papermaking, and deliver lectures nationally and internationally on the history, technique, science, and aesthetics of papermaking.

While pursuing her doctorate in English, Capp discovered that calligraphy transformed and enhanced her experience of the literature she studied. As she wrote her dissertation on dramatic monologues written by women poets in the late Victorian and modernist periods, she also began a series of large calligraphic artworks that use as their textual foundation the same poems. Her approach owes much to Jacobsen’s instruction, whose personal lettering work uses text as a medium to create images that speak in a visual but not necessarily literal way. Of Capp, Jacobsen writes, that “the lettering connections made by students of different disciplines—ranging from English to Art to History and Graphic Design and, of course, the many Book Arts—have been fascinating and expansive and continues to inspire my own work and teaching.” Laura Capp holds a Ph.D. in English from the University of Iowa and a Certificate from the Center for the Book. In the spring of 2011, she was awarded an inaugural Grant Wood Fellowship. She currently continues to study book arts as an M.F.A. student at the Center for the Book, where she also teaches a calligraphy course in foundational hands. Cheryl Jacobsen is an adjunct assistant professor at the University of Iowa’s Center for the Book and a freelance artist in Iowa City, with work varying widely from design and straightforward lettering, to illustrations and art. She teaches a variety of classes, including a history of lettering, basic and more advanced calligraphic hands, as well as workshops in gilding, working on vellum, and manuscript analysis. Her work has been seen nationally and internationally in many shows and publications.

Both lectures are open to UIMA donors at the Elliott Society level ($150 and above). Join us for a brief social time at 5:00 p.m. Lectures begin at 5:30 p.m. Please reply to attend these events by calling (319) 335-3676. For information on becoming a donor, call the Museum at (319) 353-2847 or visit our website at uima.uiowa.edu.

Sponsored by Robert A. Rasley, and John L. and Ruth Ann W. Bentler. 12



Ron Fondaw Matter in Our Hands—From Formless to Meaningful Tuesday, March 27 W151 Pappajohn Business Building 7:30 p.m. Cognition, action, and reaction—these are the processes by which art is made manifest, according to Ron Fondaw, professor of sculpture at Washington University in St. Louis. Fondaw, whose works include drawings, ceramics, adobe, and public arts, will speak on plasticity, which he cites as the “ability of materials to closely mimic the process within the central nervous system of the artist at work.” Fondaw further writes: “This is intimate, discontinuous, and quantum, and lies in the liminal space between thought, intuition, and action. We are attempting to expose something we cannot fully understand with our rational, analog thinking. It is, I believe, a venturing into territory which connects us to something “We are attempting to expose something we cannot fully understand with our rational, analog thinking.” beyond what our egos will suffer, a quest for that altered state of awareness that, if successful, makes us feel most alive and connected to the universe.” Fondaw has worked and lectured in Japan and Denmark, as well as numerous sites around the United States. He has received a Guggenheim Award for sculpture, a National Endowment for the Arts Award, and a Pollock/Krasner Foundation Grant. His works can be seen in several major collections around the world, including The Smithsonian’s Renwick Gallery in Washington, D.C. This event is free and open to the public.

Above: Teeterek, 2011 14 x 10 x 10 ft. Stabilized earth and pigments Commissioned by the Forsyth School, St. Louis, MO

Below: Tymon, 1988 17 x 14 x 29 ft. Adobe & pigments u i m a . u i owa .edu Selected for the Buffalo Bayou, Houston, TX





LOVE-A-FAIR Last summer, UIMA staff hit the road to present the Museum’s cultural resources at the Iowa State Fair! The mission of the Museum is to collect, conserve, and exhibit major works of art to share with its constituents, which includes University students and staff, the Iowa City community, the people of the State of Iowa, and visitors from around the world. In addition to showcasing aesthetic objects, the UIMA contributes to a greater understanding of global heritages, with significant study of world civilizations. The Museum possesses crucial holdings in the areas of Western African, Islamic, Chinese, and Japanese art. The busy booth featured new pieces from the Art of India school programs collection, including a cast brass Ganesha form and an embroidered garment. The UIMA also endows the community with a strong sense of place. The Museum was stationed in the Varied Industries Building to celebrate one of Iowa’s most prized gifts—Mural by Jackson Pollock. Staff passed out informative fans and bookmarks, plastered on temporary tattoos, and even wore matching t-shirts, inspired by the masterwork. The UIMA also brought along two modified reproductions of Grant Wood paintings for fair-goers to step inside—literally. Check out our blog at uima. uiowa.edu/blog to see who became the archetypical couple in American Gothic, and the boy in Plaid Sweater, a seminal painting from the UIMA collection.

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Class Act Co

Imagine hundreds of kids listening attentively to lectures, drafting in earnest, and collaborating. This all happened in the IMU on October 5, when nearly 600 students from 15 regional schools, grades 6–12, participated in the “Class Act Comics Conference.”

Studies—was presented in concert with the innovative Graphic Language: The Art and Literature of Comics exhibition, located just upstairs in the Black Box Theater. The interactive symposium featured talks by James Sturm (director of the Center for Cartoon Studies), Jessica Abel (co-author of Drawing Words and Writing Pictures), and John Porcellino (King-Cat Comics and Stories and Thoreau at Walden).

The day-long workshop—organized by Dale Fisher, UIMA’s curator of education, his assistant Christopher Merkle, School of Art & Art History student, and Rachel Williams, professor Students traveled from Cedar Rapids, of Art and Gender, Women’s & Sexuality Clear Creek-Amana, Columbus 16


Junction, Davenport, Glidden, Grundy Center, Iowa City, Marion, Muscatine, Oelwein, Spencer, Waterloo, Waukee, West Branch, and West Des Moines. Dakota Murphy, a senior at Kennedy High School, marveled at the diverse drawing styles of the recent acquisitions of the UIMA School Programs collection, which were showcased on easels. He observed that, “sometimes simplicity strikes you much more than overcomplicated detail.” This comprehensive event, however, required many details! A fleet of

omics Conference

volunteers made the day possible. Small groups met on every floor in the building, and docents and gallery attendants were available to direct stray students. In addition, UI students like Joan Gordan and Veronica Pedelty, both art majors, were inspired to help out, leading small group sessions on manga. They even dressed up to authenticate the experience. Many members from the communityat-large also contributed to the event. Six break-out groups enabled the

children to practice the drawing skills they learned about. John Engelbrecht and Russell Jaffe, both active in event programming at Public Space One, brought their button-maker to create Nosters, tiny artifacts of images and biographies created by the students. Dora Malech, coordinator of the Iowa Youth Writing Project, developed a session on “Poemics,” responding to poetry with the visual arts. The goal, says Malech, was that “instead of jumping to the theme or deep hidden meaning,” students were encouraged to

“use their senses in a different way” for a meaningful engagement with writers such as Langston Hughes, Stevie Smith, Emily Dickinson, and John Keats. In the end, the Iowa City arts community contributed in making the “Class Act Conference” a rousing success. Students found talents they might not have known they had, and had a fabulous time learning.

The workshop was sponsored by an Anonymous Family Foundation. u i m a . u i owa .edu 17



While University and K–12 students benefit from the UIMA@IMU and School Programs, a new project has been developed that targets a unique demographic of the learning community: senior citizens. This hands-on outreach program is currently active in senior living communities in Iowa City and Coralville.

sewing with beeswax thread and binding needles—to create a single-signature pamphlet. Everyone received plenty of personalized attention from docents Winona Lyons and Madeline Sullivan, as well as Christopher Merkle, assistant to the curator of education.

The UIMA’s visits add variety and vitality to the seniors’ The docent-led presentations schedules. Brook Easton, feature art from a diverse range a coordinator at Melrose, of time periods and cultures. enthused about how the new During a recent visit to Melrose program gets the residents “actively engaged and involved. People learn more when “... People learn more when working with their hands.” working with their hands ...” For the residents, it conjured up happy memories of sewing Meadows, about fifteen residents and penmanship classes. Plus, learned about “The Art of the the participants looked into Book.” They explored new tools the future for myriad purposes and techniques—punching of their new book, including a holes with awls, creasing the photo album, address book, or a pages with wood folders, and trip journal.

“It has been rewarding to have the residents participate in discussions and voice their reactions to the art-related subjects which are new to them,” said Sullivan. “We hope these activities will make them more aware of the works of art at the Museum of Art and their importance. We would like to think that this experience will make them aware of the art that surrounds them daily.” Christopher Merkle developed this outreach program, under the mentorship of Dale Fisher, curator of education, and with input from a group of UIMA docents who volunteered to pioneer this new project. If its current success is any indication—the program is already booked until August of 2012—senior living community outreach will continue to develop into the future.

Senior living community outreach is sponsored by Lensing Funeral and Cremation Services. 18


SCHOOL PROGRAMS: The Art of India Last fall, the UIMA education department kicked off a new interactive traveling presentation on the art of India. Jill Harper, an Iowa native and visual arts instructor at City High School in Iowa City, was an instrumental advisor during the program’s development. How did you get involved with this program?

I have taught visual arts at City High for the past eight years. I became involved after Dale Fisher brought the Widen Our World (WOW) collections into our classroom. Bringing art to the students has reached wide populations, particularly those who may never have set foot in a museum; it breaks down barriers and provides exposure for students and families who may otherwise feel intimidated by a “traditional” museum.

study. My initial interest stemmed from study abroad trips to India and Nepal as an undergraduate at the University of Iowa and through Naropa Institute in Boulder, Colorado. It became deeply rooted while a graduate student at the UI, with special thanks to two professors in the South Asian Studies Department, Dr. Philip Lutgendorf and Dr. Fred Smith, who have shared their knowledge and support, and who have been a deep inspiration to me throughout the years.

with my own kids. I hope these texts will continue to engage with the Western world—such as through the UIMA’s collection.

Middle: India; South Asian Hindu Ganesha (Ganesha Murthi) Cast brass, 17 x 15 1/2 x 35 in. UIMA School Programs Collection

Bottom: Indian, Bihar Scenes from Everyday Life (Woman Having an Ultrasound) Linen, cotton, and acrylic 31 x 26 3/4 in. UIMA School Programs Collection

Why is Iowa City a good candidate for this program?

There is a considerably large Indian population in Iowa City, and the UIMA collection’s presence in the schools empowers these students. Many students know very little about the Indian subcontinent; interacting with these objects provides an experience that students will While earning my M.A., I Indian art seems overlooked remember. It is a “learning was selected as a Fulbright in Asian studies; this may event” that helps form Fellow to India, as well be due to Western society’s lasting connections and is as granted two Foreign misunderstanding of (or a spark for students to gain Language and Area Studies perhaps intimidation) the Fellowships, where I studied understanding about world complexity of Hinduism, or Hindi language extensively cultures and history. due to contrasting concepts and did ethnographic What are some of your between Hindu philosophy research. I plan to return to favorite pieces? and Judeo-Christian beliefs. India in the summer of 2012 This is a difficult question, In light of this, I am very to set up contacts for a high since many of the pieces go glad that the UIMA offers school study abroad program together as a sort of family. an Art of India collection in India in the summer of I love the large Ganesha; and hope that this resource 2013. the size of this piece for a will expand the minds of school collection makes Do you have any students and educators. anecdotes about teaching a significant impact on Dale Fisher, his assistant students. It illustrates well Indian art? Christopher Merkle, and I read ethnographic accounts the story of how Ganesh I worked together to find got his elephant head—a of Hinduism and popular objects for the collection. curiosity for students of all Indian culture such as We also collaborated on ages and a great visual lead Bollywood films, as well interpretive materials that in discussing principles as translations of ancient present the pieces in a of Hinduism. I also love texts such as the Bhagavadconcise, informative manner. Gita, the Upanishads, the embroidered textile from Bihar depicting the and variations on Indian What is your personal scene of a woman getting experience with the art literature such as the of India? Ramayana and Mahabharata. an ultrasound. It is a very thought-provoking piece I received an M.A. in I am always searching for in examining gender South Asian Studies artifacts and translations and women’s studies in and Art Education from of Indian folklore and contemporary India. the University of Iowa, mythology that I can bring combining these areas of into the classroom and share Top: Jill Harper with Josh Siefken, School Programs Outreach Instructor

School Programs sponsored by Education Partners and an Anonymous Family Foundation


Charles Seliger (1926– ) Homage to Erasmus Darwin, c. 1945–1946 Oil on canvas 35 3/4 x 27 3/4 in. Gift of Peggy Guggenheim, 1947.43

Selinger to Mint Museum A painting, Homage to Erasmus Darwin, will be on display in Seeing the World Within: Charles Selinger in the 1940s at the Mint Museum in Charlotte, North Carolina, February 11–May 12, 2012. Afterwards, it will travel to the Peggy Guggenheim Collection in Venice, Italy and the Munson Williams Proctor Arts Institute in Utica, New York. The UIMA’s piece is significant as one of Selinger’s earliest efforts to fuse representation and abstraction through segmentation and layering, and demonstrates his drive to find new ways of looking at the natural world. Democratic Republic of the Congo; Tabwa peoples Mask Beads, leather, fur, feathers 35 x 12 x 11 in. The Stanley Collection, X1990.656

Beaded Mask to Smithsonian The UIMA’s Tabwa peoples’ beaded mask will be traveling across the country to the Smithsonian Institution’s National Museum of African Art in Washington, D.C. This out-of-this-world piece will be joining African Cosmos: Stellar Arts, running June 20–December 9, 2012. This beaded mask embodies the exhibition’s African cosmology theme, and is particularly remarkable for its decorative patterns that reference lunar symbolism. 20


Harry Callahan (American, 1912–1999) Chicago, c. 1950 Gelatin silver print 8 x 10 in. Edwin B. Green Endowment, 1998.249

Photographs to Figge The Figge Art Museum in Davenport, a, will be displaying four photographs from the UIMA’s collection in the upcoming exhibition Locating Place, running February 18–May 12, 2012. The pieces by Harry Callahan, Henri Cartier-Bresson, Walker Evans, and Alfred Stieglitz, represent the human character of spaces, from traditional representations to those very unique, across the 20th century. The UIMA’s loan will add layers to the exhibit, illustrating a greater diversity.

Grant Wood (American, 1891–1942) Grandpa with Popcorn, 1936 Pencil, crayon, and gouache 9 1/2 x 7 in. Gift of Mrs. Ernest Horn, 1970.79

Iowa Arts at Old Capitol The UIMA will be lending a variety of Meskwaki garments and Grant Wood lithographs to ART | IOWA: Inspired by Landscape in the Hanson Family Humanities Gallery of the Old Capitol Museum, which runs February 2–June 17, 2012. The exhibition will explore the history and influences of Iowa artists—ranging from native Meskwaki peoples to the iconic regionalist painter Grant Wood to living contemporaries.

Eye on UI Faculty

Video Cubana

This spring semester, the UIMA is pleased to again feature works in the second floor reading room of the UI Main Library. The display will feature paintings by Stuart Edie and James Lechay, as well as silkscreens and mixed media work by Byron Burford. Kathy Edwards, chief curator of the UIMA, comments:

Video Cubana is a program of 31 works by 21 Cuban video artists, who predominantly live on the island. Curated by a five-person international jury, the works serve as a diverse representation of film genres, from animation to humor to live performance art, and most are under four minutes in length. The exhibition was “Occasionally, a generation of faculty is recalled as more curated in response to an international open call for than the sum of its parts. The department of painting in creative video that barred residents of U.S. sanctioned the School of Art and Art History boasted three fantastic countries from participating. Video Cubana will be on view in the UIMA’s Visual Classroom at the newly reeducators, whose work this display commemorates. opened Arts Building West through the spring semester. Professors Byron Burford (1920–2011), Stuart Edie (1908–1974), and James Lechay (1907–2001) are fondly remembered by hundreds of students for their many talents. As this display attests, their aesthetic contributions were as significant as their dedication to teaching.” This presentation is co-sponsored by the UI School of Art and Art History and the UI Main Library. Left: James Lechay (American, 1907–2001) Rose with Summer Hat, 1967 Oil on canvas 38 x 33 3/4 in. Museum purchase, 1972.56

Right: Adonis Flores (1971– ) Honras fúnebres (Last Honors), 2007 DVD 3:00 Courtesy the artist

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This year’s Museum Party! was a great success. The celebration revolved around the UIMA’s fall special exhibition, Graphic Language: The Art and Literature of Comics, which was open after-hours just two levels above the Party! for guests to explore! Thanks to Committee Chairs Scott Finlayson and Kay Irelan, the IMU Ballroom became an otherworldly wonderland. This year, the UIMA offered a creative two-tier ticket option for a very creative event. Supporters had the choice to attend a wine reception and formal dinner with a bash to follow, or only the bash. Iowa City’s Standard Air jazz trio provided elegant live music to accompany dinner and discussion. One guest won an original Graphic Language-inspired drawing by Steve Erickson, UIMA preparator. Director Sean O’Harrow closed the dinner portion with an uplifting speech 22


explaining his positive vision for the UIMA: “This is our time for experimentation, as we continue to build the Museum without a building.” The action-packed evening progressed to the other side of the ballroom, where DJ Doug Roberson played tunes Museum supporters could not help but dance to. Guests let out their inner superheroes in a photo booth with a fun backdrop, designed by Kay Irelan and painted by University of Iowa art students, and witty speech bubble signs. In addition, partygoers took home unique self-portrait silhouettes, created on-site. We reached our goal of $100,000 in donations at the Party!, much of which will sponsor exhibitions, programs, and activities for the next year. This support is crucial to the UIMA’s dual missions of research and community outreach.

We’d like to thank our Honorary Chairs: Dick and Mary Jo Stanley Party! Sponsor: Integrated DNA Technologies And our Party! Hosts: Alan and Liz Swanson; Gerald and Leesa Elseman; Gerry Ambrose and Kristin Hardy; H. Dee and Myrene Hoover; Hayes Lorenzen Lawyers, PLC; Kristin Summerwill; Lowell Doud; Margaret C. Clancy; Mary Westbrook; Neumann Monson Architects; Oaknoll Retirement Residence; Phelan, Tucker, Mullen, Walker, Tucker & Gelman, L.L.P.; Pleasant Valley Flower Shoppe; Rob and Paulina Muzzin; Rohrbach Associates PC Architects; ShiveHattery, Architecture-Engineering.

Photos by Dan Kempf / Impact Photography


Don’t miss your chances for FREE bus rides to the


Bus Schedule: Leave Studio Arts at noon (1375 Hwy. 1 W, Iowa City) Leave the Figge Art Museum (Davenport) at 5 p.m. Reservation deadline is January 26.


Bus Schedule: Leave Studio Arts at 5 p.m. (1375 Hwy. 1 W, Iowa City) Leave the Figge Art Museum (Davenport) at 9 p.m. Reservation deadline is March 26.

Bring your ID card for free admission. Seating is limited! To reserve a seat, please come to the UIMA offices at 1840 SA and sign a waiver between the hours of 8:30 and 4:30 M-F. 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 this program, please contact the University of Iowa Museum of Art in advance at 319-335-3674. For more information, visit uima.uiowa.edu. Buses from downtown, and parking at the Studio Arts building are available.

Sponsored by J. Randolph and Linda Lewis




ridays 5-7p.m.


January 6 • hotelVetro February 3 • hotelVetro March 2 • hotelVetro April 6 • hotelVetro May 4 • hotelVetro June 1 • The Mansion July 6 • TBD August 3 • Stella Restaurant

Sponsored in part by Willard L. and Susan K. Boyd, Susie and Tom Bender, and H. Dee and Myrene Hoover

www.uima.edu for updated locations

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Support the Art Experience 2012 Sponsorship Opportunities at the University of Iowa Museum of Art

I’ve spoken with many individuals who have asked about the status of the University of Iowa Museum of Art (UIMA) following the 2008 flood, and a recurring question inevitably crops up: Why does the UIMA continue to fundraise when the building is closed and the campaign to construct a new facility is on hold? The answer is simple. The Museum is more active now than ever! True, the UIMA is without a permanent home while eagerly conceptualizing a new one. But nothing is further from the truth than the notion that the Museum’s programs were washed away with the flood, and along with them the need to fundraise. A glance through this issue of the UIMA Magazine captures the energy and experimentation that characterize the UIMA without walls. To provide the financial support for the Museum’s annual operating expenses, we offer two special giving programs: the Sponsorship Program and the Annual Giving Program. Their features are different to match our patrons’ philanthropic intentions. UIMA Sponsorship Program: Sponsorship at the UIMA is a dynamic way

“Now is the time to stand with your Museum ...”

for individuals, corporations, organizations, and foundations to engage with the Museum’s most ambitious projects. One of the appealing features of the sponsorship experience is the satisfaction donors derive from directing their philanthropic dollars to areas that are particularly important to them. Each year, the UIMA offers a variety of remarkable sponsorship opportunities at a range of giving levels starting at $500. If sponsors wish, they may receive prominent recognition in UIMA publications and promotions. Annual Giving Program: In tandem with the highly successful sponsorship

initiative, we also offer an Annual Giving campaign that appeals to patrons who prefer to provide unrestricted support at any giving level. These funds are flexible and used at the discretion of the director for areas of greatest need. They are critical in enabling the UIMA to convert promising opportunities into visionary achievements. For either program, being an annual donor to the Museum enables patrons to stay connected to the institution and receive announcements and mailings about future programs and events while enjoying donor courtesies at the appropriate giving level. Each gift impacts the art and cultural offerings in our region, engages new and existing patrons with the world of art, and heightens individual involvement with the Museum and the community it serves. Now is the time to stand with your Museum because private support is indispensable during this transitional period. Please renew—or better yet, increase—your yearly gift, either through the Sponsorship Program or the Annual Giving Program. Every gift to the UIMA brings us closer to realizing the vision of our future Museum. We can hardly wait! Thank you for being a friend to the UI Museum of Art.

Director of Development 319-467-3768 Give online at www.givetoiowa.org/uima




Friends of The University of Iowa Museum of Art Honor Roll of Contributors This honor roll gratefully recognizes individuals and organizations who contributed $100 or more from July 1, 2010, through June 30, 2011, to The University of Iowa Museum of Art through The University of Iowa Foundation, the preferred channel for private support of all areas of the University. Friends of the Museum of Art Patron (support of $5,000 or more) Anonymous (2) Joel L. Horowitz Marc B. Moen and Bobby Jett Sam Francis Foundation Gerald and Hope C. Solomons Richard H. and Mary Jo Stanley John S. and Susan T. Strauss U.S. Bank Director’s Circle (support of $1,000 through $4,999) Gerry Ambrose and Kristin F. Hardy Robert F. and Delores DeWilde Bina Willard L. and Susan K. Boyd John W. and Ellen K. Buchanan Barbara M. and William G. Buss Mary K. Calkin Chicago Conservation Center Margaret C. Clancy James A. and Katherine Rathe Clifton Richard V. M. and Janet Y. Corton Charles W. Davidson Alden L. Doud Leesa K. and Gerald P. Elseman Zoe C. and Gerald J. Eskin Robert E. and Karlen M. Fellows Nancy K. Hammond and Anthony D. Tsakiris Hands Jewelers Kevin M. and Pat Hanick James P. Hayes H. Dee and Myrene R. Hoover Alan F. and Ann B. January G. Ronald Kastner Debra Gabrielson Lee Thomas D. and Polly A. Lepic J. Randolph and Linda Lewis Robert C. and Barbara E. Lipnick Joan E. Mannheimer Mike and Joanne Margolin Yvonne L. McCabe Robert A. McCown and Judith M. Gust Robert D. and Paulina Treiger Muzzin David T. and Monica R. Nassif Neumann Monson, P.C. Carrie Z. Norton Oaknoll Retirement Residence

E. Anthony Otoadese and Claudia L. Corwin Polly S. and Armond Pagliai Douglas J. and Linda Paul H. Rand and Mary Louise Petersen Phelan, Tucker, Mullen, Walker, Tucker & Gelman, L.L.P. Pleasant Valley Flower Shoppe & Greenhouses Robert A. Rasley Harold E. and Patricia L. Rayburn Raygun Iowa City Rohrbach Associates, P.C. Naomi M. Schedl Scheels All Sports G. Carl and Julie Schweser Shive-Hattery, Inc. Serena D. Stier and Steven J. Burton Gordon B. and Faye Hyde Strayer Madeline M. Sullivan Kristin E. Summerwill W. Richard and Joyce P. Summerwill Alan L. and Elizabeth A. Swanson Brad H. and Meg M. Thompson Dick and Buffie Tucker Mary M. Westbrook Whitedog Sales, Inc. LaDonna K. and Gary A. Wicklund James H. and Lena S. Wockenfuss Gail Parson and Frank J. Zlatnik Sponsor (support of $500 through $999) Michael A. and Agnes M. Apicella Mirriel S. Bedell Douglas M. and Linda L. Behrendt John L. and Ruth Ann W. Bentler Bruce C. Bidle Joyce C. Carman and David C. Baldus Wallace K. and Karen Hubenthal Chappell William T. Downing and N. Kumi Morris C. Eugene and Dorothy O. Fifield Dale W. Fisher Bruce J. and Mary DeJong Gantz Thomas H. and Rebecca Ann Gay Gelman Roland F. and Ellen Ginzel Daryl K. and Nancy J. Granner John E. and Mary Lynn Grant Lois G. Hausler and William J. Hausler, Jr. Michael W. and Teresa J. Kelly Nancy G. Kennedy

Margaret N. Keyes John S. and Patricia C. Koza Richard H. and Mary Lea M. Kruse James B. and Sara Jane B. Lindberg MidWestOne Bank Sean O’Harrow Lloyd J. and Thelma W. Palmer Anastasia Polydoran Richard J. H. Smith and Lynne D. Lanning Wallace J. Tomasini Rhoda L. Vernon Richard and Cassandra E. Webster William C. Weese Curator’s Circle (support of $250 through $499) Jeanette L. and Otto F. Bauer Dale M. and Mary Gail Bentz Jackie Blank Alicia A. Brown-Matthes and William A. Matthes Elizabeth A. Clothier Jordan L. and Jana E. Cohen Richard D. DePuma Madgetta T. and Claibourne I. Dungy The Economy Advertising Company Robert B. and Judith J. Felder John F. and Randee S. Fieselmann Richard E. and Jane Gibson Thomas D. Hendricks and Nasreen A. Syed Randy Lengeling Michael J. Lensing Winona M. Lyons Mary MacGregor Allyn L. Mark Lennadore “Sugar” Mark Paul B. McCray, Jr., and Linzee Kull McCray Gaylord M. “Duke” and Della L. McGrath Anthony V. and Kara D. Mollano John T. and Gail O. Nothnagle William G. Nusser, Jr., and Elizabeth K. Boyd Dorothy M. Paul Raphael Club Charles Read and Chunghi Choo Peter J. and Mary Ann E. Reiter Riverside Casino and Golf Resort Nagui C. and Olga Sassine Ricardo H. Sauro David G. and Jean S. Schaal Frank J. and Gretchen Snider Elizabeth H. and Steven R. Timmer

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Betty L. Tucker John E. Tyrrell Laura R. and Richard E. Walton Stephanie A. Winebrenner-Gomez Sherwood H. and Sara C. Wolfson Jeffrey M. and Nancy M. Zear Elliott Society (support of $150 through $249) Marva L. Abel and Richard A. Knoedel Charles V. and Jane E. Anderson James W. and Anna M. Barker Judith C. and Robert F. Boyd Richard E. and Estyl K. Breazeale Heather Marshall Byers Donna Friedman and David S. Curry Jane Engeldinger and Michael W. O’Hara Susan Lois Enzle and Nathan Eugene Savin Ed and Patricia J. Folsom Russ Gray and Suze Dunlap Frances M. Haas and Ryan T. Flynn Garry R. and Susann K. Hamdorf Robert W. Hardy Jean S. and N. William Hines G. Stephen and Kristin Evenson Hirst Matthew A. Howard III and Delia Howard Kay L. Irelan Thomas C. Jackson and Joanne M. Stevens David C. Johnsen and Deborah L. Galbraith Phillip E. and Jo Lavera Jones Rhys B. Jones and Valerie L. Chittick Eleanor S. Kerr William H. and Judith P. Klink Christopher W. and Vernette K. Knapp Stephen C. Kromer Phillip A. and Mary Margaret Lainson Lensing Funeral & Cremation Services Lola Lopes and Gregg Oden Lynette L. Marshall and Jeffery L. Ford Joye Ashton McKusick Rebecca M. and Robert McMurray John R. Menninger Frank S. and C. Suzanne Nelson James E. and Jean C. Neumann Robert A. Oppliger Margaret R. Polson Enid Ransom-Cancilla and P. A. Cancilla David C. and Ann M. Ricketts Robert A. Rorex Patricia P. Rossmann and Charles R. Buck Robert J. Saunders Hutha R. and Robert F. Sayre Larry D. and Duronda Winters Schlue William R. and Winifred A. Shuttleworth Sandra Miller Sohr D. C. Spriestersbach Margery Crabbe Stell Daniel R. and Beth Holden Stence



Jeffrey A. and Anna Moyers Stone Deloris Thayer Sheila Kay Vedder Jean M. Walker Michael and Susan Dale Wall Craig N. and Nancy B. Willis George G. and Carrol H. Woodworth Pope S. and Darcie Dotson Yamada Benefactor (support of $100 through $149) Laird Clark Addis, Jr., and Patricia K. Addis Fran Jaecques and William P. Albrecht Anonymous Jenean A. Arnold and Jan S. Wielert Robert F. and Claire B. Ashman Carol Barker Richard J. Blazek G. Robert and Sharon S. Boynton Linda Brown and Willis M. Bywater Jeanne M. Cadoret David L. and Katharine S. Campbell Arthur and Miriam R. Canter Richard M. and Fredda Ellen Caplan Josephine S. Catalano Catherine R. Champion Michael J. and Judith Ann Cilek Thomas J. and Mary M. Cilek James W. and Margaret J. Cravens Juliann Dahlberg Pamela L. Degnan David R. S. and Sally B. Dierks Peggy J. Doerge Karen K. and David C. Drake Genevieve B. Dudley Melvin and Leatrice Eagle Elizabeth S. Fahr Donald T. Fallati and Ruth E. Pachman Frank M. and Anne D. Faraci Lynn D. and Linda K. Ferrell Robert S. Finlayson Robert A. and Sylvia A. Forsyth Robert and Patricia Hays Forsythe Daphne J. Fuhrmeister Charles E. and Barbara Ann Grassley Philip J. Greazel and Elizabeth S. Blass Catherine E. Hamel David C. and Jayne E. Hansen Richard F. and Barbara E. Hansen Claudine M. Harris Steve Hauser Steven K. and Christine Hedlund Judith D. Hendershot Donna L. Hirst Mary R. Homeier Nick M. Hotek Kenneth A. and Janis G. Hubel Patrick E. and Marlynne Ingram

Cheryl D. Jacobsen James F. and Jane R. Jakobsen Dirk C. and Lois U. Jecklin Jack D. and Dorothy L. Johnson G. Frank and Susan Hacker Judisch Sally Ann Kamman John F. and Barbara B. Kattner Richard E. and Linda K. Kerber Victoria M. Krajewski Margo H. Kren Diane H. Kutzko Thomas L. Lambert and Mary Ann BramhallLambert Karl and Sonya C. Larsen L. Phillip and Lori L. Lasansky Linda M. LeClair Joan Miller Lipsky Doris G. Lisle Vicki M. and Karl E. Lonngren Kingsbury and Marion T. Marzolf Robert C. and Margaret L. Matsch James C. and Traci L. Maxted Gail McLure James A. and Mary L. Merchant Robert J. Meyer Julie A. and Kevin W. Monson John R. and Katherine Meloy Moyers Christopher L. and Jan K. Muhlert Ruth Brooks Muir Virginia A. Myers Naomi J. Novick Douglas E. and Constance D. Parsons Henry L. and Sarah Buss Paulson Joanne Peterson Philip T. and Barbara C. Peterson Shirley A. Pfeifer Jerrie Pike and Ray R. Kass David A. and Mary Jo Rater Dottie Ray James S. and Connie J. Reasoner Juanita Reynard Hal B. Richerson Jane L. Rinden Robert L. and Donna P. Rodnitzky Jackson H. and Nona Seberg Roe Trudi S. and John N. Rosazza Shanti M. Roundtree A. Russell and Cynthia Board Schmeiser Steven F. and Janie R. Schomberg John Beldon Scott and Katherine H. Tachau Carol A. Seydel and Lyle G. Seydel, Sr. C. Edward and Elizabeth F. Shreeves Timothy M. and Lynn L. Skopec Murtis Gordanier Smith Margaret A. Smollen Carol L. Spaziani John H. and Sally C. Staley L. F. and Marilyn E. Staples

Joy C. and Oliver L. Steele James A. and Barbara A. Stehbens L. Jay and Mary K. Stein Raymond A. and Freda M. Stelzer Sheila A. and Richard A. Stevenson Donald A. and Cheri A. Stock Elizabeth T. Stroud Thomas H. Summy and N. Yvonne Suzie Oliver Linda Thrasher George W. and Carolyn A. Walker Doug R. and Lori S. Wenzel Betty S. Winokur Stephen H. and Sue Montgomery Wolken Darrell D. and Shirley L. Wyrick Corinne L. Yaw For More Information If you would like to discuss how you can support the UI Museum of Art, please contact Pat Hanick, Director of Development, UI Museum of Art, at The University of Iowa Foundation. Call (319) 335-3305 or (800) 648-6973, or email pat-hanick@uiowa.edu Corrections The recognition extended to those listed in this honor roll is one small way to thank contributors. Every effort has been made to ensure that this honor roll is accurate. If your name has been omitted, misspelled, or misplaced, we apologize. Please contact the UI Foundation with any questions or corrections. Thank you.

2010–2011 Gifts of Works of Art to the University of Iowa Museum of Art (at date of publication) Gift of Gary Davis Margaret Bourke-White, Hawkeye Village for Student Veterans and their Families, Iowa City, IA, 1947, gelatin silver contact print, 2010.26 Gift of Ignacio and Helena Ponseti: Five lithograph and intaglio prints by Antoni Tàpies; two oil on canvas paintings by UI Professor of Art Stuart Edie; a lithograph by Robert Motherwell; a print by Rufino Tamayo; a lithograph by Miguel Barceló; an oil painting by Albert RàfolsCasamada; a casein painting on paper by James Lechay; and a paint on bronze work by Josep Maria Subirachs I Sitjar, 2011.1– 2011.13 Gift of the artist: Leighton Pierce, Selections 2007–2010, digital video, 2011.14a,b,c Gift of Naomi Schedl: A kente cloth from Ghana, c. 1980 and a man’s quilted coat from Central Asia, 2011.15 and 2011.16 Gift of Ruth and Samuel Becker: Four etchings by Erich Wolfsfeld, two conté drawings by Heinrich Zille, an etching by Misch Kohn, and a woodcut by Lyonel Feininger, 2011.17–2011.24 Gift of James H. Burke A glazed ceramic vase by Lucie Rie, 2011.26

Purchases from donor funds The Leola Bergmann Fund Diana Mantuana, The Madonna and Child with the Infant Saint John the Baptist (after Raphael), 1576, engraving, 2010.25 Frances Flora Bond Palmer (for Currier and Ives), A Midnight Race on the Mississippi, 1860, two-color lithograph, hand-colored, 2010.27

Lucie Rie (British, born in Austria, 1902–1995) Untitled (Vase), n.d. Ceramic, glaze 10 x 4 x 4 in. Gift of James H. Burke, 2011.26

Stuart Edie (American, 1908–1974) Untitled, n.d. Oil on canvas 28 x 35 in. Gift of Ignacio and Helena Ponseti, 2011.12

The State University of Iowa Foundation is a 501(c) (3) tax-exempt organization soliciting tax-deductible private contributions for the benefit of The University of Iowa. The organization is located at One West Park Road, Iowa City, IA 52244; its telephone number is (800) 648-6973. Please consult your tax advisor about the deductibility of your gift. If you are a resident of the following states, please review the applicable, required disclosure statement. GEORGIA: A full and fair description of the charitable programs and activities and a financial statement is available upon request from the organization using its address/telephone number, listed above. MARYLAND: A copy of the current financial statement is available upon request from the organization using its address/ telephone number, listed above. For the cost of copies and postage, documents and information submitted under the Maryland Solicitations Act are available from the Secretary of State, 16 Francis Street, Annapolis, MD 21401, 410-974-5521. NEW JERSEY: INFORMATION FILED WITH THE ATTORNEY GENERAL CONCERNING THIS CHARITABLE SOLICITATION AND THE PERCENTAGE OF CONTRIBUTIONS RECEIVED BY THE CHARITY DURING THE LAST REPORTING PERIOD THAT WERE DEDICATED TO THE CHARITABLE PURPOSE MAY BE OBTAINED FROM THE ATTORNEY GENERAL OF THE STATE OF NEW JERSEY BY CALLING 973-504-6215 AND IS AVAILABLE ON THE INTERNET AT http://www.state.nj.us/lps/ca/charfrm. htm. REGISTRATION WITH THE ATTORNEY GENERAL DOES NOT IMPLY ENDORSEMENT. NEW YORK: A copy of the last financial report filed with the Attorney General is available upon request from the organization using its address/telephone number, listed above, or from the Office of the Attorney General, Department of Law, Charities Bureau, 120 Broadway, New York, NY 10271. PENNSYLVANIA: The official registration and financial information of State University of Iowa Foundation may be obtained from the Pennsylvania Department of State by calling toll free, within Pennsylvania, (800)732-0999. Registration does not imply endorsement. WASHINGTON: Financial disclosure information is available upon request from the Secretary of State, Charities Program, by calling (800) 332-4483. WEST VIRGINIA: West Virginia residents may obtain a summary of the registration and financial documents from the Secretary of State, State Capitol, Charleston, West Virginia 25305. Registration does not imply endorsement.

u i m a . u i owa .edu 27

1375 Highway 1 West/1840 Studio Arts Iowa City, Iowa 52242-1789 (319) 335-1727 uima.uiowa.edu

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